The XX

I like em'

http://hypem.com/#/search/islands%20the%20xx/1/

plus one: http://www.youtube.com/watch?v=Ui5TGMWNEPo xx does Florence.

Great Christmas Tunes

"The Christmas Song" by the Raveonettes

MY FIRRRRRST PODCAST!

Each week I will have a new podcast featured on my blog, compliments of my producer - SASHA JAMES, creator of The Final Girl Project. If you have any taste in film at all you will check out this brilliant website. She looks critically at all films, whether she actually likes those sort of films at all.

I would like to draw your attention to the player above, it's my thoughts and voice in a tiny box. You can now listen to what i've been listening to. I will be putting a new one out each week, each feature is an hour long and as of now no theme.

I plan to release other shows shooting off this one. The only one I have in mind is one titled "Verses", where I will be battling it out with someone else in a music related discussion of course. So stay tuned for that.

I also have some live gigs i'm going to post.

Please leave comments and suggestions, would love to hear what oyu have to say... Or maybe even guest appear on my show.

If you want the tracklisting please fire me a comment - as I like the surprise of not knowing what's coming next!

Take that CIUT.


Also, I will be posting a picture of myself with every podcast as a visual companion. It's a complete joke because I have very few pictures of myself alone. There will be a story to accompany the photograph.



This is me earlier this year. I needed campaign photos for a student leader position that I was running for. It was taken with my telephone. I couldn't stop giggling - where's Dan Epstein when you need him?

Similarity

Is it me or does the song "Paper Ships" by Dead Man's Bones (Ryan Gosling's band) sound a ton like "Crying" by Roy Orbison?

Not exactly the same but pretty damn close.

Do Make Say Think's tune "Do"

The song titled "Do" is really incredible. Ohad's guitar bit that goes throughout the entire song really makes it for me!

http://www.youtube.com/watch?v=DPPRpUKCubE

Do Make Say Think at the Enwave Theatre; Sunday December 13, 2009

Do Make Say Think, four verbs, four different songs and one band. Their new album titled Other Truths has only four songs on it, they draw from their four word band name. Their new album is a very bold release, as it only has four songs, each of them around ten minutes long. I feel like this album doesn't have the support of seven other songs to make it a 'best album of the year' release. I doubt NPR will hum about it, and I bet few lists outside of Canada will include it. With that being said, it seems like Do Make Say Think's loyalty is largely domestically. Justin Small, the childlike guitarist of the band said to everyone in the crowd that he gets really nervous everything he plays Toronto. Ohad Benchetrit told everyone at the beginning of the show that they like to keep Toronto dates to the end of their tour, so they can really shine - warmed up and ready.

This was my first time at the Enwave theatre. It only seats around three hundred people so there really wasn't a bad seat in the house. I however was stuck in the upper mezzanine, way up in the sky. I saw the band from two new angles that I have never seen them before, back and above. Do Make Say Think are a band I love seeing for all their noodling and energy. I felt like the only thing I could see was Spearin's thinning hair. In going once, I would not sit up top. Turns out local record stores that sell tickets only got tickets for up top, so I suppose Enwave box office would have been a bit smarter.

Opening up the gig was Benchetrit's solo project, he goes under the name Years. I originally thought the Happiness Project was going to open (Spearin's project) but was quite sad when I found out upon buying my tickets that years was going to open. After seeing Benchetrit play, I really don't regret going to this show, as I had seen the Happiness Project earlier this year. I think it would have been sad to see them this far away after seeing them front row at the Music Gallery. I was incredibly impressed with Years, Benchetrit held his own, on his own, calling out people only for a few selections that sounded a ton like Do Make. Benchetrit on his own however definitely has his own distinct sound, a ton of noodling and a lot of blurry music compliments of a looping machine that allows his to duplicate him self as many times as he wishes. It threw me off a bit because I love being able to spot out what a musician is doing. It was so ornate to the point I couldn't get any of the playing straight. His playing was crisp and energetic. He had a lot of things to say, which was different because I have never even heard him speak before. He mentioned he stole his acoustic guitar, and followed it up with a dear story about his daughter who he had originally bought it for (and stole it from). He then went on to dedicate the tune to her.

Do Make Say Think came on shortly after. It was so bizarre seeing them a mile away from the stage, almost disappointing. It was also very strange to be sitting the entire time, unenjoyably strange. I would have like to had the option but Enwave had a very strict usher watching my every move. People crowded the front at the end, but uppers were only limited to standing in their seats, which few did.

I was impressed with their sound, as I always am. I always remind myself how old this band is. They put out stuff in the mid-nineties, it's really remarkable they're still making more. I first found out about them at the first Broken Social Scene island show. I had no idea who this instrumental set-up was and at the time I didn't really care about them either. I later saw them at Call the Office in London, this was probably two years ago. It was a life altering occasion - small venue, big sounding band and my best friend at my side! I couldn't have been happier with the set choice. I feel like I haven't had the same treatment since then, this was probably the closest I've gotten to hearing what I really wanted to. In the encore of tonight's show they played "Hooray, Hooray, Hooray" or "Hooray times three" as Small cutely introduced it as. I could have gone for some "Chinatown" and "A Tender History in Rust" but I guess I have a reason to see them again.

Julie Penner always shines. She plays the violin. I am completely amazed by her fierce sound and grace when she plays with this band. She sounds pretty yet she has a good push behind her sound, keeping up with the booming large pieced band. Penner also produces Stuart McLean's Sunday morning show Vinyl Cafe. She's got a pretty good set up if you ask me!

I love seeing this band live, they've got such a unique sound that sets them apart from all the other "post-rock" bands. I use to always say that tehy are the Explosions in the Sky of Canada, really I'm not sure if I think so. They have a dynamic sound to them that really bridges them apart, and that's not the violin. It's sort of a unique song format that Explosions don't do. Mogwai and Explosions have powerful tunes, but Do Make's have more movement to theirs, there's more to them. I think this is one of the reasons why Do Make has been able to survive so much, their mille fois, their several layers - in music and members.

Jason Collett's Basement Revue at the Dakota Tavern; Tuesday December 8, 2009

I feel truly inspired, as I always do after seeing Jason Collett's December residency at the Dakota Tavern. This show especially got my heart racing a little faster than usual

This is my third year attending Collett's gigs at the Dakota in December. It's a special treat that makes you recall what music in this scene may have been at his Radio Monday shows at Rancho Relaxo fifteen years ago. We've sort of lost that community over the years. My idea of community for the longest time was watching Broken Social Scene play, anywhere at all. I'm starting to realise it's forming a family, a connection between music and the people you make it with. Now given, this is coming from a person who has a limited music background, I however have an extensive background as a spectator.

I have probably seen Jason Collett live over twelve times to this day. It's pretty remarkable to look back at the times that I have. I first saw him when I was in the eleventh grade with a fake ID at Lee's, KT Tunstall opened for him and nobody knew who the hell she was at that time. This summer past she had a full billboard dedicated to her trash titled album Drastic Fantastic, appealing to tweens and hip moms everywhere. I can recall two distant times ago, again with a fake ID, once at Lee's and another at the Mod Club. It's funny recalling these gigs because I specifically remember meeting with the security guards in my suave disguise - usual a pound of make up and glasses to conceal my youth. I look back now and think I wear no make up when I go out, the only person I was fooling was myself. Things aside, I got in.

I mention this because at the start of the evening Collett hoped into a rant about how clubs aren't as loose as they once were, and you can't get away with the things he did when he was sixteen. He mentioned this in his introduction to Andrew Cash. He told an incredibly charming story about how he snuck into the Phoenix as a kid and hung around telling the band he was with the venue and the venue that he was with the band. Clever!

Collett is a story teller and I think that's why he is such a good curator for these nights. He brings together really talented artists into one tiny space for all to enjoy. Collett is wise never to take the spotlight, he however has evolved into giving each artist their well-deserved intro and mini-biography for those who don't know who these people are. He brought out the same black and white composition book each time and read out a prepared note about each person. This is the first year Collett has done this, and it definitely works, it strings together the night beautifully.

The first artist he had hop on the stage was Toronto based singer/songwriter Doug Paisley who played a few of his own compositions. I have recently stopped buying CD, or at least slowed down seeing as I will have no idea where I will be in a year and CDs seem to be literally weighing me down. I've consequently started to categorise artists in such a way where - some I will buy their CD, others I won't... Solely based on album artwork, likability, familiarity and accessibility to downloads. I immediately thought that Paisley is someone who I could never find online to download for free, and is someone who I would really like to support.

He had a woman by the name of Damien Rogers come out and read a few poems. I had seen her one year prior at Collett's gig. I wasn't taken by her performance this year, or last but I can tell she's someone who is keen to trying new things. I think she was one of the pioneer poetry-improv individuals. Apparently, she received five stars from Eye Weekly from a recent performance.

I feel as though her thunder was robbed from a charming blonde lady who was the wife of the guy who was drumming throughout the night. I really wish I could remember her name... she will soon be releasing an inspirational book for 'bush warriors,' or men. She read her steamy tips for devoted lovers and her husband played drums, Mike O'Brien (of Zeus) guitar and a guy by the name of Dave Matheson played piano perfectly. Collett revealed that the accompaniment was randomly picked by draw before the show.

Long time friend to Collett jumped out on stage following. He played two songs that belonged to him and followed it up with a special cover of Neil Diamond's "Sweet Caroline". He insisted that everyone sing along, due to an earlier performance by one of the men who played. I feel like it was Doug Paisley but I feel like Doug played his one tunes. Regardless, someone that played in the first set played three songs that were all covers - a John Lennon tune to start, Gordon Lightfoot's "Steel Rail Blues" and finally a Roy Orbison tune. I really loved this person set, they ended by saying that they consider themself a songwriter but he really enjoyed playing the covers. Cash's response was because people weren't hopping in to sing in the Lightfoot tune.

Cash had a lovely story of Gordon Lightfoot - who apparently was in the audience at Hugh's Room last week for a memorial of the eighteen year old folk singer Taylor Mitchell who recently passed away. Cash described how playing for Lightfoot kept him on edge.

Rich Terfry was picking music selections throughout the show. Collett described it as Terfry's opportunity to play all of his choice selections, not like on Radio 2. Rich Terfry is Buck 65, a hip-hop artist that lives in Toronto. Terfry loves music, it's completely evident in his program on weekdays from 3:30pm-7pm on CBC 94.1fm. He loves Jenn Grant and Human Highway (as Cash pointed out) - and plays very little hip-hop or rap music. His set was nearing the end and he recognised that the crowd was growing restless and tired, so he decided to tell a story and play one song. He told the crowd that everyone was getting a little restless and he'd tell everyone a goofy story about a man with no legs farting in his face and following it with an equally goofy song that he wrote. Terfry delivered the story beautifully, I was blown away by how a crass, pointless story could be delievered so well. I really had a lovely time listening to him tell me this terrible true story.

He followed it up with a stupid song about zombies. It sort of made me think how much of a kid Terfry is and how good of a performer he really is.

Collett came back on the stage, thanking everyone who stayed saying how hard it must've been. The number of people diminished to about a quarter of what it was in the first set. It was an intimate gig by the end. Collett would have normally played with his back up band Zeus, but one of them had a baby and wasn't able to make it. He instead played solo, which I much prefer anyways. He played throughout his sets, songs that I had never heard before, new material. The only tune he played was off of his album Idols of Exile, I believe the tune was "Feral Republic". Don't hold me to that though.

By the end of "Feral Republic" Kevin Drew hopped on stage playing a light piano to accompany. He then hopped on guitars by Collett's request and they played a few other tunes. Matheson hopped on stage to as well as the drummer that I can't remember. A full band. Collett told everyone about how last week he tried playing a particular tune with the band, but they never heard it before. He said that they messed up big time, which pushed him to try his luck again wtih this newly formed band. They did it with effort and mistakes but it sounded fantastic, even with some technical glitches.

What a show. I remember why I like music.

Make sure you check out some of my past Collet reviews, there sure are a ton.

Good news, he finally cut his hair!!!!

Thursday at the Mod Club; Monday December 7, 2009

I have liked Thursday since the tenth grade. They're a band who I latched on to just after their album War All the Time Came Out and to this day that album remains one of my favourites. I remember the first time I saw them was at the Kool Haus with Poison the Well and Spitalfield, where it was sold out and packed to edges of the venue. My favourite part of that show was when they played "Jet Black New Year" and the countdown confetti fell from the ceiling. It was an incredible touch that I still think to and that they'll probably never ever do it again. Fortunately, they do play that song quite often.

Lead singer, Geoff Rickly's voice is all there. When he was younger he was always pitted for being ton deaf. Naturally, they called him Tone Geoff for his bad voice and horrible pitch. I noticed this gig, when he was sitting on notes his voice went ridiculously flat. Despite that, his voice sounds fine, it's strong and it definitely has improved. When I saw them at the Kool Haus earlier this year I thought the sound was really terrible and his voice sounded very bare. It felt more full this time.



I got to the gig late - it was a really early show. I came in to a pile of new shows I didn't recognise. They eventually played "Division Street" off of War All The Time. I didn't catch any songs off of Full Collapse, apparently they played a song off that album before I stumbled in. I have this feeling it was their louder tune "Paris in Flames," as I heard someone mutter it before I got in. I also apparently missed, a couple of songs off of War All the Time as well... They played "Signals Over the Air" later on in their set too and the only other song they played that I knew was "Jet Black New Year" as the closer.



This show was bare, something was very wrong with it. The band hadn't dragged many people out to the show, the Mod Club was empty. As soon as I walked in, I felt like I was seeing one of my favourite bands at a tiny venue. The most pit was only four guys and a girl, and I kept seeing struggling crowd surfers form and kick people in the three or four rows of people in front of them.



Jet Black New Year by Thursday

Doesn't Sean MacKay look like Geoff Rickly??

Zero 7 at the Phoenix; Thursday December 3, 2009

First off, I can't believe i'm still biking. I know something's up with the weather but I can't help but enjoy the mild weather we've been having. On my way home from the show I saw far too many bare legged girls, OK it's not that warm out ladies!

Anyways, Zero 7 we're pretty good. Sound wise they were spot on, just really fantastic sounding band. Their song selection as I expected was from their new album titled Hey Ghost. It's sort of a fusion of pop and overly electronic tunes. Their pop as usual has an extremely strong female voice leading the tune.

I feel as though this band will never live up to their 2001 release Simple Things. That album is definitely on my top twenty albums of the decade. From start to finish it has a really distinct sound, one that I would call electronica but I wouldn't call rock. It's sort of in between. I look at RJD2 the same way too... It's sort of a mystery but it's alternative music that people who like rock are interested in. So i'll just leave it as alternative music.

I have to say Simple Things had a tremendously long shelf life. I think I first purchased that album in Miami, Florida, probably six years ago. It's sort of stayed on my radar non-stop since then. I know when Garden State was released it got a serious kick up. I believe MTV used the tune "Destiny" in an ad as well... Zero 7 never got that push that the Shins got from Garden State, but I guess they never needed Natalie Portman's seal of approval.

Zero 7 are from London, England, the two guys names are Henry Binns and Sam Hardaker. Throughout the whole show they sort of stayed behind the seams, but always keeping the energy high. Since their first albums they've always had tremendously strong women fronting the majority of their tunes, or at very least their best ones. For their live gig they had two women, Eska and Olivia Chaney. I really dug the bit they put on their Myspace page:

Zero 7 Live Band

Zero 7's live show features singers Eska and Olivia Chaney as well as long time collaborators and band members Eddie Stevens, Robin Mullarkey and Tom Skinner.
Eska has worked with Mercury nominees The Invisible, Cinematic Orchestra and Matthew Herbert and Olivia Chaney will be introducing a folky flavour to the Zero 7 sound with her harmonium and acoustic guitar. Vocalist Martha Tilston will also be joining them on stage at selected shows.

More info on the singers via the following links:
http://www.myspace.com/eskaonline
http://www.myspace.com/oliviachaney
http://www.myspace.com/marthatilston

Pretty much sums it up. Olivia Chaney gave their tunes a folkier flare, especially the tune "In the Waiting Line". I really had to leave the gig early because I have a colossal paper due tomorrow (that I should be doing now...). This was the second last song I heard and the first song of their encore. I told myself I wasn't leaving until I heard this song, as I knew they'd playing because of some pre-concert homework. Chaney came out with an acoustic guitar and the guitar/bass/cello player came out with the cello. Given he plucked most of the time giving it a light bouncy feel - and the only time I felt like they were similar songs was when she say the chorus lines of the tune.

I much prefered the rendition of "Destiny" which was sung by the delicate, but strong voice of Eska. It really worked with what they were doing. I read a review before that said she wasn't a good match for the tune, but I really enjoyed it. It was a livelier version that moved quicker but the song sort of found it's way. The thing I really liked about the recorded version was the sounds heard right at the beginning and the sound of the acoustic guitar. Neither were present, there was an electric and different sounds to accompany compliments of Hardaker and Binns. The tune found its way nearing the bridge where it actually sounded like the original. I got the drift that they didn't like playing their older material anymore. One of the two guys introduced it as one of their "really fucking old ones". I guess it is, it's been eight years since that album came out. I would've really like to have caught that tour, that would've been a really solid tour and I bet they had both Sia and Sophie Barker (voice behind - "In the Waiting Line". And my favourite scene from Garden State!

I feel by this time i've seen Zero 7 twice, as last year I had the pleasure of seeing Sia at the Opera House. I remember going alone and I wasn't completely comfortable with the idea of going alone to shows but I did it anyways. I think I was living at my first place out. I really like my Sia review, i think it reflects how I wish i felt at this concert.

I feel like I saw the Zero 7 I wanted to see at the Sia show. Pitty. I'll go see them when they tour with Sia, I think the show would be that much more powerful! The women they had on board were great, they have really lovely voices, I just wasn't feeling it, although Eska's really got me on the very first song she did live. I thought Chaney did a really nice job of the Binki Sharpiro song "Swing".

Hope Sia tour soon! I couldn't get "Day Too Soon" out of my head after seeing her at the Opera House.

And who could forget the ending to Six Feet Under...

Camera Obscura at the Phoenix; Thursday November 26, 2009

Camera Obscura released one of my favourite albums this year. My Maudlin Career is easily the prettiest, polished pop album of the year - and they've been touring the shit out of it. Already this year Camera Obscura has been to Toronto twice! I had the pleasure of seeing them at the Lee's Palace earlier this year with my very best friend.

I really liked them this time. I felt like I knew what I was expecting, the songs I really wanted to hear, lack of stage presence. I wasn't let down this time by any means. Lead singer Tracy Anne Campbell didn't move around like I expected before. I really loved their song choice this gig - playing everything I wanted to hear! With the exception of their Christmas song "Blizzard". It's actually a late '60s cover of a Jim Reeves tune. I don't know it very well, but I don't think the last song they played was it. I really like it though. I think I have to make a Christmas compilation with it on it.

The majority of their set was drawn from the latest album. They did however take the time to play "Tears for Affairs", "Hey Lloyd, I'm Ready to be Heartbroken" which a response to this song - "Are You Ready to be Heartbroken?" by Lloyd Cole. My newest favourite tune - "Let's Get Out of this Country"- A song I feel I can really relate to at this point in my life!

They even played one or two tunes from their oldest album titled Biggest Blues Hi-Fi. Tracey Anne followed it up saying that she's not even sure if they are available on CD anymore! They are however, very ready for download.

I was really happy they played "The Sweetest Thing" at this show. I was shocked they didn't play it last time! The biggest surprise for me was their three song encore, starting with "Let's Get Out of this Country" and followed by "Forests and Sands". Tracy Anne said just before they began that they have to play this song because they mention our city. I was extremely happy.

I was also happy I stayed because after the last tune they played they did their bit with the flourish of music at the end. They sit on a note together each person in the band swelling on it and then they move around. It was really nice because it really sounds beautiful amongst the mess of different instruments. They played it last time as well and it was even more glorious.

The thing that gets me about Camera Obscura. I can never understand what they are saying in their songs. It's not ebcause of their accent, but how Tracy Anne sings! Especially live it's ridiculously difficult to hear her. I like her voice, I think it comes off well live and recorded but it's just terribly hard to understand her.

And I'm confident in saying that I am over their stage pressence issue. It's simply their style to kick it back a bit and not perform with great enthusiasm, wiht the exception of the percussionist/trumpet player.

The lead guitarist is amazing. I think the band's songs wouldn't sound half as good as they do without him.

Edward Sharpe & the Magnetic Zeros at the El Mocambo; Tuesday November 24, 2009

Edward Sharpe is actually - Alex Ebert. The Magnetic Zeros are a group of ten or fifteen people backing he and the ultra lovely Jade Castrinos up.

I'm really sick of their references to the days of flower power and hippies. I don't think that they personify the carefree lifestyles that the terms push, but instead they host an alternate outlook on music. I didn't live through the sixties so I guess I'm not in my place to say, but I'm going to make bold here and assume that it wasn't exactly like this. Edward Sharpe and gang make ridiculously fun music. Their tunes are loaded with energy but at times dull and a little too slow. The format of those slow and eased out songs have Ebert singing vocals, they fortunately are saved by the solid band that accompanies.

It's pretty amazing that this L.A. band could sell out the El Mocambo for two nights. I had just found out about the show and it had already sold out. I have to say it was their tune "Home" that sucked me in to it all. The song is carefree and effortless, exactly like the band shows in the live gig. Ebert came out dressed in a beige linen, shirt and pant combo - like something light from India. He eventually stripped down to a tank top by the second song. There weren't as many people as I though there would be - only about eight or nine. Apparently, the other girl in the band was off for some reason - they mentioned they missed her on tour.

Ebert was easily the star of the show, but the crowd loved Jade more than anyone. The pixie haircut girl was charming - it was almost as if each song they played was completely new to her. My large YouTube searches on this band revealed that they've been playing the tune "Home" for three years now! Remarkable! Jade had a radiant smile the entire show - all the girls around me were commenting just how cute she was. It got ten times cuter when Jade and Alex shared the microphone for the tune "Home". They took turns holding it and sang into it together.

The only other band I think that fosters this sort of energy is a band called Dark Meat. I saw them at the Drake ages ago with a dear friend. They sort of had that anything goes mentality that stews the creativity in a live concert setting. It's sort of exciting because anything did go - by the end of the gig I was crouching on the ground - for their one-song encore they played an acoustic tune from the ground.

I'm not sure if this band will get repeat listens in future, but they have a lot of energy. This is the type of show that I would love to see with a group of friends. It felt kind of weird when they were playing "Home" and I turned around and saw a couple hundred other people bobbing and swaying to the very song that energised me instantly upon first listen. I'm sure it did the same to them too. It's a strange thought to share musical tastes with people - and even weirder to watch it in the same room and never talk to those individuals - ever.

I wonder if they can replicate it without duplicating too much.

The openers called "Fools Gold" were awful. I felt like I was on a tropical vacation.

Brand New at the Kool Haus; Sunday November 22, 2009

I have few expectations at a concert but I always find it socially different when I go to a show that I feel like I don't really belong at. Most of these being the bands that I liked six or seven years ago and still time and time again I find myself going to see them live.

Upon waiting for Brand New to come on at around 10:00pm, there was a couple that was begging to be looked at. I couldn't resist. It was a guy and girl, the girl was a petit asian wearing a tiny shirt. The guy was dressed in baggy clothes and skater shoes. They were in their early twenties. They were both carrying drinks but the guy had a blue lollipop. I turned away for a few seconds and looked back to the girl with the blue lollipop in her mouth posing for photos in the crowd. It was kind of weird, the guy must've taken like four photos and each one was the same but the girls mouth was tilted a little differently or the stick of the lollipop hanging out of her mouth was angled a different way. Seconds later the guy had the lollipop back in his mouth and then proceeded to dip it into the girls beer. He asked her if her drink was blue.

I wish I could write a story as well as David Sedaris. Regardless, of my writing style I think this stretches to show the broad array of people in the crowd. I realised today that the first time I saw Brand New was almost six years ago. Building on that their album Deja Entendu was released nearly seven years ago. So back in 2004 when I saw Brand New for the first time, I was in the tenth grade. It's sort of funny to see sixteen year olds at this show and all I can think is that was me.

That 2004 gig was my favourite concert for a very long time. If anyone asks me, to this day even, what my favourite concert i've ever saw was, I would probably bring up that Brand New show because at the time it was the best thing ever.

I've probably seen them three or four times since and they just don't have that affect on me anymore. Given, they are amazing sound wise, but they just don't do the same thing for me. I think it has a ton to do with the catalogue they pull from. Back in 2004 they were pushing a fresh batch of songs they released in 2003. That CD was my world at that time. I remember reading the lyrics in my bed, while listening to the CD on my discman. That CD still makes me remember why I like music.

Last time I saw them, I remember thinking how divided their show was. They played a block of new tunes and a block of old ones too - no mixing. This made for a very boring concert. This time 'round they made things a little more exciting. They opened with a newer track from one of their last two albums - just instrumental.

This show is definitely going to push me to like their newer stuff a bit. I really loved the song "Limousine". This by no means blew me away recorded, only because I hadn't listened to the album properly and the tune probably lost me in the slow intro. Half way through the song picks up as a whole band arrangement. The lyrics: "Well I love you so much, but do me a favor baby, don't reply.'cause I can dish it out, but I can't take it." Aside from the guy shouting the lyrics at the top of his lungs next to me - this song came off terrific live.

I had these moments where I would hear a newer tune and I'd remind myself that this was the band that put out one of my favourite records. Looking at the lyrics now to the song "Limousine" I realise how remarkable this band still is. The link I provided is incredible, Jesse Lacey describes how he came to write the tune. Here is the acoustic version of the tune.

My favourite bit was when they busted out their older songs. They played five older tunes - "I Believe You But My Tommy Gun Don't", "Sic Transit Gloria (Glory Fades)", "Mixtape", "Jude Law and the Semester Abroad" and "Seventy Times 7". I remember the feeling after each song of having no expectations as to which song would be played althoug I secretly hoped for older material. After hearing "Jude Law", I thought to myself that the only way this show could get any more perfect was if they played "Seventy Times 7". I had no idea it was coming because the last time they joked about playing it, introducing it but instead launched into an extended ten minute version of "Welcome to Bangkok". All songs were done extremely well. It was however, far too intense when they played the two tunes from Deja as the crowd took to it like a children's sing along, I could barely hear the band through the first lines of "I Believe You". The band also blazes through the Deja tunes, I feel like they've played them so many times they mean little to them.

I didn't think they'd play anything else older, so I kept edging my way out when it neared midnight. I left a bit early, but by the time I got my bike they were playing their last tune - "Play Crack the Sky". I had to listen to it because I sort of hated myself for leaving but I was getting bored of listening to tunes I didn't know! I think it was worth it for the last few lyrics of the tune -

"This story's old but it goes on and on until we disappear, Calm me and let me taste the salt you breathed while you were underneath, I am the one who haunts your dreams of mountains sunk below the sea, I spoke the words but never gave a thought to what they all could mean, I know that this is what you want, a funeral keeps both of us apart. You know that you are not alone, I need you like water in my lungs."

They always like playing that song. They did it last time too I'm sure.

This band is amazing. They have a fantastic energy that shows in their music. Their sound is big and their show is flawless. Lacey's voice is perfection even through all it's roughness. Screaming or singing he sports it well.

I think if I were to see this band play their two older albums in their entirity it would be up their for best concert. So maybe I wasn't off when I saw them the first go.

Butthole Surfers on Gordon Lightfoot

This Butthole Surfers cover of the Gordon Lightfoot tune "The Wreck of Edmund Fitzgerald" is gold. It's apparently so rare, the band's drummer King Koffee only recalls playing it once.

It sounds completely different from the original, stretching it into something else. It however maintains the same main line that keeps the original's sound to some extent. Lightfoot's music is not really known for it's music aspect. Emphasis is normally placed on Lightfoot's well written lyrics. The Butthole Surfers really played on a different angle for this particular song.

Gordon Lightfoot at Massey Hall; Saturday November 21, 2009

Gordon Lightfoot at Massey Hall; Saturday November 21, 2009

Gordon Lightfoot is from Orillia, Ontario. He however is a legend across the globe. My first taste of Lightfoot was from the movie 54 with Ryan Phillipe. The tune "If You Could Read My Mind" was featured and covered by the laughable supergroup called Stars of 54. Ironically, none of them were actually in the movie. So to see Lightfoot it almost felt nostalgic - as it did for my dad as well but for very different reasons.

It's really funny to hear Lightfoot's version of "If You Could Read My Mind" because it sounds exactly like the dance version - obviously without the added pep. Lightfoot has this funny way of delivering his words when he sings. He comes off very fragmented, like a hiccup. Only on the last few lines of this song did his voice sound clear. He felt youthful and revitalised, I heard my mom sigh after he finished the tune. I felt as though my assumption was assured.

I stumbled upon this which is a MuchMusic video live of the Stars of 54. If you listen to the first thirty seconds the VJ announces the tune as "If I Could Read Your Mind"... Way to fuck up a Canadian gem tune MM.

He played for two hours with a fifteen minute intermission. His band was full, with two guitars, bass, keys and drums. I felt the keyboard gave him a cheesy eighties synth sound. It was kind of off that his band was so full but his sound was so vacant. His recorded stuff is delicate and light - very '60s folk. His live gig reflected that sound. My ears weren't ringing as they were two weeks before for Monsters of Folk. I could hear each instrument perfectly. He didn't even amp his twelve-stringed guitar, he simply had a mic up close to it.

I don't know his catalogue too well, but he played a couple of tunes off of his 1998 album 'A Painter Passing Through'. I really liked his live version of "Ringneck Loon" where he called upon people at the beginning to make a loon sound. No one reciprocated, until the very end when somebody let out a beautiful loon call. I have no idea how to do it but it felt familiar, something i've heard before. He instructed the looners to make the sound during the quiet parts.

Lightfoot is 71. He apparently was in a coma for six weeks in 2002. It's remarkable he is able to standup in front of a huge crowd, four nights in a row for two hours at a time. His voice is quiet, and i heard the people behind me say they wish the mic was a bit closer to him. It didn't bother me as I was so close, but I felt that the hand clapping crowd were haulted because they couldn't hear him sing while they clapped. Probably a good thing.

He didn't play "Steel Rail Blues" which I thought was a big one for him... My Dad said of the four or five times he'd seen Lightfoot he has never heard that tune.

It's funny to see how folk music has really evolved in the last fifty years. It's a sound that has for the most part stayed the same, keeping its bare parts of a guitar, voice and minimal instrumentation. Rocky Votolato, Fionn Regan and Joe Pug would make Ligahtfoot proud.

I truly felt Canadian at this show. Lightfoot at the beginning of his set recognised a dear friend of his, who he described as his canoe partner. He then went on to say this person is John Turner, former Prime Minister of Canada. Turner, at a ripe 80 romed around the aisles with his lady. A truly patriotic show.

I feel as though Lightfoot is more known for his song writing than his songs himself. Here's a list of tunes that i've come up with that Lightfoot penned but other people made famous:

"Early Morning Rain" covered by Bob Dylan
"Early Morning Rain" covered by Paul Weller (of the Jam)
"For Loving Me" covered by Johnny Cash
"I'm Not Saying" covered by Nico
"The Wreck of Edmund Fitzgerald" covered by the Butthole Surfers

Coeur de pirate

France loves Canadian Coeur de pirate.

Girls at the El Mocambo; Tuesday November 10, 2009

Girls at the El Mocambo; Tuesday November 10, 2009

Girls are a Pitchfork prodigy. I think that is why everyone latched on to them so quickly. "Lust For Life" is easily their catchiest tune with the words - "I wish I had a boyfriend, I wish I had a man in my life...". They sort of bear this seventies rough-pop sound. I love how simple they are.

I can feel their inspiration drawing from Elvis Costello, The Beach Boys and punk bands... Chirstopher Owens' vocals are distinct. He however sounds exactly like the album live.

I overheard a guy behind me say - "I think this band, if they keep play, have a lot of potential. They'll play somewhere bigger soon." I feel like Pitchfork has bred people to think this of this band. Regardless - It seems like they'll probably evolve to a bigger venue in future, like Lee's or the Horseshoe... And all of those people that saw them at the El Mocambo will say: "I saw them at the El Mocambo last year!" Like the Fleet Foxes gig...

I really like Girls - they're less produced than bands like them on a bigger scale. They have the energy that rock music is so often missing.

They're not quite shoegaze, but they're poppy.

Sufjan Stevens

The BQE is everything I hate about Sufjan Stevens.

Dan Auerbach at the Phoenix; Saturday November 7, 2009

Dan Auerbach at the Phoenix; Saturday November 7, 2009

This was a great show. Dan Auerbach has a powerhouse voice that is like no one other's voice. I know very little about playing guitar from my little dabbles in playing but this show made me think who a good guitar player was. It made me think of it in a different way than I would with different people. For instance, the one person who I thought was the best guitar player earlier this week didn't even cross my mind. That person is M. Ward.

Auerbach is different that M. Ward, big time. I think what made me completely separate the two artists is their music styles. Auerbach has an intense voice that shocks, where as M. Ward has a fuzzy glow when he performs.

All I could think about this entire show is how as the Black Keys it's just him and the drummer. Minimal but it comes off sounded full and together. Ironically, his solo act has a five piece band to follow. He calls them 'the Fast Five'. They sounded terrific. I kept thinking about how good the guitarist must be if Auerbach is using him. So that makes for two guitars, two drums, a bass and a keyboardist. One of Auerbach's drummers is named Patrick Hallahan of My Morning Jacket. The second My Morning Jacket person this week i've seen live!

Auerbach did not play any Black Keys material. The audience didn't seem to mind. He opened with the beautiful tune, "Trouble Weighs a Ton" he played it alone with the help of his guitarist. The second tune he played was "I Want Some More" and the only way I remembered this was because it matches the sequence of the album. They went on to play the entire album, i'm not sure if they played "When I Left The Room" or "Street Walkin'". I don't really remember those songs.

My big problem wiht the Black Keys/Dan Auerbach is a lot of their material comes off sounded the same. Big guitar riffs and strong Auerbach vocals. I think that's why songs like "Real Desire" (an Auerbach tune) come off sounding so impressive! I noticed as soon as I walked in they had Christmas lights strung across half the venue. It looked terrific. Seems like their travelling with them. During the song "Real Desire" at around the bridge, they lit up. They lit up to the point that the entire audience could be seen by the stage. I have seen nothing like it for such an extended period of time. It was truly remarkable. I took a picture, but it looked really lousy. The lights trickled in and out of the show from them. It made a really great song even more perfect.

The thing that divides Auerbach from the Black Keys is his ability to do the quiet songs. The softest song off of Attack and Release is easily "Things Ain't Like They Use To Be". Auerbach has three or four slower songs on his debut, some as soft to sound like a lullaby or a country tune.

Doors were at 5:30pm so I stumbled by at 7:15pm to find that the second opener Justin Townes Earl was finishing his last song. I missed Jessica Lea Mayfield. I'm pretty ticked at myself! I however saw Jessica earlier this year, January. I'm sure she'll be back. Justin Townes Earl was really good, he looked like Elvis Costello and sounded like a newer, less polished Buddy Holly. He made it clear to everyone at the end of his set where he's from, very American - he's from Tennessee.

The venue was pretty packed. People seemed into it. Auerbach is definately a performer, a good one at that.

Girlllllls

http://www.spin.com/articles/watch-best-new-band-09-unplugs-spin

This is fantastic. I'm very excited for the show next week.

Monsters of Folk Set List!!!!!

Baby Boomer
The Right Place
Say Please
Man Named Truth
One Life Away [M. Ward]
One Hundred Million Years [M. Ward]
Chinese Translation [M. Ward]
Golden [My Morning Jacket]
Ahead of the Curve
Whole Lotta Losin'
I Will Be There When You Die [My Morning Jacket]
We Are Nowhere And It's Now [Bright Eyes]
Lenders in the Temple [Conor Oberst & the Mystic Valley Band]
Kathy With a K's Song [Bright Eyes]
Dear God (Sincerely M.O.F.)
Vincent O'Brien [M. Ward]
Bermuda Highway [My Morning Jacket]
Look at You [My Morning Jacket]
Wonderful (The Way I Feel) [Jim James + M. Ward]
Slow Down Jo
Soul Singer in a Session Band [Bright Eyes]
The Sandman, the Brakeman and Me
At the Bottom [Bright Eyes]
GoodwayMap of the World
Smokin' From Shootin' [My Morning Jacket]
Hit the Switch [Bright Eyes]
Losin' Yo Head
------------------
His Master's Voice

Monsters of Folk plays Kiss on Halloween

http://www.youtube.com/watch?v=o3-2DlyNy9M
What a fun halloween gig. Imagine them playing their real songs in these get ups!

roll on roll on little train

roll on, roll on oh little train. brakeman blow your whistle, put your weight upon the train. make way whatever will be, will be between the sandman the brakeman and me.

Monsters of Folk at Massey Hall; Monday November 2, 2009.

Monsters of Folk at Massey Hall; Monday November 2, 2009.

This was easily one of the best shows i've seen this year. I know this because even during the show I was dreaming up ways I could start this little blurb about the show. There were no openers, much to my delight. They took the stage dressed in suits, M. Ward's was army green.

I knew this was going to be a solid show when the band broke apart after three songs leaving M. Ward and Jim James on stage to sing M. Ward's beautiful tune "One Life Away". To date I've seen M. Ward three times, this was the first time i've heard him play this tune. James' vocals sounded perfect, on the album I believe it was sung with a girl and live I've heard him do it with Norah Jones too on YouTube. The most awe-filled moment was part way through his live rendition of "One Hundred Million Years," a tune off his brand spanking new album the Hold Time. This song comes of stupid simple but is more complex than it leads on to be. It sounds like a simple ditty done by a couple of guitars, in actual fact it's only M. Ward. Which proves to me he's one of the greatest guitarists of my time.

When I saw M. Ward with She and Him he stuck close to the sidelines, clearly he let this be Zooey Deschanel's project. I always assumed from interviews that he hated the lime light and always preferred keeping to himself - this show proved otherwise ... I'm pretty sure I said something along these lines for my review of the M. Ward gig earlier this year. Performing he shines, it's clearly his passion. It comes with such ease and effortless comfort that I couldn't achieve in this lifetime.

Jim James (aka Yim Yames) was the biggest surprise to me. I first met Jim in his George Harrison cover album. I immediately thought of Fleet Foxes' Robin Pekenold - and I still do! He looks like he could be the granddaddy of the band, bearing a few years on them but also bearing the facial hair to prove! Jim James' edge on the rest of the band was his extremely broad vocal range. He "oooh'd" and "ahhh'd" like no one I'd ever heard before. I knew he was something special when I couldn't tell the difference between his voice and the lap slide guitar that Mike Mogis played the entire gig. I don't know any My Morning Jacket tunes, but apparently he played some in the set.

Mike Mogis was no surprise. He was the George Harrison of the band. He layed low but shined bright. He sported the bass and regular guitar, lap guitar, and the triangle. I'm sure he played much more over that too. He didn't brave any vocals though.

I remembered why my Bright Eyes albums never leave my prime collection - because Conor Oberst is brilliant. This is also my third time seeing Conor Oberst live. The first two times were with his outfit Bright Eyes. I was so fortunate to have seen his I'm Wide Awake It's Morning tour and his impromt tour for Cassadaga. Both times I knew very little because both times the albums were far too fresh for me to know. What Oberst did at this gig was he played four or five selections from throughout his Bright Eyes catalogue.... With a couple of tunes drawing from his masterpiece I'm Wide Awake... He chose tunes that wouldn't be obvious... It would probably've been too sweet for him to play "First Day of My Life" but he played tunes he had sang with Emmy Lou Harris, probably for their folk factor.

Having Yim Yames was a real blessing because of his powerhouse dynamic voice.

I loved how they kept the repertoire fresh... They busted into M. Ward's "Vincent O'Brien" three quarters of the way through the set. "Vincent O'Brien" is one of my favourite M. Ward tunes for it's hopeful shine and beat. M. Ward played and sang from behind the piano, which was a treat. While the band rocked out.

Now that I think about it everyone leaped behind a different instrument. Everyone held a bass, guitar, and keys. With the exception of Mogis and the drummer, Will... something.... Yikes.

I really liked their rendition of "Dear God (Sincerely M.O.F.)" which was as soulful on the album, but I had no idea Yim Yames had such a huge role in.... It was very shocking. I felt back to my boy band days when I had to know which person sang which part so I could idolise that one line with bigger love than I'd ever meet, ever again.

My favourite performance of a Monsters tune was "The Sandman, the brakeman and me" - an M. Ward inspired tune. Which is quite possibly the prettiest thing ever... the main lyrics are "Roll on, roll on little train. Brakeman blow your whistle throw your weight upon the chain. Make way, whatever will be, will be - between the sandman, the brakeman in me". I think this tune has inspired me to write a favourite tunes of 2009 because it's simply so inspiring. I love love love love love this song.

M. Ward brings so much to the table - he's my favourite performer of the lot. He's just oozing class in his tunes. I felt a wave of angst with every song he performed, it was a really lovely feeling. I love him for his timid voice, as much as I like Oberst for his strong deliverance and assertiveness.

I couldn't help but think TRAVEEEEEEELLLLLING WILLLBURYS the entire gig. But I think saying that is far overdone at this point. It's about making the best music you can, or at least creating something you like with people you like. I think that is really all this is, a bunch of ridiculously talented individuals making absolutely sparkling tunes.

They played one encore song, the last song of the album... The Jim James led tune "His Master's Voice". They left to similar soul music they'd come on with. They played for nearly an hour and a half, uninterrupted.

Spotless show, well worth the sixty big ones I paid. I had a fabulous seat too...!

Thao with the Get Down Stay Down at the El Mocambo; Sunday November 1, 2009.

Thao with the Get Down Stay Down at the El Mocambo; Sunday November 1, 2009.

Thao Nguyen is a from San Francisco and she's about as cute as they come. Her first full length album is titled We Brave Bee Stings and All. It's a solid release of little ditties about absolutely nothing. My personal favourite is called "Big Kid Table" which reminds me of being really small and always referring to the table I use to sit at as the "kids table". The song also sounds really fantastic too... with the words "you are strong, strong, strong, stronger than me. With a heart much more love, love, lovely." She tends to write about how people have to be stronger or who are better than she. Which is totally cool, I think it's sort of modest nice.

She played the "Big Kid Table" tune third in her set. She peppered her new tunes in throughout her set. I really liked how she did it. It came off sounding very put together. All the songs sort of had the same flare to them, so an unaided listener wouldn't even notice.

I really like her presence, she's all over the place. Thao's voice is stupid choppy live, almost to the point where you get every other word out of her - and that's about it! Regardless, I felt like it was all there. She puts her all into it, that's for certian. She screams, dances and loses her voice while she sings.

She played "Geography" following "Big Kid Table". "Geography" is probably my second favourite song off of her first album. I really like the riff that trails throughout the song on the keyboard. I also really like the lyrics - "Oh Geography, You're gonna make a mess of me!" which she wales at the beginning of the tune and regroups back to it later.

There's something to be said about an Asian front woman. Her guitar playing is absolutely spot on. She carries herself extremely well, belting out distinct sounding vocals and maintains the guitar to some complicated level. She would leave many chord strumming girls in the dust.

If you like Kimya Dawson, lay off the crack and listen to this girl. Her lyrics are much more put together but are still a pinch kooky and rough sounding.

I seem to think Bob Boylen had an amazing desk set with the lovely Thao. I'd be interested in hearing her solo, because I think her sound could use a bit less instrumentation. I really detested her band's use of the cello, it sounded terrible with her plucky sounds.

I wish there wasn't a meowing lacing the entire set, it got pretty annoying!

Atlas Sound at Lee's Palace; Saturday October 24, 2009

Atlas Sound at Lee's Palace; Saturday October 24, 2009

I forgot how much I didn't enjoy seeing Atlas Sound. The project has a Bradford Cox gleam to it but it severely lacks the energy and intriuge that Deerhunter fosters. Cox came off last night as a complete asshole. I saw Deerhunter at the beginning of the year, and Atlas Sound almost a year ago and I suppose my big love for Deerhunter wiped out my bad memories of the last Atlas Sound show.

The best tune off the new album is "Shelia"... An easy tune. He didn't play "Bite Marks" my favourite older tune. I would like to think Cox was having an off day, but the better part of me thinks this project is lacking the clarity and sound that the Deerhunter albums have. Cox to me is still a genius and i'll see him again with Deerhunter, any day.

Dead Man's Bones at the Opera House; Tuesday October 20, 2009

Dead Man's Bones at the Opera House; Tuesday October 20, 2009

Movie stars generally have a difficult time breaking it in the music scene. They face harsh judgements and impressions from their already acquainted audience. Judgements aside, their film career serves as a terrific platform to jumpstart a career of new sorts, with a dedicated fan base at hand. Ryan Gosling has done just that.

Gosling is a celebrity that has lived ten lives before the age of thirty. He was a mouseketeer on the Mickey Mouse Club, high school geek on the brilliant Canadian show Breaker High and most recently, heartthrob in the Notebook. His diverse catalogue makes it difficult to pin point the form his music takes. I must warn, listening to it doesn’t make this task any easier.

Just in time for Halloween Gosling and best friend Zach Shields performed the bizarre album titled Dead Man’s Bones. They use a children’s choir to serve as the supporting vocals, recorded it comes off charming amidst Gosling’s melancholic vocals. In their recent tour through North America they sought out local children’s choirs to perform in their own city. The kids of a Roncesvalles middle school were dressed in skeleton wear with makeup caked on to their faces.
The music they make was nothing to rave about. They’re cute ditties that were written to sound like something from fifty years ago. Unfortunately, on their own they weren’t able to create this consistently. The accessible tunes on the album were done tremendously well - “My Heart is a Zombie for You” and show closer “Paper Ships”. In both tunes they required heavy participation between the audience and the crowd. The men were not able to carry it on their own. Additionally, they used a powerhouse black woman to make their sound more intense. I have no idea what her name is but she had a beautiful voice that gave their music some much needed complexity.

I think that is Dead Man’s Bones greatest fault. They simple don’t have enough going for them. Using the children’s choir idea will be absolutely charming for one tour, but’ll lose its momentum after a second go round. This album is the perfect Halloween album, but its shelf life is purely seasonal. After Halloween this album is not going to get much play.

Edward Sharpe & The Magnetic Zeros

Edward Sharpe & The Magnetic Zeros is the lead singer of IMA Robot with ten other people. Their tunes are fun and upbeat. I first heard them when I dipped into Soundscapes looking for something different. I wasn't blown away at the time, but I heard the tune "Home" on the most recent episode of Gossip Girl and I had to find out who did the song. I'm not sure if it was teh show that took me first or the song in the show but it stuck.

They're coming to the El Mocambo.... A venue I regard as the icebreaker digs. Each band that starts of small plays there first and then dips into other larger facilities. It's sort of sad to see the progression. I think it's one of my favourite venues to see bands that haven't quite broke surface yet. As much as I like sharing music, somethings are best left secrets...

Mogwai

I heard Mogwai for the first time early, early this year on a Matador's celebration compilation for being in business for twenty years. The tune was "Hunted by a Freak" from the album Happy Songs for Happy People.

The song that made me realise how amazing they really are is the tune "Rage:Man" off of EP+6. It was released earlier this year I believe.

It's odd just how much they sound like Explosions in the Sky, yet Explosions have never been pitted for c0pying them. They've sort of made it on their own separately.

I'm not sure how I feel about the genre "Post-Rock" or post any thing for that matter. I don't see how this is any more progressive than regular rock. Post-rock just tends to not have vocals...

Nevertheless, my point being that I'm warming up to Mogwai and it fits.

Yo La Tengo at the Opera House; Saturday October 3, 2009

Yo La Tengo at the Opera House; Saturday October 3, 2009

Yo La Tengo has an enormous amount of street cred and it was sort of a wonder to see them live. Their sound was spot on.

They played throughout their whole catalogue, although they had just released a record.

Nuit Blanche was a total let down. First time for everything.

All Things Must Pass

What a gem of an album! 'All Things Must Pass' is a masterpiece. Yim Yames' cover album of it is almost as great.

get a piece!

Sufjan Stevens at Lee's Palace; Thursday October 1, 2009.

Sufjan Stevens at Lee's Palace; Thursday October 1, 2009.

When I bought these tickets, I couldn't help but think just how far away the show was. Well... It's come and gone.

This show was remarkable for so many reasons. I really wasn't expecting much, but when I received an email from Sufjan's label apologizing for the ticketless show I knew it was going to be something. Tickets were dirt cheap and the venue was small.

He opened the show up alone with one of his tunes from the Illinois b-side album titled The Avalanche called "The Mistress Witch from McClure (or, The Mind That Knows Itself)". This song is exactly what I love about Sufjan, he can play the down, slow stuff perfectly or he can get you going with something ridiculously poppy.

Going into this show I really had no expectations. He's not my favourite artist by any stretch and quite often I find him too camp, and too flamboyant between the choral vocals and completely bizarre lyrics. Tonight everything worked out. I was taken by his slow, sad songs but blown away by his exciting busy tunes.

When he got on stage he made it quite clear the purpose of this very short tour was to showcase new tunes. He followed that up by saying that the new songs are quite long and told everyone if they're too long they can just go outside for a bit. No one budged. Pitchfork tipped me before hand, I knew his tunes would be much longer.

The band came out for the second song. His band included, a trumpet and a trombone, drums, bass, two, sometimes three guitars and two or three background singers. Not quite the chorus I was dreading. The girl came from the San Francisco bred openers Crypticize. The singer reminded me of the over powering Emily Haines, but significantly daintier and much cuter. She coyly hopped on stage and sang in every song. She was the backbone to all of the songs Sufjan played. The woman's name is Nedelle Torrisi.

The third song they played was a new song about love, heartbreak and everything wrapped up in one as Sufjan announced. It was probably ten minutes long, giving "American Pie" a run for it's money. It had many parts to it, layers and angles but it picked up many themes to build on. Repeating wors is always a hit, simple but incredibly effective. I can't wait until it comes out to hear this one again with better quality.

His new tunes were significantly louder. Perhaps they haven't been grated through the production process like most of his other songs. Sufjan comes off polished leaving the studio but live he can reproduce that sound. I use to think he was too cheery and choral based. Something about large choirs and singing along kills me. This didn't do anything, I actually enjoyed what the added vocals did.

I was incredibly amazed by the brass section. They're some of the most talented brass accompanimetns i've heard in a while. The trumpet player particularly played tremendouly well with countless trumpet solo bits. Sufjan's tunes sounded perfect with an occasional french horn.

He played most of Illinois. I wasn't let down! But to my surprised he also played "To Be Alone with You" off of Seven Swans which was made popular by the OC. I think it made a soundtrack if I'm not mistaken. He also played "That Dress Looks Nice On You" as well.

I think his new albums going to be great. He's sort of one of those musical chameleons where there is no consistancy throughout his music, but he manages to establish a similar sound throughout.

It's been probably four years since he played Trinity St. Paul. Boy I wish I was at that show.

Sondre Lerche at the Mod Club; Wednesday September 16, 2009

Sondre Lerche at the Mod Club; Wednesday September 16, 2009

Sondre Lerche is one of the most beautiful artists, physically and through his music. He's incredibly talented. I can't think of many artists who can simply rock the guitar without their band and still give people the same aww they did with an entire band.

One rewarding thing about seeing Lerche without a band is his natural ease in transition between songs. He engages with the audience. I was in the second row and I felt like I was in a coffee shop with him. I just wished that he would get off that stage and sing on the same level as us.

By the third song he turned to the crowd for suggestions. He played the first person's request - "Tragic Mirror". This song sounds natural on the acoustic guitar.

He played all across his catelog, I was not disappointed. The only song I longed to hear was "Happy Birthday Girl" which may or may not've been a stretch for him to play.

I really loved his encore tune - "Modern Nature" a gem he released when he was only nineteen! It's a beautiful song that he used in the Dan in Real Life sountrack and it worked swimmingly. He said before he played "OK, i need you're help and I'm still trying to get use to this one". The song usually has a girl part that echoes the guys - without telling the crowd explicitly he gave them the opporunity to sing along. It was sweet and very fun, i couldn't help but laugh, with no guts to sing myself.

Do Make Say Think at the Polish Combatants Hall; Wednesday August 19, 2009

Do Make Say Think at the Polish Combatants Hall; Wednesday August 19, 2009

This is my one hundredth post!

Do Make Say Think are one of the finest bands out of Toronto. Their music is diverse and complex, something that is disitinct from any other indie act out of the city. Every member contributes a dynamic sound. Charles is the bass - busy, while upholding the back bone. Guitar - Ohad Benetrit and Justin Small, one not outweighing the other. But Benetrit is much better than Small.

Do Make's new album is coming out at the end of October, as anticipated they played a bunch of new tunes. Including then opening song - more aggressive and straight up. I felt by their song choice this show that their stand out album is 'Winter Hymn, Country Hymn, Secret Hymn'. Most of the tunes that were played were from that album.

I wrote the above note a very long time ago... The night o fthe show! I feel like the venue was a really nice size for them. I was a little disappoitned with the osund of the venue because the beautiful swells of their tunes were highly dimished in that venue. The light show absolutely killed me because it was one of the hardest things to watch. I love this band, and I love what they do but I hope that their music varies from their major swelling bridges. THere's somethijng abolsutley charming about their campfire pretty tunes like - "A Tender History in Rust" and "Chinatown".

Cursive at the Horseshoe; Saturday August 1, 2009

Cursive at the Horseshoe; Saturday August 1, 2009

Tim Kasher is definitely one of my favourite artists of the last ten years. He will be thirty-six years old by the end of the month. I can tell that he's worn out, in the sense that he has past experiences that really amount to the finish product of his lyrics.

Last night I discovered I really, truly only love two full Cursive albums. 'The Ugly Organ' and one half of 'Happy Hollow' and bits of 'Domestica'. Perhaps I like a bit of 'Mama, I'm Swollen' as well. Collectively, two albums i'd say. I really took love for his solo project The Good Life, especially the album "Album of the Year".

'The Ugly Organ' was really important to me in the tenth or eleventh grade. I remember when I was in grade eleven I had my fake ID and I really wanted to see Tim Kasher play with the Good Life. I probably would have had I known they would only play three gigs in the next six years in Toronto. Two times over with Cursive and once as the Good Life.

They were playing serious catch up time for not ever touring here, so i expected to hear a great array of their catalogue. I wasn't let down. They opened with "Big Bang" from their 2006 album 'Happy Hollow'. A very intense, horn charged tune. When I saw them two years ago they played with a larger horn section, this go round they only had one, instead of three. The horn player jumped from trumpet, to bugle and to keyboard. It was very evident that this guy was a trumpet player at heart, and knew some piano but I really wasn't remotely impressed by his keyboard skills.... Especially his organ bit at the bridge of one of the songs. It was actually horrible, especially after seeing Rod Argent (of the Zombies).

I was very happy with the song choices. Cursive's sound an organised-chaos. With the exception of the soft, pretty tunes they have like "Bad Sects" and "The Recluse", two songs they played. "Bad Sects" was perfect, I wouldn't have changed a thing. "The Recluse" felt too slow - it needed more push to it, it almost felt lazy.

My favourite tune they played was "A Gentleman Caller". It's absolute chaos but for the second half of the song it was absolutely perfect.

They also played "Driftwood: A Fairy Tale", "Art is Hard" and "Sierra" off of 'The Ugly Organ'.

They closed with "The Martyr" off of 'Domestica' which shocked me.

Monsters of Folk

Monsters of Folk is a fitting name for - Conor Oberst, M. Ward, Mike Mogus and Jim James. I find this group of people to be so funny for a plethora of reasons. Firstly, it's been a while in the making. Apparently, they played a gig four years ago and are finally following it up now. I suppose in this interconnected web of the Nebraskan artists it really isn't too hard to find mend their way together.

I can confidently say that this is the Travelling Wilburys or the Highwaymen of the twenty first century. Bob Boilen, NPR indie-king said that this album wasn't that folk. I disagree from the first three teaser tracks i've had the pleasure of listening to. They sort of sound like what the love-child of M. Ward and Oberst would sound like.

I'm really excited to hear the Mogus bits of this album, because I know him more as a producer than a performer. But he's touched almost all of my favourite Saddle Creek Releases in some way, so he must be a beautiful musician.

I dropped a good mint on my ticket for this gig, but i'm prepared to be blown away. I hope my hopes aren't too, too high.

Stephen Stills

Stephen Stills "Love the One Your With" is really brining my ugly Sunday up ten notches. It's a realy gem.

Amy Millan at Harbourfront; Saturday July 25, 2009

Amy Millan at Harbourfront; Saturday July 25, 2009

I use to love Stars and everything that was in or involved with Stars. They were the band that opened my eyes to so much - The Pogues, Broken Social Scene. I can't remember which one I stumbled upon first. They were one of the bands that I really took to heart.

It's weird because I have an MP3 player that doesn't hold much anymore (16GBs) and I found myself removing Stars from my library. They don't have that place in my heart anymore!

I really like Amy's solo stuff. Or at least I did, I thought it sounded a great deal like Mazzy Star's flat vocals with Sarah Harmer fueling the music.

This show was the first time I was able to see Amy alone and I discovered how boring I find her material. I really wasn't into it. She played her cover of Death Cab's "I Will Follow You Into the Dark". Millan has just about made that her own song from playing it so much. She launched into it for her second song and she didn't even introduce it. She played two or three more covers - of them an older Sarah Harmer tune. She exclaimed Harmer is due to release another album - I couldn't agree more!

The entire time I was really hoping for "Look Up", an older Stars tune that Millan owns. From Youtube I've noticed she plays it solo from time to time. She didn't tonight.

I really love her band, it's minimal - she has an occasional trombone and banjo. It gives it a bluegrass and jazzy vibe. It spices up and saves her music as best as it can. She also had a mandolin player which I never noticed on the album but is stupid clear in live show as a key component to her songs - recorded or live.

Her voice is what ruined this gig for me. It's flat and low in her solo stuff... quite the opposite from her Stars bit. She almost seems bored. She really needs help from her band to pick up her vocals and music - breathing new life into it.

The Walkmen at Lee's Palace; Friday July 25, 2009.

The Walkmen at Lee's Palace; Friday July 25, 2009

I don't understand why the Walkmen aren't bigger than they are. They should be up there with Kings of Leon, or bands that have independent potential but burst through the seams of popular music. They tried to with their guest gig on the OC four years back, maybe more. They did really well, they even made a soundtrack.

The lead singer has a distinct voice. He has a controllable scream over a sing, but it definitely works. It jives nicely with the dynamic guitar work. The guitarist really blew me away - crisp guitar lines, fooling to the point where one would think that it was a piano or synthesizer (see "Canadian Girl).

I went alone to this gig, and I sort of figured I would leave a little early to get a bit more sleep. They went on super late, probably close to 11:30pm! But by the second song they really pulled me in... The chiming guitar strums in their biggest tune off the album 'You & Me' called "The New Year". It really got me going, I was completely into it. I was listening to Stuart McLean's Vinyl Cafe and he mentioned that feeling at shows when you lose all your inhibitions. Not to the point where you are disrespecting everyone around you, but to the point where you can really feel something. The point where you don't care about how you look or sound. I sort of felt like that. McLean described it as the "Music taking over".

I really couldn't believe how much energy the lead singer put into the second song. This band works hard and they are great at what they do. Pitchfork's all over them, and so am I.