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




Die Mannequin





 By: Fridae Mattas


Canadian shit disturbers “Die Mannequin” are back with a new “Neon Zero” feel for everyone to groove with! Watch the new video below, read the press release and sooner rather than later you can read my review on the new record. Buy “Sucker Punch” here and keep your ears and eyes open for the new album “Neon Zero” to be released in October!

Die Mannequin is:

Care Failure – Vox/Guitar

Tony Bleed – Bass

Dazzer Scott – Drums

Stacy Stray – Guitar

“Proving people wrong is my favourite pastime,” laughs the singer-guitarist. “I always feel like I have something to prove. It’s kind of in my DNA. I know people have been like, ‘Oh crap, what is Die Mannequin doing?’ Because I haven’t been in the forefront for the last few years. I’ve been regrouping. But now I’m back.”

And back in the grPasted Graphic 24oove. Make that a new groove. A neon groove. Neon Zero, the band’s third full-length and their first for eOne Music Canada, finds Die Mannequin not just resurrected but reborn. Rejuvenated. And retooling their wham-bam-thank-you-man punk and guttersnipe metal with an inspired injection of edgy electronics, big beats, massive melodies and polished production. It’s the sound of the mosh pit invading the club floor (and vice versa). The look of a studded leather jacket over a miniskirt and heels. The equivalent of Courtney Love sucker-punching Metric’s Emily Haines and teaching Iggy Azalea the real meaning of a new classic. You need it simpler? It’s an album that puts the DM in EDM. And turns it into Evil Dance Metal.

You could call it a comeback. An evolution. Even a revolution. But you already know what Failure will say about that.

“It’s really just been a natural progression,” she explains. “If it sounds like a big change for people, that’s just because of the years between the last record (2009’s Juno-nominated Fino + Bleed) and now. I’ve been DJing quite a bit over the past few years, and what I do is very contemporary and quite dancey. And I’ve been writing a lot on piano again. I’ve always had so many different influences that weren’t necessarily just rock. But when I started in music I was 14 and 15 and I kind of got stuck in this teenage punk hell of having to play the same songs for 10 years.”

Well, it hasn’t all been hell. Those songs — like Do it or Die and Saved by Strangers (from their EP-compilation Unicorn Steak), not to mention their 2009 top-20 track Bad Medicine — helped Failure and longtime partner-in-grime bassist Tony Bleed crawl their way from underground clubs to arena stages where they’ve opened for dudes named Marilyn and Axl. Along the way, they earned that Juno nom for Rock Album of the Year, along with a nod in the New Group category. But for every high on the rock ’n’ roller coaster there’s a comedown, and Failure has been no exception to the same catalog of professional setbacks and personal indiscretions as countless other fluorescent heroes.

Getting here from there didn’t come easy. But then, nothing good does. And even if it did, Failure doesn’t do easy. For Neon Zero, she spent eight months of madness holed up with co-producers Arion Anderson and Nathan Quinn and mixed by Gavin Brown (Metric, Billy Talent, The Trews) and Lenny DeRose (Metric, Hey Ocean, Walk Off The Earth), sleeping in the studio and painstakingly crafting these tracks — mostly by herself, mostly from scratch. Then she got down to business, bashing and belting out the bulk of the album in an eight-day marathon with Vancouver’s Andrew Conroy. The ends justify her means. The stomping swagger of first single Sucker Punch, the ecstasy and violence of Welcome to the Badlands, the pulsing fuzz of Murder on the Dance Floor, the grind-groove of Knock Me Out, the ominous slow-burn of Pretty Persuasion, the live-for-the-moment anthem We Own the Night, even the tender-hearted neo-balladry of I’m Just a Girl — they upgrade and update DM’s scrawled sonic signature with sharp synths, layered vocals, undeniable grooves. But Diemaniacs needn’t fear the repurposing — it all comes without sacrificing one iota of Failure’s guitar-shredding grit.

Pasted Graphic 35

“I am such a riffy chick,” she admits. “I can’t help myself. I’m a guitar wanker. There is never enough rock in it for me. I love bands like Sleigh Bells and The Kills, where you have both electronic and rock. That was the whole point, to show you could have it all together. It’s trickier. You have to put more brainpower into it. But when it works, it’s way deep and way more guttural. The music sounds better when you can get it to run hand in hand.”

Now, freed from the shackles of her past, with the most focused, consistent and fully realized work of her career firmly in hand, Failure is ready to run headlong into the future.

“I made this album because I want to kick down doors,” she explains. “I want to be able to really evolve and grow as an artist and not have to do the same old thing again. I don’t want to have to play by the rules. That’s why I needed to do this.”

  COPYRIGHT © 2014 FRIDAE MATTAS. All Rights Reserved










JUNE 14TH – 23RD

BUY YOUR TICKETS www.LuminatoFestival.com

“Luminato began as a dream that each year Toronto would invite the world to join us in celebrating creativity. A dream where the best artists in the world and the best artists in Canada fill the stage that is Toronto with new and wonderful creations. A dream that we could create in Toronto a festival that would become renowned the world over for its excellence, its originality and its accessibility to all people regardless of background or experience.  Today that dream has become the reality of a boisterous festival sprawling all over the city with music, theatre, dance, visual arts, literature, film and celebrations of all kinds.  Luminato embraces the very diversity that is the beating heart of Toronto and is living testimony that creativity is best nourished where cultures come together in a spirit of common humanity and citizenship.  One can note the artistic and economic impact of Luminato, but its core purpose is something larger: Luminato is a hugely personal and collective enterprise.  In a digital age, a festival like this is one dimension of human activity that must still be experienced in person. It is a shared spectacle. Luminato’s roots go back to our earliest cultural experiences before we even lived in cities and practised formal arts.  At its core Luminato is about the creativity in each one of us.

We know that each and every child is fundamentally a creative being. Over our lives, some of that creativity is lost. Luminato is a time, a place and a set of experiences where each of us can reconnect with the creative in ourselves. The dream of Luminato, a dream we can all dedicate ourselves to this week, is that each of us can discover and share our innate creativity. And in doing so, connect with one another as a community in the most powerful way we know.”

– David Pecaut (June 2009)






By: Fridae Mattas


Amidst the whirlwind of press for her new album “Secret Sulk”, Nikki of Dolls (You may know her as Nikki Awesome.) had a few minutes to catch up and share some of her life.


Fridae: Hello, Hello! It has been awhile since we hijacked a ballroom, how are you?

DOLLS – Nikki: OMG I almost forgot about ballroom-hijacking. I mean, nowadays they just give themselves up. It’s been a while!


Fridae: What has been going on in Awesome land since we last chatted a few years back?

DOLLS – Nikki:  So much.  I’ve pretty much left the ‘Nikki Awesome’ thing behind (DOLLS website launching soon, but won’t change my Facebook fan page), relocated to the UK (three grey and glorious years this summer), learned how to produce my own music, have thrown myself about traveling, meet/greeting some of my favourite artists and making ridiculous videos.  Basically, I’ve spent the last three years regaining control of my art and having FUN again after leaving the major label game, which has definitely been a good move.


Fridae: How was Dolls created? If you could tell the world and myself a little more background information on the history of Dolls.

DOLLS – Nikki:  DOLLS was initially an outlet for me to create music with a darker overall sound which wasn’t really compatible with The Royal Society’s.  I always listened to synth-heavy music with a dirty, raw vibe, like Nine Inch Nails, Gary Numan, Depeche Mode, and Joy Division/New Order.  I also really love some of the pop artists of the 80’s like Tears for Fears, Pet Shop Boys and Men Without Hats, all acts that had depth in their lyricism as well as wicked synth lines.  I found that many mainstream artists were not into that style when I was last living in North America. There weren’t many artists making a crossover between ‘alternative’ and ‘synthpop,’ coming from a commercial pop background (though some were crossing over the other way).  I’ve always written all my own lyrics and melodies, played guitar and keys, but I felt despite that, I was limited to one style of music by virtue of having had a hit in that genre and lacking the resources to produce music on my own.  Even though The Royal Society’s fans were wonderful and the media outlets were amazing in supporting the project, the club scene was feeling a little superficial to me.  After losing several years worth of work to a series of heavily political power plays (in case you ever wondered why there wasn’t a Royal Society album), I began learning production in order to make the music I wanted, so as not to have to take direction from people who didn’t get me as an artist.  It wasn’t the easiest transition and I probably burned some bridges, but ultimately I feel more empowered and happier doing what I want to do, and if people don’t ‘get it’ I don’t have to answer to anyone.

Fridae: Good for you! It’s seems like every artist comes to learn in their own time, that the only person who can truly relay your vision is you.


Fridae:  How did you come up with the new records title?

DOLLS – Nikki: It was little bit of a joke at my own expense. I felt like in writing the material for DOLLS, people saw me as being a bit of a ‘poor little bitch girl,’ biting the hand that had fed me. Because the songs were a lot more angry, less commercially friendly, and openly bitter about things that usually get hushed up. Dolls music is a total contrast to The Royal Society vibe which is all “let’s party, everything’s rad.”. I wrote so many songs over the last three years that chronicled some experiences pretty viciously, and it turned out that after incessant (often unsolicited) input from everyone else I was (un)surprisingly kind of pissed off.  Making Secret Sulk the album’s title seemed appropriate in the sense that everything I did musically and the way I did it was otherwise so atypical and ‘inappropriate’.


Fridae: Did you work with someone on the new album or did you create everything yourself?

DOLLS – Nikki: Millions of hours alone in my bedroom. I didn’t have any previous experience with production outside of being in-studio, so it’s been an insanely huge learning curve, which is obviously not yet complete.  The new (unreleased) stuff is a lot more refined in terms of sound quality (since I have upgraded my equipment) but it’s still DOLLS: dark cynical synth/wave with pop vocals.

1dolls_nice_high_resFridae: What separates Dolls from all the other artists trying to break the global scene?

DOLLS – Nikki: It’s no secret that the whole music industry is upside down.  Everybody’s looking to sign the prepackaged ‘next big thing,’ so I’d say it’s pretty rare to be invited in to hear the ‘flaws’ and outtakes from the onset, especially from someone who was formerly perceived as being the prepackaged ‘thing’ . DOLLS is the evolution of an artist, not the ‘delivery of a product.’  In my opinion, flaws are what resonate with people and give the audience something real to connect with.  The pitch-perfect image airbrushing that has become par for the course is not what I want to buy into or sell anymore.  Imperfections have always intrigued me; whether it was hearing a wrong note, a crack in the vocal performance – those kinds of things are so smoothed-out these days that I feel it’s tremendously different to allow fans in on a project’s development. Not just delivering a polished focus group-approved sound or image, which means releasing material that hasn’t been over-refined.  Which is unconventional in the current system.  I’ve chosen to work outside the model of recent tradition, and I will make mistakes, backtrack, change things around, have opinions that will piss people off. It’s more interesting (to me) to throw down total chaos rather than play a formulaic game, shuffling alongside everyone else, everyone crossing their fingers for a major to pick it up.  Getting signed doesn’t always benefit an artist, more often than not it just brings in a bunch of watered-down opinions on how you can best sell your music like it’s a breakfast cereal.


Fridae: Are you planning on hitting the road anytime soon?

DOLLS – Nikki: Definitely, but nothing’s set in stone yet.  I’ve had interest in the UK and Europe, but because I don’t have label support it’s a bigger deal to commit to touring, so I’m still working out the bugs and deciding who I want to work with for the live show.


Fridae: If you could work with any artist in the music world today who would you choose?

DOLLS – Nikki: Trent Reznor, David Bowie or David Lynch.  I feel like they should come as a package-deal, just so I don’t have to hurt anyone’s feelings.


Fridae: Are there any other projects in the works?

DOLLS – Nikki: At the moment DOLLS is pretty all-consuming and there’s some deadly business waiting in the wings, but it’s all hush-hush, innit!  I’m just releasing my first collaboration with a Canadian artist since 2010 (On Your Lips with Toronto electro artist COINS), and have been talking with another UK indie artist (Magpies and Vagabonds) about a new concept project. He also did the Dustcover Mix of NOW NOW. Both tracks are on my Bandcamp and Soundcloud accounts for free download.


Fridae: Whose music are you playing on repeat right now that you could not possibly live without?

DOLLS – Nikki: I really like Miike Snow, Das Racist, HURTS and Paloma Faith.  I’m pretty shit at listening to new music, so I go through phases of not knowing about anything new and just snuggling into old faves, followed by frenzied accumulation of Spotify playlists.  I feel like not buying physical copies of albums combined with being so obsessive about learning production has changed the way I consume music; it’s like the line in Amadeus, about how sometimes there are just too many notes. When I (n)ever have spare time, I prefer to see plays, go to galleries, read.. Whatevs.


Fridae: Words of wisdom for aspiring artists….?

DOLLS – Nikki: Probably not to take anyone’s advice.  Nobody else knows how to develop your art better, and letting them try, almost invariably leaves you disappointed or risking relationships to maintain the integrity of your ideas.


Fridae: Where can people find your music?

DOLLS – Nikki:  DOLLS’ Secret Sulk is available for free on my Soundcloud account (http://soundcloud.com/dollsxx/sets/secret_sulk) and if people like it, it would be fantastic if they want to purchase it for whatever they think works; I’m asking for £5.00 on Bandcamp (http://dollsxx.bandcamp.com), which allows me to continue to make music and develop the project.


Fridae: Are there any last words you would like to share with the world?

DOLLS – Nikki:  “She probably had it coming.”

Fridae: LOL!! Thank you so much Mizz Nikki Dolls!




COPYRIGHT © 2013 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/


Make Easy Money This Summer 

Selling Tickets to Cirque Éloize’s Action-Packed iD

with the New Sony Centre Affiliate Program

The Sony Centre For The Performing Arts is launching a new sales initiative that rewards its loyal patrons and builds a new audience while allowing anyone to make money by selling tickets to Cirque Éloize’s iD.  This is the first time a venue in Toronto has created a rewards program that pays a commission for selling tickets!The Sony Centre Affiliate Program provides each participant with a unique online code for exclusive use to sell tickets to family, friends, and associates, and pays a $5 commission for each ticket sold. Affiliates can also access a professionally designed, web-based, marketing tool kit to assist in the promotion.   Up to a total of $60,000 in commissions can be paid to participants, and the highest seller will receive a 65” Sony Bravia 3D HDTV.Simply Register at http://id.sonycentre.ca/ and start making money!

The astonishing production that took Toronto by storm last fall, iD  will make a triumphant return to the Sony Centre with an awe-inspiring spectacle that weaves together hip hop, breakdance, BMX bikes and ten circus disciplines including tumblers, acrobats, jugglers and contortionists, creating a breathtaking explosion of exhilarating music, dance and video.For more information on Cirque Eloize’s iD and the Sony Centre Affiliate Program, visit  http://id.sonycentre.ca/.

Sony Centre For The Performing Arts presents
Cirque Éloize’s iD
November 1-3, 2012
Thursday – Saturday@ 7:30pm; Saturday @ 2pm
Tickets as low as $45 and can be purchased in person at the Sony Centre Box Office, 1 Front Street East, Toronto, over the phone at 1-855-872-SONY (7669) or online at www.sonycentre.ca
Discounts are available for groups of 8 or more, call THE Group Tix Company 647-438-5559 or Toll Free 1-866-447-7849 or online at www.thegrouptixcompany.com
 SONY CENTRE FOR THE PERFORMING ARTS, Toronto’s first performing arts centre, has played a defining role in the cultural life of Toronto for more than 50 years. Today, the newly renovated Sony Centre’s mission is to unite the global citizens of Toronto through great artistic experiences. In addition, the Sony Centre is dedicated to developing Toronto’s younger audiences through family programming, workshops targeted towards school-aged audiences, an under-30 membership program, and other community initiatives. www.sonycentre.ca


NEW ALBUM ‘> album title goes here <’






The world of deadmau5—the world-renowned electronic artist—is always fast and furious. He recently overhauled his studio in his Toronto hometown and following his full-scale European tour this past spring, he locked himself in and went on a creative spree to finish > album title goes here <, his new album due out September 25 (Ultra Music).

Following his performance with the Foo Fighters at the Grammy Awards earlier this year showcasing his stellar remix of the group’s “Rope,” deadmau5 continues his collaborations in the rock world by enlisting the vocal talents of Gerard Way, lead singer of My Chemical Romance for his new single “Professional Griefers.” Out on August 14 on Ultra Music in North America, the single sits on the tougher end of deadmau5’s productions and already leading rock stations such as Los AngelesKROQ, Live 105 in San Francisco, KNDD in Seattle and SiriusXM’s Alt Nation have been lending early support.

Fans first got to experience “Professional Griefers” as an unreleased instrumental track during deadmau5’s North American Meowingtons Hax tour last year, premiering the track at his critically acclaimed headlining performance at Lollapalooza.  Now “Professional Griefers”–which kicks off with stomping beats and heavily distorted guitar stabs, then builds tension with discordant synth strikes leading into the chorus–features vocals from one of the most distinctive voices in rock.  Look for its accompanying video, featuring both deadmau5 and Gerard Way and created by Dave Stewart’s Weapons of Mass Entertainment production company, to emerge this month (exact date TBA).

All the tracks on > album title goes here < are deadmau5 original productions.  They include collaborations with “Animal Rights” co-producer Wolfgang Gartner (“Channel 42”); vocalists Imogen Heap (“Telemiscommunications”) and Chris James (“The Veldt,” the critically acclaimed track inspired by the Ray Bradbury short story); and legendary hip-hop outfit Cypress Hill (“Failbait”).   There are also new pieces like the Close Encounters of the Third Kind classic film-inspired “Closer,” the dance floor burner “There might be coffee” and electronica piece “Sleepless.”  Like “Fn Pig” and “October,” many of these tracks have been available on deadmau5’s SoundCloud as rough edits. For > album title goes here < they come together as finished songs in the format the way he intends them to be heard by his fans.

deadmau5 just headlined the VELD Music Festival in Toronto this past weekend.  His next North American major performance is confirmed for Saturday, September 22 in Las Vegas for the iHeartRadio Music Festival.

The complete track listing for deadmau5’s > album title goes here < is:

  1. Superliminal
  2. deadmau5 & Wolfgang Gartner – Channel 42
  3. The Veldt (featuring Chris James)
  4. Fn Pig 
  5. Professional Griefers (featuring Gerard Way)
  6. maths
  7. There might be coffee
  8. Take care of the proper paperwork
  9. Closer
  10. October
  11. Sleepless
  12. Failbait (featuring Cypress Hill)
  13. Telemiscommunications (featuring Imogen Heap)

> album title goes here < is available on August 14 for pre-order at www.itunes.com/deadmau5.


About deadmau5

Joel Zimmerman, more commonly known as deadmau5 (pronounced ‘dead mouse’), is one of the world’s most respected electronic music producers of modern times. Enjoying international chart success with his singles “Sofi Needs A Ladder,” “Ghosts ‘n’ Stuff” and “I Remember,” he has also released three critically acclaimed albums: 4×4=12, For Lack Of A Better Name and Random Album Title, with a fourth album, > album title goes here <, due out September 25, 2012. The multiple JUNO Award-winning and Grammy®-nominated artist performed at the 54th Annual GRAMMY Awards as part of its first ever telecast performance highlighting electronic music. His ability to push the boundaries of his talent grows at an equal rate to his fan base, which counts over 6.5 million on his Facebook page. A major touring act, he has headlined Lollapalooza, Outside Lands, Sonar, Virgin Mobile FreeFest, Ultra Music Festival and Electric Daisy Carnival, and sold out Rogers Centre in Toronto and PETCO Park in San Diego, as well as multiple consecutive nights at legendary venues like the Roseland Ballroom in NYC and the Palladium in Los Angeles.  He recently appeared on the cover of Rolling Stone, marking him as the first EDM artist to do so.









You may have heard his song ‘Girlfriend’ on the radio or seen the video on TV but you haven’t seen this!

I was on set for the filming of Tyler Medeiros’s first music video featuring ‘Danny Fernandes‘ who is helping his young cousin to achieve his dreams. That is amazing of Danny to help out his lil’ Couz, everyone should always have their families back there is no one else like your Famz regardless of what issues you may have. I don’t know why so many people compete with their family you should all love everyone while they are all still with you, I love all three of my siblings and would do anything for them. The kids in this video were all teenagers and were shooting this video until the wee hours of the morning but no worries they got to play some free games on location at Playdium Mississauga. Below is a little interview I did with Tyler at Three in the AM and at the very end of the editorial there is a slide show. I have to give a huge thank you to my baby sister for coming out on her very first video shoot to help me with the filming and photography learning some of the family business.

Tyler was such a good sport doing scene after scene, take after take dancing wandering around rehearsing, he did amazing on this first video. This is only the beginning for young Tyler, he sure will have a lasting impression on the teen scene when he drops his album this year giving Justin Bieber a swift run for his money.

Photography By: Fridae Mattas

COPYRIGHT ©2011 FRIDAE MATTAS. All Rights Reserved



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For Immediate Release: May, 9th 2011.

LUCENZO – Creator of the Viral Rhythm Danza Kuduru

Toronto, ON – Latin Billboard award winning artist Lucenzo is taking the world by storm and is slated to be making his first trip to Canada for a mini-promo tour this month. Lucenzo released his debut single in 2008, a French/multilingual Reggae/Reggaeton song entitled “Emigrante del mundo”. The song became a French radio hit, reaching #1 on Radio Latina and stayed in the Top Five on the station for 42 weeks. It was followed in 2009 by “Dame Reggaeton”, which also became a number one hit on Radio Latina. What made the public go crazy for Lucenzo is his bilingual English/Portuguese dance hit “Vem Dançar Kuduro” the original , created by Lucenzo himself. Kuduro being originally an Angolan type of music popular in Portugal. The single reached #2 in the French Top 50 charts (based solely on actual sales of singles) and #1 on the French Club 40 charts (based on actual plays in 80 discos in France). It was also a Top 40 hit in Switzerland, reaching #31. An alternative Spanish version by Don Omar with Lucenzo was released on 15 August 2010, entitled “Danza Kuduro” which hit #1 on the Latin Billboard Chart and winning an Billboard “Latin rhythm award for Airplay song of the year”. The accompanying music video was released on 17 August. It is also featured on Don Omar’s compilation album Meet the Orphans. Danza Kuduru is featured on the “Fast and Five” movie soundtrack. Since then the song has taken on a life of it’s own with 138 Million hits on You Tube, gaining the attention of such well known artists as Daddy Yankee and Pitbull whom have also made re-mixes of this hit song.

Lucenzo is…Filipe Oliveira; Author, Composer, Singer of French and Portuguese descent, who is passionate about music and wants the world to share this infatuation with him. Together, with his well known Executive Producer Faouze Barkati of Yanis Records France an International buzz has been created with many new exciting projects and collaborations already in the works with top “Mainstream Artists” for 2011-2012.


May 14th, LUXY Nightclub – 60 Interchange Way, Woodbridge ON.

May 19th , LIVE Toronto – 332 Richmond St. West, Toronto ON. BUY TICKETS $20 ADV.

May 20th, Blue Suede Sue’s – 75 Watline Ave Mississauga (MEET N GREET/Performance)

May 21st , FUZZY Laval – 1600 Boulevard St-Martin Est, Laval, QC.

Media Enquiries: Nelia DiBiase: nelia@unityentertainment.org



For Immediate Release:  March 17, 2011



Saturday, March 26 @ Roy Thomson Hall

The producers of the critically acclaimed Broadway hit AMERICAN IDIOT will hold Open Call Auditions, for all roles, in Toronto on Saturday, March 26 at Roy Thomson Hall. AMERICAN IDIOT will play the Toronto Centre for the Arts, December 28, 2011 – January 15, 2012.

The Open Call Auditions will begin at 11am, on a first come basis.

Please enter Roy Thomson Hall (60 Simcoe Street) via the stage door/artists entrance

at the south end of the Hall off Wellington Street.

Producers are seeking male and female rock singers in their early to late 20’s.  All hopefuls should bring a recent picture, resume and prepare a short rock song.  A piano accompanist will be provided.  Men who play the guitar should bring one and accompany themselves.

For more information visit: www.facebook.com/americanidiotbroadway

or call 212.719.9393 x360.

Called “wonderfully raucous and emotionally charged” by The New York Times, AMERICAN IDIOT tells the story of three lifelong friends, forced to choose between their dreams and the safety of suburbia. Their quest for meaning in a post 9-11 world leads them on an exhilarating journey.

Based on Green Day’s GRAMMY® Award-winning American Idiot, Billie Joe Armstrong and the band collaborate with one of the theatre’s most acclaimed creative teams, led by the Tony Award®-winning director Michael Mayer, Pulitzer Prize and two-time Tony Award-winning composer and orchestrator Tom Kitt, and Olivier Award-winning choreographer Steven Hoggett, to bring this explosive, iconic album to the stage.

The show features Tony Award-winning scenic design by Christine Jones (Spring Awakening), costume design by Baryshnikov fellow Andrea Lauer (The Butcher of Baraboo), Tony Award-winning lighting design by Kevin Adams (Hair), sound design by Olivier and Obie Award-winner Brian Ronan (Cabaret), as well as video design by Darrel Maloney.

Tickets for AMERCIAN IDIOT are currently on sale with Dancap’s new FLEXI-SUBSCRIPTIONS.  For details or to buy, call 416.644.3665, or visit www.DancapTickets.com/FLEXI.