SPILL FILM REVIEW: NASH THE SLASH RISES AGAIN!

NASH THE SLASH RISES AGAIN!

SIDE THREE MEDIA

NOVEMBER 21, 2025

The new documentary from Side Three Media, Nash the Slash Rises Again!, begins with an appropriately dramatic sequence of the artist dressing and preparing for a show, while his voice-over utters, “I am the first punk, independent rocker, ever in Canada – bar fucking none!” This defiant and assertive statement sets the tone for what follows: an honest look at a unique, unusual, and iconic musician.

The fact that this film exists is a triumph for the production team, who literally spent years writing, shooting, editing, and assembling the project. Through budgetary concerns, crowdfunding campaigns, and many grant applications, this wonderful film is finally seeing the light of day. Respect and congratulations are due to executive producer Colin Brunton, director Tim Kowalski, and editor Kevin Byrne (who are credited as writers). Additionally, the film was driven by producers Leanne Davies, Tim Kowalski, and Kevin McGowan, and executive producer David Steinberg.

A complicated tale about a complicated artist, Nash the Slash Rises Again! tells the story of the Toronto multi-instrumentalist, electronic artist, and tape looping pioneer, Nash the Slash (née Jeff Plewman). The film chronicles Nash from his earliest days in the theatrical prog-rock group Breathless, to his live-scoring of films at Gary Topp’s Original 99¢ Roxy Theatre, and his rise as an international touring and recording artist.

Told in a linear, chronological fashion, the documentary leaves plenty of room for side-stories and digressions from the many people who were interviewed for this project. The list of family members, friends, and collaborators who speak on camera is very extensive, but they all lend support by putting the pieces of the artist’s career together to tell his story. Key figures in Nash’s life give testimonials, such as creative partner Gary Topp, visual artist Stephen Pollard, who designed Nash’s stage and visual aesthetic, and photographer Paul Till, who artfully documented Nash’s performances. Many others tell stories about the man and the artist, giving a varied look at his many sides. There are also interview clips with international musicians Gary Numan, Martin “Youth” Glover of Killing Joke, and there is a wild archival video featuring Nash and Iggy Pop.

The film provides historical and cultural context to Nash’s music, referencing the staid and conservative city from which he had sprung, the nascent punk and indie music scene in Toronto in the late 1970s and early ’80s, as well as the role of outsiders in the arts, including the queer community. Visually, Nash the Slash Rises Again! is excellent, with producers making use of all manner of historical photos and documents, as well as film and video clips.

It presents in a more traditional documentary style, letting the content speak, rather than relying on trendy animations or gimmicks. Nash the Slash’s work is the true star of the show.

Nash the Slash Rises Again! must be seen to be appreciated. It is a film with a lot of layers, but we will not give too much away here. Suffice it to say that there are conflicts and controversies discussed, as would exist with any artist who overcomes obstacles to communicate and get their message out. Any person who is interested in Nash the Slash, music, history, or the indie scene in Canada, must see this film. There is much to learn and to enjoy. Of course, there is also the music. Always, the music.

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