RiFF 2014 Press Summary

Reel Indie Film Festival (RiFF) October 14-19, 2014 GAT PR Press Summary

Interviews completed Wednesday October 8

That Eric Alper Sirius XM Radio Interviewed: Howard S. Berger

Thursday October 9

Frameline CIUT 89.5 FM Interviewed: Darryl Hurs & Cabot McNenly

Friday October 10

The Ward and Al Show Sirius XM Radio Darryl Hurs

Sunday October 12

ROCK 94.9 FM Interviewed: Paul Nelson

Tuesday October 14

Moondog’s Ballroom CIUT 89.5 FM Interviewed: Howard S. Berger Indie Can Radio Interviewed: Paul Nelson CityTV Interviewed: Paul Nelson Flink.to Interviewed: Paul Nelson RUTV News Interviewed: Paul Nelson RUTV News Interviewed: Darryl Hurs

Friday October 17

The Winehouse Mag Interviewed: Ayat Najafi & Raffaele Mosca

Monday October 27

Absolute Underground Interviewed: Raffaele Mosca

Contests Alzheimer’s Society of Toronto Promoted the festival via-their social media channels (Facebook,Twitter) and gave away five pairs of tickets for Alive Inside. They also promoted a discounted ticket price for Alzheimer’s Society members. Sabrina McCurbin, the iPod Project coordinator, attended the screening and introduced the film.

Toronto Blues Society Gave away seven pairs of tickets to Johnny Winter: Down & Dirty, promoting the opening night film via-their social channels (Facebook,Twitter), and included promotion in their weekly newsletter to members. Also promoted a discounted ticket price to members.

The Eyeopener Gave away two pairs of passes, in exchange for an advertisement in Ryerson’s weekly independent newspaper and promoted the festival/contest via their social media channels (Facebook, Twitter).

T-Mak World Gave away two pairs of RIFF wristbands, advertising the festival on their website, and through their social media channels (Facebook, Twitter).

That Eric Alper Gave away two pairs of RIFF wristbands, promoting the festival on ThatEricAlper.com, and through the show’s social media channels (Facebook, Twitter).

REEL INDIE FILM FESTIVAL Norm Wilner http://nowtoronto.com/movies/features/reel-indie-film-festival/

The Reel Indie Film Festival offers a solid block of music documentaries, shorts and the odd feature. Some of them are new to Toronto; others have already played the festival circuit.

It opens Tuesday (October 14) with Johnny Winter: Down & Dirty, a profile-cumcelebration of the legendary guitarist, completed well before his death this past summer. Featuring interviews with Winter and a few dozen of his contemporaries, it's of a piece with director Greg Olliver's 2010 lion-in-winter rockumentary Lemmy: aware of the ups and downs of its subject's life, and damn

happy he's still around to talk about them.

Sara Terry's Folk (October 18) follows people who play a very different sort of music - folk musicians, young and old, chasing stardom (or at least visibility) at a time when their chosen genre is just starting to re-emerge on the scene thanks to folk-influenced bands like Mumford & Sons and First Aid Kit. Of the non-premieres, I'd say the must-see is The Possibilities Are Endless (October 17), Edward Lovelace and James Hall's impressionistic doc about Scottish musician Edwyn Collins's efforts to piece himself back together after a devastating stroke in 2005 with the help of his devoted wife, Grace Maxwell. It blew me away at Hot Docs, but its experimental nature means it might struggle to find distribution - so catch it while you can.

Also worth your time: the NXNE premiere Born To Ruin (October 18), Brendan McCarney's documentary about the Toronto band Wildlife's attempt to record their second album, and Alive Inside (Wednesday, October 15), Michael Rossato-Bennett's advocacy doc about a social worker who helps elderly sufferers of dementia reconnect with themselves by giving them iPods loaded with their favourite songs.

Spotlight: Rockumentary Johnny Winter: Down & Dirty to open Reel Indie Film Festival Brad Wheeler http://www.theglobeandmail.com/arts/film/rockumentary-johnny-winter-down-dirty-to-open-reelindie-film-festival/article21024574/ In the new film about his life, Johnny Winter: Down & Dirty, the Texas albino guitarist talks about turning 15. It was the age when he began smoking, drinking, having sex and playing blues professionally.

“It was a big year for me,” he says. Fifteen may have been big, but 70 was his last. He died this past July, his thin, tattooed body giving in to so many years of abuse.

On Oct. 14 at Toronto’s Royal, director Greg Olliver’s rockumentary will be the opening-night film of the sixnight Reel Indie Film Festival, an event of shorts, features and videos about curious musicians and off-the-beaten-path sounds.

As for Winter, he played Woodstock and, as a producer, resurrected the career of the great Muddy Waters. If Winter’s rockifying of the blues is seen in some circles as an abomination, it is undeniable that he socked classics such as Johnny B. Goode and Highway 61 Revisited with a uniquely potent kind of lightning.

In the game of white-man’s blues, Winter was the whitest cat of them all.

The Reel Indie Film Festival runs Oct. 14 to 19, reelindiefilmfest.com Repost:

http://www.msn.com/en-ca/news/news/rockumentary-johnny-winter-down-and-dirty-to-open-reelindie-film-festival/ar-BB8nfER

Projections: Get ready for a little dancing in the (cinema) aisles Jason Anderson http://www.thestar.com/entertainment/movies/2014/10/09/projections_get_ready_for_a_little_dan cing_in_the_cinema_aisles.html

Much music with Bjork, The Long Winter and Reel Indie: When it comes to big-screen showcases for music-world figures both famous and obscure, moviegoers have a huge abundance of worthwhile options this week. Best thing about it: they don’t even need to bring headphones.

Not to be bested when it comes to hosting cool events that make good use of its speakers, the Royal devotes its screen to Reel Indie starting Oct. 14.

The second edition of the music-themed film fest begins with the Canadian premiere of Johnny Winter: Down and Dirty, a new profile of the Texan blues great who died last July — it plays Oct. 14 at 7 p.m.

It continues with recent films on such music-nerd heroes as ill-fated British producer Joe Meek (A Life in the Death of Joe Meek on Oct. 15) and Scottish pop maverick Edwyn Collins (Possibilities Are Endless on Oct. 17). Reel Indie’s programs of music videos and doc shorts provide further opportunities for head-nodding, fist-pumping and maybe even some dancing in the aisles.

News You Can Use for Wednesday, Oct. 15, 2014 http://www.cp24.com/news/news-you-can-use-for-wednesday-oct-15-2014-1.2054174

Events The Reel Indie Film Festival continues with independent documentaries and short films at The Royal Cinema. The festival runs till Sunday, Oct. 19.

March of the Gods: Botswana Metalheads Directed by Raffaele Mosca Kevin Scott http://exclaim.ca/Reviews/RIFF/march_of_gods_botswana_metalheads-directed_by_raffaele_mosca

Like scientists discovering life somehow existing at extreme temperatures or conditions against all odds, March of the Gods: Botswana Metalheads introduces a thriving metal scene in Africa that would have never been thought by many to be blossoming in the region.

Despite some imperfections, it's a fascinating and inspiring portrait of the influential power of music and the enduring spirit of heavy metal.

Though we meet a bunch of different groups and figures within the community, the most prominent is the band Wrust, and their tireless frontman Stux. As committed as he is charismatic, Stux went so far as to teach a couple of his band members how to play their instruments from scratch; listening to drummer Master and bassist Oppy Gae discuss the bond that has developed between them helps illustrate the unique connection that can be attained through music.

The group discusses the making of their 2007 album, Soulless Machine, and we get a glimpse of the meticulous process of putting together their new album in the studio. To further legitimize the movement that is happening there, we're introduced to other groups like Metal Orizon that have also emerged from the area.

The many admirers that have warmed to the region's unlikely export also help put it all in perspective.

The scenes of the groups playing live are such an exhilarating peek at the transformative energy of a metal concert that you only wish they were presented a little better. It may be a choice to capture the events from a fan's perspective with all of the grimy visuals and sounds of the experience, but if these performances looked and sounded a little better, they would be even more essential to showcasing the true impact of the bands.

It's a problem that bleeds over to the film's haphazard assembly as well, as it succeeds in offering a broad snapshot of the metal boom but lacks a coherent structure or narrative. Though it does explore a number of different issues related to the genre's migration to the area, there are still questions that are not answered or points that could be better clarified. For as much as we learn about the musicians, there's little discussion of their day-to-day lives outside of playing music to help understand them better as people, or much of an attempt at a comprehensive and straightforward timeline of how metal has evolved there over the years.

Being at the forefront of any movement is never easy, and what remains remarkable is the passion these musicians have for what they do. They may not ever receive the type of recognition or financial compensation they deserve, but they're still having the time of their lives.

A Life In The Death Of Joe Meek Directed by Howard S. Berger and Susan Stahman Michael Edwards http://exclaim.ca/Reviews/RIFF/life_in_death_of_joe_meek-directed_by_howard_s_berger_susan_stahman

Even if Joe Meek's name isn't immediately familiar, the music that he masterminded back in the 1950s and '60s will be. His best-known tune was "Telstar" by the Tornados, which was a worldwide hit in 1962, although he had a hand in many more familiar pop songs on both sides of the Atlantic. He's sometimes called the British Phil Spector, although he used decidedly different techniques in the studio and was probably an influence upon Spector instead. And in addition to his musical prowess, he also lived the kind of life that has made him the perfect fodder for a documentary like A Life In The Death of Joe Meek.

The movie has existed in various forms since 2008, when it was shown at several film festivals as a work in progress, and then went through a Kickstarter campaign in order to get it into finished form. It was well worth the wait; A Life In The Death of Joe Meek is a wonderful documentary. Clocking in at almost two hours in length, it is a very comprehensive look at his life, yet it doesn't feel overly long. Unlike other attempts to share his story, such as 2008's fictional take Telstar, Meek isn't simply portrayed as an eccentric musical oddball. It's a warts and all look at his life, never shying away from Meek's notorious bad temper, his dalliances with the occult or the fact that he was gay at a time when it was illegal in the UK. The film stops short of passing any kind of judgment on those elements — the people interviewed understand that some of his behaviour was a product of the times and his situation.

It helps that the narrative is driven by a wealth of fascinating interviews. In addition to the expected family members and artists who worked with Meek in his ramshackle home studio, including Jimmy Page, who worked as a session musician for him, there are also a handful of Meek aficionados and fans such as Edwyn Collins and Super Furry Animals' Huw Bunford to share their opinions on Meek's legacy and influence. Add to that plenty of footage from back in the day and a ton of music, and it makes for an enthralling film.

There are some wonderful anecdotes about the unorthodox methods Meek used to get the sound he wanted — he put microphones directly on bass drums, or attached them under stairs to record foot stomping. He was always experimenting in the studio, using technology in ways that were ahead of their time — he was one of the first people to use tape loops and overdubbing at a time when sound engineering was about recording "pure" sounds.

The filmmakers finish by focusing on his music, which is fitting: that is the perfect epitaph for a visionary like Joe Meek.

Reel Indie Film Festival kicks off year two Lynn Fenske http://www.examiner.com/article/reel-indie-film-festival-kicks-off-year-two

A vibrant stretch of College Street in the heart of Toronto's Little Italy will rock October 14-19 with the sights and sounds of the second annual Reel Indie Film Festival (RiFF).

Dedicated to supporting music-oriented filmmakers, RiFF celebrates films that capture the essence of a band or a song, or use music as a platform for meaningful communication. The complete Festival program was announced Wednesday.

All screenings take place at The Royal, one of Toronto’s historic movie houses that remains home to indie/art house cinema. Post-screening parties and in-between socializing take place a few blocks away at Crawford Bar. Opening night is dedicated to “Born to Ruin” a Canadian documentary by Brendan McCartney about Toronto indie band Wildlife. It follows band members, uncensored, as they hole up in a recording studio to write and record an album.

The remaining eight feature films are all documentaries covering a diverse cross-section of contemporary music from folk to punk, and heavy metal. Included is the Canadian premiere of “Johnny Winter: Down & Dirty,” following the life and career of blues legend Johnny Winter, from his early beginnings in Texas to his later life on the road.

Another notable feature is the Sundance Audience Award-winner “Alive Inside: A Story of Music and Memory” about breakthroughs in music-based therapies used to treat dementia.

The ambitious six-day screening schedule also includes eight shorts and ten music videos. One of each will screen ahead of each feature film.

A detailed schedule is posted on the event’s website. Tickets are now on sale. Singles are $10. A RiFF wristband granting entry to all screenings is $40 per person. To purchase, click here.

See you at the movies.

Reel Indie Film Festival gets down & dirty with Johnny Winter documentary Lynn Fenske http://www.examiner.com/article/reel-indie-film-festival-gets-down-dirty-with-johnny-winterdocumentary

Toronto’s annual Indie Week of cutting edge contemporary music got off to a cinematic start Tuesday night when sister organization the Reel Indie Film Festival (RiFF) screened “Johnny Winter: Down & Dirty” at The Royal.

The 2014 documentary is a loving tribute to the iconic musician who rightly earned the reputation of being “the whitest blues guitarist in history.”

The film charts the life and career of the spunky Albino including his early days playing with legendary Muddy Waters, his 1969 performance at Woodstock, appearances on 70s and 80s talk television with David Letterman and Mike Douglas, and his recovery from heroin addiction with the help of good friend and manager Paul Nelson.

Sadly, Winter died a few months following his 70th birthday celebration seen in the film’s final sequence.

Nelson was present to provide opening remarks and participated in a postscreening Q & A before going to the Crawford Bar for the official opening night party.

RiFF continues until Sunday with an eclectic lineup of music-themed documentaries, shorts and music videos, all screening at The Royal. Visit the website for film details and ticket availability.

Indie Week musical performances continue until Sunday in several intimate downtown venues including Bovine Sex Club, Free Times Café, Cherry Cola’s Rock N’ Rolla Cabaret and Lounge, and Lou Dawg’s on King. Visit the website for complete schedule.

RiFF 2014 Opening Night: Johnny Winters, Down & Dirty http://www.blogto.com/events/riff-2014-opening-night-johnny-winters-down-dirty/ Reel Indie Film Fest AND CANADIAN PREMIERE DIRECTOR GREG OLLIVER PRESENTS: "JOHNNY WINTERS, DOWN & DIRTY"

A feature length documentary on the life and career of blues legend Johnny Winter.

Website: www.johnnywinterdownanddirty.com Twitter: http://twitter.com/gregolliver RIFF: http://reelindiefilmfest.com/events/johnny-winter-down-dirty/ ABOUT THE DIRECTOR: Greg Oliver Born on the high plains of Texas and raised on the mean streets of New York City, Greg Ollivers first film was the highly acclaimed LEMMY, a portrait of Motrheads frontman Lemmy Kilmister, which premiered at SXSW in 2010. Turned Towards the Sun, Gregs 2nd feature documentary, was nominated for the Grierson/Best Documentary Award at the British Film Institutes London Film Festival in 2012. His narrative feature DEVOURED, an award-winning psychological thriller set in New York City, is set for release in the U.S. later this year.

JOHNNY WINTER, DOWN & DIRTY marks Greg’s triumphant return to the rock-doc genre.

Don't miss Reel Indie Film Fest opening night! Wristbands $10/Student $7: http://www.ticketfly.com/purchase/event/549693?utmmediumbks

The Dork Shelf Guide to RIFF 2014 Dork Shelf Staff http://dorkshelf.com/2014/10/14/the-dork-shelf-guide-to-riff-2014/

After debuting last fall around this same time, the musically minded Reel Indie Film Festival once again rolls into Toronto’s Royal Cinema. From Tuesday, October 14th through Sunday, October 19th, the festival will showcase various documentaries of personalities, bands, record producers and various facets of the industry while keeping firm footing in the independent musical scene.

Looking at genres from modern indie rock to old school blues, the festival offers plenty of different choices for the musically adventurous. Additionally, all feature films will also be screening with music videos and similarly minded shorts to give a fuller picture of independent musical filmmaking.

Here now are reviews of some of the features playing as a part of this year’s line-up (and a special filmmaker interview), and be sure to check back throughout the week as new reviews are added periodically.

For more information, tickets, and a full list of films, shorts, and videos that are screening, check out the Reel Indie website.

RIFF 2014 Alive Inside (Andrew Parker) Born to Ruin (Andrew Parker) A Curious Life (Andrew Parker) Folk (Dave Voigt) Johnny Winter: Down & Dirty (Opening Night Film) (Dave Voigt) A Life in the Death of Joe Meek (Andrew Parker) The Possibilities are Endless (Kirk Haviland) Interview: Edward Lovelace and James Hall – Directors of The Possibilities are Endless (Dave Voigt)

RIFF 2014: Interview: Edward Lovelace and James Hall Dave Voigt http://dorkshelf.com/2014/10/14/riff-2014-interview-edward-lovelace-and-james-hall/ It’s hard to imagine what it’s like to have a stroke without knowing someone who’s been through one. The human brain is a tricky beast on the best of days, and it’s hard to put into words much less into visuals on a screen. But directors Edward Lovelace and James Hall get closer than anyone else has with The Possibilities are Endless, playing this week as a part of the Reel Indie Film Festival after debuting earlier this year at Hot Docs to considerable acclaim.

Through imagery and voice over, we see the journey back of rocker Edwyn Collins, best known from his hit the 90′s “A Girl Like You, ” which was notably featured in the movie Empire Records.

In 2005, he suffered a serious stroke, and rather than craft a film of talking head confessionals and moments in the hospital, we get a mostly faceless voiceover set to some stunning imagery and unique archival footage designed to illustrate mindset of someone trying to find their way back to a normal existence.

I got the chance to sit down with directors Lovelace and Hall earlier this year about their unique approach to the movie, what Collins thinks about it, and what drives them as visual artists.

Dork Shelf: This isn’t your typical “Whatever Happened To…?” kind of documentary. What ultimately drew you to this story and inspired you to tell it in such a unique fashion?

Edward Lovelace: Well, we were always fans of his, and then we had heard about his stroke and after that dagger there was really no more press about it. I even forget what we thought about it at the time, but he released an album 5 years later called Losing Sleep.

We thought we had some perspective on what it might be, but it just sounded so youthful and so energetic, like it was a band’s first record. Before he was interesting and a lyricist and everything was quite flowery, whereas on this album everything was quite simple and almost very direct in a way.

James Hall: Yeah, I mean, he was tackling some very similar themes, but this new side of him was emerging and coming out of him because at that point his vocabulary was so limited. We heard it and it felt to us like it was coming from this otherworldly place. It made us really wonder what happened in that time frame and wonder how he had redefined himself and was this the same guy who had been recording beforehand.

EL: We really wanted to play with the ideas of memory and identity because we didn’t want to make a “music” film in any sense of the word. We wanted to tackle this and imagine it like he was a painter who has gone crazy, disappeared, and then remerged years later to paint new works, and we were dying to explore if that would even work,as an artist’s trying to find his voice and

determine what his message would be all over again.

DS: And the film has such a distinct look to it. It’s not a talking head doc or a music doc, but it’s a story about a man trying to find himself again, so what brought on the unique way you tackled it from a visual standpoint? The entire film just stands out in such an amazing way.

EL: I Think that we don’t rely on being a fan of the band. When you see other music docs and you interview the band or the band’s manager you just get info that most fans already know, so our approach was: let’s make a film about memory because, quite frankly, it can go anywhere.

We were watching other documentaries like Sleep Furiously and Modern Life as inspiration, and we figured if we could get Edwyn’s voice to narrative a story about his life, then we could just create our visual tapestry.

We spent so much time interviewing him, just audio and our inspiration was just to mirror how soothing his slow, stilted pace was when he was talking to us. It’s very much a film that’s going at its own pace, and you have to understand that going in. We got there when we were talking to Edwyn and just getting into the rhythm of how he talks about things. It’s almost meditative.

DS: We don’t even get our first look at Edwyn until about 25 minutes in to the movie. How reticent was Edwyn to participate? Bcause for a musician and storyteller it has to be such an exposure when your words and your way of communicating are essentially gone.

EL: I really think that for anyone that goes through something like that, they have to deal with sort of the stereotypes and preconceived notions of what other people are going to think about them.

Sometimes when Edwyn is trying to say a sentence, it could be something so amazing and beautiful that it actually takes him a while to get it out, but if we just use our natural desire to help finish saying something, then he’ll just retreat and say. “Yeah, Yeah that’s what I meant.” We really had to make an effort to make sure that we let Edwyn found his own voice in this whole process, and get even Edwyn to believe in his story. We just cared about what was in his head.

JH: Yeah, it was such an emotional journey.

DS: Was it a long process to get all this together?

JH: Well, we started doing the audio interviews almost three years ago. They almost acted as pure research, as well doing these audio interviews with Edwyn to let him have the time and the the space to be able to deliver his story. Every time we came back, his speech kept getting better and better and seeing that really did create the structure of the film. It really came from that, and with all the stories that he was telling us, we didn’t want to depict them in any literal way, but almost have it play out like a suggestion of what was going on his mind.

DS: The film really does manage to give a certain sense of hope as well.

EL: Yeah, absolutely, it was really amazing being in this room with Edwyn over all of these months and watching him get to the point where he could tell his story, and it was just so interesting to us. We almost just said “screw the film” because we recognized how much we were are part of the process and we could see him getting better day by day.

As fans we were dying to ask about the first time that he had ever picked up a guitar, but we may have had to sit there for 20 minutes as he worked out in his head how to articulate that feeling and those emotions. There was so much stuff that we got to see him remember in the moment as it was just so cool and amazing .The idea that we were actually helping was so cool.

The Possibilities are Endless screens as a part of the Reel Indie Film Fest at the Royal cinema at 7PM on Friday October 17th.

RIFF 2014: Johnny Winter: Down & Dirty Review Dave Voigt http://dorkshelf.com/2014/10/14/riff-2014-johnny-winter-down-dirty-review/

Johnny Winter: Down & Dirty Johnny Winter: Down & Dirty chronicles the highs and lows in the life of a blues icon and a man who certainly never looked the part that he played so well on stage.

Through interviews with friends and contemporaries likes Joe Perry, James Cotten, Susan Tedecshi, Billy Gibbons and Tommy Shannon and a myriad of archival footage, we see the highs and lows of the life of Johnny Winter. From the first time he played with BB King, to his issues with heroin and methadone that nearly killed him, to the epic records that he produced with Muddy Waters, it’s a look at an uneasy life that was rebelled in.

Best known for his look at Motorhead front man Lemmy in the documentary of the same name, director Greg Olliver gets an unvarnished look at this blues legend that music fans will eat up. While it isn’t a film that broaches any new filmmaking groung, it still thrives with Winter himself making a great protagonist. When you’ve had as interesting a life as that man had, it’s easy to sit down, shut up and listen.

It’s a celebration of a late legend and the hard life that influenced the music, and Winter certainly died doing what he loved: singing the blues and playing guitar. (Dave Voigt)

Screens Tuesday, October 14th, 7:00pm, The Royal

RIFF 2014: A Curious Life Review Andrew Parker http://dorkshelf.com/2014/10/14/riff-2014-a-curious-life-review/

A Curious Life A different sort of musical oral history, Dunstan Bruce’s A Curious Life charts the rising success of British folk-punk act The Levellers mainly through the eyes of a specific band member, dreadlocked and upbeat bassist Jeremy Cunningham, who will act as a host of sorts.

Famous for producing a string of seven straight gold records in the early 90s (despite being loathed by an uncaring music press), The Levellers were an act that was part nostalgia, part political statement, and made up of musicians who almost inexplicably remained friends.

There’s some drama along the way in their story, but not too much of anything out of the ordinary.

Which is why Bruce’s decision to focus predominantly on Cunningham – a recovering drug addict who still suffers from anxiety – the right approach.

Bruce brings out a necessarily human side to his subjects that most rock documentarians are quick to overlook. Cunningham is likable, gregarious, and honest with the audience. He doesn’t sugarcoat anything, but he doesn’t come across as a pretentious prat looking to solidify himself as a rock god. The focus on the personal lives of the band members also leads to the story of the band being told through largely amusing anecdotes that serve to forward the band’s story and reputation without feeling like filler that’s falling on deaf ears.

Even if you have no clue who The Levellers are, this one will still hold some appeal to casual viewers. (Andrew Parker) Screens Thursday, October 16th, 7:00pm, The Royal

RIFF 2014: Born to Ruin Review Andrew Parker http://dorkshelf.com/2014/10/14/riff-2014-born-to-ruin-review/ Born to Ruin This behind-the-scenes look at Toronto indie rock act Wildlife as they produce their make-orbreak sophomore album in Connecticut and Brooklyn opens with band members confronting their keyboard player about a drinking problem about halfway through the recording process. It’s necessary to start with this because without the conflict, the film itself from Brendan McCarney wouldn’t have any reason to exist and would be laboured and tiresome even as a DVD extra packaged with a CD.

Everything else about Born to Ruin feels like an EPK instead of anything resembling an actual film. If you really want to watch the boys in the band tinker with their instruments to make sure they’re in tune, people thoughtfully and wordlessly staring into space, and people getting the giggles over what they’re about to have for dinner, then this might be the film for you. Anyone who wants actual substance or something with a bit more weight to it would be advised to look elsewhere.

Or wait until 40 minutes into the film when McCarney finally loops back to his opening scene to play it out all over again before forgetting about it for another stretch and coming back later.

There is some payoff as former Degrassi actor and keyboard player Tim Daugulis eventually sits down for what might be one of the most painfully awkward, drunken exit interviews of all time, but instead of feeling like a natural extension of a storyline in the film, McCarney’s treatment of Daugulis feels exploitative. I’m not saying that Daugulis’ actions on screen here are excusable (they really aren’t), but for something that’s essentially a puff piece in every other way to cram in something designed to make the four remaining band members feel better about themselves is disingenuous in the worst way.

But I guess the worst thing about the film is that it still gives viewers no insight into any other personalities in the band outside of the one negative viewpoint and single sentence blow offs for everyone else. It also doesn’t give aspiring artists any new insight on how to make it that they couldn’t get from talking to an established musician or producer with a well worded thirty second question. (Andrew Parker) th

Screens Saturday, October 18 , 7:00pm, The Royal

RIFF 2014: A Life in the Death of Joe Meek Andrew Parker http://dorkshelf.com/2014/10/14/riff-2014-a-life-in-the-death-of-joe-meek/

A Life in the Death of Joe Meek Highly influential in the UK rock and roll scene, controversial figurehead and record producer and brilliant sound engineer Joe Meek broke away from the pack in the late 50s and early 60s by becoming one of the first big name independent record producers in the world. The man who somewhat quietly paved the way for looping, boundary pushing stereo recordings, and possibly the invention of the concept album, Meek was merely remarked upon in his time until his death as part of an alleged murder-suicide inside his studio. Today, he’s worshiped by many as a trailblazer in spite of his numerous personal demons.

Howard Berger and Susan Stahman have crafted a meticulously researched look at Meek’s business practice, musical acumen, and personal life told through those who worked directly with him, were brought into his orbit briefly, and those who tirelessly champion his work today. There’s a lot of ground to cover with Meek, and Life in the Death feels comprehensive without being exhaustive.

But what’s most curious about the film – particularly when it comes to Meek’s transgressions, which uncomfortably, but perhaps necessarily includes molestation charges that may or may not be tied to his life as an outward homosexual and sex addict – is the film’s stringent adherence to never saying if Meek was a good person or not. Every point of view on display from people who loved and hated Joe gets left in as is, no matter how contradictory the stories seem when put in relief of each other.

The filmmaking is pretty low-fi and tossed off, but the content here is what counts. (Andrew Parker) Screens Wednesday, October 15th, 7:00pm, The Royal

RIFF 2014: Alive Inside Review Andrew Parker http://dorkshelf.com/2014/10/14/riff-2014-alive-inside-review/

Alive Inside Michael Rossato–Bennett’s look at the effects of music therapy on the minds of patients with Alzheimer’s disease is a terrible made and constructed film, but it makes up for its lack of subtlety and tact (and the fact that it’s essentially product placement for the core organization involved) with a great amount of heart and warmth.

The filmmaker follows the work of Dan Cohen, founder of not-for-profit organization Music & Memory, a former social worker who helped to invent musical therapy for people with deteriorating diseases. Cohen’s work is notably effective and he infuses his interactions with love, but the film wants to make it look like he’s the only person doing such therapy. It’s not hard science, and at only just over 70 minutes, it’s very narrowminded. Rossato-Bennett’s sometimes didactic, heavy handed, and unnecessary narration and cutsey editing designed to make it all look flashier almost derail everything.

Yet, there’s something undeniably stirring about watching someone who has been losing their memories have their eyes light up at the sounds of their youth or their favourite musical pieces. The power of these moments is undeniable and Cohen, the stories of the individuals he’s helping, and asides that include Bobby McFerrin and Oliver Sacks make this one worth a watch. It probably would have worked a lot better as a short, but it also picked up an award at Sundance, so maybe it works just fine if you can put out of mind that it’s made by someone who doesn’t really know how to make a movie outside of creating bullet points and obvious shorthand. (Andrew Parker) Screens Wednesday, October 15th, 9:30pm, The Royal

RIFF 2014: Folk Review Dave Voigt http://dorkshelf.com/2014/10/14/riff-2014-folk-review/

Folk Folk takes a well travelled formula for a music doc and looks a three very different sets of musicians as they continue to try and live the dream of playing folk music with hopes of making a living at it.

With the landscape of the music industry changing almost at an hourly rate, it’s hard for anyone to generate any genuine traction or momentum. However, when the genre you love hasn’t been popular since the 1960′s, it’s even harder. The film follows several acts as they all face a similar uphill climb to maintain their voice in a marketplace that may not want them anymore.

Director Sara Terry’s overly familiar film is infused with beautiful music that permeates the entire soul of the piece, and raises the film around it. Her protagonists are strong, dealing with a variety of real world struggles that anyone trying to make a career in the arts can relate to. It also takes into account something the sense of community among the musicians.

Folk captures the drive, spirit and unrelenting grind that doing something you love actually takes, especially when logic and commerce tell you that you should be doing something else. (Dave Voigt) Screens Friday, October 17th, 9:30pm, The Royal

RIFF 2014: The Possibilities Are Endless Review Kirk Haviland http://dorkshelf.com/2014/10/14/riff-2014-the-possibilities-are-endless-review/

The Possibilities Are Endless After suffering a hemorrhagic stroke, Scottish singer-songwriter Edwyn Collins ended up slipping into a coma. After waking, it was discovered quite quickly he had suffered acute aphasia, a condition that affects the brain and leads to problems using language. Other than yes and no, the only other phrases Edwyn could use were the name of his wife ‘Grace Maxwell’ and the titular ‘The Possibilities are Endless’. The film employs lush cinematography and sound design to attempt an encompassing and sensory exploration of Collins’ recovering mind through this time while also showing us where he has progressed to today.

Directors Edward Lovelace and James Hall use interviews with Collins and his wife Grace Maxwell as the narration over moving abstract imagery in the film’s first half and recovered footage of Edwyn in the latter half to guide the film. The technique works quite well as, with the film mirroring Edwyn’s own recovery and progression. The film also uses re-enactments of the couple’s courtship and life together to help illustrate what’s truly an epic love story.

From the film’s start, booming the one massive worldwide hit ‘A Girl Like You’ (which most will remember from the Empire Records soundtrack), to the touching final performance which sees Edwyn back on stage after recording a new album, the film is filled with great music from Collins. A testament to Edwyn’s desire to live and record music yet again, The Possibilities are Endless truly delivers on its name. (Kirk Haviland) Screens Friday, October 17th, 7:00pm, The Royal

RIFF 2014: REVIEW: JOHNNY WINTER: DOWN AND DIRTY Will Brownridge http://thetfs.ca/2014/10/13/riff-2014-review-johnny-winter-dirty/#.VD1D0SldWXU

Johnny Winter was a renowned blues musician, living the stereotypical rock star life. Drugs and alcohol ruled a large part of his life, and sent his career off-track for a number of years before he cleaned up and continued making music right up until his death in July of 2014. He played with some of the greats, including an album with Muddy Waters that Winter said was his favourite.

WithJohnny Winter: Down and Dirty, director Greg Olliver gives viewers an intimate look at Winter’s life, career, and struggles.

If there’s anything wrong with Johnny Winter: Down and Dirty, it’s that Winter isn’t here to witness this great film. He passed away in July 2014 while on tour in Europe, which says as much about Winter as this documentary does. He lived his life for music, and never stopped creating, starting at age 15 and continuing until his death at age 70.

His life is one that will leave viewers dazzled. Winter spent time with some of the greats in music, like Janis Joplin, B.B. King, Jimi Hendrix, and Muddy Waters to name a few. He witnessed many of the greatest moments in music history, including a performance at Woodstock. He also struggled with a terrible heroin addiction that left his career a mess, partly the fault of an awful manager. Although he may be gone, we’ll all have this wonderful film, and his outstanding music to remember him by.

Is Johnny Winter: Down and Dirty essential festival viewing?

Many musicians never make it through the addictions they struggle with, so Winter’s story is a fascinating one. His musical ability is incredible, even in his later years when it seems as if he’d be unable to perform. He also had to deal with bullying and ridicule, as he was an albino, and the positive way he dealt with this is inspiring. Put it all together, and you have an amazing documentary that shouldn’t be missed.

Johnny Winter: Down and Dirty Screening times Tuesday, October 14, 2014 -7:00 pm –The Royal

RIFF 2014 REVIEW: A LIFE IN THE DEATH OF JOE MEEK Will Brownridge http://thetfs.ca/2014/10/14/riff-2014-review-life-death-joe-meek/#.VFqOLfTF_yd Towards the end of A Life in the Death of Joe Meek, Jimmy Page says “If you don’t change something, nothing changes.” and that is a fantastic way to describe the life of Joe Meek. From a young age, Meek showed an intense interest in sound, and how it was created. He would build this fascination into a very important career producing records, and changing the way that people created music. His methods seemed a little crazy, and many people say the same thing about Meek as well, but there’s no doubt he altered the way that artists made music. This documentary is a fascinating look at the life and work of Joe Meek, and the sad circumstances surrounding his death.

It’s always interesting to hear about a musician or producer that heavily influenced many of the artists that we listen to, but few stories may be as compelling as that of Joe Meek. A rule breaker from the first moment, Meek worked with some huge names in the music business, and managed to create a signature sound that nobody believed would work. Some artists didn’t even like what Meek had done for them, until they realized just how popular these records wound up being.

A Life in the Death of Joe Meek turns a bit creepy, as we begin to learn about Meek’s interest in the paranormal, and his descent into drugs and alcohol. It all leads to a shocking tragedy when Meek shoots his landlady, and himself. His work lives on, and his influence is still felt in some of the most popular music of the last 50 years.

Is A Life in the Death of Joe Meek essential festival viewing?

A fascinating look at a man that very few people may actually know. In the world of music documentaries, this is one of the most interesting films out there, and is a can’t miss film.

A Life in the Death of Joe Meek screening times Wednesday, October 15, 2014 -7:00 pm –The Royal

RIFF 2014 REVIEW: NO LAND’S SONG Will Brownridge http://thetfs.ca/2014/10/15/riff-2014-review-lands-song/

Since the revolution of 1979 in Iran, women have been banned from singing as soloists in public, unless performing only for other women.

Composer Sara Najafi is determined to fight back against this, and is planning on having a concert featuring three singers from Paris, and two Iranian singers. Along the way, she must face a government who doesn’t want her to move forward with the concert unless male singers are involved, as well as threats from people in her community.

There’s two very different emotions at play in No Land’s Song. First there is the overwhelming shock and anger many viewers will feel at the fact that women can’t sing publicly in Iran. The only reason given is that a woman’s voice is more tender, which makes very little sense. It almost implies they entice men to do things, which is ridiculous. Second, there is the incredibly inspiring and emotional journey of Sara and the other singers.

It’s no surprise where things end up, but the journey there is surprising. There is no sense in the barriers faced by Sara, and there is never a truly valid reason given. The closest they can come up with is that an election is coming, and something like this may inspire protesters.

Anger almost overshadows any other emotion you’ll feel at first, but the moving story slowly takes over by the end.

Is No Land's Song essential festival viewing?

This incredibly emotional film is a must see. It exposes the insane idea that women shouldn’t sing in public in Iran before showing us how women will no longer stand for something like this. A beautiful film, filled with incredibly strong women who will let nothing stand in their way.

No Land's Song screening times Thursday, October 16, 2014 – 9:30 pm – The Royal

RIFF 2014 REVIEW: MARCH OF THE GODS: BOTSWANA METALHEADS Will Brownridge http://thetfs.ca/2014/10/17/riff-2014-review-march-gods-botswana-metalheads/#.VFqcG_TF_yc Fans of heavy metal will often speak of a brotherhood between fans. This is a familiar concept in North America for just about any kind of fans. There’s a bonding experience that you share with fellow fans.

However, this isn’t North America, and these fans don’t look at music as a hobby, but a way of life. In Botswana, heavy metal is a lifestyle, and at the heart of it are bands like Wrust. Considering the population, there are a growing number of metal bands in Botswana, and this documentary looks at the culture surrounding these bands, as well as watching Wrust prepare for their first live show in Europe.

Fans of heavy metal bring the saying ‘never judge a book by its cover’ to life. This is especially apparent in March of the Gods: Botswana Metalheads. Clad in leather cowboy outfits while the searing sun beats down upon them, the members of Wrust and their fans could probably make you cross the street if you saw them. Speak to them for a few minutes, and you begin to see what amazing guys they actually are.

Many of them are raising families, and working hard to support them. They’re certainly not violent, and even credit heavy metal music for keeping them out of trouble. It’s a fairly common story for this form of music, but the differences appear in how the fans in Botswana take it to new levels. They don’t simply enjoy heavy metal, they live it each day, and it’s this reason that makes the documentary stand out.

Is March of the Gods: Botswana Metalheads essential festival viewing?

There’s plenty for everyone to enjoy, but this one is going to appeal mainly to fans of heavy metal music, so it’s not essential for everybody.

March of the Gods: Botswana Metalheads screening times Saturday, October 18, 2014 – 9:30 pm – The Royal

A Review of Johnny Winter: Down and Dirty Dave Stuckey http://www.nakedunderground.com/off-the-record/a-review-of-johnny-winter-down-and-dirty/

During the Q&A session of Reel Indie Film Fest’s opening night screening of Johnny Winter: Down and Dirty, Winter’s guitarist and manager, Paul Nelson, uttered these blasphemous words: “Johnny made Hendrix look like he was on training wheels.”

Indeed, Johnny “Cool Daddy” Winter is a blues legend – among blues musicians, that is. For the rest of us the name doesn’t ring many bells.

Somehow, this legally blind, albino virtuoso from Texas, who spent his career playing with the best of the best – Muddy Waters, B.B. King, and Hendrix, to name a few – remains decidedly under-appreciated, at least in comparison to his friends and counterparts who became gods of pop culture.

Down and Dirty aims to change that. The documentary follows Johnny during the midst of his “comeback” tour. But rather than a comeback from a stale career, this is a comeback of the man’s body, soul, and musicianship.

Jimi on bass, backing up Johnny.

Unbeknownst to everyone involved in the film, however, this would be Johnny’s last tour. He died shortly after the film was finished. Down and Dirty, then, serves as a final glimpse into the life and mind of a musician who lived a hardcore rock and roll lifestyle since age 15, relentlessly pursuing his passion for the true blues. The title is fitting, and Johnny says so himself.

Although you’ll find the usual tantalizing rock documentary themes – the music, the road, drugs, redemption – this film is really about Johnny’s obsessive drive to succeed: what pushed him to master guitar, to become a star, to kick drugs, to keep on keepin’ on. Underneath that, it’s about the team effort led by Paul Nelson that helped return their strung-out, near-dead friend and frontman to his former glory. At age 70 in the film, Johnny may have to sit down on stage, but damn if he can’t still wield an axe.

Go see this entertaining and heartwarming portrait of a musician who has earned more than a few pages in the history of popular music. If you have any appreciation for blues or rock, you owe it to yourself. After all, this is the man who could reportedly walk into a room and make Jimi Hendrix put down his guitar and say, “Uh oh, here comes Johnny.

Gimme a bass.”

RIFF: Johnny Winter: Down & Dirty Review John Townsend http://nextprojection.com/2014/10/16/riff-johnny-winter-dirty-review/ Johnny Winter: Down & Dirty (2014) Cast: Johnny Winter, James Cotton, Jim Dandy Director: Greg Olliver Country: USA Genre: Documentary

Editor’s Notes: The following review is part of our coverage of the Reel Indie Film Festival. For more information on the festival visit http://reelindiefilmfest.com/ and follow the event on Twitter at @RIFF_Toronto.

Discovering exciting music or a new artist through a documentary can be a hugely exciting experience, but can also give a feeling of being patronised somewhat. Some films carry a lecturing tone, almost challenging the viewer to explain why they haven’t been a fan of this or that music for their entire lives. What have you been listening to?

Others are stifled by over-familiarity, with the artist so well known, and often private, that any documentary simply acts as an extended promotional campaign. There are some though, such as Greg Olliver’s Johnny Winter: Down & Dirty that are respectful to both subject and audience, effectively telling the story of someone you may have heard of, but that you should definitely consider taking another listen to regardless of your musical

tastes. Regardless of whether that happens, it will be hard not to be moved by this immensely enjoyable film.

Regardless of whether that happens, it will be hard not to be moved by this immensely enjoyable film.

There is one fact beyond argument: Johnny Winter was a hell of a guitarist. As a blues artist of repute Winter garners praise from all areas of the musical world, with his highenergy rock style having influenced artists from ZZ Top’s Billy Gibbons to Aerosmith’s Joe Perry, the latter declaring that “at least he knows where he steals from” in relation to this distinctive blues-rock style.

The real joy in Down & Dirty though is in Olliver’s filmmaking style. Despite the access he has been granted there is never a feeling of it being invasive, never a suspicion of anything being scripted purely for cinematic purposes. Winter comes across as a man who has faced his demons and with the help of some very close and loyal friends has defeated them, although the many scars remain. This is a man seemingly haunted by his own existence in a world that has lost so many of his peers and friends, a man who struggles to balance why artists he considers legends are no longer with us and yet he lives on.

There is added poignancy to this already emotive film in that Winter passed away in the July of 2014, with the causes as yet unconfirmed. There is an atmosphere throughout the film that there is something almost final about the footage, the honest story of a man who has lived the life of many, and who despite being healthier than at any time in recent years, is still, in his own quiet way saying farewell. Occasionally though, a mischievous streak is still evident in eyes that reflect a worldly sadness, and it is in these moments that Winter’s former nature is revealed as vodka is consumed without restriction or thought of consequences.

Winter comes across as a man who has faced his demons and with the help of some very close and loyal friends has defeated them, although the many scars remain.

Olliver has superbly captured the final years of an artist who rightfully has the respect of millions as one of the figureheads of a movement that crosses musical boundaries. With a distinctive style of playing and a rasping, powerful voice, Johnny Winter is certain to draw new fans with this film, and with a posthumous album released in September his legacy is guaranteed.

Reel Indie Film Festival: Born to Ruin Review Jordan Ferguson http://nextprojection.com/2014/10/14/reel-indie-film-festival-born-ruin-review/

Born to Ruin (2014) Cast: Derek Bosomworth, Dwanye Christie, Tim Daugulis Director: Brendan McCarney Country: Canada | USA Genre: Documentary | Biography | Music Editor’s Notes: The following review is part of our coverage of the Reel Indie Film Festival. For more information on the festival visit http://reelindiefilmfest.com/ and follow the event on Twitter at @RIFF_Toronto.

Every person is different. Every relationship is unique, with its own ups and downs, its own intricacies and complexities. Any group has its own dynamics that are worked out over time, its own ways of functioning, its own definition of functional.

Everybody has a story, and no two stories are alike. All of these things are fairly obvious on the surface. And yet, Born to Ruin exists, and manages to sand away individuality and distinctiveness in favor of turning its subjects, the band Wildlife, into an endless series of clichĂŠs.

Ostensibly about the group’s efforts to record its second album, On the Heart, the film is a supposed expose about the difficulties of studio life.

Ostensibly about the group’s efforts to record its second album, On the Heart, the film is a supposed expose about the difficulties of studio life. And yet the things it manages to capture are so facile, so obvious, and so well documented elsewhere, the film barely feels like it is capturing reality at all. Born to Ruin feels more like a really bad film about a band than anything that has the color and depth of real life. It trades in the tropes of behind-the-scenes bands, filling its slim runtime with a series of inanities and platitudes that offer little to anyone who has ever read a long Wikipedia article about a rock band.

It trades in the tropes of behind-the-scenes bands, filling its slim runtime with a series of inanities and platitudes that offer little to anyone who has ever read a long Wikipedia article about a rock band.

The problem isn’t with the band themselves, not by a long shot. The music of Wildlife, which we hear recorded and see performed throughout the film, is actually very good, to the point where I often wished I was watching a concert film instead.

Director Brendan McCarney would likely be better suited to the “point and shoot” style that many such films employ. His direction here shifts between indifferent and spastically unaware of his subjects and the point he is trying to make about them. He fails to generate anything interesting in interviews ( “We were always friends first and a band second…sort of” is an actual line from the film, and it is far from the most obvious thing that is uttered), but even worse, he has chosen to make a film that frequently depicts studio sessions and seemingly has no idea how to shoot musicians making music. His camera lingers on producer Peter Katis listening, but seems incapable of registering anything about Katis’ emotional state, and McCarney seems utterly lost when he is shooting the band members playing their instruments.

This is especially depressing when one learns McCarney has only directed musical documentaries so far. This is his third effort, and it feels like he’s making a satisfactory home movie.

There’s really no reason to see a film like Born to Ruin. The visuals add nothing, but also, the behind-the-scenes material doesn’t illuminate characters so much as backlight caricatures. Wildlife is made of real human beings with real thoughts and real problems, but you wouldn’t know it to look at the film, where they come off like any number of bands you’ve seen before. Save yourself the grief. Skip the movie, buy the record.

Reel Indie Film Festival: The Possibilities Are Endless Review Anubha Dey http://nextprojection.com/2014/10/09/reel-indie-film-festival-possibilities-endless-review/

The Possibilities are Endless (2014) Cast: Edwyn Collins, William Collins, Grace Maxwell Director: James Hall, Edward Lovelace Country: UK Genre: Documentary | Biography | Music Editor’s Notes: The following review is part of our coverage of the Reel Indie Film Festival.

For more information on the festival visit http://reelindiefilmfest.com/ and follow the event on Twitter at @RIFF_Toronto.

The Possibilities are Endless is a documentary film directed by James Hall and Edward Lovelace based on Scottish singer/song writer and musician Edwyn Collins.

The film is an unusual yet moving account of the life of Edwyn Collins starring himself, his wife Grace Maxwell and son William Collins, after he suffers from a life crippling brain haemorrhage. The film documents his life post rehabilitation and how with the love and strength of his loving wife, he manages to regain semi-functionality, even performing a live song in the film.

This style of filmmaking, where the viewer is immediately put in the perspective of character, and forced to experience ‘his/her’ reality tie the story in an unusual manner.

In the beginning of the film we see a vintage footage of Edwyn Collins in an interview. Right after this, you are are thrown into this, chaotic mayhem of images and sounds that put you

right into the mind of Edwyn and straight into the scene of action. It’s a wonderful contradiction, from how in the beginning the mind that was called full of ideas is suddenly a blur of incoherent entities. This style of filmmaking, where the viewer is immediately put in the perspective of character, and forced to experience ‘his/her’ reality tie the story in an unusual manner. I loved the conflux of visuals; I could actually feel my heart racing trying to understand what is going on. The way the images and the sounds have been edited makes the whole experience quite immersive and engaging.

Movie actually starts after 23 minutes, from visuals and montages we go in current timeframe, showing the singer contemplating on his thoughts of past glory. The film is a lovely portrait of a talented man, ravaged by his illness but yet determined to give his all to life, the film is a silent triumph of the human spirit, and why in our deepest depths of life, all is not lost. This movie is kind of a reminder of how our past and memories shape us, and how much we would be lost without those precious moments which make us who we are. This movie will make you appreciate all those moments.

Everything has been taken care of in the film. Every little detail. Beautiful cinematography, beautiful editing, even the sound design is impeccable; the shots in the film really make you feel as if you are in it, alive and breathing.

Everything has been taken care of in the film. Every little detail. Beautiful cinematography, beautiful editing, even the sound design is impeccable; the shots in the film really make you feel as if you are in it, alive and breathing. This film has a sad, poignant melancholy laced in it, a love story interwoven with a man’s fight for his sanity, which really touches your heart.

Combined with the nonchalant, honest narrative and the beautiful shots this film makes you wonder what would you do if it happened to your loved one. What would you do if your own idea of self was based in past memories which you struggle to recall every moment. What would you do, feeling disconnected in thoughts and just hoping people don’t give up you.

The manner in which the film has been shot, being subjected to just images of beautiful sceneries and listening to a man speak – at times incoherently, may not be everyone’s cup of tea though. Because the film has mostly visuals which give a sense of melancholy, Edwyn Collins himself is shown very rarely in the film. The film mostly plays around with footages of the Scottish countryside, shots of the sky, long fields, the sea. These mostly try to show Collin’s memories, state of mind, etc. Slightly monotonous, the sounds overpower the narrative at places and sometimes the footage has no connection with the audio or any meaning (or so it seems). At these times the viewer’s attention might be lost for a while. As a commercial release this film might be considered damp, but as a film in itself, it’s different and refreshing at times. For someone who hasn’t been a fan of Edwyn Collins or isn’t aware of his music the film might not be a thrilling experience but bearable because of it visuals.

Rep Cinema This Week: Scream, God Help the Girl, and The Possibilities Are Endless Angelo Muredda http://torontoist.com/2014/10/rep-cinema-this-week-scream-god-help-the-girl-and-thepossibilities-are-endless/

The Royal (608 College Street) Friday, October 17, 7 p.m.

Best known in North America as the one-hit wonder behind the smash (and still-pretty-good) 1995 single “A Girl Like You,” Scottish alt-rocker Edwyn Collins underwent a major transformation in 2005, after surviving a cerebral hemorrhage that seriously affected his memory and motor skills. Edward Lovelace and James Hall’s The Possibilities Are Endless—along with his wife’s name, one of the first phrases the artist was able to say following his stroke— follows Collins as he recovers and enters a new phase of his family life and career.

While more standard fare might have dodged the challenge of capturing Collins’s impairment and his gradual recovery of language by focusing on archival footage and present-day interviews with friends and colleagues, Lovelace and Hall’s film tackles that representational problem and makes it one of its main issues. The filmmakers pair Collins’s halting but insightful voiceovers with abstract, expertly lensed images of his physical surroundings, attempting to capture something of his fragmentary new sensory experience of the world. The images might be a bit self-consciously poetic at times, recalling the precious wheat fields of the cinema of Terrence Malick, but on the whole it’s a noble experiment.

The film screens as part of the Reel Indie Film Fest. For information about ticketing, visit the festival website.

Film Review: The Possibilities Are Endless [James Hall and Edward Lovelace, 2014] Thierry Cote http://www.panicmanual.com/2014/10/20/film-review-the-possibilities-are-endless-james-hall-andedward-lovelace-2014/

To most North Americans, Edwyn Collins is little more than a 1990s one-hit wonder, a dashing Elvis-like figure in the video for a Top 40 single culled from the Empire Records soundtrack—and recently revived by the Black Keys—that brought him a brief moment of fame on these shores. In fact, Collins’s long career dates back to the late 1970s and early 1980s, when he and his bandmates in Scottish indie upstarts Orange Juice released a series of critically beloved singles and LPs that attempted (often wildly successfully) to fuse wry, literate British songwriting and jittery, funky disco rhythms—imagine CHIC’s Nile Rodgers and Bernard Edwards raised on a steady diet of Kinks records—and that remain a towering influence on British indie pop groups from Belle and Sebastian to Franz Ferdinand. Following the demise of Orange Juice, Collins embarked on a solo adventure marked by several excellent singles of

idiosyncratic indie pop (and a great collaboration with Bernard Butler) that rarely—the Northern soul tribute “A Girl Like You” being the lone exception— found the wider audience they richly deserved.

When the news broke in early 2005 that Collins had suffered two major cerebral hemorrhages in less than a week, had lost the ability to walk, talk or play the guitar and would need a long period of rehabilitation, even his most loyal fans would have been forgiven for assuming that they would have to settle from now on for a trickle of archival releases, perhaps the occasional compilation of demos and b-sides. That the last seven years have seen Collins not only release Home Again the album he was recording at the time of his strokes, but also complete two excellent new LPs—both 2010′s Losing Sleep and 2013′s Understated are well worth anyone’s time and money—is nothing short of miraculous.

The Possibilities Are Endless, a new documentary named after one of the few sentences Collins said during his hospital stay following the two strokes (the others were “yes”, “no”, and “Grace Maxwell”—the name of his wife and manager) and directed by James Hall and Edward Lovelace (Werewolves Across America, Katy Perry: Part of Me), chronicles over several years Collins’s difficult recovery and return to music. Instead of giving us a conventional music film featuring talking heads and performances, Hall and Lovelace mostly eschews both to create a more impressionistic, disorienting and ultimately more powerful document that seems to seek—particularly in its first half—to place the audience inside the head of Collins as he deals struggles to express his thoughts, his choppy, halting diction contrasting with onscreen images of the singer in his youth, a wiry, magnetic bolt of energy and charisma. As the film progresses, we see Collins slowly regain some of his motor skills, his sense of humour (he quips, “Sharon Osbourne!” when Maxwell gives him some advice in the studio) and creative spark with the help of his wife—a particularly touching scene features Collins singing “Searching for the Truth”, from Losing Sleep, at a live session, with Maxwell strumming the guitar strings as his hands forms the chords on the neck.

There is refreshingly little sentimentality in The Possibilities Are Endless—a reflection, perhaps, of Edwyn Collins’s own perspective (“Looking back is not for me. Looking forward is the way”, he says before returning to the studio)—but its nuanced depiction of Collins and Maxwell’s complicity and strength in the face of enormous odds is powerful, beautiful and inspiring.

A truly remarkable film, and one that deserves to find a wide audience—much like “A Girl Like You” did twenty years ago.

Film Review: A Life in the Death of Joe Meek [Howard S. Berger and Susan Stahman, 2014] Thierry Cote http://www.panicmanual.com/2014/10/27/film-review-a-life-in-the-death-of-joe-meek-howard-sberger-and-susan-stahman-2014/

A few minutes into A Life in the Death of Joe Meek, a new feature-length documentary about legendary British producer and sonic innovator Joe Meek from American producers/directors Howard S. Berger and Susan Stahman (its title a reference to the 1960s play A Day in the Death of Joe Egg), Keith Strickland of the B-52s compares Meek to Brian Eno and Kraftwerk. While the comparison may seem far-fetched at first, the numbers (Meek produced more than 250 singles between 1960 and 1967, including the first Billboard no. 1 by a British group, the Tornados’ “Telstar”) are simply staggering, and the influence of his pioneering use of overdubs, echo and—more generally—the studio as a musical instrument in itself can be heard in countless recordings by everyone from Wreckless Eric to Mr. Bungle to Atlas Sound. This year, the NME even named Joe Meek the greatest producer ever, topping a list that included such notables as Phil Spector, Quincy Jones, Rick Rubin, Dr. Dre and George Martin—a testament to the importance of his legacy. To put it mildly, and although he made his share of poor musical judgments (including advising Brian Epstein not to sign the Beatles, passing on David Bowie, and convincing the Moontrekkers to get rid of their teenage singer, one Roderick Stewart), Joe Meek was—and his accomplishments remain—a big deal.

If all Meek had ever done was to engineer and produce dozens of groundbreaking hit singles and revolutionize the way music was recorded in Britain, that alone would surely provide enough fodder for a fascinating music documentary. That his life was also marked by several professional falling-outs, paranoia, a fascination with the occult, stories of tantrums and the challenges of being a homosexual man in Britain at a time when that was enough to get arrested means that there is plenty of material for a film twice as long as A Life in the Death of Joe Meek.

What there is precious little of is footage of Joe Meek at work in the studio or being interviewed. Berger and Stahman overcome this problem by drawing on several interviews with industry insiders, biographers, family members, Meek enthusiasts, and a lengthy list of musicians (including the aforementioned Strickland, Led Zeppelin’s Jimmy Page, Yes’s Steve Howe, Edwyn Collins, Franz Ferdinand’s Alex Kapranos and members of groups who recorded with Meek such as the Tornados, the Honeycombs and the Cryan’ Shames). While this means that A Life in the Death of Joe Meek has to rely largely on a collection of talking heads to tell Meek’s story, it nevertheless manages to cover all the bases, from his solitary youth in Newent as an electronics prodigy (he is said to have assembled the region’s first working television in his parents’ shed) to his first experiments with sound mixing as an engineer for the International Broadcasting Company, to his untimely death in the still-mysterious murder-suicide of his landlord at the age of 34. The meat of the documentary is devoted to Meek’s years at 304 Holloway Road (“It didn’t look like Abbey Road. It looked like your grandfather’s garden shed, you know, where your grandfather was experimenting”, says David John of David John and the Mood), but Berger and Stahman also find time to examine Meek’s struggles with the stodgy British music industry as an independent—and innovative—record producer, his obsession with Buddy Holly and his perceived rivalry with Spector, whom he believed was stealing all his ideas.

Where A Life in the Death of Joe Meek falters the slightest—perhaps out of necessity to keep the film’s running time under two hours—is in presenting the more technical aspects of Meek’s recordings. The producer’s sexuality and relationship with bassist Heinz Burt of the Tornados are discussed in lengthy and often uncomfortable segments (some suggest that Burt was gay “for money”), but those looking for a Classic Albumsstyle breakdown of the recording techniques used on Meek’s biggest hits for the most part will not find it here, though discussions of his work on the late Humphrey Littleton’s only hit, a jazz instrumental by the title of “Bad Penny Blues” (which Page calls “phenomenal”), and I Hear A New World, a concept LP only released in full long after his death, are both illuminating.

Ultimately, A Life in the Death of Joe Meek aims to paint a complete picture of Joe Meek as a studio genius, a gifted and inventive recording pioneer, as well as a flawed human being—and in that respect it is a resounding success. Those already familiar with Meek’s work will find in this documentary a detailed oral history of a fascinating period in British music that is too often overshadowed by the emergence of the Beatles and the Rolling Stones. For everyone else, A Life in the Death of Joe Meek will serve as the perfect introduction to one of popular music’s most idiosyncratic character—and one of its most unique back catalogues.

It’s the March of the Gods: Botswana Metalheads!

Ed Sum http://absoluteunderground.tv/au-reviews/movie-reviews/item/337-marchofthegodsbotswana

Yes, even the people from South Africa are also born to bang their heads. The heavy metal scene is excellently explored in March of the Gods: Botswana Metalheads and this documentary makes for a great primer into this world located deep south. But this land-locked country located between Namibia (in the west) and Zimbabwe (the east) with South Africa proper (south) has come a long way in a continent often plagued with internal strife. When this country’s economy is dependent on diamond mine production, what’s next will depend on what other trades will emerge as exportable.

In this documentary’s case, perhaps it’ll be the music. When South African photographer Frank Marshall made his name in chronicling the heavy metal subculture in Botswana, producer Natalia Kouneli and director Raffaele Mosca took notice. They crafted this essay length video that explores the cultural impact that Botswanians have for this musical genre.

The people and musicians they interviewed see it more of a lifestyle than a hobby.

“The thing about Metal is that you can understand someone else who’s into metal as well,” said Marshall in this film, “or there’s kind of an unspoken understanding that sort of transcends race, geography … that’s one of the main things that I realized.”

Sometimes the accents are thick, and thankfully the video provides subtitles so viewers can follow along to the dialogue. The details are very informative in explaining how this musical subculture is still evolving in South Africa. The 21st century is kind with thanks to the Internet to expose

to the world the uniqueness of the compositions that’s coming from this country.

From rock and roll to heavy metal, the gambit is everywhere. At least in this documentary, the emphasis is with the latter by interviewing bands like Wrust, Metal Orizon (which formed in the 90’s), Overthrust and Kamp13 to name a few. Their brotherhood is explored more than how this world’s folklore works into the lyrics of their tunes. This documentary primarily looks at Wrust and lightly glosses upon this topic from their point of view. If it went deeper into the meanings of the lyrics, a more cultural understanding can be taken from this product. The anthropological perspective is clearly being heard, and from the modern perspective, Mosca and Kouneli did an excellent job in explaining how this country is struggling to keep up.

The music featured in this documentary only teases at what's available. Some of which are available on Soundcloud.

Pretty soon, bands like AC/DC or Black Sabbath may consider inviting Wrust to perform as their opening act.

These musicians certainly have the talent to be leaders in worldclass entertainment. When they make that final stretch and get noticed in the West, all anyone has to recall from cinema are breakout hits like District 9 that helped NeillBlomkamp gain national attention. It helped him make the sci-fi epic Elysium and currently, he’s working on Chappiewhich stars Hugh Jackman and Sigourney Weaver.

Without unique visionaries like Wrust or Blomkamp, the world’s stage should not be limited to what North America or Asia can produce. Great material can emerge out of Africa because that’s where human civilization emerged!

Going Behind the Scenes with March of the Gods: Botswana Metalheads, an Interview with Raffaele Mosca Ed Sum http://absoluteunderground.tv/au-reviews/movie-reviews/item/339-moscainterview Italian filmmaker Raffaele Mosca certainly has a wide range of musical tastes. From Pig Destroyer, a grindcore/death metal band from Virginia to Gaslight Anthem, a punk rock group from New Jersey, to name a few, the decision to travel to South Africa to make the documentary March of the Gods: Botswana Metalheads is interesting.

After he graduated from Fondazione Milano, a school that trains people so they can work in the television, film or new media industry, the jobs did not come easy. He jumped between London and Milan a lot before he finally said, “Fuck it. I had to shoot this movie. I owed it to myself.�

Not only was producing this documentary was one of him testing himself but also that to prove that he can craft a full-length feature film documentary on a limited budget.

This movie was shot in three weeks and the crew was small. The people involved in pulling this project together pulled double duty. Mosca was not only the director but also the cinematographer. I got a chance to talk to Mosca, to ask him what drew him into crafting this product and get answers in areas this documentary did not necessarily directly address.

Where are your tastes in music? Are you a metal head yourself?

I don't consider myself a Metal head, I just enjoy music without caring about genres and labels. In my playlists you'll find bands like Jeff Buckley, Carcass, Red Fang, The Roots and Myrkur.

How involved was Frank Marshall, the photographer whose work inspired you, in the making of your film?

I met him for the first time in Pretoria where we arranged to shoot his bits for the documentary. We had several chats before starting the production, he was very keen in helping us and gave me a ton of useful info and tips on the scene in Botswana.

He introduced me also to Edward Banchs, a young writer from Pittsburgh who's travelling around Africa to write a book called "Heavy Metal Africa." He had already visited Botswana and gave me a ton of information and support.

How many heavy metal bands are there in Botswana?

It's hard to tell. There's a nucleus of 4-5 historical bands that influenced all the others. [That’s because] towns in Botswana are scattered on an area as big as Texas with just two million inhabitants in the whole country.

Most of the bands are located in the Gaborone area (capital), Francistown (second largest city) and Maun (a northern town in the Okavango delta), all of them very far from each other.

How did you come to the decision of focusing the story on Wurst?

Because of their story and their sound. You have this band coming from literally the middle of nowhere that in a few years manages to get shows as an opening act for Sepultura, Carcass and Entombed in South Africa.

I've been told they were also pretty close to opening for Megadeath in Poland one time – it's a pity they didn't manage to get the funds [presumedly, needed to travel there - Ed.] When they talked about how some of their culture's folklore is lyrically ingrained in the music, do you think that's a common feature to most of the music of this land?

Unfortunately not in the metal scene, just two or three bands – Metal Orizon, Skinflint and Wrust (up to a certain extent) – explore these themes. But there are a lot of traditional bands or dance groups that do. Tswana people are really proud of their culture.

How rich is their mythos?

The indigenous people of Botswana are the San, otherwise known as Bushmen. Their culture is ancient, deeply connected with the environment they live in and extremely rich: from their peculiar hunting techniques to the use of trance state for religious purposes and their amazing cave art.

Unfortunately they have been pushed outside their ancestral lands, and their heritage and role in today's society is not acknowledged by Botswana's government.

To know more about it please check this link from Survival International: http://www.survivalinternational.org/tribes/bushmen In the music you heard, what are the common themes you heard?

There are no common themes, every band has it's own.

Do you think Wurst has the chance to become an opening act for Metallica or Iron Maiden (as an example) in the next few years?

Who knows? But is it really useful to become an opening act for such big names? I wonder how does it feels to be on stage knowing that 10,000 people can't wait for you to get the hell out...

What I hope is for them and the other bands from Botswana to establish themselves as a reality in the international heavy metal underground, to be able to tour intensively especially in their own continent to make the African scene grow even more.

What do you think is unique to the Botswanian heavy metal sound?

They are starting to include elements from their folklore, that's what will make them unique and different from European and American bands.

The only group that is really original and unique musically is Metal Orizon, they were the first to mix traditional sounds and beats with western music. I hope more bands will follow their example.

What animal skull is used in the posters?

It's a baboon's skull, there's a story behind it but you have to watch the movie to know it. :-) What is your future plans for this documentary film? That is, would you like it to continue in film festivals?

I'm trying to create a VOD package, the movie is available on marchofthegods.com thanks to VHX and on Indieflix, plus we're still receiving requests from festivals.

I love festivals because they usually spark a debate around the film and that's the most beautiful thing.

Do you have any final words you like to say?

Thanks for your interest in March of the Gods - Botswana Metalheads. I created a coupon code for the readers of Absolute Underground to get the movie for $2 instead of $6.

You can head to marchofthegods.com and enter the code "Absolute Underground" when requested in the buy section.

RIFF 2014: Johnny Winter: Down & Dirty Sean Kelly http://www.skonmovies.com/2014/10/riff-2014-johnny-winter.html

The opening film of the 2014 Reel Indie Film Festival tells the story of legendary blues guitarist Johnny Winter.

Performing since he was fifteen years old, Winter catapulted to fame after being featured on the cover of Rolling Stone in December of 1968, where he became known as the “whitest blues guitarist in history” (in reference to his albinism). Despite his fame, Winter suffered from a substance abuse problem, which nearly ended his life and career. Having conquered his demons, Johnny Winter experiences a late-career revival.

With Johnny Winter having passed away this past summer, there is a certain morose timing about the release of this documentary. The film follows Winter on tour, as he begins to become relevant again, following his longtime battles with heroin and methadone addiction. While perhaps not having the same energy he had during his heyday, Winter is still an excellent guitar player and in a better state of mind that he has been in years.

While much of Johnny Winter: Down & Dirty focuses on the elder Winter, there is still enough archive footage in the film to show why he is considered to be one of the greatest guitar players of all time. One element of the documentary, which sort of comes off the wrong way, is a scene that has people laughing at a heavily intoxicated Winter.

With there being so much focus in the film on his recovery from drug addition, showing Johnny Winter as a rambling drunk seemed a bit insensitive. On a more positive note, there’s another drinking scene involving a great karaoke rendition of Ray Charles’ "Georgia on My Mind.” While probably not the definitive documentary about Johnny Winter, Johnny Winter: Down & Dirty is still a decent enough introduction to the legendary blues guitarist.

7 | FAIR Screenings: Tuesday, October 14, 7:00 PM – Royal Cinema

RIFF Docs Interview: March of the Gods: Botswana Metalheads Director Raffaele Mosca Chaka V. http://www.thewinehousemag.com/riff-docs-interview-march-gods-botswana-metalheads-directorraffaele-mosca/

“I think one misconception is that most people in the West think that Africa is a skin colour, but the truth is, Africa is a continent.” Skinflint March of the Gods-Botswana Metalheads provides a fantastic glimpse into a music subculture few know anything about.

While metal is associated with white bands and fans, in Botswana, heavy metal has developed into a small but strong group of African metalheads and metal bands determined to achieve worldwide success and recognition.

In 2008, photographer Frank Marshall followed a South African metal band to their show in Botswana’s capital, Gaborone. There he met hard-core metal musicians and fans, and a year later he returned to chronicle this “tight-knit subculture.” When his exhibit, Visions of Renegades, debuted, photographs of Botswana metalheads were met with scepticism. But Botswana metalheads were the real deal and unapologetic about their identities. Now, with the documentary, March of the Gods: Botswana Metalheads, Botswana’s strong metal scene finally gets to share their own story, and it’s a great one.

Freedom, brotherhood and living life on one’s own terms is the running desire among those that have found themselves in love with heavy metal.

Leather clad, brash, and even considered scary and threatening by their conservative communities–many discuss their frustrations around being misunderstood—they are emboldened by their shared passion.

Beyond the initial novelty factor of African metalheads, director Raffaele Mosca takes us into these middle-class metal musicians everyday lives—mechanics, teachers, devoted fathers, yet all raging rockers by night. It’s refreshing to see black men and women, and their communities, presented in a non-stereotypical way. Beautiful Botswana is a part of Africa we, in the West, rarely get to see or learn about–unless you bypass mainstream media via documentary film festivals like RIFF.

March of the Gods fluidly showcases a wide variety of bands, revealing the expansive diversity within the scene. It’s also inspiring to see white metalheads crashing around to African metal music—music does unite!

Here, I speak to director Raffaele Mosca about the fascinating world of Botswana metalheads. (Chaka V.) “I was never surprised by the fact that there’s black people in Africa who listen to metal, I was surprised and fascinated by how they transformed this subculture into something of their own.”

TWM: What made you decide to do this documentary on Botswana metalheads?

RM: I was researching themes for a documentary and I stumbled upon Frank Marshall’s pictures on Vice magazine. I just thought it would make for a nice movie.

TWM: Are you in the metal scene?

RM: I listen to metal, among other genres.

TWM: Why is the film called March of the Gods?

RM: The movie takes its name from the tour for the launch ofWrust’s latest record, also from the fact that Botswana metalheads are famous for marching and parading in the streets of Gaborone.

TWM: How receptive were the bands and musicians in the making of this documentary? And how has the documentary been received?

RM: Everyone in Botswana was really helpful and enthusiastic, they believed in this project as much as we did. The bands and the metalheads loved the final product. I think everyone is surprised to be getting so much attention.

TWM: There was, and still is, this disbelief at the idea of African metalheads. (The same disbelief still happens towards white and Asian artists in the hip hop scene).

Why do you think we are still so amazed by the fact that music transcends skin colour and borders? Is it mainstream media/radio that sells that idea or is it that we are not globally exposed to all that’s out there?

RM: I think both. Hip hop, rock, and metal, are sold to target groups. There’s also an identity connected to a specific kind of music, which I think is fine but it shouldn’t be used as a tool for segregation. I was never surprised by the fact that there’s black people in Africa who listen to metal, I was surprised and fascinated by how they transformed this subculture into something of their own.

TWM: When did metal start making its way into Botswana?

RM: Nobody knows exactly, some say it was brought by western poachers who gave away tapes to locals. Some say it was radios from South Africa. But I think it was brought to Botswana by a band called Nosey Road.

TWM: Are there radio stations that play metal in Botswana?

RM: There’s a radio show every Saturday afternoon that plays rock music, not long ago it was hosted by, a local Dj who supported and fostered many of the talents of the local scene. Sadly he recently passed.

TWM: While rock music is big in other parts of Africa, metal has taken the deepest root in Botswana.

Why do you think this has happened? Why is it so particularly appealing there?

RM: That’s the million dollar question. To be honest, I still have no idea and nobody was able to explain it to me either.

TWM: It was briefly discussed, but metal does have branches within it that are heavily based on racist content and ideologies. As some of these artists grew deeper and deeper in the scene, did any of them discuss apprehensions towards the music they were growing to love?

RM: I’ve been listening to extreme metal for ages and it’s pretty unusual to find racist content, most of the bands are apolitical. That, of course, doesn’t mean that racism doesn’t exist in metal, it’s just so rare that I don’t think it affects the bands in Botswana at any level.

TWM: Community, and a sense of belonging, is a big part of what appeals to many of the musicians and fans. The term “brotherhood” was used more than once. Are the musicians there familiar with the Afropunk movement in the U.S. and UK.?

RM: Unfortunately, I don’t think they are, it never came up during the interviews. It would be amazing if someone from the Afropunk movement could reach out to them.

TWM: There was much discussion around the leather cowboy attire, and that if you dress like a cowboy, you should be making country music–that rock is not about image but the craftsmanship. And the suggestion that the ever increasingly dramatic image may be taking over, and away, from the actual growth of the music scene. Do you think that increasing attention will only continue this pattern of image over content?

RM: It’s indeed a risk, it depends on the kind of attention they are going to get in the future. If media are looking for an exotic portrait of a ‘weird’ scene then I’m afraid yes. If we focus on the music, well, that’s a whole other story, one that I prefer.

TWM: Is there a “Botswana metal sound”? What are some of the elements that sets it apart?

RM: The bands are very different from each other, it’s really hard to define a ‘Botswana metal sound.’ One of them probably has a truly original sound and that is Metal Orizon, the godfathers of rock music in Botswana. They mixed western rock music with Tswana rhythms and beats. I hope more bands will follow their example and bring the uniqueness and the beauty of their culture into Metal and rock music.

TWM: Do you have any new doc/film projects in the works?

RM: I thought I had it but I had to reconsider my plans. At the moment, I’m travelling to find new stories to tell.

RIFF Docs Interview: No Land’s Song Director Ayat Najafi Chaka V. http://www.thewinehousemag.com/riff-2014-lands-song/

"Sometimes I have a feeling that the sound of fundamentalism is more popular than the sound of average, ordinary Iranians." Ayat Najafi “Sara’s tireless optimism was always encouraging.”

Composer and soloist, Sara Najafi, is on an important mission, her goal is to see female soloists sing again, and not just sing, but sing in public, and sing for mixed audiences. But, as we discover in No Land’s Song, this mission appears impossible.

In contemporary, highly conservative Iran, the regime has taken a hardline against female musicians since the 1979 Islamic revolution. Because some religious texts suggests that the female voice has a seductive quality when it reaches certain octaves, which may then make music not simply functional but pleasurable, female singers can only sing publically when accompanying a male soloist as background vocalists, or when singing in a group of all-female singers, for an all-female audience. The female voice erasure is suffocating–even albums by legendary singers such as Googoosh, are now illegal in Tehran–and the female soloist prohibition appears insurmountable.

Music has always been an important part of expression, freedom, peace and unity—the South African protest film, Amandla! A Revolution in Four Part Harmony, is an example of its power to transform societies into more just places. Inspired by legendary Iranian singer, Qamar, who performed a famous public concert in the 1920s, the women of No Land’s Song are preparing to honour her legacy by doing an official public performance of their own, for both women and men. While they are willing to wear the hijab and meet other fundamental conditions, they refuse to allow their voices, at least musically, to be silenced any longer. Led by Sara, who also enlists the support of French female performers, we watch as they prepare for a powerful fight towards freedom.

No Land’s Song recently screened at Reel Indie Film Festival (RiFF). I spoke to the director, Ayat Najafi, about his sister and why he felt this film needed to be made.

(Chaka V.)

“The female voice has been forgotten. We want to revive the female voice.” Sara Najafi

TWM: How did you become aware of Sara Najafi and her revolutionary story?

AN: Sara is my sister. We started this project together.

TWM: Why was it important for you both to make this documentary?

AN: Lack of female voice in the official Iranian music scene is, of course, the most important one. Then, we are talking about a country, which is isolated from inside and outside. I wanted to counter the current Tehran with her past.

TWM: Was there not a danger to making the documentary? When you were filming on the streets and in restaurants were you ever reported?

AN: There was no real danger. I know the rules of filmmaking in Iran very well. So, we had the right strategy during the shooting. Luckily nothing went wrong.

TWM: It took you three years to follow this story and complete the documentary, did you ever feel that the show would never happen? What gave you the courage to continue?

AN: Quite often! But the importance of the project was my main motivation.

Besides, Sara’s tireless optimism was always encouraging. As well, the engagement by the musicians from both sides of the border didn’t leave any room to give up.

TWM: For those who haven’t yet seen the film, and may not understand how important Sara’s mission was, and is, can you explain what the regimes beliefs are about female soloist? And why the female singer is viewed as such a threat?

AN: Women are not allowed to sing solo and in front of a mixed audience. Singing as a background vocalist, or in a group of women, or in an underground concert are the possibilities for a female singer in Iran.

We have to ask the Iranian authorities why they are afraid of female singers. The regime has an ideological structure, which is based on a fundamental interpretation of religion.

So, anything that shakes this framework is considered a threat.

TWM: There is that great shop keeper who said, “We were wild flowers. Now the flowers are formed.” He admired Parvin Namazi’s voice. I was surprised by how many men seemed comfortable speaking on camera and showing support to the women. Were you surprised as well?

AN: I wasn’t. The Iranian society is very diverse and complicated–like any other society. Yet, the power is not shared democratically, so many voices are being easily ignored. Also, the world outside Iran is not really willing to hear this alternative voices. Sometimes I have a feeling that the sound of fundamentalism is more popular than the sound of average, ordinary Iranians.

TWM: There was a powerful moment where Parvin shares that she used to wake up at night just so she could sing. Female artists are being suffocated? How do they deal with this or subvert it? And what do you think happens to the spirit of an artist who is so deeply oppressed?

AN: Here, Parvin talks about her childhood. But of course, there is a level of suffocation.

This movie is an example of how they deal with this. Never give up! And keep fighting.

There are obviously other examples as well, namely; many [artists] left Iran, many went underground and many gave up. But for me, the story starts when people are getting ready to fight.

TWM: I must be frank regarding one issue I had with the documentary. While I admire the coming together of the Persian and Parisian artists, I sensed a subtle yet persistent condescension from some of the French performers. A subconscious–on the French performer’s part–glib, slightly gloating attitude that they enjoy privileges that Iranian female soloists do not–this is just my feeling about some of the interactions. But later, this disconnect is sort of discussed by some of the Iranian artists. Can you share with me, why did Sara feel it was advantageous to include French artists in this show?

AN: There are two main goals here; first the importance of cultural dialogue, to open the door and exchange. The second one is the matter of strategy, Sara knew that the participation of the foreign artists could reduce the possibilities of the last minute cancellation of the concert.

TWM: Emel Mathlouthi is someone who actively (and fearlessly) harnesses social media to spread awareness about female artist’s plight. How has YouTube and social media helped join artists together in Iran and beyond?

AN: After the concert I was totally surprised that so many of the audience already knew Emel Mathlouthi, and they were surprised that she was in Tehran. YouTube made it possible for us to

discover Emel, and a great producer made it possible for us to connect with her and start working together. I don’t like to overestimate the role of social media. Of course social media helped us to discover and find each other, but at the end of the day, they, obviously, needed to sit together and rehearse to create their songs.

TWM: It was wonderful learning about the revolutionary Qamar ol-Molouk Vaziri. Are there any biographies or documentaries about her life?

AN: Qamar has a strong presence in the collective consciousness and awareness amongst Iranian artists, and not only musicians. There is a short documentary about her made in Iran around 10 years ago, by a young female filmmaker–another evidence to show the importance of Qamar now, and for the new generation of Iranian artists who grew up in post-revolutionary Iran.

TWM: Has the film screened in Iran?

AN: No. And I don’t think there will be any chance of that happening, at least in the near future.

TWM: What do you hope viewers get from this documentary?

AN: I love the story of the fighters. People who don’t give up. This film is a good example of that, I believe. Moreover, the love of music can be a fight against the darkness.

TWM: What are you working on next?

AN: I am adapting an old novel to a screenplay, which I will shoot next year. Again related to women’s rights, but a very different topic and era.

RIFF 2014: Will Play for Beer Chaka V. http://www.thewinehousemag.com/riff-2014-will-play-beer/ Seattle, WA, may be a music utopia but will it ever pay the rent? A Winehouse Mag must see.

Will Play For Beer | Director: Carrine Fisher | 42 mins Will play for Beer is a documentary that looks at the vibrant independent music/arts scene in Seattle, Washington. As a Torontonian, if you regularly check out live music in the city, you will feel right at home watching this documentary. There is definitely a certain kinship between the scenes– and Seattle’schallenges feel very much like those Toronto artists face.

“Everyone in this town is a musician. Everyone in this town is in a band. Everyone came here in the ‘90s with dreams. People have broken dreams.

There’s legends in this city.” djblesOne ~ Don’t Talk to the Cops Director Carrine Fisher wonderfully and succinctly captures the interconnectedness, passionate, and mishmash world of the independent, underground, DIY, music scene in the city. From hip hop to punk, she showcases, and talks to, an eclectic array of bands– La Luz, Deep Sea Diver, Don’t Talk to the Cops, Champagne Champagne–as well as indie label owners and curators in the city. She also speaks to musicians Rachel Ratner and Keith Whiteman, the creators of the Seattle Band Map. The map tracks and illustrates the numerous collaborations and connections between local bands.

As with many parts of the world, Seattle artists are facing similar challenges–the dream, the competition, transitory venues, the fantasy of the major mainstream label, the support of the small, more focused, indie label—and the sacrifices that come with each. There’s also the reality that most are making very little money from their music. Bands are often playing for beer, free pizza or as a Don’t Talk to the Cop member humorously shares, even spaghetti.

Musicians admit that it’s a challenge to get people out to shows. On any given day there is a plethora of talented bands performing to an audience that is hungry for new music but unwilling to pay for it. This has created a hodgepodge element to the scene. Temple of Cairo is a clothing boutique, indie label, hosts curated events in the backroom, and is one of the founders behind a new Seattle festival called VIBRATIONS. Indie label, ggnzla RECORDS, offers everything from vinyl, alcohol–they’ve figured out that people rather pay for booze than art nowadays– to soda, compilations, screen printing, bingo and karaoke. Then there’s rap Master Maurice–a jack of all the oddest trades. On any given day you may find Maurice running his own psychic hotline, sending burgers in the mail, selling his fantastic paintings, or being hired for his famous vigilante rap phone calls that you can pay 17 bucks for. Don’t Stop Believin Records is quite simple in comparison, besides championing bands, one of its goals is to help usher in the tape cassette renaissance.

With its focus on the contemporary music scene, Will Play for Beer feels fresh, relevant, and important for all the indie musicians out there. Check it out! (Chaka V.)

RIFF 2014: A Life in the Death of Joe Meek Chaka V. http://www.thewinehousemag.com/riff-2014-life-death-joe-meek/ The Sound Adventurer-A Life in the Death of Joe Meek. A Winehouse Mag must see.

A Life in the Death of Joe Meek | Director (s): Howard S. Berger & Susan Stahman | 1:55 mins A Life in the Death of Joe Meek is a provocative, intriguing and incredibly frank documentary about a music visionary that many of us may never have heard of.

Sound innovator, weirdo, guarded, persecution complex, bad tempered, an obsession with the occult, Meek was a complicated man, who died tragically at the age of thirty-eight.

Considered one of the most influential producers in the British music scene prior to the rise of rock n’ roll, Meek was wildly ambitious, singularly focused and defiant towards the powerful music labels and executives of the time.

As an engineer, he built an early reputation producing popular pop records. His innovation caught fire in a scene that had been churning out “limp” and “dull” British pop music. He quickly garnered a reputation for being a rule breaker, altering EQ’s during his sessions, breaking recording technology rules and protocols despite warnings from execs. His goal was to create unique sonic landscapes for each recording, even if it meant throwing out standard engineering techniques that had gone unchallenged. Just some of the pioneering studio techniques credited to him includes looping, echo and reverb effects, and the concept album—primary elements that form modern music and sound. Today, he is recognized as the “first of the creative sound mixers.”

His work with singer Lonnie Donegan and the skiffle sound—“folk music with a beat”—helped his star rise. The Guinness Book of British Hit Singles & Albums states that Donegan was “Britain’s most successful and influential recording artist before The Beatles.”Meek was instrumental in many of Donegan’s essential hits, and his work soon influenced producers like Phil Spector. Further, at a time when powerful record labels had in-house producers at their disposal, and control, Meek became the first independent rock n’ roll producer.

However, his private life was complicated. Meek was a gay man during a time where tolerance was non-existent, and “homosexuality” was never even discussed. Myths, innuendo, speculation and contradictions run throughout the entire documentary. Was his sexuality used to demonize him? Did he have a sexual addiction? Was he predatory towards aspiring male musicians? I find it timely that the film debuts at the RIFF Film Festival on a day when singer Kesha filed a stunning lawsuit against producer Dr. Luke over allegations of excessive control and sexual abuse. And Lady Gaga discussed having to fight off predatory men in the music industry during the early days of her career.

Another defining element in Meek’s life and death was the occult. Did his obsession with the supernatural lead to his downward spiral and death? Was his death, on the same day as his idol, Buddy Holly, merely a coincidence? Was Joe Meek good or bad? These questions are never answered. And that may be the most honest conclusion of all. A Life in the Death of Joe Meek is a must see music documentary. (Chaka V.)

This is the Reel Thing Steve Gow http://www.strictlydocs.com/reelindie/ The Reel Indie Film Festival is coming… …for a second helping of truly independent film. After a successful first year, Toronto’s indie film fest features an array of music-related docs that range from bio-pics on such rock n’ roll greats as Johnny Winter to an investigation into the obscure world of African heavy metal. th

The festival kicks off in Toronto October 14 , but we are proud to provide a sneak peek into just five of the great features making an appearance at the 2

nd

annual Reel Indie Film Festival (RiFF):

Born to Ruin – Brendan McCarney’s opening night film is a frank look at five best friends who comprise the indie band Wildlife. It follows their lives as they write and record an album. If nothing else, this film promises to “inevitably change the common perception of life in a music studio”.

Johnny Winter: Down & Dirty – Greg Olliver (who examined the notorious frontman of metal legends Motorhead in the 2010 hit film Lemmy) now points the camera at Johnny Winter and digs up interviews with such icons as Aerosmith’s Joe Perry and long-bearded Billy Gibbons of ZZ Top fame to talk about the blues legend.

No Land’s Song – Filmmaker Ayat Najafi’s look at the state of music in Iran reopens a musical bridge by “defying censorship and taboos”. Since the revolution of 1979 in Iran, women have not been allowed to sing in public as soloists but composer Sara Najafi gathers a group to collaborate on a project.

Alive Inside: A Story of Music and Memory –As dementia continues to affect millions of elderly Americans, this touching Sundance award-winner reveals a remarkable, music-based breakthrough that has already transformed lives.

March of the Gods: Botswana Metalheads – Directed by Raffaele Mosca, March of the Gods: Botswana Metalheads is a portrait of the heavy metal cowboys of Botswana. The film followsWrust – one of the predominant local bands as they get prepared for their first live show in Europe.

For more information or a full list of films, visit: www.reelindiefilmfest.com

A Winter’s Tale Comes to Toronto Steve Gow http://www.strictlydocs.com/oct14/

Get down and dirty in Toronto tonight.

The 2nd Annual Reel Indie Film Festival (RiFF) kicks off with a special opening night film – Johnny Winter: Down & Dirty. Directed by Greg Olliver (Lemmy), the film explores the life of the legendary blues guitarist from his early beginnings in Texas through his Grammywinning sessions with Muddy Waters to his final days as a road musician.

As founder of RiFF, Darryl Hurs has stated, “Down & Dirty is such a wonderful testament to him and his talent – we are proud to be able to pay tribute to him on our opening night.”

As a bonus, Paul Nelson – a close friend and Winter’s accompanying guitarist – will be on hand to introduce the movie and take questions after the opening night screening – which happens tonight in Toronto.

Launched last year as part of the 10th anniversary of Indie Week in Toronoto, RiFF is an independent film fest which emphasizes music-related content. For more details and full festival line-up, visit: http://reelindiefilmfest.com/ To watch the trailer for Johnny Winter: Down & Dirty, view below:

Brianland Johnny Winter: Down and Dirty movie review Up and Clean – How “Down & Dirty” Captured Johnny Winter’s New Spring Brian Hassett http://brianhassett.com/2014/10/johnny-winter-down-and-dirty-movie-review/

Johnny Johnny Johnny … where for art thou, Johnny?

In the long strange lineage of tragic rock n roll irony — see: Keith Moon sitting in the “Not To Be Taken Away” chair on his last album cover — Johnny Winter made his “comeback” documentary just in time to leave the building.

Johnny was messed up for decades — mostly methadone, booze & bad management — and all in his already compromised albino’s body. The hero of the story turns out to be one Paul Nelson, who joined Johnny’s band as his complementary guitarist, and finally “risked everything” by telling Johnny his manager was killing him. He knew he could be terminated on the spot, but instead turned out to be The Hundredth Monkey — the final person in a long line who told Johnny to get away from the man who was keeping him too “medicated” to think — yet another tale of a music business slimeball taking advantage of the very artist he was being paid to protect.

With his new guide’s guidance, Johnny was weaned off anti-depressants, booze, methadone, cigarettes, and pot, in that order, and came out of the darkness and into the light. Once this happened and he was lucid and presentable for the first time in

decades, Paul told the record label it might be a good time to do a documentary. As the fates would have it, shortly after this, a Texas-born, New York-based indi film & video maker named Greg Olliver heard Johnny spryly soloing on an NPR interview and approached the label about making a film on the still living legend. And as the fates would furthur have it, the guy turned out to be a true auteur with a storyteller’s vision and musician’s timing who basically ended up shooting and creating the whole optical opus himself.

This could never have been made back in the day when you needed a crew with lights and sound and production. It was shot entirely on a small Sony digi in such close backstage / bus quarters even one more person would have been too much.

This may be the most open, honest “warts n all” rock doc you’ve ever seen. The Beatles and Metallica may have faught on camera, but this is a senior citizen surrounded by “family” who long ago stopped giving a damn what anybody thought.

This has the raw confessional intimacy of the Maysles’ “Salesman” — except it’s about a famous public figure. Almost universally, entertainers (and their handlers) overly manage every image, every soundbite, every split second of exposure. Johnny, being from another century and another planet — Bluesmania — just doesn’t give a shit about bullshit. All he ever cared about was the sound his fingers could make, and the stories his smoker’s cords could sing. Once filmmaker Olliver passed the entrance exam, he essentially became part of the band, and was there when Johnny woke up, went to bed, and everything in between.

And the bonus is — he’s a helluva filmmaker.

You’ll love when the movie opens and closes with “Highway 61,” fast-cut to the lightning beat of Johnny’s playing. Then there’s the long-exposure time-lapse road shots that bring the poetry of the highway to life worthy of Kerouac. And there’s a beautiful sequence where Johnny has (what turns out to be) the last drinks of his life on his 70th birthday in New Orleans that is the most realistic cinematic portrayal of a drunken revelry ever captured on screen — the distortion, the pacing, the volume, the confusion, the surreality, the dreaminess, the mayhem, the unhinged laughter . . . all echoing that classic Rick Danko–Janis–Jerry scene in Festival Express — with Johnny in the role of Rick. We can love their playing, but it’s also a joy to see them playing with their friends.

As Paul confided after the opening night RIFF screening in Toronto, he saw to it that the four tall Stoli-on-the-rocks Johnny ordered only had about a half ounce of booze each.

But with his frail tiny body off the sauces, combined with Paul’s placebo psych-out, Johnny got himself quite smashed — or thought he did — and had one helluva final birthday.

This is what it’s like to be in the krewe of a blues / rock legend on the upswing.

There’s the autograph-hound scene — comedically edited, creating a funny Buster Keaton routine of the put-upon nice guy being trampled by the outside world.

We see the tricks brother Paul came up with to get his boss to eat food and drink water, the physiotherapy to build back his muscles, and the little boy’s joy shining through an old man’s body.

We see historic footage of Howlin’ Wolf, Muddy Waters, Son House, Willie Dixon, Lightnin’ Hopkins, Freddie King and all the rest who created the music Johnny built upon.

We hear contemporary masters like Warren Haynes, Derek Trucks, Billy Gibbons, Joe Perry and others explain how Johnny inspired their approach.

We meet Edgar Winter, Johnny’s beloved younger brother, who had been kept apart from his hero elder sibling by the evil former manager, and we see them hugging again, and their vastly different lifestyles of the limo-riding rock star with hit singles that’ve been licensed up the wazoo in ads and movies and who didn’t spend his money on dope, versus the dyed-in-the-Blues junkie. As Paul summed it up after the screening — “That’s the difference between success in rock n roll and the blues.”

We see Johnny playing records at home, recording in the studio, on the road, playing gigs, and classic TV appearances over the decades. We see the arc of his musical life from his first guitar teacher, to playing the closing night of Woodstock with The Band as his opening act; From B.B. King letting this 17 year old kid sit in for a song, to Johnny producing Muddy’s late career comeback album; From his early Johnny “Cool Daddy” Winter persona as a young regional hit-maker in Texas, to getting the biggest record company advance in history at that point.

We hear him tell stories about the first Rolling Stone article mentioning him that changed the trajectory of his life, and his recent Christmas when he was given the gift of being methadone free.

We see him playing with B.B. King and Muddy Waters, and singing a passionate, monumental “Georgia On My Mind” via Ray Charles at a karaoke bar in Japan.

We hear the stories about getting beat up as a kid and the prejudice in the South — “It’s just nuts. Just cuz you’re a different color, they don’t like you. They don’t like black people because they’re black, and they didn’t like me cuz I was too white. It’s just stupid.”

We hear a deejay explaining how seven years ago when Johnny came in for an interview he was so out of it he gave one word answers and didn’t seem to even

understand the questions. It was so embarrassing, they couldn’t air it. As St. Paul first began his Mission, Johnny came back and was answering in complete sentences. And now we see him at the same radio station telling long colorful tales in full paragraphs.

This was supposed to be an upbeat story of redemption, the old “overcoming obstacles comeback” routine, until one night in Switzerland in July Johnny ran out of breath in his sleep, and this suddenly became an invaluable eulogy, a priceless profile that couldn’t be made now, any way any how. And yes, Johnny was still alive and well when he attended the film’s world premiere at SXSW in his home state of Texas.

In the last scene in Johnny’s movie — both this one and writ large — he said, “Most of the stories about musicians with drug problems don’t end well. But mine has,” as he laughed in his transcendent ageless twinkling send-off sparkle.

Giant hearts all around.

Some Bonus Extra Weird / Cool Things learned from “Down and Dirty“: — “What made you first pick up a guitar?” Johnny: “Chuck Berry.” !! (and the movie has a scorching version of him doing “Johnny B. Goode” circa 1983) — He’s still playing the same Gibson Firebird guitar he bought in 1970 for $225. (!) And like a happily long married spouse, he still calls her, “The coolest lookin’ guitar I’ve ever seen.”

— Edgar Winter played with Johnny at Woodstock. In fact Edgar says, “Woodstock changed my life.” And Johnny called it, “Still one of the coolest things I’ve ever done.”

Although the film is still being screened at festivals around the world, it was shot more for the small screen than the big, so I’m sure it’ll be on some movie network / Netflix / DVD store near you soon.

Interview with Darryl Hurs and Cabot McNenly (The Pump) Barbara Goslawski https://soundcloud.com/barbara_frameline/frameline-oct-9-2014-edited

Round up: This week in Toronto http://onthefourthfloor.com/2014/10/round-week-toronto-11.html

Tuesday, Oct. 14 –Sunday, Oct. 19: Reel Indie Film Festival

The Reel Indie Film Fest is back for a second year, marrying the best of film and music (because why not both?). The extension of Indie Week features independent feature films and shorts with a focus on music, including biopics on the greats, “rockumentaries,” and a slew of new music videos. Highlights include Alive Inside: A Story of Music and Memory, a story about how music therapy is helping elderly patients suffering from dementia; and No Land’s Song, a look at how female composers and singers are breaking cultural taboos and censorship in Iran. More on the festival’s full lineup here.

Indie Can Radio October 14th to 19th Joe Chisholm http://www.indiecan.com/ It was the best IndieWeek Toronto ever. Stone Iris from Alberta win #1 prize and will be representing us at Indie Week Europe in Manchester UK. The Hot Sprockets from Dublin came 2nd and Brooklyn's 5J Barrow was 3rd over all. See all the 10 finalists performing in the 200 picture gallery and visit Indie Can Twitter to re-tweet your favs and share your pics, thoughts, experience at IndieCan Facebook.

On Episode 392 IndieCan Radio has a whole lotta’ just what a seeking mind craves - the best music you've never heard. This waiting for Rendezvous with Madness film festival to start is putting a dent in the ol’ mental health reserves. Distraction is in order, so for the next hour we comfort your wanton mind with Say Yes, Eugene Rippers, the P!nk and Green of You + Me, JJ and the Pillars, our Interview with Sky Sweetnam at Toronto Independent Music Awards and of course some Sumo Cyco to go with it. We talk TIMAs with Silvergun and Spleen, Jojo

Worthington, we have Dom De Luca, High Ends, James Black, Dan Mangan Blacksmith, Denise Foglein, and Rock out with the Lazys. Oh, and we Pop Montreal with L.A. Foster. Say, isn’t that more culture per hour than legally permitted? We’re so bad.

Johnny Winter Down & Dirty, the documentary kicked of IndieWeek & RiFF (Reel indie Film Festival) October 14th (RiFF) Johnny Winter (February 23, 1944 - July 16, 2014) always thought he could make a living playing guitar. While brother Edgar thought maybe he'd be a scientist or teacher if the music business said "no," Johnny said, "I had no plan B; I had to make it work." Johnny Winter's first love was the blues and he was emulating Muddy Waters and BB King. The albino brothers, Johnny and Edgar got their start in Beaumont Texas, singing Everly Brother songs for locals.

Johnny died on tour in Europe, still doing Plan A. There were some close calls, especially due to heroin addiction. "All the 'Js' were dying, Jim Morrison, Janis Joplin, Jimi Hendrix, I wondered if Johnny was next."

This story of a rocker/blues-man going south took a turn for the better as Paul Nelson took over managing Johnny, got him off methadone and played along side Johnny as he got his life and career back on track. Just after his 70th birthday Johnny did die but we can all be greatful that this documentary was made to share this great legacy. Joe Perry, Bill Gibson, Edgar Winter and Johnny himself, help tell the tale of a Classic Rock Top 20 who was a blues man at heart. You have idols, I do; so did Johnny. He'll talk about his and those whom he touched will talk about him. I don't care what your genre is, if you're serious about music with a dream of making songs and performance your day job, this is a must-see documentary.

Catch all the Indie Week and RiFF (Reel indie Film Fest) Coverage from IndieCan Twitter and Facebook several times a day. Last night kicked of with movies like A Life in the Death of Joe Meek ( a film that shows how far back DIY and special effects in music go. We learned a thing or two). Performers included Sarah Burton, UBI & FU, Winter's End, Dusty Tucker, Mojo Go Go, Sumo Cyco (pictured @ right), The Stogies, Running Red Lights and more.

indieWEEK VIP Party @ The Rivoli (October 7) http://bkonthescene.com/2014/10/08/indieweek-vip-party-the-rivoli-october-7/ The heavy rain didn’t dampen the launch of this year’s 2014 indie WEEK Preview VIP Party.

Held at the legendary Rivoli on Queen Street, this year’s event served to preview indieWEEK , Indie 101 and RIFF (Reel Indie Film Fest) running October 15 – 19.

An obvious labor of love, Founder/Director Darryl Hurs opened the night with a brief history of indieWEEK, as well as detailing the prestigious line up of speakers for the Indie 101 conference (Oct 16-18 at the Bond Place Hotel) and showcasing a quick clip of RIFF opening night film (of recently departed blues great) Johnny Winter: Down & Dirty.

As per indieWEEK’s purpose “It’s about networking, learning, and sharing ideas.

It’s about getting a leg up in the near impossible landscape of the music business.” Hurs’ sincerity and idealism has me convinced that this years indieWEEK will be the best yet.

Last year’s 2013 indieWEEK Toronto winner SUMO CYCO was the music entertainment for the evening.

Formed in 2011, the four piece rock band is fronted by vocalist Sever (formerly solo artist: Skye Sweetnam), Matt ‘MD’ Drake on lead guitar (Dodger), Ken ‘THOR’ Corke on bass guitar (Skye Sweetnam, Kazzer, Red Light King) and Andy ‘THE WOLF’ Joseph on drums (Jojeto).

Playing an energetic set of ferocity-fusion-driven mix of rock, metal, ska, dance hall rhythms and even (dare I say) a bit of latin in their music. SUMO CYCO showed why they were indieWEEK winners, vocalist Sever’s whirlwind of cosplay energy commanded the stage and her presence on the floor, on the Rivoli bar-counter and (even) on the loud speakers would make Paul Stanley of KISS infamy proud.

Looks like we will be hearing more from SUMO CYCO for many more years to come.

Get ready Toronto! indieWEEK, Indie 101 & RIFF will soon arrive October 15-19!

For Indie 101 info, visit here and for tickets, visit here. For RIFF info, visit here. A special thank you to GAT PR

RIFF Opening Night: JOHNNY WINTER: Down & Dirty @ The Royal Cinema (Oct. 14, 2014) http://bkonthescene.com/2014/10/15/riff-opening-night-johnny-winter-down-dirty-the-royalcinema-oct-14-2014/

“History…”

“People will rediscover Johnny Winter…”

“It’s already started…”

Words spoken by long time band mate, producer and friend Paul Nelson during the Q&A for “Johnny Winter: Down & Dirty.”

Johnny Winter passed away just 3 months ago on July 16, 2014 at the age of 70. His last performance, at the Cahors Blues Festival in France just 2 days prior.

As such, organizer Darryl Hurs of indieWEEK was faced with a conundrum with showcasing the film so soon after Winter’s passing.

I’m sure a lot deliberation went into Hurs decision, and I for one am glad (as was the audience) privileged to be able so see the documentary.

“Johnny Winter: Down & Dirty” is a feature length documentary on the life and career of blues legend Johnny Winter.

Directed by Greg Olliver (as well as directing Motorhead’s Lemmy), Oliver asked Johnny what should the film be titled?

Winter replied, “Down & Dirty.”

If you take the time to explore Winters history, you will discover a colourful man with a colourful history that participated in significant touchstones of musical history from playing with Janis Joplin, Jimi Hendrix to Woodstock.

As well as connections with some of the greats — Muddy Waters, The Allman Brothers, and Eric Clapton to name only a few.

The film chronicles the last few years of Winters’ life on the road from the stages in the Southern U.S. to overseas in France, Toyko and even Hong Kong.

We get the privilege of watching Winter reflect on his turbulent life of highs and lows; his recollection of memorable milestones in his storied career; and revelations unknown to many (even to Winter sometimes).

It is a touching, compelling and poignant documentary that one hopes will serve to keep Winter’s memory alive.

Don’t forget indieWEEK, Indie 101 & RIFF begins October 15-19!

There’s a reason Hendrix played bass behind Johnny.

Time for you to discover why…

Flick Hunter Reel Indie Film Festival Review- A Life In the Death of Joe Meek Francis McKay http://flickhunter.blogspot.ca/2014/10/reel-indie-film-festival-review-life-in.html Using a multitude of first person interviews from the key sections of his life, A Life in the Death of Joe Meek tells the story of a ground breaking producer that was well know and sought after by musicians in the U.K. but not as popular with the public and even less so on this side of the Atlantic.

The piece starts with Meeks early years in Newent told through interviews with his younger brother Eric, his sister in law and the local doctor. Meek was the middle of three boys, not into sports therefore he clashed with his father. He would rather spend hours in the family shed using what ever he found find to make sound. Meek, an animal lover did not take to hunting so when tasked by his father to shoot birds that were nesting in a family orchard he instead rigged up some speakers using a distinct frequency instead to scare them off. Due to his paternal conflict he leaned more toward his mother who having always wanted a girl and took to dressing Joe up as one in her spare time.

Having exhausted all avenues for developing his craft in his home the town Meek ventured off to London in 1954 where he took a job at the IBC but he feel out with them due to their stringent rules then moved on to a two man shop with Denis Preston before opening his own shop above a leathers store at 304 Holloway Road. It was here where Joe's creative talents flourished. The studio was up some very narrow stairs and turned out to be basically an unconverted flat. He used all of the rooms to get the sound he wanted especially different and unique echoes. He would put bands in the bathtub.

Stomp on the stairs to establish a beat and was one of the first to mic the instruments themselves. He was also a pioneer in looping using a short section of music played back and repeated which later became the basis of modern hip hop music. But he is most know for pushing the sound to the edge and over or overloading tape. Meek worked in stereo at a time when everything on the radio was mono. Some of his finished products were so distorted that when he went to get them pressed at the big labels they often refused at first.

Meek's most famous hit was Telestar by the Tornadoes a number one hit on both sides of the Atlantic in 1962. He also saw the rise of the jukebox and created songs that would sound good in that format.

But his success in the music could not be repeated in his private life. Meek was quite openly gay in a time in the U.K when homosexuality was illegal. He was arrested at 33 and his name printed in the papers which he never fully got over.

Many of the biggest musician of the day came through Meeks studio. Jimmy page was a session player along with Ritchie Blackmore and Steve Howe. Leading artist from David Bowie to Tom Jones and Rod Stewart passed through his doors. A Life in the Death of Joe Meek is a comprehensive look at an innovative but complicated individual. It may not find the mainstream as the songs are not easily recognizable toe tappers to a North American audience but the story of the central figure is deserving of a modern telling of his story. ** 1/2 Out of 4.

A Life in the Death of Joe Meek | Howard S. Berger / Susan Stahman | U.S.A. | 2014 | 122 Minutes.

Flick Hunter Reel Indie Film Fest Review - Born To Ruin Francis McKay http://flickhunter.blogspot.ca/2014/10/reel-indie-film-fest-review-born-to-ruin.html On Day 16 of recording four members of the Toronto based indie band Wildlife are seated in a room with keyboard player Tim Daugulis serving as the focus of attention. Quickly its evident that the film has started in the middle of an intervention. Dauglulis has the habit of getting blind drunk, falling down and hurting himself.

He knows it, doesn't care about himself, but does care if it effects the relationship with the band. The other three band member in the room singer, guitar player and songwriter Dean Povinsky, co-song writer and bass player Derek Bosomworth and drummer Dwayne Christie all drinkers themselves just want him to be a bit more careful. Derek adds that he himself is the only one that has drank every night since they arrived in Connecticut to record their sophomore album On the Heart at Tarquin Studios. The only band member not present is lead guitarist Graham Plant who is older than the other members and the one that has the most problem with Tim's behaviour.

The scene then shifts back in time to Toronto for the pack up and departure to the States by the band to recored their pivotal sophomore album. The plan for this album is to show that Wildlife has matured as they reflect on their first album that featured songs about partying and having a good time. They have a unique opportunity to work with renewed producer Peter Katis who has worked with the likes of The National and Tokyo Police Club. They also have scheduled a short session with Gus Van Go known of his hands on approach and sports the Stills, Hollerado and the Trews in his stable.

Director Brendan McCarney followed the band for three months to make the film. Each band member gets their moment to shine and the others give their comments on their mates. The core four have been together for 6 years while keyboardist Daugulis has been in Wildlife for three. McCarney uses a lot of hand held shots for the project. Days are spent perched on the putrid green couch in Katis' converted house studio listening to track and going over the smallest passages in a song. Guitarist Graham Plant is first on the hot seat as he tries to get a passage correct on a tune as the rest of the band looks on from the green eyesore. Next up is drummer Christie attempting to get the beat right in a two person session with bassist Bosomworth who eventually leaves Christie on his own to figure it out.

Just as the band gets used to and the film begins to saturate with the mechanics of Katis' studio its time to shift to Brooklyn. Where Gus van Go provides an outside perspective as he comments that there is not really one leader wondering aloud if a democratic approach is really the best way to run a band. Its also in Brooklyn where Daugulis realizes as the sessions are ending that he has not contributed to the album.

Dean and Derek have recorded the keyboard parts, he hasn't had any input in the songs, plus he hasn't spoke up in any of the in studio discussion. With reality hitting him squarely in the face Daugulis embarks on a one person on camera beer shotguning session that basically signals his departure from Wildlife.

Born to Ruin is an appealing look at the record recording process. It also benefits from the fact that the band used two producers allowing for a comparison of van Go and Katis' styles. It's rewarding to see the creative process up close. The nuances of each individual instruments recording technique including Derek Povinsky vocals to be pieced together later to create a finished song. For those who like a behind the scenes look at the making of an album Born to Ruin is worth a look. *** Out of 4.

Born to Ruin | Brendan McCarney | Canada / U.S.A. | 2014 | 79 Minutes.

Flick Hunter Reel Indie Film Fest Review – Alive Inside: A Story of Music and Memory Francis McKay http://flickhunter.blogspot.ca/2014/10/reel-indie-film-festival-review-alive.html

The first nursing home resident we see on screen is Henry. He is 94 years old, withdrawn and curled up in a small section his chair. Dan Cohen a retired social worker turned Music Therapy pioneer puts a set of headphones with an iPod mini attached over Henry's ears causing him to steadily come to life as the music of his personal playlist takes him back to the best events of his younger years. Starting out as a one day project. Alive Inside The Story of Music and Memory takes director Michael Rossato- Bennett around the United States following Dan Cohen as he attempts to bring music to patients with Alzheimer's in retirement homes mainly through his own effort plus his attempts to get funding for the iPods and support of the retirement facilities.

Mesie is the first senior we meet as the prelude interview for the film. She can't remember anything about her past, stumbles to find words her childhood memories a distant memory. After a brief series of questions the

headphone go on playing Louis Armstrong. Mesie is transported back to her front porch as a little girl. Friends from the time come flashing back as do the early words of wisdom from her mother and vivid memories of her school friend.

Dr. Bill Thomas who attempted similar alternative therapies with children and animals in nursing homes in the past is a large contributor to the project. He is the subject of many on camera interviews pointing to the fact that Nursing Homes tend to shy away from anything new. That the model moved ion the 1930's from neighbourhood based to the hospital based that continues today. As a result seniors are not viewed as respected retirees but rather patients to be medicated on a regular basis. The cost of pills are no object but a small cost for anything off script has to be approved by too many administrative levels.

The film delves into the science behind the positive effect with the aid of leading neurologist Oliver Sacks. Humans develop a rhythm and a beat from before they are born. Many newborn's crying is in the pattern of the mothers' speech. The portion of the brain linked to music is largely untouched by Dementia therefore the strong psychological like to music and events remain intact as the rest of the brain and the person atrophies.

While the feature paints a very negative picture of the Nursing industry and its Administrative leaders a whole it is quick to point out that the front line health care works invest their time, effort and love into caring for their patients. A statistic is raised that 50% of the people in nursing homes do not have any visitors. Therefore it is the front line staff that interact with and truly care for these patients.

Alive Inside is an informative study on the relationship between music and memory in humans. One telling sequence has Bobby McFerrin playing a human piano in front of the audience Through his jumping back and forth on imaginary keys he gives the audience a few notes and they instinctively can hum out the rest of the passage in unison following his movements.

The film brings attention to a form of therapy worth investigating and is an educative piece for those with aging family members and in a position to influence their local nursing homes. *** Out of 4 Alive Inside: A Story of Music and Memory | Michael Rossato-Bennett | U.S.A. | 2014 | 78 Minutes.

Flick Hunter Reel Indie Film Fest Review – No Land’s Song Francis McKay http://flickhunter.blogspot.ca/2014/10/reel-indie-film-festival-review-no.html September 19, 2013 is the date when the first concert featuring a female solo singer in Iran took place since the 1979 Islamic Revolution. No Land's Song recounts how the concert came to the stage lead by the driven and determined Sarah Najafi. From a smiling Sarah Najafi on stage the scene jumps back two and a half years to Sarah discussing with some female friends the times before the revolution focusing on classic Iranian female soloist from the two glory ages of the 1920's and 1960's. Next she heads to the Ministry of Culture and the Department of Music for her first encounter with the State in the film.

Director Ayat Najafi (Sarah's brother) presents this first and all encounters with the State in a very effective manner. They are all audio only featuring a completely black screen with the subtitles popping up as the dialogue fills the theatre. This format forces the viewer to focus on the dialogue gaining an insight to the slow prodding and often reversing pace of the State.

Sarah decides that the best way to pursue her goal is to make the concert a two country effort. Her reasoning that the State would be more apt to shut down an Iranian only event but not want to risk international attention in stopping or angering foreign performers. To do so she enlist Elise Caron and several of her Paris based musician colleagues.

The production boldly points out the artistic history of Iran. Showing the Tehran Theatre with flashbacks to its glory in contrast to its modern use as a big vast open storage facility for large spools of electric wiring. The other historic building featured is the Grand Hotel where 1920's singing icon Qqmar gave her first concert. The building, now a shadow of its former elegance littered with broken windowpanes and overgrown foliage brings a sadness over Sarah as she tours the courtyard. Another educational look into the past occurs when Sarah visits a tea house in the centre of town. Sarah discusses with the seasoned men in the building life in the sixties in the area. They remember fondly the music clubs formally on the block, women singing freely, drinks to be had by all and late nights out reveling.

Perhaps the most telling and frustrating exchanges in the film are between Sarah and a local religious leader. Sarah appears respectfully with her hijab properly in place, speaks rationally as to why she wants to put on the concert looking for support. The response she gets includes various phrases to do with women being tender and men getting too excited in their presence and if this concert goes on men will go out of control leading to dire consequences. The reaction is not that surprising as local musician lair comments that this is a society that discourages women from speaking to strange men.

No Land's Song is an engaging look at a compelling subject. The film manages to keep and build suspense on Sarah success even though the opening scene shows that her project made it to the stage.

It's a good study on how to get a difficult goal accomplished completing it may lead working both inside and outside the system. It is a film I can definitely recommend. *** 1/2 Out of 4. No Man's Land | Ayat Najafi| Germany/France/Iran | 2014 | 93 Minutes.

Weekly Toronto Flick Picks: Talkin’ Buffer Fest, Reel Indie at The Royal, and more Paul Hantiuk http://www.postcity.com/Eat-Shop-Do/Do/October-2014/Weekly-Toronto-Flick-Picks-TalkinBuffer-Fest-Reel-Indie-at-The-Royal-and-more/

Reel Indie

Riff—aka Reel Indie Film Festival—is taking up a residency at The Royal from the 14th to the 19th this week as part of Toronto’s Indie Week. The premise of the festival is to give the viewer the experience of chasing after the dream of pop idol-dom through the combination of music and video. So, each night this week there’s an opening music video followed by a short film and then the feature documentary. Of course, there’s also an accompanying after-party at The Mod Club on College Street. The big opening night shindig is at The Crawford Bar and comes after the opening screening of a documentary about Johnny Winter tonight.

You can get individual screening tickets as well as all-encompassing Indie Week passes here.

Weekly Toronto Flick Picks: Toronto After Dark opens, RiFF winners announced, a look ahead at things to come and more Paul Hantiuk http://www.postcity.com/Eat-Shop-Do/Do/October-2014/Weekly-Toronto-Flick-Picks-TorontoAfter-Dark-Opening-Night-whats-to-come-RiFF-winners-and-more/

And the winners are…

We talked it up last week in this column, but here are a list of the winners for last week’s Reel Indie Film Festival that had its second run-through as part of Indie Week here in Toronto. As mentioned, the format was to engage audiences with music through visual representations in the cinema. You get a music video, a short, and then a feature doc.

As such, there were prizes awarded for each of those categories. The jury consisted of 30 members, 10 for each category and there were eight films in competition in each of said categories.

Best Music Video When the Time is Right (Such Small Creatures) Directed by Travis Laidlaw (Canada) Appears the band has not released the video yet so that it could be embedded here.

Looks like the video is set to one of the tracks from their 2013 EP Falls. Check them out here.

Best Short Film What Cheer?

Directed by Michael Slavens (USA) What Cheer? is a film that tries to visualize the isolation and numbness people go through while grieving. Richard Kind (he of Spin City and he who apparently had George Clooney as his best man—go figure) plays a man whose wife has recently passed away and all of a sudden a 20-piece brass band appears to follow him around, drowning out the world around him.

Best Feature Film Alive Inside: A Story of Music and Memory Directed by Michael Rossato-Bennett (USA) I have heard mixed things about this documentary, but the premise is quite interesting. It covers the work of an activist group called Music & Memory, at odds with the problematic American health care system, trying to use the power of music to help aid in the preservation of memory and the warding off of diseases such as Alzheimer’s.

The Reel Indie Film Festival Brings A Wide Selection of Docs, Shorts and Music Videos C.J. Prince http://waytooindie.com/news/the-reel-indie-film-festival-brings-a-wide-selection-of-docs-shortsand-music-videos/ Only in its second year, the Reel Indie Film Festival (or RIFF for short) is kicking things off with a nice selection of music videos, shorts and features for audiences in Toronto. RIFF is a recent offshoot of Indie Week, an independent music festival showcasing hundreds of acts over five days. The film festival naturally focuses on films dealing with, or about, music from around the world.

Simply put, lovers of music and film will have plenty to enjoy at RIFF. With 9 documentary features playing, the festival kicks things off with their opening night film Johnny Winter: Down & Dirty. The documentary premiered earlier this year, only months before Winter’s death in July. Director Greg Olliver follows Winter around his hometown of Beaumont, Texas, as well as on tour around the world. Interviews with Winter, his family, friends and admirers (including Aerosmith’s Joe Perry), Johnny Winter: Down & Dirty provides an entertaining and informative portrait of the legendary blues musician’s life.

Earlier this year we caught Alive Inside, the sleeper hit documentary wowing audiences and reducing them to tears. We were fans of the film, calling it “an emotional triumph”, so be sure to check out this huge crowd pleaser at the festival.

What might be considered the most cinematic film in the line-up, and also a must-see considering its lack of a release date, is The Possibilities are Endless. Edward Lovelace and James Hall’s gorgeous and unconventional doc looks at Edwyn Collins, most famously known for his hit song “A Girl Like You.” Collins suffered two major strokes in 2005, and the film tries to represent Collins’ experience, from losing his ability to speak or move to slowly regaining his strength to perform again. The film starts out jumping all over the place, representing Collins’ state of mind after suffering his first stroke, before slowly turning into a more familiar documentary format as Collins, through narration, describes his recovery. It’s bold filmmaking, and with the help of amazing cinematography and music (the score was composed by Collins himself), The Possibilities are Endless demands to be seen in theatres.

Depending on your interests musically, RIFF has plenty of other films to offer as well. Like heavy metal? Go see March of the Gods: Botswana Metalheads, a documentary following the band Wrust as well as the heavy metal scene in Botswana. It’s the kind of documentary that helps illuminate a little-known, fascinating story. And if you can’t make it to the screening but still want to see it, you can purchase the film.

Other films playing include: Folk, following three musicians as they try to succeed in a genre that’s seen a bit of a resurgence over the recent years; No Land’s Song, the audience award winner for Best Documentary at the Montreal World Film Festival; and the North American premiere of A Curious Life, a look at the band The Levellers and their surprisingly large following.

There are plenty more films, shorts and music videos playing at RIFF over the coming week, so head on down to Toronto’s Royal Cinema if you can and enjoy what’s playing. If you want to see the full line-up, as well as buy tickets, go to http://www.reelindiefilmfest.com/.

Indie Week Presents: 2nd Annual Reel Indie Film Festival (RIFF) http://umusicians.com/post/98924048416/indie-week-presents-2nd-annual-reel-indie-film

Indie Week is an independent music festival founded in Toronto which is celebrating it’s eleventh anniversary this year. The festival has announced the film portion, the 2nd annual Reel Indie Film Festival (RIFF) which will take place from October 14 - 19, 2014 at The Royal – 608 College St. Single day tickets are $10 and RiFF wristband (entry to all screenings) - $40, purchase tickets here.

“All our features this year are powerful and insightful documentaries, that also showcases some diverse shorts and a bunch of wicked music videos,” says RiFF founder Darryl Hurs. “If year two is any indication of the kinds of films we’re showcasing, then this will no doubt grow to be one of the country’s biggest music film festivals.”

The festival’s line up includes Born to Ruin – Directed by Brendan McCarney, a documentary on AltRock band Wildlife as they recorded their sophomore album. Get more information on the festival here and check out the film line up below!

FEATURES Born to Ruin – Directed by Brendan McCarney (Canada) (doc) – Opening Night Film - The film is a candid and sincere look at 5 best friends who comprise the Toronto indie band Wildlife. It follows their lives as they write and record an album. Nothing is censored. Nothing off-limits. Born To Ruin will inevitably change the common perception of life in a music studio.

Alive Inside: A Story of Music and Memory - Directed by Michael Rossato-Bennett (USA) (doc) (Audience Award at Sundance) - As dementia continues to affect millions of elderly Americans, the touching Alive Inside: A Story of Music and Memory reveals a remarkable, music-based breakthrough that has already transformed lives.

A Curious Life - Directed by Dunstan Bruce (UK) (doc) (North American Premiere) – This rockumentary features The Levellers, a phenomenon anarcho-punk-folk band, as told by their eccentric bassist Jeremy Cunningham.

Folk - Directed by Sara Terry (USA) (doc) (Canadian Premiere)- Three singer-songwriters navigate the thriving subculture of American folk music, each struggling to be heard in the 21st century version of a genre that once dominated mainstream culture.

Johnny Winter: Down & Dirty - Directed by Greg Olliver (USA) (doc) (Canadian Premiere) Featuring interviews with Joe Perry (Aerosmith), Billy Gibbons (ZZ Top), and Tommy Shannon (Stevie Ray Vaughan), amongst others, Johnny Winter: Down & Dirtycharts the life and career of blues legend Johnny Winter, from his early beginnings in Texas to his later life on the road.

A Life in the Death of Joe Meek - Directed by Howard S. Berger & Susan Stahman (UK) (doc) - This feature documentary chronicles the rise, fall and resurrection of Joe Meek. Nearly 50 years after his tragic and mysterious death, Joe Meek has been reborn as an inspirational icon for anyone in search of the Independent Spirit.

March of the Gods: Botswana Metalheads - Directed by Raffaele Mosca (Italy/Greece/UK) (doc) (Canadian Premiere) - March of the Gods: Botswana Metalheads is a portrait of the heavy metal cowboys of Botswana. The film follows Wrust one of the predominant local bands, gearing up for their first live show in Europe.

No Land’s Song - Directed by Ayat Najafi (Germany/France) (Toronto Premiere) (doc) - Since the revolution of 1979 in Iran, women are not allowed to sing in public as soloists. Composer Sara Najafi gathers Iranian and Parisian singers to collaborate on a project, re-opening a musical bridge between France and Iran and defying censorship and taboos.

The Possibilities are Endless - Directed by Edward Lovelace & James Hall (UK) (doc) - Placed inside celebrated lyricist, Edwyn Collins mind, we embark on a remarkable journey from the brink of death back to language, music, life and love.

SHORTS Song from a Blackbird - Directed by Enrique Pedraza (USA/Colombia) The Pump - Directed by Cabot McNenly (Canada) ROR - Directed by Natalie Cunningham (Australia) One More Song… An Evening of Rage – Directed by Shawn Beckwith (Canada) Rat Pack Rat - Directed by Todd Rohal (USA) Petty Troubles - Directed by Isaac Pingree (USA) Will Play for Beer - Directed by Carrine Fisher (USA) What Cheer? - Directed by Michael Slavens (USA) MUSIC VIDEOS I love you…But (Grayce) - Directed by Thomas Zoeschg (USA) Monobrow (Dolman) - Directed by Jaime Pardo (UK) The Heat and the Cold War (Glossy Jesus) - Directed by Julie Perion (Netherlands) Everybody Knows(Iska Dhaaf) - Directed by Tristan Seniuk (USA) Bome Gnomeski (Curtis L. Wiebe) - Directed by Curtis L. Wiebe and Marlon Wiebe (Canada) Hard Part (Nathan Wiley) - Directed by Stephanie Clattenberg (Canada) When the Time is Right (Such Small Creatures) - Directed by Travis Laidlaw (Canada) Sever and Stitch (Raised On DJs) - Directed by Sean McKay (Canada) Up (Arrested Development) - Directed by Tony Reames (USA) Full details on all films and complete lineup order can be found online: http://reelindiefilmfest.com/ All RiFF screenings will take place at the historic The Royal, a landmark cinema in Toronto, at 608 College St. A short film and music video will precede each feature film.

RiFF is where music and movies live in harmony. RIFF provides moviegoers and music lovers with the best in music themed films.

Contest – Reel Indie Film Festival Terry Makedon http://tmakworld.com/2014/10/contest-reel-indie-film-festival.html October 10 2014 - We are delighted to offer two of our readers a pair of passes to the Reel Indie Film Festival starting on October 14. This contest will enable the winners and their guest access to all RiFF screenings as well as the opening party. They’re each valued at $40.

All films will be screening at the Royal cinema (608 College St.) and for the full lineup check here.

Contest ends October 14th (opening day), and your name +1 will be put on a VIP list at the Royal Cinema. To enter email contests (at) tmakworld (dot) com with the subject line RIFF. The opening night showing of the Johnny Winters documentary sounds extremely interesting for our readers as the guitar legend passed away earlier this year and the film will provide insight into a man that gave so much to the world of rock.

Good luck!

Video of the Moment Kerry Doole http://www.newcanadianmusic.ca/videos/born-to-ruin/wildlife/promo-videos-from-2014/2014-10-09

The second annual Reel Indie Film Festival (RiFF) starts in Toronto this week, running from Oct. 1419. It features a real strong lineup of music-themed documentaries, shorts and videos covering a wide range of genres and such fascinating subjects as Johnny Winter, Joe Meek and Edwyn Collins.

On the Canadian side, a highlight promises to be Born To Ruin, a portrait of up and coming Toronto rock band Wildlife. Born To Ruin follows the group as they record their 2013 sophomore album On the Heart in Bridgeport, Connecticut with legendary producer Peter Katis (The National, Interpol, Local Natives,) with additional recording in Williamsburg, Brooklyn with Gus Van Go (Hollerado, The Stills, Rah Rah). A press release describes the film as "a candid and sincere look at life in the studio: writing, jamming, boredom, drinking, laughing, fighting, and celebrating. An incredibly honest view into the lives of five best friends, as they try to write and record an album to lift them beyond the Toronto indierock scene. Nothing censored. Nothing off-limits. It will inevitably change the common perception of life in a music studio".

The film was shot by Canadian director Brendan McCarney, who has helmed similar features on The Meligrove Band & Young Rival. Born To Ruin premiered to much acclaim at NXNE Film earlier this year. For a glimpse of what to expect, check out the trailer. Wildlife also filmed an impressive video for the anthemic track "Born To Ruin", as well as an equally eye-catching (filmed in Hawaii) video for "Lightning Tent" .

It has been an eventful year for Wildlife. The band scored their first top 10 rock radio hit with their single Lightning Tent, plus a win at the 2014 SiriusXM Indie Awards for Rock Artist/Group or Duo Of The Year, (they earned nominations in two other categories too). They are now preparing to get back out on the road, touring Ontario and Quebec this winter with Dear Rouge and playing a hometown gig at The Phoenix on Dec. 4 (an Edge 102.1 Jingle Bell Rock event).

Hye’s Musings Reel Indie Film Festival 2014: My Picks Heidy Morales http://www.hyemusings.ca/2014/10/reel-indie-film-festival-2014-my-picks.html The Reel Indie Film Festival (RiFF) provides moviegoers and music lovers with the best in music themed films. RiFF is an independent film festival launched in 2013 as part of the 10th anniversary of the international music festival, Indie Week. RiFF showcases films, panels, parties, and a keynote speaker.

For those of you who have yet to attend RiFF and are looking for some films to check out, I give you my picks.

OPENING NIGHT - Tuesday, Oct. 14th, 7pm Johnny Winter: Down & Dirty Directed by Greg Olliver (USA -Canadian Premiere) Featuring interviews with Joe Perry (Aerosmith), Billy Gibbons (ZZ Top), and Tommy Shannon (Stevie Ray Vaughan), amongst others, Johnny Winter: Down & Dirty charts the life and career of blues legend Johnny Winter, from his early beginnings in Texas to his later life on the road.

Wednesday, Oct 15th, 9:30pm Alive Inside: A Story of Music and Memory Directed by Michael Rossato-Bennett (USA) As dementia continues to affect millions of elderly Americans, the touching film reveals a remarkable, music-based breakthrough that has already transformed lives.

This film will be preceded by the music video, Monobrow – performed by Dolman. As well as, by the short film Song from a Blackbird, directed by Enrique Pedraza.

Thursday, Oct 16th, 9:30pm No Land's Song Directed by Ayat Najafi (Germany/France -Toronto Premiere) Since the revolution of 1979 in Iran, women are not allowed to sing in public as soloists.

ComposerSara Najafi gathers Iranian and Parisian singers to collaborate on a project, re-opening a musical bridge between France and Iran and defying censorship and taboos.

This film will be preceded by the music video, Up – performed by Arrested Development. As well as, by the short film ROR, directed by Natalie Cunningham.

Saturday, Oct 18th, 7pm Born To Ruin

Directed by Brendan McCarney (Canada) The film is a candid and sincere look at 5 best friends who comprise the Toronto indie band Wildlife. It follows their lives as they write and record an album. Nothing is censored.

Nothing off-limits.

This film will be preceded by the music video, Hard Part – performed by Nathan Wiley. As well as, by the short film Petty Troubles, directed by Isaac Pingree.

RiFF will be screening many other films besides my picks here. Be sure to check out their website for full festival schedule and ticketing information, reelindiefilmfest.com. All film screenings will take place at The Royal Cinema.

If you are curious about the Indie 101 panels, seminars, mixers, and this year's key note speaker, visit indie101.com for full listings. Series begins on Thursday, Oct 16th, at the Bond Place Hotel.

And do not forget to check out Indie Week, from Oct 15th to 19th, at various venues in Toronto.

It will be a week full of local and international talent, as well, as films, parties, and more!

RUTV Interview with Paul Nelson https://www.youtube.com/watch?v=zIIPyYWdi0k

Wylie Writes The Reel Indie Film Fest’s So-So Trove Addison Wylie http://wyliewrites.com/the-reel-indie-film-fests-so-so-trove/

The sporadic weather and the dropping temperature suggests that watching movies at a classy venue is the best way to stay snug. Lucky for you, the Reel Indie Film Fest rolls into Toronto this week.

The festival opens Tuesday, October 14 at 7:00 pm with Greg Olliver’s Johnny Winter: Down & Dirty and wraps up on Saturday, October 18 at 9:30 pm with the intriguingly titled March of the Gods: Botswana Metalheads. There’s also a closing party the next night at 6:00 pm at Toronto’s Mod Club where awards will be given out to some fortunate films.

The festival has always been on my radar because of its connection to music and its mandate to support and bring original independent works to movie goers. RiFF offers short films, music videos, and full length features time to shine on the Royal’s silver screen, and the price is right for the audience.

The films try to soar with artistic integrity, but Brendan McCarney’s underwhelming Born to Ruin (screening on Saturday, October 18 at 7:00 pm) is a bad example. It’s a doc that shows a band’s passion for music in the most uninteresting ways possible.

I should be careful though with what I define as drab. I didn’t think the film’s leading bandWildlife were boring. The musicians show lots of talent as they lay down tracks, and they have sensible talks when they need to discuss the sound of their next album. The problem is with how McCarney has documented the band’s personalities and hard work.

If you’ve watched enough of these voyeuristic point-and-shoot documentaries, McCarney’s approach will offer nothing surprising. He basically leaves the camera on to capture candid talks, and then clumsily scrambles to lock the camera onto a new subject if the focus switches. Expect lots of in-camera focus checks and shambled repositioning.

This sort of patient filmmaking can work under properly tamed direction. Justin Friesen’s awardwinning short film Let’s Make Lemonade about Toronto’s own genre benders Lemon Bucket Orkestra jumps to mind. Friesen didn’t cut too deep, but he kept up a lively pace, and seamlessly weaved the music in with the musicians’ opinions.

I suppose if you’re interested in the detailed mechanics behind the making of an album,Born to Ruin may speak to you. But, McCarney allows his film to drive on autopilot; hoping dearly that the rolling camera gives the audience a keen behind-the-scenes peek at something cool about Wildlife’s creative process and inner workings. Wildlife could have something poignant to say, but McCarney doesn’t show initiative to find that opportunity.

To give the filmmaker some credit, he does touch upon one member’s problematic alcoholism, and how it affects everyone in Wildlife. However, the amateur film handles and displays it in a way that feels as if its trying to convince itself that there’s something resembling substance somewhere in this meandering doc.

In brighter news, RiFF is offering a screening of Alive Inside: A Story of Music and Memory. If you haven’t caught this inspiring doc about how music has the power to restore memories and lifetime synchronicity, rush out and catch it on Wednesday, October 25 at 9:30 pm. It’s an excellent film. Read my review here!

The music videos I caught fared well. The video accompanying Alive Inside’s screening is Dolman’s Monobrow, and it’s a trippy treat. It’s one of those videos that urges your eyes to glaze over and soak in all its hypnotic wonder. Jaime Pardo’s video reminded me of those animated bumpers you’d see between television shows in the mid-90′s. Sit back and enjoy!

Arrested Development’s UP (screening on Thursday, October 16 at 9:30 pm) is a good watch too. And, the song is catchy to boot. I was mostly impressed by Tony Reames’ visual aspects of his production.

The settings are not too exciting, but the sharp editing as well as the frontwards POV cinematography has us hooked.

Lastly, I caught The Pump, a satirical short from director Cabot McNenly that plays on Saturday, October 18 at 9:30 pm. It starts off funny, making fun of onehit wonders and how fast their popularity sweeps over the world. Ryan Driver is also amusing as the soft spoken founder of a dance move called “The Pump”.

That said, McNenly’s premise works best when the ideas are kept small and simple. As soon as other characters enter the picture and Driver becomes more wordy, the big joke runs itself into the ground.

Visit Reel Indie Film Fest’s official website here! Buy tickets here!

Ten music events in Toronto this week: Oct. 10 to 16 Brad Wheeler http://www.theglobeandmail.com/news/toronto/ten-music-events-in-toronto-this-week-oct-10-to16/article21057222/

Reel Indie Film Festival The opening night film of a festival devoted to music movies is Johnny Winter: Down & Dirty, a documentary on the late, great albino blues guitarist from Texas who, in addition to his own blues-rock success, resurrected the career of Muddy Waters late in the master’s life. Oct 14 to 19 (Johnny Winter: Down & Dirty, Oct. 14, 7:00 pm). $5 to $10. The Royal, 608 College St., reelindiefilmfest.com.

Things to know for Wednesday in Toronto: Weather, traffic and events Katherine DeClerq http://www.thestar.com/news/gta/2014/10/15/things_to_know_for_wednesday_in_toronto_weather_traf fic_and_events.html

Events: The Reel Indie Film Festival continues today at The Royal Cinema, featuring independent documentaries, short films and music videos. Click here for complete show listings.

Things you need to know for Thursday in Toronto: Weather, traffic and events Sidney Cohen http://www.thestar.com/news/gta/2014/10/16/things_you_need_to_know_for_thursday_in_toronto_wea ther_traffic_and_events.html

Events: Catch screenings of music-inspired films at The Royal today through the weekend as part of The Reel Indie Film Festival.

Indie Week 2014 Preview http://www.nakedunderground.com/off-the-record/indie-week-2014-preview/ Reel Indie Film Fest – all week @ The Royal Want to add some film to your Indie Week schedule? The second annual Reel Indie Film Festival (RIFF) features a slew of music-related indie films, including music videos, shorts, and documentaries for your viewing pleasure. Learn more and see the schedule on RIFF’s website.

TORONTO EVENTS: 5 things to look forward to this week (Oct. 14-17) http://www.insidetoronto.com/whatson-story/4910374-toronto-events-5-things-to-look-forward-tothis-week-oct-14-17-/ It's the second annual REEL INDIE FILM FESTIVAL. From Tuesday until Sunday, the event offers audiences, filmmakers and musicians a one of a kind place to meet, mingle and network.

Screenings will take place at the Royal Cinema (608 College St. W).

Reel Indie Film Festival (RIFF) http://www.festivalstoronto.com/?/film/04 Oct 14-19, 2014 RiFF – an extension of the international music festival Indie Week - seeks to cover the gamut of musical inspiration, from the teenage dream of following in the footsteps of the Rolling Stones, to using music as a platform for one’s thoughts and beliefs. The 6-days of screenings, industry panels and parties, celebrate the marriage of film and music.

RiFF showcases features, shorts and music videos, for the music-themed film festival.

Location: Royal Cinema, 608 College St.

We’ve gathered some social media reactions for RIFF here: https://storify.com/gatpr/reel-indie-film-festival-riff

All pictures taken by GAT during the Festival available here: https://flic.kr/s/aHsk4ZHsRs

All publicity handled by GAT PR