By: Fridae Mattas


Toronto’s female fronted punk rockers Die Mannequin released their third studio album Neon Zero today! They will be celebrating tonight at Cherry Colas where Tony and Care will be spinning their favorite tracks off of the new record. Since receiving this album back in August, I have been listening to it every chance possible and I’m so glad I did! Opening track “Welcome To The Badlands” sets the tone for this musical journey, collectively modern yet retro with an anthemic feel. Their strong first single “Sucker Punch” was an instant ear pleaser, if you haven’t heard it yet I suggest you take a listen and don’t forget to get your copy of Neon Zero. There were a few songs on this record like “Blood In Blood Out” and  “Pretty Persuasion” that I skipped at first listen. Had I not absorbed the records tunes entirely, they wouldn’t have grown on me as they have. Now, “Pretty Persuasion” is one of my favourites, I love the sound of the guitar riffs, they give the track this haunted vibe my ears are drawn to. “Murder On the Dancefloor” is another catchy tune that is worth a listen, compared to their previous records this is the most radio friendly I have heard DM. Quite surprised to tell you the truth but it turned out to be a pretty fucking fantastic surprise!

Photo By: Fridae Mattas

They have created a vibe that reminds you of 80’s music with a slice of Hip Hop, 90’s, Punk, Grunge and Dance. You can hear all of those influences in there. One track in particular “Girls At the Mall”, reminds me so much of Veruca Salt’s “Volcano Girls” with a little Nirvana to end the track. Very impressed with vocals, major props go out to Care for showcasing her vocal versatility, keep up the amazing work! The band sounded tight, the quality of sound in the production of each sonata is crisp and proper, no ghetto recordings here. “Prettier lips tell prettier lies” from the last tune, “Outta Time” on this eleven track musical adventure is one of my favourite lyrics. I also loved the randomness at the end of the fast paced “Ka-Ching” with the bonus. There are a few tunes like “I’m Just A Girl” that I just couldn’t get into. I tried, and I commend vocals, but the tune itself was a little too Avril Lavignesque for my ears to handle. Neon Zero is worth many listens, from the first time I saw Die Mannequin rock out at the Horseshoe to this album here in 2014 they have come a very long way and I’m liking this new direction. The nicest people you’ll ever encounter, and so beyond talented! Die Mannequin is; Care Failure – Vocals/Guitar, Anthony Bleed – Bass/Backing vocals, Stacy Stray – Guitar/Backing vocals and Dazzer Scott on the Drums. NEON ZERO is an essential listening need! Everyone needs to buy this record and support these great Canadian talents, Die Mannequin’s Neon Zero gets 4 music notes ♪♪♪♪ out of 5!  

COPYRIGHT © 2014 FRIDAE MATTAS. All Rights Reserved







By: Fridae Mattas

This is possibly the longest I have taken to write an album review, normally these types don’t see the light of day but very determined to finish this one, better late than never right?! Absolutely no extra time lately and it seems like the only time I have a chance to write is sitting in the trailer before shooting my scenes. Promised to review this record because I had to cancel my interview with Bassist Piggy D (Matt Montgomery) and Drummer Ginger Fish (Kenneth Wilson ex Marilyn Manson snare slayer) at Mayhem fest last year because of the rain. Already dealt with the floods at Warped Tour the year before and was not about to rewind and do that all over again. Rob Zombie (Robert Bartleh Cummings) is an American Musician, Screenwriter and a Film Director to name a few. I loved his film “House Of 1000 Corpses” and his rendition of “Halloween”. Most know Zombie from his “White Zombie” days that kick started his career as an eclectic entertainer.

Photography By: Joanna Glezakos For FridaeTV

Venomous Rat Regeneration Vendor” is Zombie’s fifth solo record released April, 23rd 2013 on his Zodiac Swan label. The record dropped the same week as his film “The Lords Of Salem” which I have yet to see. The first tune off of the twelve track studio record is “Teenage Nosferatu Pussy” fast and rugged very trash rock with a few samples from horror and porn flicks thrown in for ambiance. That garage metal trash-rock track is followed by the first single from the album “Dead City Radio and the New Gods of Supertown” which has some amazing guitar licks in it. The whole record has grown on me drastically, after all I have been listening to this album since last year but it is no “HellBilly Deluxe”. It does have those tracks you should listen to like “Rock and Roll (In A Black Hole)”, “We’re an American Band” and “The Girl Who Loved The Monsters”. Production wise the music is unique and diverse but still has that Rob Zombie patented sound because the vocals are rough and deep with plenty of grit. If you want to go on a wildly odd rollercoaster ride this album needs to be in your collection. I give Rob Zombie’s Venomous Rat Regeneration 3 out of 5 music notes ♪♪♪♪♪. www.ROBZOMBIE.com

COPYRIGHT © 2014 FRIDAE MATTAS. All Rights Reserved

Photography By: Joanna Glezakos For FridaeTV






By: Fridae Mattas

Sitting here in my trailer all processed waiting to shoot my scenes and instead of rehearsing my lines a few more times with coworker, we have decided a break is most definitely needed. The choices are to either listen to some music or watch the 3rd episode of “Sons Of Anarchy”, we can’t leave the trailer processed unless we’re called on set. So, I chose to hear what Marianas Trench Lead Guitarist Matt Webb has to bring on his sophomore EP “Right Direction“, released February 4th 2014. Time these days is very limited, but I always listen to as much music as I can because music is my life and many of yours. Without music most of us would not be here, it has helped us through some serious shit in life.

For those who need a little more background info on Matt Webb you can check out his Facebook here. Matt has been with his band Marianas Trench since 2001 which is amazing, some bands don’t last together a year, never mind thirteen! Personally, not a fan of the bands music they are not my cup of tea. However, I do commend them on their accomplishments for a Canadian band. 


Webb’s Right Direction EP has six tracks, the first being the title track “Right Direction”. It starts in with your basic acoustic guitar and some percussion prior to dropping the first verse. The vibe is mellowed out and his voice isn’t too bad, needs to strengthen those chords but his tone is not making my ears cry. This track is okay, not exactly award winning but it is a well done production as is the rest of the EP. A few things I’m not feeling about most of the tunes on the record are that the lyrics are a little too rhymey, redundant and adolescent sounding for Webb’s age group. From what I hear, the above mentioned seems to be the trend for the whole album. The two songs I could not fully listen to and had to skip were “Don’t Turn Your Back on Me” and “123”. Don’t shoot me Trenchers, it is just my opinion.

Very surprised though, I was expecting worse! It is always a good thing when an artist is better than expected! Prior to getting the press release for this record, I had no idea he even was a singer. And, in a few weeks we will find out if he can hold his own on stage when he hits Toronto’s Adelaide Hall March 7th 2014 to kick off his Right Direction tour across Canada, in support of the new EP. 

A song worth a listen that I have to mention is “Hang Tight” which has more of a jazzy vibe and is different than the rest of the tracks on the record. As far as Webb launching a successful solo career with this EP…A lot more work is needed to refine him as a solo artist, but he is headed in the Right Direction… I give Matt Webb 2.5 music notes out of 5 ♪♪♪♪♪ Download your copy of “Right Direction” here

COPYRIGHT © 2014 FRIDAE MATTAS. All Rights Reserved


March 5 – Hamilton @ Bay City Music Hall

March 6 – Ottawa @ Mavericks

March 7 – Toronto @ Adelaide Hall

March 8 – Peterborough @ The Red Dog

March 9 – London @ London Music Hall

March 13 – Thunder Bay @ Black Pirates Pub

March 14 – Winnipeg @ Park Theatre

March 16 – Regina @ The Exchange

March 18 – Saskatoon @ O’Brians Event Centre

March 21 – Edmonton @ Avenue Theatre

March 22 – Calgary @ The Den

March 23 – Red Deer @ Memorial Centre

March 27 – Vancouver @ Rio Theatre




Released: Nov. 5th 2013

Label: Aftermath / Shady / Interscope

Written By: Fridae Mattas

 Everyones favorite schizo rapper from Detroit has released his eighth studio album and people are telling me the other critics are praising the MMLP2. Have yet to read anyone else’s perception on the album, truth is I just don’t have the time and these days the only opinion that matters to me is my own ha ha. Totally forgot Mathers was even dropping his album this month. I was working on the Rob Zombie record review but decided to hold those thoughts and get these ones out as soon as possible. The instant I played the first track I noticed the pieces of the original MMLP being blended with this 2.0 version. I was surprised to see the reuse of the title but it is relevant to the theme of the record and why not? Lil Wayne has The Carter 1, 2, 3, 79, 357 and Jay-Z with his five hundred blueprints.MMLP2PPDid not think I would be reviewing another record by Eminem and his personalities, honestly thought he was going to take a permanap from the industry. The world is clearly happy he did not permanap, it hasn’t even been a full week since the release and it’s already making waves like a tsunami! Word on the industry tip is that the “MMLP2” will surpass Drake’s first week sales and debut at #1 on the Billboard 200 making it Eminem’s seventh number one when the chart is revealed Nov.13th. Everyone that hated on him in the past seems to have a closeted guilty pleasure affair with the music. Eminem’s haters remind me of the Canadian music industry who laughed at Drake until America started to love him…That’s when they instantly turned into yes people and his biggest fans. Personally don’t mind some of his songs but professionally speaking he is not the strongest “rapper”? Stylistically he is not at all comparable to the level of the Emcee’s I grew up listening to like N.W.A, Dr. Dre (Who served as executive producer for this record along with Rick Rubin.), Eazy-E, Ice Cube, Snoopy Dogg, Warren G, Naughty By Nature, KRS-One, 2Pac, Biggie, Run-DMC, Beastie Boys, Queen Latifa, Foxy Brown, Lil Kim, Jay-Z, Nas, Missy Elliot, Mos Def, DMX, WuTang, Ludacris, Fugees and of course Eminem. I would like to see any Emcee in today’s game battle Eminem, it would be fun to watch and hear, actually that should be a rap reality show where they get different Emcee’s to freestyle battle each other.
MMLP2RThe Marshall Mathers LP 2 has various tones to it like his colourful personas, you have the old school throwback vibes and some candy tunes. In a few he spits like he’s the missing member of N.W.A. and then your classic “Asshole” Ft. Skylar Grey, produced by Alex Da Kid and fueled by the vibrance of that vengeful fire flow he had on the Marshall Mathers original record. Here is a true line: “But you can’t ignore the fact that I fought for the respect and battle for it.”. Tunes like “Bad Guy” have that laid back beat where it’s just chilling and then you hear Eminem emulating “Stan’s” little Brother Matthew plotting revenge on his idol. And you are sitting there wondering how that song was birthed in his brain and as always only Eminem, Marshall Mathers, Slim Shady knows this. He revisits the skeletons he had in his closet and a few new ones popped out. On the song “So Far” he throws in a few shit ticket old school lines revamped. In the hook he declares his love for the city that took him in. “Maybe that’s why I feel so strange. Got it all, but I still won’t change. Maybe that’s why I can’t leave Detroit, it’s the motivation that keeps me going. This is the inspiration I need, I can never turn my back on a city that made me.” It is astonishing to see how quickly Detroit is deteriorating, I’ve been there a few times this year visiting friends and meeting with so called “Producers”. Every time I’m there I notice there are more and more abandoned places to wander. Funniest part about a lot of people I met in Detroit is once you tell them you’re a singer and a Journalist everyone is either an industry expert or knows Eminem and Kid Rock personally…Ha Ha sure they do!

On my last Eminem review for “Recovery“, I added the only two photos I managed to save from the Anger Management tour in Toronto at the “Skydome” back in October 2000, one of the two is below. Earlier that same year Eminem dropped the original Marshall Mathers LP, I did not review that album because well I was not old enough to be a Music Journalist back then, laughs. In 2000, I was in high school (sometimes) and trying to be the new “Destiny’s Child” with my group “Girlz Ink”. Ah haha yes, true words and sadly it wasn’t the only group I was in…Don’t recall telling the world the full story behind those photos I took and that was a day I will never forget. Those shots and FridaeTV almost never happened…My “friend” and I managed to get to the front of the floor, stage right audience left near the middle of the barricade…Huge mistake, once Papa Roach hit the stage it was over, I was getting crushed into the barricade by everyone behind me, crowd surfers were flying couldn’t breath it was getting darker, all I could hear were echoes and felt myself drifting off.emprooffm1The bitch who called herself a friend was just watching, she didn’t help or try to get help. At this point I could see colours and doubles as people were fading everything was going black. I was praying to God I would survive yet another fucked up adventure as my short teenage life was flashing before my eyes again. Just before it went completely dark I faintly heard someone asking me if I was okay, I couldn’t even speak and didn’t need to. He immediately started yelling at the crowd to move back, pulling mostly dudes off of me and was joined by the other security guards who did the same. They gave me water and kept my purse on the barricades inside and handed me my camera when I needed it. As I was regaining consciousness a few security guards were always nearby or hovering to keep me safe for the rest of Papa Roach and all of Eminem’s set, until I asked them to pull me out when it ended. Those security guards saved my life and am so thankful to them. When I could finally talk again a few minutes before Mathers and the whole D12 crew hit the stage I turned to my “friend” to tell her I almost passed out and died. She said “I know, I don’t care I’m here to see Eminem, you’re not important.” Fuck I wanted to drop kick the bitch and just as she finished rolling her eyes at me she was kicked in the head a few times in a row by crowd surfers and security did nothing to help her. Karma! Haven’t spoken to that bitch since, who needs enemies when there are “friends” like her. I saw two completely different sides of humanity that day and will always be petrified of extreme crowds.
eminem-mmlp2Mathers continues to find a way to express himself with words, he knows what formulas to use if he wants radio hits but also proves on this record it’s not about that, it doesn’t sound like he’s trying to recreate MMLP more like recapitulate. In many songs on this record and past singles, Mathers states how unaware he was of how fame would be and still has a love hate relationship with it. All you can do is embrace situations as they come the best you can, use your talent to help all those fucked up kids and people who still need a rebel superhero, someone imperfect to be their perfect. It happens to too many entertainers #1: They either evolve into a better version of themselves like Eminem seems to be doing? #2: They end up like Amanda Bynes who cracked out like Lindsey Lohan with a little Courtney Love mucho crazy sprinkled in…Or #3: they end up getting killed or killing themselves by accident or on purpose.

No Eminem album is complete without a few fabulous features from repeats Rihanna on “The Monster” tune, Nate Reuss of Fun on “Headlights”, Skylar Grey on “Asshole” as mentioned above, Sarah Jaffe, Sia and a few more vocalists also make appearances. The only rapper to spit on this record other than Mathers is Kendrick Lamar on the eccentric tune titled “Love Game”. A very hickory blend of samples from “Game Of Love” By: Clint Ballard Jr. and “The Object Of My Affection”. This tune is a comical experience in typical Shady fashion and the style of Lamar’s verse was very fitting to the concept of the tune. I like Lamar’s flow overall, he just added a whole different dimension to his talent on this record, definitely stepping up his game. I can see why he is signed to Aftermath because he has that special quality to his flow.
MMLP2 TRACKLISTEminem is 41 in human years but only really a semi-adult who will never fully grow up because he didn’t have a normal childhood. I call that (MJS) Michael Jackson or (PPS) Peter Pan Syndrome… I feel so sorry for his girls and their future boyfriends, I know first hand how intimidating fathers can be with that area of stuff…You can’t be scary in those moments or they will shut you out. Just be what your parents were not. Be Dad, someone who they can talk to, trust and always rely on. If you show them everyday how much you love them, regardless of your shenanigans they will always love you. My Father raised my siblings and I, he wasn’t perfect but always had our backs until the day he died. Although track three “Rhyme or Reason” on this record is kind of funny with the way he starts on the beat, it’s pretty shitty that Mathers never had his Father in his life. Then again he wouldn’t be who he is today like all of us, if it weren’t for his past, the good and the bad. “(What’s your name?) Shady (Who’s your daddy?) I don’t give a fuck.The beat for this track samples the 1968 hit song “Time Of The Season” written by: Rod Argent and performed by the Zombies. The music is also sampled by the fantastical Melanie Fiona on her 2008 hit “Give It To Me Right”. Some of my favorite lines of the cut are “Had a fire in my heart, and a dire desire to aspire, to DIE HARD. So, as long as I’m on the clock punching this time card, Hip hop ain’t dying on my watch.” we’ll see…
marshallmatherslpNThe continuation record is not as vulgar as the first, all of the songs are well done and he still tears people new ones. “Your ass backwards like motherfucking Bob and Silent Jay.” He still has that maniacal mind frame of an almost serial killer, which he most likely would fully be if he didn’t make it as an Emcee. The only tune that I wasn’t feeling too much is “Berzerk”, the beat is too sick with all of those old school samples but something about how he sounds on the hook made my ears cringe. That single is the only song where I heard severe nasal to the point of skipping. On the track “So Much Better” he talks about what a Hobag Hip Hop is, like a groupie not about an actual female just an analogy. I really liked the tunes “Legacy” and Beautiful Pain off of the deluxe version featuring Sia, it has an interesting little vibe to it. Marshall Mathers and all his voices would be a cool homie to have, you know he’d be loyal and always have your back but not so fun if you somehow ended up on the chopping pad with his silver bullet words aimed at you. Ta da! Surprise, Eminem actually didn’t say boo about Mariah this time around! Another surprise was the follow up to “Cleaning Out My Closet”, I’m glad Mathers has an apology of sorts for his Mom on this album. In “Headlights” Mathers seems to understand now, that yes his childhood was fucked up but his Mother tried. “Did I take it too far? Cleaning out my closet and all them other songs. But regardless I don’t hate you cause ma! You’re still beautiful to me, cause you’re my mom.” seems as though he has finally put those demons to rest. A reason I could relate to his music when I was younger was his Mother and mine share the same name and are equally as crazy…Actually, mine I think wins the Manic Biopolar award because at least his mother kind of stuck around. Some people say this record is his last and others say SSLP2 should or will follow. Who knows what he has planned for the future??
EMCRAYZEEThe main reason I even gave Eminem’s music a chance as a lickle youth was because he was a slick wordsmith. I did not like a few of his singles and actually wanted to backhand pimp slap him a few times for being so disrespectful. But, I didn’t take any of the super fucked up shit to heart because like millions of people I understand expression through artistic outlets. “Who the fuck wants a plain Eminem?“. He’s just getting issues off his chest people, it’s like 2000 all over again with attention seekers crying about how misogynistic or homophobic this and that lyrics is. Don’t you see it’s a game to him he’s a character, of course he wants to push buttons he says this himself but is he really homophobic or a Woman hater? No, he’s just a guy and they say and do stupid shit all the time and you all just keep geMMLP2Etting played. Back then and today I somewhat understand where the psycho bottled blonde was coming from, as did millions of others. It doesn’t matter how old Marshall and his “Evil Twin” get, people will still be able to relate to the “Rap God” because he is the poster child for ” The Almost American Dream” which is more common and there is a little Slim Shady in all of us. www.EMINEM.com Buy your copy of MMLP2 USA here and Canada here. I give Eminem’s MMLPII Reboot 4 music notes ♪♪♪♪ out of 5!

COPYRIGHT © 2013 FRIDAE MATTAS. All Rights Reserved






By: Fridae Mattas

#1: DEFTONES – KOI NO YOKAN – Watch a tune from their set at Heavy T.O, 2012 here.

#2: ENTER SHIKARI – A FLASH FLOOD OF COLOUR: Read the record review by FridaeTV contributor Anthony Dell’Orso here.

#3: THE CULT – CHOICE OF WEAPON: You can watch the interview with Ian Astbury here.

#4: KRS One – THE BDP ALBUM – Read the record review and the DJ Kenny Parker interview here.



#7: EMELI SANDÉ – OUR VERSION OF EVENTS – Read the live review on Emeli here.









KRISTINA MARIA – TELL THE WORLD – Watch the interview with Mizz Kristina Maria here.

THE WALLFLOWERS – GLAD ALL OVER – Read the live editorial review here.


COPYRIGHT © 2012 FRIDAE MATTAS. All Rights Reserved




Photo By: Alexandra Mattas
Photo By: Alexandra Mattas




By: Fridae Mattas

First time hearing of CP/IMGStrongArm artist Tyler Medeiros was back in 2010 when Fridae TV covered his first video shoot for the song “Girlfriend”. The track is the first on the EP and it features Medeiros’s labelmate and cousin Danny Fernandes. For more about the shoot you can always check out that article with behind the scenes video here.

As I listen to Tyler’s debut EP, I noticed that all of the songs are similar in subject matter with different tempos, music and lyrics. One of the tracks “Say I Love You (Please Don’t Go)” is a semi-cover of the KC and The Sunshine Band hit. This album is your typical happy pop album tailored for Medeiros’s audience, the younger generation. However, I believe Tyler is capable of more mature content, he is seventeen and not fourteen anymore. He should eventually grow with his audience and convey that through his music if he wants longevity past puberty in this industry.

Vocals are improving, you can hear the difference between earlier recordings  compared to the most recent. One of the tracks, “I Got It Bad” was fantastic until the breakdown of the song. There was too much emphasis on a few of the last letters in the words, sounding too harsh and unnatural. It is always good to have clear diction for crisp recordings but, there is a difference between clarity and over enunciation. People working with younger talent need to be a little more nurturing to mentor and refine the artists’ natural abilities. With continued vocal work, time and dedication to his music, Tyler can turn out to be a great Canadian entertainer.

Many songs on this record like “Girlfriend”, “I Got It Bad”, “First Time” and “Radio” featuring Flo Rida are surprisingly strong songs. But, as stated above, I think his content needs to reflect his age group and their issues, dig deeper. If I were fifteen, I would have somewhat enjoyed this record. It’s fun, has great sing-a-long songs and decent enough beats to create dance or cheer team routines to (I would have). 

This is an honest first attempt for 17-year-old Tyler Medeiros; I look forward to seeing how he progresses and grows into his talents on a full album. All of you young pop aficionados, this record should be on your playlists! Parents Christmas is coming, you can purchase TM here.

COPYRIGHT © 2012 FRIDAE MATTAS. All Rights Reserved

TM Track Listing:

  1. Girlfriend ft. Danny Fernandes
  2. #QTEE
  3. Radio ft. Flo Rida
  4. Say I Love You (Please Don’t Go) ft. Lil Twist
  5. First Time
  6. I Got It Bad
  7. Favorite Girl
  8. www.TylerMedeiros.com/


All Photography By: Dipan Cheema For FridaeTVHALFWAY TO HOLLYWOOD






COPYRIGHT © 2012 Dipan Cheema For FRIDAE TV. All Rights Reserved






By: Fridae Mattas

After listening to this record on and off for the past few months I finally have the chance and patience to sit down and write about it. Nine Lives was released April 24th 2012, this is Aron “Deuce” Erlichman’s first record with new label Five Seven Music. You may recognize Deuce as “The Producer” and co-founder of his former Rap Rock band “Hollywood Undead”,  in 2009 Deuce was fired and phased out of the band. Sad what happened, they were once upon a time friends but the end result is just another typical Hollywood story of how a little success can create monster egos and tarnish friendships. Curiosity drove me to actually hear this record out but at first when my ears listened to “Crackin” I skipped the song after the first verse. Instead of listening to the rest of the album I played a tune by another artist and moved along to a new project. Why? Because, I was immediately turned off from the song’s lyrics which are extremely juvenile coming from a guy in his thirties and it’s not even a good club banger. After hearing new Hollywood Undead sans Deuce, it sounds like his ex bandmates have somewhat moved on with their lives but Deuce still seems to be trapped in the past.

That was my initial first impression, the one song ruined it for the rest of the record and I forgot about it. Fast forward a month and a half when I had time to listen to some new music, as I was going through material I was sent already in my iTunes there it was, Deuce’s “Nine Lives”. I thought okay, maybe I wasn’t being fair but do I really want to torture my ears with immature lyrical Eminem-abee nasal congestions again? Then I remembered the benefit of the doubt, I decided to skip “Crackin” and start listening to the album from “Help Me” a semi-clever track with a catchy hook. Starts in with a phone call skit taking aim at his previous label and the people he’s beefing with. A few of the rhymes in the verses are kind of slick but anyone can rhyme pain and rain, many have.

The single “America” one of the stronger tracks on the album has this get out off my face anthemic attitude. A lot more depth, less nasal and more creativity than “Crackin” not to mention a whole different musical feel. The music, specifically the beat which is a blend of guitar and percussion, is what drives the song. The screaming was a nice touch but I noticed that this could be his song formula because a few more tunes on this record are set up the same way. One track  “I Came To Party” I loved musically because the beat is filthy but I really was not feeling the lyrical content. Another song I need to mention is “Freaky Now”, I don’t understand the big deal about Jeffree Star other than she’s a pretty hot drag Queen, her music is so bad! Jeffree Star is the Paris Hilton of Trannies but hotter and I must admit, her verse on this track was amusing. Overall the song itself is whack, can’t believe I made it to 3:31 before skipping, you are not in high school anymore. The next track “Nobody Likes Me” is one of my favorites on this record, it has a trance like sound that draws you in and keeps you captivated throughout the whole track. The lyrics are much better, still a little childish but this one actually has a few added layers that the candy party tunes lack.

A few of the songs are fairly similar to the Hollywood Undead Eminem wannabe rap styles of past albums, I wanted to let it slide but the songs just kept getting more and more Matheresque! I could hear every Eminem single in eighty five percent of this record, it was  almost like he used Eminem’s music as a blueprint. The final straw was the rapper who started “Till I Drop” sounding like Tupac and then on the first verse after the chorus another rapper is spitting Lil Wayne imitation to the T.  Maybe I’m being too hard on the guy and his friends, Eminem is obviously his hero but it was a laces out style warning when “Now You See My Life” played. The beat was a doppelganger of “The Way I Am”  I couldn’t concentrate on Deuce’s track because Eminem’s lyrics kept coming into my head. It doesn’t end there, the trend continues with the joint “Gravestone” which had a “Cleaning Out my Closet/Stan” vibe. You can take a listen to this album for yourselves and come to your own conclusions. His flow and rhymes need work, slurring words doesn’t equal rapping, work on the diction and delivery instead of over hyping yourself to be a “genius”. The record plays on and I am still waiting for Deuce to legitify his highly advanced claims, I have yet to hear anything that would be classified as genial on this LP. Regardless of his obvious idolization’s, Deuce does have an extreme passion for his craft, if only his lyrics were half as witty and original as Slim Shady’s maybe this record would have turned out better.

Officially on the fence! The last time I said that about a record it was in regards to Eminem’s “Relapse” Album which was golden compared to this one. Some will like it, others won’t. Personally, this journey felt like I was listening to a broken rap tribute mixtape instead of an original, quality, piece of art. From the ten tunes on this album I would only listen to three or four regularly, the rest is recycled redundancy to my ears. Deuce is not as amazing as he thinks, he is a talented artist who has come a long way. In order for him to continually progress, he needs to find himself his true self. I look forward to hearing new material from Deuce as well as catching a live show. Hopefully, on the next album the content matures a bit with less jibber about his dick.


COPYRIGHT © 2012 FRIDAE MATTAS. All Rights Reserved


Photography By: Joanna Glezakos For FridaeTV




By: Fridae Mattas


Looky, looky I am keeping my word, it’s another album review and this time it’s Rebel Emergency! One of the first bands I covered at the start of my professional career when I was still in college, scouting and writing for other publications. What keeps me drawn to this band year after year other than their incredible live show, is their music and versatility! They are not afraid to change it up and still incorporate that original Rebel Emergency feel, always tastefully seducing the envelope. “Aphrodisiology” is the third record released by the quartet and has a slightly different vibe than its predecessors with a more commercial mainstream formula. I’ve heard tracks from this record on Galaxy music (Radio on TV for those who don’t know what it is.)  didn’t even realize it was them until I finally listened to the full record. Before I get carried away, Rebel Emergency from Toronto is; Roddy Soul – Vox, Geoff Star – Lead Guitar, Mike “Mutten Chop” Cohen – Bass and Sir Jeremy on the Drums.

Photography By: Joanna Glezakos For FridaeTV

On this eleven track LP, most of the songs have different yet similar elements that tie them together fluidly. To me it sounds like Rebel has figured out what works for them and this record shows their continued growth with a more mature sound. Roddy is vocally coming out of his shell and finding his own voice instead of emulating the White Bob Marley. There is still more for him to discover and refine only to get better with age like a wine. I put the record in and just let it play, not stopping or rewinding any tracks it was a full run through. After about the third album spin I decided it’s time to start writing and selecting what songs need to be listened to on repeat over and over. “Up All Night” started in like a video game in some far away fantasy land and as the opening mid tempo track, it set the tone for the album perfectly. The lyrics are clever and slutty but sweet: “You know that I’m loose how dare you seduce me.” listen to the song and you’ll know what I’m saying.

Photography By: Joanna Glezakos For FridaeTV
Photography By: Joanna Glezakos For FridaeTV

The writing, mixing and production on this record is by far their best to date and they have definitely improved as musicians. Guitars sound fantastic but I wish there were a little more and maybe a few solos somewhere. There are a few tunes on this record I am not liking so much like the song “Letters”, the only one I skipped after the first run through. There was something about the vocals that just wasn’t appealing to my ears. A stand out tune worth a listen is…”Picture This” a poppier slice reminiscent of the 80’s but with better sound and production. The following songs I had on repeat in my shuffle:  “Just Wanna Kiss Ya”, “Rise And Fall” and the title track “Aphrodisiology” which is a unique funky gem of it’s own. My most favorite track on this record has to be “Lion In A  Cage” which features recording artist KO. I first saw this song performed live prior to the release of the record at the 2011 Toronto Freedom Festival and I named it wrong in the video I filmed. Every element in this sonata fits so well together, from the music to the lyrics and melodic arrangements, this song gets you all pumped up and excited. Roddy’s voice sounds really good with the melody, KO’s vocals came off a little theatrical but he sounds better on record than he does live. It’s a shame too because there is all this hype surrounding him and his manager pushes his music hard but I felt like he did not live up to his hype. A few lyrics from the track “You can never hold us down… / Rising up is all the rage… / You’ll never keep us locked…locked up / We’re like a Lion in a Cage”. On that note my friends, if you like a relaxing new school fusion of rock, ska and reggae, Rebel Emergency is the band for you! This record is not to be ignored, good music for your ears buy “Aphrodisiology”  HERE, you won’t want to turn it off!


COPYRIGHT © 2012 FRIDAE MATTAS. All Rights Reserved

Photography By: Joanna Glezakos For FridaeTV



Enter Shikari

A Flash Flood Of Colour

Album Review

By: Anthony Dell’Orso

“The times they are a-changing” – Bob Dylan

An infamous quote can sum up this record in a sentence, if you really wanted it to. But to get to know Enter Shikari’s “A Flash Flood Of Colour” you need to really pay attention to all the elements that are thrown at you by a band that is ushering in a new unique sound with each passing album, that finally resulted in a LP that takes the cake thus far.

After dissecting “AFFOC” the influences that seem to charge this foursome can be heard in each song. Combining Post-Hardcore with Metal breakdowns and electronic music ranging from drum and bass to dubstep, they blend everything so tastefully it doesn’t come across as trying to be the “it” band of the moment, but something trailblazing to keep an ear and eye out for. Lead singer Rou Reynolds delivers a force in his lyrical spewing, with songs about change, a sense of uncertainty with a collage of banter that would make Rage Against The Machine’s Zak De La Rocha proud. Reynolds’ vocals range from clean to a haunting scream and at times can be reminiscent of fellow UK brothers “The Street’s”. The first single “Sssnakepit” shows all the bands elements, it brings you in, lifts you up, throws you around, brings you even lower, then punches you in the face for good measure just as it lifts you back up higher!  Stand out tracks like “Ghandi Mate, Ghandi” show the bands awareness to the worlds issues, a great message to get across in today’s turmoil filled world. “Arguing With Thermometers” explores the fight for control of the oil trade with lyrics fueled (don’t mind the pun) by a driven rant that ignites (sorry, again…) a passion for sensibility.

To really get a grasp on what these fine lads are trying to achieve, seeing them in the flesh live at a venue near you should get your blood pumping and explain everything you need to know. Rob Rolfe’s drumming is impeccable at times, coming in transiently and then unleashing a fury which not even hell hath no answer for.  Bassist Chris Battan and guitarist Liam Clewlow at times seem perfectly in sync, giving way to Rou’s electronic influence which takes over at points, yet the chemistry is heard track after track. An unrelenting message about mankind paints a picture of it dooming itself into oblivion, pushing the fact that it’s now or never for us to turn the course and try to steer the ship into a better direction. You can catch them on their North American tour in Toronto on Sunday April 8th at The Annex Wreckroom to witness it for yourself. Must hear tracks are: “Ghandi, Mate Ghandi”, “Sssnakepit”, “…Meltdown” you can purchase the record here.

COPYRIGHT © 2012 ANTHONY DELL’ORSO for FridaeTV. All Rights Reserved