Tuesday, November 10, 2026Ottawa, CanadaEst. 2001
Antidote Magazine
The Remedy is Diversity
Sound Advisory — The Latest

The Day Traffic Robbed Him of His Band, He Played Every Instrument Himself

Deviation’s “In 3” is a simple format: Benji B plays the artist’s own track, then hands them three picks. On October 7, Isaiah Collier used all three of his on John Coltrane. That tells you exactly where he lives.

Words
Marcus Bell
Filed Under
Sound Advisory
Published
Nov 10, 2026
Read the story
Isaiah Collier performing live on saxophone
Isaiah Collier live. Photo via Facebook.

This Week’s Cover

Sound Advisory · No. 10
Antidote
Isaiah Collier
Side A · 33⅓
Isaiah Collier performing live on saxophone
Antidote — Sound Advisory
Vol. 25 · No. 10
Isaiah Collier
Joy — from the JOY EP
Liner Notes

Deviation’s “In 3” is a simple format: Benji B plays the artist’s own track, then hands them three picks. On October 7, Isaiah Collier used all three of his on John Coltrane. That tells you exactly where he lives.

Read the story
Listen
Via Spotify
Isaiah Collier
“Joy” — the cover story’s soundtrack
Label — Brownswood RecordingsFormat — EPLength — 5:42

The record inside the sleeve, playable in the page. Signed out of Spotify, the player runs a preview; signed in, the full track.

Antidote Magazine is a vehicle for unity. As a collective, we strive to amplify the most relevant voice - yours

Diversity is not a trend we follow, it is the very medicine we prescribe. It is the antidote to the mundane, the predictable, and the painfully generic.

Latest Stories

Updated November 10, 2026
Listen
Via SoundCloud
Theo Parrish
RA.1000 — three hours live at fabric, London
Format — DJ MixRecorded — Live at fabricSeries — Resident Advisor RA.1000

The full set, playable in the page — no account needed. Pairs with “Theo Parrish: Detroit’s Beautiful Problem” in Latest Stories.

About

The remedy is diversity.

Antidote Magazine is an urban lifestyle guide published from Ottawa since 2001. It was founded on a suspicion: the most interesting culture in a city rarely happens at centre stage. It happens in record shops and listening bars, in club booths at 2 a.m., in the margins of other people’s records.

Twenty-five volumes in, the brief has not changed. If it is made with obsession — a Detroit record that takes all night to say its piece, a London jazz band playing like it is a contact sport, a Montreal hotel room wired like a gallery — it belongs here, covered in long form by people who were actually listening.

More voices, more rooms, more records. The remedy is diversity is not a slogan the magazine inherited. It is the assignment, renewed every issue since 2001.

Meet the team — the people behind the magazine.