Again, taking a break for a few days.

Chemical Sound is known as a cool, professional music studio, however for co-owner/producer/songwriter Dean Marino, it has inadvertently built a blueprint for his solo project turned four-piece band Expo. The union of psych-drenched power-pop with ambitious rock energy accompanied by established musicians Wendy Leung, Bobby Lee, & Todd Harrison, Expo punched out an eclectic array of styles from the tom-driven “Complicate Things,” and rockier “Give It Up,” to the inspired indie anthem “Reunion,” It’s the bands rock and roll shape-shifting and sense of adventure that makes the sound undeniably come alive.

There’s something about the Uproar Festival that reminds us alt-metal can command a sold-out audience, just ask the wheelchair crowd surfer during the set of Disturbed. But perhaps the night belonged to the metal-laced rock of Avenged Sevenfold, who have managed to push on after the tragic death of their drummer Jimmy “The Rev” Sullivan. Backed by a Gothic castle complete with shooting fire, the band’s bombastic blend of Metallica riffs and blazing rock energy (with Dream Theater’s Mike Portnoy on drums) whipped through songs like “So Far Away,” and “God Hates Us,” highlighted by a tribute “Afterlife” as a nod to The Rev.

There are many ways to get the Led out, and although some may consider tribute bands as incredibly cliche, it’s really all about one simple truth: the songs. Performing as part of Q107’s tribute series at The Ex, Ozone Baby rocked through 24 Zeppelin classics (yes, even that one) highlighted by a bow-meets-extended jam of “How Many More Times”. Admirable on musicianship but a little short on audience response (it was more about leg-stretching and beer-fueled relaxation) The Hammer Of The Gods will always endure, albeit to the background noise of carnival games.

Considered the unsung heroes of Motown, The Funk Brothers, session musicians playing on literally hundreds of recordings, laid the foundation for most of the classic hits everyone knows. Enter two members, guitarist Eddie Ellis and bassist Bob Babbit who helped define “The Sound”. Joined by 7 other musicians, including a horn section and vocalist Delbert Nelson, the band played over a dozen hits including “Ooo Baby Baby,” “Papa Was A Rolling Stone,” “What’s Going On,” ending off with “Ain’t No Mountain High Enough,” and “Shotgun,” Armed with musical nostalgia (and a history lesson for the youngsters) the performance was an enduring symbol of Motown’s legacy. How sweet it is.

Having rediscovered a taste for classic Americana with his new band Sunfields, Jason Kent (formerly of The Dears) stretches into territory midway between alt-country and neo-psych trappings. This four-piece from Montreal play like they mean it, stirring pinches of Neil Young, Wilco, and CCR aided by rootsy harmonies, bouncy keyboards, and twangy guitar bursts that brings back images of “The Last Waltz” by The Band. Drawing on musical tradition, this is nostalgic rock and roll at it’s finest.

Aspiring to the sonic, energetic, and atmospheric, This City Defects’ sound can be both defined as heavy and experimental. Blending technical prowess with amped-up power, this Calgary-based trio comes across as the classic prog-derived rock band, mixing Mars Volta-style guitar-noodling with elements of progressive-metal and math rock. Delivering blazing guitar-riffs (complete with fretboad antics) high-octane drumming blasts, and meticulous arrangements surging with the momentum of a gale-force wind pounding against a storm window.

We’ve come to associate Green Day as punk-pop royalty. It wasn’t that long ago their breakthrough “Dookie” ranked alongside “Nevermind” in terms of influence, but do you think Billy Joe Armstrong cares? Even with a sold-out crowd, slick production, and pyrotechnics…their sense of humour never runs short. Touring in support of 21st Century Breakdown, the trio (accompanied by three musicians, hose spraying and t-shirt shooting) delivered a high-energy mix of old and new highlighted by a medley of “Hey Jude, Satisfaction, Sweet Child O’ Mine, Highway To Hell”. Although Green Day have taken their place in the punk pantheon, you get the sense they’re still playing for laughs.

One of the few 70’s hard rock bands who weathered the punk era while influencing 80’s hair-metal in the process, if the capacity crowd is any indication, Aerosmith aren’t doomed to cliché just yet. Between the twirling Steven Tyler and the sexy swaggering riffs of Joe Perry, the band still has the bump ’n grind, the flash and sleaze, ending off with classics “Sweet Emotion” (including a theremin followed by a guitar jam), “Dream On”, and “Walk This Way”. Four decades ago Aerosmith wanted to be The Rolling Stones. As long as they fill arenas and straight up rock, they’ll definitely equal them in terms of longevity.

Isaac Klein and Joan Smith have been mining their musical relationship for several years. Their album is one thing. Their live show is a mesmerizing force of nature. Sending their spastic frenzy of garage-blues into the night, the bands elemental swamp-rock swings mightily with high-octane energy. Along with keyboardist Caitlin Dacey, Little Foot Long Foot has a symbiotic relationship that grinds and wails possibly getting them busted for public drunkenness. Highly recommended for a rock & roll rite of passage.