After some serious listening to 'Forgiveness Rock Record,' I've been giving some consideration as to why I was not feeling their gig at the Island a couple of weekends ago.
First - a good chunk of their set was drawn from the new album. Their opener was, at the time, the only song I really, really loved. Now, I can say I like a bit more.
Secondly - I have seen them so many times, it's like rewatching a movie. Every detail no longer matters. I must've heard "Meet Me in the Basement" three or four times before, and now it has finally appeared on the new album!
Tuesday, June 29, 2010
Monday, June 28, 2010
"Sweetest Kill" by Broken Social Scene
Very much a Kevin Drew song, "Sweetest Kill" is my new anthem. I gave this album a lot of flack when it came out, but I'm completely in love with this song. I like the heartbeating bass line.
It also reminds me a bunch of the bass line in "If You Leave," I like the Nada Surf version a bunch more than the original.
It also reminds me a bunch of the bass line in "If You Leave," I like the Nada Surf version a bunch more than the original.
Jenny & Johnny
Wow, not what I was expecting. More '90s than '60s folk!
On another note -
The original
On another note -
The original
Johnathan Rice
As much as I am embarassed to say, The OC was an important part of my teenage years. It served to be my emotional outlet as well as my source for music (The OC soundtrack 2, is still near my heart). I believe it was on that album that Johnathan Rice's song "So Sweet" was featured on it. That was the first time I met the guy.
A few songs that stuck out to me off of 'Trouble is Real':
Following that, I was surprised to see him as the opener for Jenny Lewis and the Watson Twins' 2006 spring tour. That show to this date is probably one of the best i've seen, I just wish I could remember it better than I do. I have had the opportunity to see Johnathan Rice three times on his own. He opened for Rilo Kiley at the Phoenix and has played the El Mocambo a few times.
Since my OC days, I have listened to how his sound has really evolved from his first album 'Trouble is Real'. The album was produced by the legendary Mike Mogis (Bright Eyes, and a member of Mosters of Folk), but doesn't show it in the slightest. I always thought 'Trouble is Real' to be a tad too over-overproduced, baring its skeleton on only a couple of songs on the album. 'Trouble is Real' is my favourite Johnathan Rice album, hands down. He followed it up with 'Further North,' three years later in 2007. I was expecting more of the poppy sound he showcased on his first album, but I got more country. It very well reflects his collaboration and relationship with the wonderful Jenny Lewis. They are true collaborators - songs like "End of the Affair" and Lewis' take on "Handle With Care" really show how organic their collective ideas flow.
Off of 'Further North':
Interestingly, I read an interview where Ben Gibbard said that a conversation with Johnathan Rice inspired the song "Grapevine Fires" off of 'Narrow Stairs'.
I am extremely excited for their upcoming project titled Jenny and Johnny. I can't say I'm not surprised, Lewis seems to keep reinventing herself year after year. It seems that with every new reinvention, she comes out with something really different from anything she's done before.
I was really thrown back by her return to Rilo Kiley with the flop 'Under the Blacklight'. Don't get me wrong, the album is fun to hear live and sing at the top of your lungs with a good friend, but it's garbage for a serious listen. I think Rilo Kiley would have been better off to end their stint with 'More Adventurous' (2004). I however, probably wouldnt've been able to see them the times I did.
With Jenny and Johnny, I anticipate a folk-country sound that sounds a bunch like the album 'Further North'. I'm really hoping they make their way to Toronto to support the record.
They warn on the website that "This is not a Rilo Kiley record, a Jenny Lewis record, or a Johnathan Rice record. This is Jenny and Johnny. They’re having fun now, and they want you to, too." Very cute.
The album art is fantastic:
Reminds me a bit of:
You may also remember him from his appearance in the film 'Walk the Line' where he played Roy Orbison in a few scenes:
Jim with Jenny and Johnathan!!!
The indie gang, Gibbard, Deschanel, Matthew Caws (of Nada Surf), Lewis and Rice:
A few songs that stuck out to me off of 'Trouble is Real':
Following that, I was surprised to see him as the opener for Jenny Lewis and the Watson Twins' 2006 spring tour. That show to this date is probably one of the best i've seen, I just wish I could remember it better than I do. I have had the opportunity to see Johnathan Rice three times on his own. He opened for Rilo Kiley at the Phoenix and has played the El Mocambo a few times.
Since my OC days, I have listened to how his sound has really evolved from his first album 'Trouble is Real'. The album was produced by the legendary Mike Mogis (Bright Eyes, and a member of Mosters of Folk), but doesn't show it in the slightest. I always thought 'Trouble is Real' to be a tad too over-overproduced, baring its skeleton on only a couple of songs on the album. 'Trouble is Real' is my favourite Johnathan Rice album, hands down. He followed it up with 'Further North,' three years later in 2007. I was expecting more of the poppy sound he showcased on his first album, but I got more country. It very well reflects his collaboration and relationship with the wonderful Jenny Lewis. They are true collaborators - songs like "End of the Affair" and Lewis' take on "Handle With Care" really show how organic their collective ideas flow.
Off of 'Further North':
Interestingly, I read an interview where Ben Gibbard said that a conversation with Johnathan Rice inspired the song "Grapevine Fires" off of 'Narrow Stairs'.
I am extremely excited for their upcoming project titled Jenny and Johnny. I can't say I'm not surprised, Lewis seems to keep reinventing herself year after year. It seems that with every new reinvention, she comes out with something really different from anything she's done before.
I was really thrown back by her return to Rilo Kiley with the flop 'Under the Blacklight'. Don't get me wrong, the album is fun to hear live and sing at the top of your lungs with a good friend, but it's garbage for a serious listen. I think Rilo Kiley would have been better off to end their stint with 'More Adventurous' (2004). I however, probably wouldnt've been able to see them the times I did.
With Jenny and Johnny, I anticipate a folk-country sound that sounds a bunch like the album 'Further North'. I'm really hoping they make their way to Toronto to support the record.
They warn on the website that "This is not a Rilo Kiley record, a Jenny Lewis record, or a Johnathan Rice record. This is Jenny and Johnny. They’re having fun now, and they want you to, too." Very cute.
The album art is fantastic:
Reminds me a bit of:
You may also remember him from his appearance in the film 'Walk the Line' where he played Roy Orbison in a few scenes:
Jim with Jenny and Johnathan!!!
The indie gang, Gibbard, Deschanel, Matthew Caws (of Nada Surf), Lewis and Rice:
Sunday, June 27, 2010
'Under the Blacklight' by Rilo Kiley
Under the Blacklight is a terrible album. I spent a great amount of time trying to convince myself otherwise.
Yikes.
Yikes.
Saturday, June 26, 2010
G20 and Bahamas
I feel completely uninspired right now. I am in Mississauga, safe and away from the G20 protesters.
I think civil society uprise is very important to an extent. It however is an issue when it gets in the way of people's accessibility to jobs, transportation and housing. Additionally, when it resorts to vandalism and violence.
So, thank you G20 protesters, you've made my evening.
On the upside - I can't get enough of Bahamas, a much more pleasant feel than the sticky G20 mess.
I think civil society uprise is very important to an extent. It however is an issue when it gets in the way of people's accessibility to jobs, transportation and housing. Additionally, when it resorts to vandalism and violence.
So, thank you G20 protesters, you've made my evening.
On the upside - I can't get enough of Bahamas, a much more pleasant feel than the sticky G20 mess.
Kevin Drew bought me a shot
Three years ago, in my Broken hey day, I anxiously bought tickets with my new credit card because Broken Social Scene was playing Lee's Palace. Little did I know I had just bought tickets to Broken Social Scene Presents... Kevin Drew.
Four years later we know what it's all about. Kevin Drew however keeps me on edge, as he is incredibly sloppy and spontaneous. I don't know how many times I have told people of my experience seeing Kevin Drew at Lee's, but this video captures that moment perfectly. At the beginning of his set, Drew bought everyone in the sold out venue a shot, that's 600 shots!
Remarkable!
Four years later we know what it's all about. Kevin Drew however keeps me on edge, as he is incredibly sloppy and spontaneous. I don't know how many times I have told people of my experience seeing Kevin Drew at Lee's, but this video captures that moment perfectly. At the beginning of his set, Drew bought everyone in the sold out venue a shot, that's 600 shots!
Remarkable!
Friday, June 25, 2010
'This Movie is Broken'
So, as guessed by the dead giveaway trailer, the Bruce MacDonald film 'This Movie is Broken,' is filled with angst and young love.
I have to give it to them, the film mashes together the film and dialogue. It follows a couple's beginnings at the 2009 Broken Social Scene gig at Harbourfront. It captures a a beautiful beginning of July day in the heart of the Toronto garbage strike of '09. I admire the film's bold stance maintaining Toronto's catastrophic state. It is literally an homage to Toronto in piles of garbage.
The film begins with a flashy Broken Social Scene intro with "Almost Crimes." All the women are out - Feist, Emily Haines, Amy Millan and Lisa Lobsinger. Lobsinger, the only 'real' female member of the band now, took a backseat - really only captured singing in two or three songs. The intro was a bit interesting, it serves to piece together a purpose for the film. Each of the members of the band are introduced in big, orange writing, one by one.
For that inclusive reason, I kept thinking how much this approach reminded me of the Band's epic finale 'The Last Waltz.' Other performers were there - paying tribute and jamming with the Band. In a way, this film did the exact same thing. The outer crust members of the band who were lost in the band's 2010 fine tuning (to only seven members!) were featured in this film. Full 'crust' member Broken songs were featured - "I'll Bring the Sun" by Jason Collett, with a brilliant jam ending, a Kevin Drew song, a Brendan Canning song and even a medley of Feist and Kevin Drew songs.
This is a clip of "I'll Bring the Sun" off of his legendary album 'Idols of Exile.' Apparently, earlier that night Collett had opened for Steve Earle at Massey Hall. The person who posted that video commented how he or she had been first introduced to Jason Collett in 2004 at Harbourfront. I think it was 2005/6 that I saw him and very likely that person did too (despite what they claimed). I was still in high school and still sneaking into Collett shows with an ID that barely resembled me.
After playing "I'll Bring the Sun" the band jammed into the Guided By Voice's tune "Glad Girls."
Apostle of Hustle's "Soul Unwind" was played at the show but left out of the film.
The medley kept me on edge because I really adore the things that Feist does to a song. The medley consisted of Drew's "Safety Bricks," and Feist's "Past in Present" and "I Feel it All."
Drew's "Safety Bricks":
Feist and Drew playing "Safety Bricks":
I missed the show, due to a family wake on the other side of the country. Watching such a rich concert in my city really broke my heart a bit. The love story accompanied just served to bash it a little more. The films hopeful storyline portrays two attractive twentysomethings that have mysterouslsy found themselves together. They aren't in love, but they definitely have some kind of relationship going for them. Basically, they serve to represent the average Broken fan, which builds to make the story all the more believable.
MacDonald really shaped the storyline and music well together. I really dug the way he could just shut out the storyline for sake of the live performance, very seamlessly. I gave a lot of consideration to why certian songs were selected. They really emphasised the 'crust' Broken projects - including members from the past or occasional Broken Social Scenesters. Perhaps more simply thinking it was just a case of MacDonald chosing to follow a good show, where everyone showed up.
No, I doubt that's the case. Although we came pretty close at the island show this past weekend.
This movie was really rough to watch, because of its flashy images and quick flips. It was a typical Bruce MacDonald head bender. I kept thinking back to how scatterbrained I was throughout the Tracy Fragments. This film is challenging because he goes beyond music and uses the sequence and pace of an image to frame a scene. For instance, he'd take a single moment and twist it into three or four images, very strategically placed together.
The catchlines of this film were a bit ridiculous... "Love is instrumental" and "A Rock show romance" enough to make you think the band's selling out.
The ended the show with "7/4 (Shoreline)" emphasised a bunch in the film.
"Anthems for a Seventeen Year-Old Girl"
This bit below captures what the movie's beginning documentary type feel. It felt less like a story and more like a tribute documentary to Toronto.
Another thing that was left out of the film was a serious tribute to DJ Martin Streek who took his life earlier that year. They played the tune "Meet Me in the Basement" in rememberance of him. The movie cut out this tribute but kept the song in it.
I love love love the tune "The Sweetest Kill," which finally made it on a Broken album. Did not make the film.
Amazingly near the beginning of the film "Pacific Theme" was performed! I don't think I have ever heard this song live until the film.
They really emphasised good friends and music... At the very end of the film and the performance they all linked together and sang "You've Got a Friend" originally done by Carole King on her perfect album 'Tapestry.'
"You just call out my name, you know i'll come running to see you again" was featured I think... Drew likes to end on a sappy note, he even penned a song to mirror this sort of feeling. The band similarly ended with the lines by Drew himself - "It's gonna be really hard to get to the end... and Don't forget what you felt" in the tune "When it Begins" off of his album 'Spirit If...'
I have to give it to them, the film mashes together the film and dialogue. It follows a couple's beginnings at the 2009 Broken Social Scene gig at Harbourfront. It captures a a beautiful beginning of July day in the heart of the Toronto garbage strike of '09. I admire the film's bold stance maintaining Toronto's catastrophic state. It is literally an homage to Toronto in piles of garbage.
The film begins with a flashy Broken Social Scene intro with "Almost Crimes." All the women are out - Feist, Emily Haines, Amy Millan and Lisa Lobsinger. Lobsinger, the only 'real' female member of the band now, took a backseat - really only captured singing in two or three songs. The intro was a bit interesting, it serves to piece together a purpose for the film. Each of the members of the band are introduced in big, orange writing, one by one.
For that inclusive reason, I kept thinking how much this approach reminded me of the Band's epic finale 'The Last Waltz.' Other performers were there - paying tribute and jamming with the Band. In a way, this film did the exact same thing. The outer crust members of the band who were lost in the band's 2010 fine tuning (to only seven members!) were featured in this film. Full 'crust' member Broken songs were featured - "I'll Bring the Sun" by Jason Collett, with a brilliant jam ending, a Kevin Drew song, a Brendan Canning song and even a medley of Feist and Kevin Drew songs.
This is a clip of "I'll Bring the Sun" off of his legendary album 'Idols of Exile.' Apparently, earlier that night Collett had opened for Steve Earle at Massey Hall. The person who posted that video commented how he or she had been first introduced to Jason Collett in 2004 at Harbourfront. I think it was 2005/6 that I saw him and very likely that person did too (despite what they claimed). I was still in high school and still sneaking into Collett shows with an ID that barely resembled me.
After playing "I'll Bring the Sun" the band jammed into the Guided By Voice's tune "Glad Girls."
Apostle of Hustle's "Soul Unwind" was played at the show but left out of the film.
The medley kept me on edge because I really adore the things that Feist does to a song. The medley consisted of Drew's "Safety Bricks," and Feist's "Past in Present" and "I Feel it All."
Drew's "Safety Bricks":
Feist and Drew playing "Safety Bricks":
I missed the show, due to a family wake on the other side of the country. Watching such a rich concert in my city really broke my heart a bit. The love story accompanied just served to bash it a little more. The films hopeful storyline portrays two attractive twentysomethings that have mysterouslsy found themselves together. They aren't in love, but they definitely have some kind of relationship going for them. Basically, they serve to represent the average Broken fan, which builds to make the story all the more believable.
MacDonald really shaped the storyline and music well together. I really dug the way he could just shut out the storyline for sake of the live performance, very seamlessly. I gave a lot of consideration to why certian songs were selected. They really emphasised the 'crust' Broken projects - including members from the past or occasional Broken Social Scenesters. Perhaps more simply thinking it was just a case of MacDonald chosing to follow a good show, where everyone showed up.
No, I doubt that's the case. Although we came pretty close at the island show this past weekend.
This movie was really rough to watch, because of its flashy images and quick flips. It was a typical Bruce MacDonald head bender. I kept thinking back to how scatterbrained I was throughout the Tracy Fragments. This film is challenging because he goes beyond music and uses the sequence and pace of an image to frame a scene. For instance, he'd take a single moment and twist it into three or four images, very strategically placed together.
The catchlines of this film were a bit ridiculous... "Love is instrumental" and "A Rock show romance" enough to make you think the band's selling out.
The ended the show with "7/4 (Shoreline)" emphasised a bunch in the film.
"Anthems for a Seventeen Year-Old Girl"
This bit below captures what the movie's beginning documentary type feel. It felt less like a story and more like a tribute documentary to Toronto.
Another thing that was left out of the film was a serious tribute to DJ Martin Streek who took his life earlier that year. They played the tune "Meet Me in the Basement" in rememberance of him. The movie cut out this tribute but kept the song in it.
I love love love the tune "The Sweetest Kill," which finally made it on a Broken album. Did not make the film.
Amazingly near the beginning of the film "Pacific Theme" was performed! I don't think I have ever heard this song live until the film.
They really emphasised good friends and music... At the very end of the film and the performance they all linked together and sang "You've Got a Friend" originally done by Carole King on her perfect album 'Tapestry.'
"You just call out my name, you know i'll come running to see you again" was featured I think... Drew likes to end on a sappy note, he even penned a song to mirror this sort of feeling. The band similarly ended with the lines by Drew himself - "It's gonna be really hard to get to the end... and Don't forget what you felt" in the tune "When it Begins" off of his album 'Spirit If...'
Thursday, June 24, 2010
Jack Johnson
For the last two years or so, I've come to realise that Jack Johnson is something to be embarassed about liking. It all started when I was at a new friends house and his roommate made an impression of Johnson. It was loose guitar chords and floppy tropical lyrics to follow. All in good fun, I laughed along with my new friends.
In my defense, I haven't really dug into new Jack Johnson material since his release of 'In Between Dreams' in 2005. I had an amazing time at the follow-up concert, I was in the general admission bit of the Molson Ampitheatre and I felt like I was seeing him at a tiny venue, very intimate.
I was at the Silver Dollar last night to see Crazy Strings and for some good company. I got to talking to someone about guilty pleasures with someone. I declared I secretly liked Kelly Clarkson (which I do...) and he followed mine up with his appreciation for Jack Johnson.
So, in my two run-ins with Jack Johnson in my recent past - the consensus is that it's NOT okay to like Jack Johnson. Fair enough.
But for all my loyal readers... I am going to see Jack Johnson with my parents in July. I'm pretty excited to see G. Love with him at to hear "Rodeo Clowns" as it was intended to sound like.
I really like Jack Johnson - for the albums - 'Brushfire Fairytales' (2001), 'On and On' (2003) and 'In Between Dreams' (2005). But i'll probably whisper it in public if we disucss this!
The amazing "Taylor" video featuring Ben Stiller:
In my defense, I haven't really dug into new Jack Johnson material since his release of 'In Between Dreams' in 2005. I had an amazing time at the follow-up concert, I was in the general admission bit of the Molson Ampitheatre and I felt like I was seeing him at a tiny venue, very intimate.
I was at the Silver Dollar last night to see Crazy Strings and for some good company. I got to talking to someone about guilty pleasures with someone. I declared I secretly liked Kelly Clarkson (which I do...) and he followed mine up with his appreciation for Jack Johnson.
So, in my two run-ins with Jack Johnson in my recent past - the consensus is that it's NOT okay to like Jack Johnson. Fair enough.
But for all my loyal readers... I am going to see Jack Johnson with my parents in July. I'm pretty excited to see G. Love with him at to hear "Rodeo Clowns" as it was intended to sound like.
I really like Jack Johnson - for the albums - 'Brushfire Fairytales' (2001), 'On and On' (2003) and 'In Between Dreams' (2005). But i'll probably whisper it in public if we disucss this!
The amazing "Taylor" video featuring Ben Stiller:
Wednesday, June 23, 2010
The Soft Pack
The Soft Pack are brilliant. I recently purchased their self-titled album, and I'm pretty stunned that it was released last year and I hadn't heard a song until last week. It's a little messier than what I'm use to but, I really like the energy this band has.
They remind me a bunch of an edgier Walkmen.
They remind me a bunch of an edgier Walkmen.
Tuesday, June 22, 2010
The Island Gig & NXNE, Saturday June 19, 2010
I have spent the last three days away from my computer, so looking at my festival Saturday is a little fuzzy.
Part 1: Toronto Island
I had to drive back from a wedding in London the night before, so in addition to being cramped in a car for a couple of hours I was a little hard pressed on sleep. The traffic was horrendous in the downtown core. We were driving along King Street when I saw some familiar faces from a couple of nights before at the Boat. It was the members of Sleepy Vikings, the most sincere band I've met in quite some time. I knew at that point, this was a start to best day I've had in quite sometime.
My day started a bit rocky and late, as I had missed both Zeus and Timber Timbre. I especially had my heart set on Zeus, the best live show I've seen in quite some time. I don't think I can talk up this band enough, they're fun, energetic and really innovative although we've heard all their sounds before.
We arrived on the island around 2:30pm, just in time to see Beach House. I can't articulate how into Beach House I have been in this tiny space of a blog. Beach House were my soundtrack to the winter 2010 season. I remember listening to the album in my room ridiculously late at night thinking how incredible it was. Beach House are sort of an odd ball band for me because I really hated 'Devotion,' both live and recorded. So, being blown away by 'Teen Dream' was really something unexpected.
In their live show they played almost, if not all of 'Teen Dream.' Fortunately for me they played very little from their older albums. They didn't lose me at all through their set - I still found myself captivated by tunes I didn't even know. For me, the biggest thrill was hearing all of the sounds that I heard on the album to perfection live, without a phony drum machine. Beach House's great appeal in my eyes is their guitarist. His bits are best displayed in songs like "Silver Soul" that feature his hair raising guitar slide. In hearing this video, it just melts me with two seconds of his guitar noodle.
Like this video, they did a bunch of teasing throughout the set. They'd play a snippet of the song before they'd launch into the actual performance. It was such a treat because big fans, like myself, could latch onto what song was going to be played next.
As I was walking into the park, I could hear singer Victoria LeGrand's run through warm up vocals for "Silver Soul." I anxiously ran to the front in excitement for their set.
Much later at a very moist show at Rancho Relaxo, I jumped into a conversation about Beach House's performance earlier that day. There was an older photographer and a twentysometing chatting about the performance. Twentysomething loved both Beach House and the performance, while the photographer found their performance to be very boring. I immediately jumped in and proclaimed by love for their performance. He counteracted by making the claim that for a photographer, Beach House aren't the slightest bit stimulating. Fair enough. I can sympathise with his stance, as I too had been bored to death by Beach House nearly three years prior at the El Mocambo (!!!). This time however, I found myself engaged and enchanted by their dreamy set. Swaying and moving along with the sound of the bass drum. Their latest release is very appropriately titled.
Band of Horses surprised me. I had no expectations of this band whatsoever. I had just two years before really fallen for the album 'Cease to Begin,' by the influence of two male friends. I was really ticked that I had missed their impromptu show less than a month before at the Horseshoe. By far it was this set that completely blew me away. I knew only a small handful of their material, but their sound was immaculate. I was astonished by how perfect the lead singer's vocals were. I was really dazzled by the band's performance of "Ode to the LRC," the second last song of their set. Just as the bridge was rolling around with the final "The World is such a wonderful place" bit, the sun came out and illuminated the stage. Completely cheesy, but everything was extra special at that point. I was even charmed by how well the "La De Das" came out at the end of the tune. The band closed with the tune "Funeral" from their first album. Band of Horses, although really only taking off in the last couple of years are a seriously established band. Their sound is tight, while keeping it light on stage. This is a band I would see again in a heartbeat.
There really aren't many great videos of this song, but this one will have to do:
Seeing Broken was nothing extraordinary. I really like Broken Social Scene, I like where they came from, I like the projects they have made since. I however am not in love with them as I once was. They were an incredible part to my final years of high school - they sort of made it for me, they helped me get through. They were my gateway Canadian band. We kicked it back after the second half of their set to just listening. I don't think I have ever seen Broken Social Scene so far back. Their sound felt so much less than it normally did. As per usual, I was attracted to Andrew Whiteman and his brilliant live performance. I wish I could extend that to their entire gig, but I just wasn't feeling it the way I probably should've, or would've in the past.
Pavement kicked it on last. This is a band that a good chunk of the crowd really adored and stuck around for. The lead singer of Band of Horses commented on how lucky he was to be playing with them. He said that if it wasn't for Pavement he probably would have graduated from high school. I personally only know a small handful of Pavement songs. In large part I stayed because of what an epic band they are. I wish I could say I listened to them throughout myself and they were an instrumental part to the formation of my musical taste, but they weren't. I had just picked up 'Wowee Zowee' earlier this week. I have to admit I do like it, but I really only felt a big affection for the first tune and very much an anomaly track on the album "We Dance."
Cat Power digs it too:
Hopefully I haven't lost too many cool points in your books. It was sort of interesting to see the serious age gap as I watched a guy in his early thirties hang on to every word that came out of Stephen Malkmus' mouth. I felt that in ten years, when Saves the Day does their comeback tour - that's exactly how i'd feel.
Part Two: Toronto Mainland
Back in Toronto, NXNE was illuminating the city. There's a beautiful aura that surrounds the city when NXNE is on. This year I had a priority pass, which I thought would make all the difference in the world. Rather, I found few lines and rather spacious venues. I started part two of the evening with light plans to go to three different venues. We began at the El Mocambo to see Moneen, a band that I hadn't seen in years. Upon entering the venue, I abandoned my ticket buying friends to rush into the venue as the band was just beginning an acoustic version of "Start Angry, End Mad." A very peculiar song to play acoustic. I knew it was the tune because I could hear its opening lines "screw you and die I hope you burn," followed by the boys chanting "Die." I am normally quite reserved, but I felt ever so inclined to join in. Rather than a show, it felt like a campfire as it was only Kenny and Hippie on acoustic guitars. Sandwiched in between they played a new tune that I didn't recognised, finishing up with a song they said most of us probably would know. Much to my satisfaction, they brought out their old, but not tired gem "The Passing of America." I was absolutely stunned by how well it translated into a stripped down song, while keeping the vigour that it has in its electric rendition. I have these brilliant memories of the lead singer running from one end of the stage to the other yelling "The PASSING OF AMERICA..." This show we didn't get that performance, but the audience were definitely feeling it.
Just for kicks, the brilliant video for "...Broken Legs"
We moved to Lee's, where I was hoping to see a bit of the Soft Packs set at 11pm. I had unfortunately missed it and to found that the incredibly young Avi Buffalo had already took the stage. Avi Buffalo is a band from Long Beach, California and whose front man Avigdor Zahner-Isenberg, is only eighteen! I really didn't like his music, it was extremely young sounding and something that I think I would have really loved at fifteen next to Something Corporate's 'Leaving Through the Window.' His music however has a lot more talent behind it than Something Corporate and his guitar skills reflect a complexity beyond the power chords of their comparison. I admire he's probably the youngest performer signed to Sub Pop to date.
The show that wrapped up the evening was at Rancho Relaxo. As soon as I hopped up the stairs I could feel my straightened hair curl. It was ten degrees hotter in the upper bit of the bar. The venue despite the heat was packed, when the band took the stage the front area was stocked with people. I myself, had roped in a few friends for this particular showcase. Although the hottest, this had to be my favourite time I have seen the Darcys play. The band is comfortable with their music, I find that's something a lot of local band's really suffer from. The band's serious flaw is only posting two tunes online! I am anxiously waiting for something more to be put out.
I really can't boast this band enough - you can check out their music here, or download their 7" at www.thedarcys.ca.
A sweet cover of By Divine Right's cocky tune "Five Bucks":
Part 1: Toronto Island
I had to drive back from a wedding in London the night before, so in addition to being cramped in a car for a couple of hours I was a little hard pressed on sleep. The traffic was horrendous in the downtown core. We were driving along King Street when I saw some familiar faces from a couple of nights before at the Boat. It was the members of Sleepy Vikings, the most sincere band I've met in quite some time. I knew at that point, this was a start to best day I've had in quite sometime.
My day started a bit rocky and late, as I had missed both Zeus and Timber Timbre. I especially had my heart set on Zeus, the best live show I've seen in quite some time. I don't think I can talk up this band enough, they're fun, energetic and really innovative although we've heard all their sounds before.
We arrived on the island around 2:30pm, just in time to see Beach House. I can't articulate how into Beach House I have been in this tiny space of a blog. Beach House were my soundtrack to the winter 2010 season. I remember listening to the album in my room ridiculously late at night thinking how incredible it was. Beach House are sort of an odd ball band for me because I really hated 'Devotion,' both live and recorded. So, being blown away by 'Teen Dream' was really something unexpected.
In their live show they played almost, if not all of 'Teen Dream.' Fortunately for me they played very little from their older albums. They didn't lose me at all through their set - I still found myself captivated by tunes I didn't even know. For me, the biggest thrill was hearing all of the sounds that I heard on the album to perfection live, without a phony drum machine. Beach House's great appeal in my eyes is their guitarist. His bits are best displayed in songs like "Silver Soul" that feature his hair raising guitar slide. In hearing this video, it just melts me with two seconds of his guitar noodle.
Like this video, they did a bunch of teasing throughout the set. They'd play a snippet of the song before they'd launch into the actual performance. It was such a treat because big fans, like myself, could latch onto what song was going to be played next.
As I was walking into the park, I could hear singer Victoria LeGrand's run through warm up vocals for "Silver Soul." I anxiously ran to the front in excitement for their set.
Much later at a very moist show at Rancho Relaxo, I jumped into a conversation about Beach House's performance earlier that day. There was an older photographer and a twentysometing chatting about the performance. Twentysomething loved both Beach House and the performance, while the photographer found their performance to be very boring. I immediately jumped in and proclaimed by love for their performance. He counteracted by making the claim that for a photographer, Beach House aren't the slightest bit stimulating. Fair enough. I can sympathise with his stance, as I too had been bored to death by Beach House nearly three years prior at the El Mocambo (!!!). This time however, I found myself engaged and enchanted by their dreamy set. Swaying and moving along with the sound of the bass drum. Their latest release is very appropriately titled.
Band of Horses surprised me. I had no expectations of this band whatsoever. I had just two years before really fallen for the album 'Cease to Begin,' by the influence of two male friends. I was really ticked that I had missed their impromptu show less than a month before at the Horseshoe. By far it was this set that completely blew me away. I knew only a small handful of their material, but their sound was immaculate. I was astonished by how perfect the lead singer's vocals were. I was really dazzled by the band's performance of "Ode to the LRC," the second last song of their set. Just as the bridge was rolling around with the final "The World is such a wonderful place" bit, the sun came out and illuminated the stage. Completely cheesy, but everything was extra special at that point. I was even charmed by how well the "La De Das" came out at the end of the tune. The band closed with the tune "Funeral" from their first album. Band of Horses, although really only taking off in the last couple of years are a seriously established band. Their sound is tight, while keeping it light on stage. This is a band I would see again in a heartbeat.
There really aren't many great videos of this song, but this one will have to do:
Seeing Broken was nothing extraordinary. I really like Broken Social Scene, I like where they came from, I like the projects they have made since. I however am not in love with them as I once was. They were an incredible part to my final years of high school - they sort of made it for me, they helped me get through. They were my gateway Canadian band. We kicked it back after the second half of their set to just listening. I don't think I have ever seen Broken Social Scene so far back. Their sound felt so much less than it normally did. As per usual, I was attracted to Andrew Whiteman and his brilliant live performance. I wish I could extend that to their entire gig, but I just wasn't feeling it the way I probably should've, or would've in the past.
Pavement kicked it on last. This is a band that a good chunk of the crowd really adored and stuck around for. The lead singer of Band of Horses commented on how lucky he was to be playing with them. He said that if it wasn't for Pavement he probably would have graduated from high school. I personally only know a small handful of Pavement songs. In large part I stayed because of what an epic band they are. I wish I could say I listened to them throughout myself and they were an instrumental part to the formation of my musical taste, but they weren't. I had just picked up 'Wowee Zowee' earlier this week. I have to admit I do like it, but I really only felt a big affection for the first tune and very much an anomaly track on the album "We Dance."
Cat Power digs it too:
Hopefully I haven't lost too many cool points in your books. It was sort of interesting to see the serious age gap as I watched a guy in his early thirties hang on to every word that came out of Stephen Malkmus' mouth. I felt that in ten years, when Saves the Day does their comeback tour - that's exactly how i'd feel.
Part Two: Toronto Mainland
Back in Toronto, NXNE was illuminating the city. There's a beautiful aura that surrounds the city when NXNE is on. This year I had a priority pass, which I thought would make all the difference in the world. Rather, I found few lines and rather spacious venues. I started part two of the evening with light plans to go to three different venues. We began at the El Mocambo to see Moneen, a band that I hadn't seen in years. Upon entering the venue, I abandoned my ticket buying friends to rush into the venue as the band was just beginning an acoustic version of "Start Angry, End Mad." A very peculiar song to play acoustic. I knew it was the tune because I could hear its opening lines "screw you and die I hope you burn," followed by the boys chanting "Die." I am normally quite reserved, but I felt ever so inclined to join in. Rather than a show, it felt like a campfire as it was only Kenny and Hippie on acoustic guitars. Sandwiched in between they played a new tune that I didn't recognised, finishing up with a song they said most of us probably would know. Much to my satisfaction, they brought out their old, but not tired gem "The Passing of America." I was absolutely stunned by how well it translated into a stripped down song, while keeping the vigour that it has in its electric rendition. I have these brilliant memories of the lead singer running from one end of the stage to the other yelling "The PASSING OF AMERICA..." This show we didn't get that performance, but the audience were definitely feeling it.
Just for kicks, the brilliant video for "...Broken Legs"
We moved to Lee's, where I was hoping to see a bit of the Soft Packs set at 11pm. I had unfortunately missed it and to found that the incredibly young Avi Buffalo had already took the stage. Avi Buffalo is a band from Long Beach, California and whose front man Avigdor Zahner-Isenberg, is only eighteen! I really didn't like his music, it was extremely young sounding and something that I think I would have really loved at fifteen next to Something Corporate's 'Leaving Through the Window.' His music however has a lot more talent behind it than Something Corporate and his guitar skills reflect a complexity beyond the power chords of their comparison. I admire he's probably the youngest performer signed to Sub Pop to date.
The show that wrapped up the evening was at Rancho Relaxo. As soon as I hopped up the stairs I could feel my straightened hair curl. It was ten degrees hotter in the upper bit of the bar. The venue despite the heat was packed, when the band took the stage the front area was stocked with people. I myself, had roped in a few friends for this particular showcase. Although the hottest, this had to be my favourite time I have seen the Darcys play. The band is comfortable with their music, I find that's something a lot of local band's really suffer from. The band's serious flaw is only posting two tunes online! I am anxiously waiting for something more to be put out.
I really can't boast this band enough - you can check out their music here, or download their 7" at www.thedarcys.ca.
A sweet cover of By Divine Right's cocky tune "Five Bucks":
Sunday, June 20, 2010
Music people
Music is the best ice breaker.
I wouldn't consider myself completely comfortable when talking to people. When music is involved there's something that goes off, and I feel completely at ease.
The thing about music is there's always a story behind it. It could be a live show memory, or gossip about the artist's personal life. Or my very favourite, the song orgasm.
I wouldn't consider myself completely comfortable when talking to people. When music is involved there's something that goes off, and I feel completely at ease.
The thing about music is there's always a story behind it. It could be a live show memory, or gossip about the artist's personal life. Or my very favourite, the song orgasm.
Friday, June 18, 2010
North by North East; Thursday June 17, 2010
I spent a good chunk of my evening at the Boat where I manned the door. It had a pretty low attendance, nothing beyond what I expected. I was tremendously happy to meet a handful of really lovely people.
I learned tonight how grateful and warm bands can be. I was hoping to be completely wowed, unfortunately, none of the bands at the Boat tonight really did it for me. I really enjoyed Autumn Owl, a band that hails from Ireland. They had a very distinct post-rock sound that separated them from all the other acts. They were exceptional because their sound was clean and precise, something that I felt the other bands really didn't have.
The first band was Krupke, a band from Toronto. Their music was a bit theatrical and very much acted out the intended feeling in the instrumentation. It was definitely meant to be a bit messy and chaotic. It didn't really fit with my musical appetite.
The fourth band, Sleepy Vikings, had a bit of flare to them. I really wasn't sure what they'd sound like as more than half the six members were girls. They definitely surprised me. They have the grit and cool that Pavement have with a bit of delicacy, delivered through busy instrumentation and post-rock music interludes. The girls I was working with that night pounced on their free sampler, as did many other people. I originally wasn't that impressed by their set until I learned they weren't in fact a Toronto band but from Tampa, Florida. I spoke with them a bit after the show - they were incredibly sweet and allowed me to indulge in serving as a mini tour guide of the city. I'm not sure why learning that they were from out of town really pushed how much I liked them. I keep thinking about how people always adore and pedestal the exotic. I know, not completely exotic - a small stretch from Toronto, but there was some sort of charm that won me over!
The best gig I saw tonight was the Soft Pack, formerly known as the Muslims. A friend of mine called me to come out, if I still had the energy. They were playing an unannounced show at the Silver Dollar at 2am. Seeing them live made me think of the Walkmen, a band that I really adore both live and recorded. It's probably because of his presence and style of singing. In listening to them now, I sort of hear a similar sound in their vocal style and delivery.
That same friend that called me very critically said to me tonight - "Garage rock is great, but it all sounds the same." I have to say now in response, yes it has a very similar flare throughout, but there's something really different about this band that I hear now through their studio recordings. They have a real classic appeal in amidst their aggressive guitar bits. The vocal almost sounds like something from the '60s - a rougher Kinks perhaps.
I have to say, the Soft Pack really got people moving, perhaps it was the extended bar hours (4am!!).
I learned tonight how grateful and warm bands can be. I was hoping to be completely wowed, unfortunately, none of the bands at the Boat tonight really did it for me. I really enjoyed Autumn Owl, a band that hails from Ireland. They had a very distinct post-rock sound that separated them from all the other acts. They were exceptional because their sound was clean and precise, something that I felt the other bands really didn't have.
The first band was Krupke, a band from Toronto. Their music was a bit theatrical and very much acted out the intended feeling in the instrumentation. It was definitely meant to be a bit messy and chaotic. It didn't really fit with my musical appetite.
The fourth band, Sleepy Vikings, had a bit of flare to them. I really wasn't sure what they'd sound like as more than half the six members were girls. They definitely surprised me. They have the grit and cool that Pavement have with a bit of delicacy, delivered through busy instrumentation and post-rock music interludes. The girls I was working with that night pounced on their free sampler, as did many other people. I originally wasn't that impressed by their set until I learned they weren't in fact a Toronto band but from Tampa, Florida. I spoke with them a bit after the show - they were incredibly sweet and allowed me to indulge in serving as a mini tour guide of the city. I'm not sure why learning that they were from out of town really pushed how much I liked them. I keep thinking about how people always adore and pedestal the exotic. I know, not completely exotic - a small stretch from Toronto, but there was some sort of charm that won me over!
The best gig I saw tonight was the Soft Pack, formerly known as the Muslims. A friend of mine called me to come out, if I still had the energy. They were playing an unannounced show at the Silver Dollar at 2am. Seeing them live made me think of the Walkmen, a band that I really adore both live and recorded. It's probably because of his presence and style of singing. In listening to them now, I sort of hear a similar sound in their vocal style and delivery.
That same friend that called me very critically said to me tonight - "Garage rock is great, but it all sounds the same." I have to say now in response, yes it has a very similar flare throughout, but there's something really different about this band that I hear now through their studio recordings. They have a real classic appeal in amidst their aggressive guitar bits. The vocal almost sounds like something from the '60s - a rougher Kinks perhaps.
I have to say, the Soft Pack really got people moving, perhaps it was the extended bar hours (4am!!).
Wednesday, June 16, 2010
Steel Bananas and Do Make Say Think
It has sort of become a monthly ritual for me to skim and scan the Steel Bananas issue. It's kind of exciting to see what I've missed culturally in a city that I feel I know so well.
This bit you're about to read is in response to an article from the most recent Steel Bananas issue.
Sometimes Steel Bananas even gives me to opportunity to revisit old friends. I always refer to music from the past as old friends, I'm not certain why, but they give me comfort knowing that I know them as well as I did X number of years ago.
This month's found friend is Do Make Say Think's 'Winter Hymn, Country Hymn, Secret Hymn.' This album was huge for me about two years ago (I know, I'm even a little behind there!) An ex-boyfriend put me onto the tune "Chinatown" and that served as the gateway into bigger things, the likes of 'Winter Hymn...' This album is my favourite for it's continuity and fluidity with no lyrics to follow (as Patrick so rightly pointed out). Furthermore, each song can be digested easily alone as well, although I get excited in anticipation for the song that I know will appear next.
The album's final song "Hooray! Hooray! Hooray!" is especially impressive live. If you're lucky enough to see them at a small venue, the guitarist Justin Small may leap out into the crowd and play the intro bit.
I'm feeling a little bit nostalgic for a gig I saw two years ago in London, ON, where they stacked "Chinatown" and "A Tender History in Rust" together.
The extra thought through an album makes a good album great, or a great abum even greater. There's something absolutely alluring about Do Make Say Think's rain motif throughout the album, only noticable if fragmented by song, or really, really listened to. Similarly, I stumbled upon a similar instance in Death Cab for Cutie's 'Transatlanticism.' The opening track "The New Year," starts with the same sound that the album closer "A Lack of Colour" ends with.
This bit you're about to read is in response to an article from the most recent Steel Bananas issue.
Sometimes Steel Bananas even gives me to opportunity to revisit old friends. I always refer to music from the past as old friends, I'm not certain why, but they give me comfort knowing that I know them as well as I did X number of years ago.
This month's found friend is Do Make Say Think's 'Winter Hymn, Country Hymn, Secret Hymn.' This album was huge for me about two years ago (I know, I'm even a little behind there!) An ex-boyfriend put me onto the tune "Chinatown" and that served as the gateway into bigger things, the likes of 'Winter Hymn...' This album is my favourite for it's continuity and fluidity with no lyrics to follow (as Patrick so rightly pointed out). Furthermore, each song can be digested easily alone as well, although I get excited in anticipation for the song that I know will appear next.
The album's final song "Hooray! Hooray! Hooray!" is especially impressive live. If you're lucky enough to see them at a small venue, the guitarist Justin Small may leap out into the crowd and play the intro bit.
I'm feeling a little bit nostalgic for a gig I saw two years ago in London, ON, where they stacked "Chinatown" and "A Tender History in Rust" together.
The extra thought through an album makes a good album great, or a great abum even greater. There's something absolutely alluring about Do Make Say Think's rain motif throughout the album, only noticable if fragmented by song, or really, really listened to. Similarly, I stumbled upon a similar instance in Death Cab for Cutie's 'Transatlanticism.' The opening track "The New Year," starts with the same sound that the album closer "A Lack of Colour" ends with.
Tuesday, June 15, 2010
Monday, June 14, 2010
Notes
"Crying in the Streets" by George Perkins
"how sweet it is to be loved by you" James Taylor
"how sweet it is to be loved by you" Marvin Gaye
"how sweet it is to be loved by you" James Taylor
"how sweet it is to be loved by you" Marvin Gaye
Grant-Lee Phillips' cover of "Boys Don't Cry"
I love finding out about very established artists that I've never even heard about. It forces me to remember how much music there is out there and how much I need to see and hear.
In watching the second season opener of How I Met Your Mother, I stumbled upon a great cover of the Cure's gem "Boys Don't Cry." The cover is by an American artist Grant-Lee Phillips.
Additionally, through looking into Grant-Lee Phillips, I found a familiar name - Robyn Hitchcock. I have been seeing his name pop up every time I look for tickets as he's playing a show at the Drake that's been long sold out.
I had no idea he's my parents age and from England. I really admire well-established artists who still play tiny venues. It's incredibly disenchanting when you see a brilliant performer like James Taylor at a big whopping venue like the Air Canada Centre. So a little bit on Hitchcock - born in 1953 in England. He sings in a ridiculously over the top cockney accent (think Billy Bragg!). I really dig the tune "So You Think You're in Love."
Kings of Convenience do "Boys Don't Cry"
In watching the second season opener of How I Met Your Mother, I stumbled upon a great cover of the Cure's gem "Boys Don't Cry." The cover is by an American artist Grant-Lee Phillips.
Additionally, through looking into Grant-Lee Phillips, I found a familiar name - Robyn Hitchcock. I have been seeing his name pop up every time I look for tickets as he's playing a show at the Drake that's been long sold out.
I had no idea he's my parents age and from England. I really admire well-established artists who still play tiny venues. It's incredibly disenchanting when you see a brilliant performer like James Taylor at a big whopping venue like the Air Canada Centre. So a little bit on Hitchcock - born in 1953 in England. He sings in a ridiculously over the top cockney accent (think Billy Bragg!). I really dig the tune "So You Think You're in Love."
Kings of Convenience do "Boys Don't Cry"
Sunday, June 13, 2010
How I Met Your Mother on "This Modern Love"
Just as I completely lose faith in the TV program 'How I Met Your Mother,' I get completely inspired by their brilliant season finales.
I recently just wrapped up the first season and found a lovely revision of Bloc Party's tune "This Modern Love." If you're not too concerned about the ending of the first seasons, watch this video. It's an instrumental version of the song, with very minimal vocals at the end.
It's also a completely appropriate song, given the setting, weather and the mood. Furthermore, season one wrapped up in spring of 2006. 'Silent Alarm' was released in 2005, probably when this song started to gain some momentum.
Here's the original version.
Here's a stripped down acoustic version.
La Blogotheque's street version.
And for some reasons, I can't stop thinking about this Jenn Grant song. You can probably guess why.
I'm also about two papers from finishing my undergrad, and all I can think of is getting to the next episode of How I Met Your Mother.
I recently just wrapped up the first season and found a lovely revision of Bloc Party's tune "This Modern Love." If you're not too concerned about the ending of the first seasons, watch this video. It's an instrumental version of the song, with very minimal vocals at the end.
It's also a completely appropriate song, given the setting, weather and the mood. Furthermore, season one wrapped up in spring of 2006. 'Silent Alarm' was released in 2005, probably when this song started to gain some momentum.
Here's the original version.
Here's a stripped down acoustic version.
La Blogotheque's street version.
And for some reasons, I can't stop thinking about this Jenn Grant song. You can probably guess why.
I'm also about two papers from finishing my undergrad, and all I can think of is getting to the next episode of How I Met Your Mother.
Saturday, June 12, 2010
'Away We Go'
I saw this film at the AMC theatre when it first came out probably a year ago. It was also the last film to my memory that paid full price for... (I strongly believe no one should pay full price for a movie!)
The film was directed by Sam Mendes, ex-hubby of Kate Winslet and was written by the brilliant writer Dave Eggers (Zeitoun) and Vendela Vida.
This film is so prevalent to me because of its beautiful soundtrack, mostly by Alexi Murdoch and other older gems. I think if I were to make a soundtrack for a film, it would shape up to look something like this. It really taps into older gems like - "Golden Brown" by the Stranglers, "Oh, Sweet Nuthin'" by the Velvet Underground and even more amazingly George Harrison's "What Is Life?"
I really love soundtracks that showcase a particular artist's music as well. It sort of like posting artwork in a doctor's office or a coffee shop for spectacle and sale. It serves as a musicians showcase, without the immense judgement one would recieve at a music festival. The audience may listen, or they may take it as it is - Background music. When I was watching the credits roll through, it really excited me when a mother and daughter couple were wondering who created the music in the film.
Not too long before, 'Dan in Real Life' gave Sondre Lerche a real boost by showcasing all of his music.
and perhaps less obvious but more effective - Garden State's work on the Shins as music that "will change your life."
The film was directed by Sam Mendes, ex-hubby of Kate Winslet and was written by the brilliant writer Dave Eggers (Zeitoun) and Vendela Vida.
This film is so prevalent to me because of its beautiful soundtrack, mostly by Alexi Murdoch and other older gems. I think if I were to make a soundtrack for a film, it would shape up to look something like this. It really taps into older gems like - "Golden Brown" by the Stranglers, "Oh, Sweet Nuthin'" by the Velvet Underground and even more amazingly George Harrison's "What Is Life?"
I really love soundtracks that showcase a particular artist's music as well. It sort of like posting artwork in a doctor's office or a coffee shop for spectacle and sale. It serves as a musicians showcase, without the immense judgement one would recieve at a music festival. The audience may listen, or they may take it as it is - Background music. When I was watching the credits roll through, it really excited me when a mother and daughter couple were wondering who created the music in the film.
Not too long before, 'Dan in Real Life' gave Sondre Lerche a real boost by showcasing all of his music.
and perhaps less obvious but more effective - Garden State's work on the Shins as music that "will change your life."
Friday, June 11, 2010
Kings of Convenience "I'd Rather Dance With You"
The Kings of Convenience make the perfect summer music.
Thursday, June 10, 2010
Pitchfork is lame
I'm not one of those people who hate Pitchfork, I in truth check it once a day. This is mainly for keeping up with the news in music, as I feel not working in a record store has really chipped my new music knowledge.
I decided to see what Pitchfork had to say about one of my favourite albums of the year so far. I don't normally subscribe to their reviews, but after I've formulated my own opinion on an album, i don't see any harm in looking into what the hardest indie critics think about it. I was not surprised, The Black Keys had been given a high seven grade. I however am stunned that they were kicked in the ass for the amount of great material on the album.
Pitchfork writer Larry Fitzmaurice writes: "If there's one thing that keeps Brothers from jumping the gap between a "very good" album and a "great" album, it's the running time. When it's all said and done, the 15-track set runs almost an hour long, causing one to think that the Keys might have done the best material here a disservice by shoving so much onto one album when they could've easily saved some up for their next release."
I think his response and justification is ridiculous. Something i've come to terms with is that songs today, unlike fifty years before songs are much longer. I am conscious of song length but if it's a solid release like 'Brothers,' I say the more the merrier.
In reading the review, I really jumped in excitement for listening to the tune "Everlasting Light" upon reading its title. A solid indicator that I'm pretty into the album.
I decided to see what Pitchfork had to say about one of my favourite albums of the year so far. I don't normally subscribe to their reviews, but after I've formulated my own opinion on an album, i don't see any harm in looking into what the hardest indie critics think about it. I was not surprised, The Black Keys had been given a high seven grade. I however am stunned that they were kicked in the ass for the amount of great material on the album.
Pitchfork writer Larry Fitzmaurice writes: "If there's one thing that keeps Brothers from jumping the gap between a "very good" album and a "great" album, it's the running time. When it's all said and done, the 15-track set runs almost an hour long, causing one to think that the Keys might have done the best material here a disservice by shoving so much onto one album when they could've easily saved some up for their next release."
I think his response and justification is ridiculous. Something i've come to terms with is that songs today, unlike fifty years before songs are much longer. I am conscious of song length but if it's a solid release like 'Brothers,' I say the more the merrier.
In reading the review, I really jumped in excitement for listening to the tune "Everlasting Light" upon reading its title. A solid indicator that I'm pretty into the album.
The Black Keys on Jerry Butler's "Never Gonna Give You Up"
I've been giving the Black Keys' new album a very good listen. The brilliant tune "Never Gonna Give You Up" is definitely getting me through my last stretches of my undergrad. It was orginally done by Jerry Butler in 1972.
Something old
Something new
Something old
Something new
She & Him at the Sound Academy, Wednesday June 9, 2010
The Sound Academy has to be the worst venue to see a concert. It's long and narrow and it's always jammed way more than it should be! So with that said, it takes a very special show to get me there.
I was absolutely blown away by the show tonight. It left me in awe of how lovely a show can be. Zooey Deschanel, the bell of the ball really lit up the room. Since the last time I saw her she has become significantly more comfortable with everything she did on stage. I remember last time, she barely played any insturments and very coyly spoke to the audience. This time it was really about the music, there was very little talking and banter and more musicianship.
She said "Hello Toronto" about three songs in and commented on how she was saying it properly. She pronounced it Torawno, without the "toe" part at the end. She said that's how people say it. I'd never given it any thought but I suppose that she's right.
It was really interesting to see She & Him play with two albums under their belt. I really wasn't too familiar with their new album, but I foudn it pretty consistent with their last release. Their sound is very '60s, and they're not shy to refer to it as just that. In interviews with Deschanel and M. Ward, people often ask them why their music sounds as it does, Deschanel responds by saying it's all they listen to and that they don't really listen to current music. I find that just a bit hard to believe, as there are some really good records being released.
They played a selection of cover tunes that heavily supported their claim. First they played "You Turn Me On, I'm a Radio" originally by Joni Mitchell. They played that song last time they were here, I suppose it's a ode to Canada. They then shifted to "You Really Got a Hold on Me," which was originally released by Smokey Robinson. At the end of the set for the encore they played their new gem "Fools Rush In" and a complete suprise, the closer was "Roll Over Beethoven." This was M. Ward's song, he had played it at his last solo show in Toronto and it was so much fun. At the end he and Zooey jumped on the piano together to wrap it up.
I danced a bunch. I was absolutely shocked by how inanimate the crowd was, I suppose it could be argued that they didn't have much room, but I hardly think that's enough. There's a really good energy to their music that is super peppy but not over the edge. Deschanel is an absolute sweetheart and it's pretty amazing, but not at all suprising by how people are gravitated towards her.
I was really to happy to hear some familiar tunes that I hadn't heard in quite some time:
"Sweet Darlin'"
"Sentimental Heart" (serious Spanish accents with the singalong)
I was absolutely blown away by the show tonight. It left me in awe of how lovely a show can be. Zooey Deschanel, the bell of the ball really lit up the room. Since the last time I saw her she has become significantly more comfortable with everything she did on stage. I remember last time, she barely played any insturments and very coyly spoke to the audience. This time it was really about the music, there was very little talking and banter and more musicianship.
She said "Hello Toronto" about three songs in and commented on how she was saying it properly. She pronounced it Torawno, without the "toe" part at the end. She said that's how people say it. I'd never given it any thought but I suppose that she's right.
It was really interesting to see She & Him play with two albums under their belt. I really wasn't too familiar with their new album, but I foudn it pretty consistent with their last release. Their sound is very '60s, and they're not shy to refer to it as just that. In interviews with Deschanel and M. Ward, people often ask them why their music sounds as it does, Deschanel responds by saying it's all they listen to and that they don't really listen to current music. I find that just a bit hard to believe, as there are some really good records being released.
They played a selection of cover tunes that heavily supported their claim. First they played "You Turn Me On, I'm a Radio" originally by Joni Mitchell. They played that song last time they were here, I suppose it's a ode to Canada. They then shifted to "You Really Got a Hold on Me," which was originally released by Smokey Robinson. At the end of the set for the encore they played their new gem "Fools Rush In" and a complete suprise, the closer was "Roll Over Beethoven." This was M. Ward's song, he had played it at his last solo show in Toronto and it was so much fun. At the end he and Zooey jumped on the piano together to wrap it up.
I danced a bunch. I was absolutely shocked by how inanimate the crowd was, I suppose it could be argued that they didn't have much room, but I hardly think that's enough. There's a really good energy to their music that is super peppy but not over the edge. Deschanel is an absolute sweetheart and it's pretty amazing, but not at all suprising by how people are gravitated towards her.
I was really to happy to hear some familiar tunes that I hadn't heard in quite some time:
"Sweet Darlin'"
"Sentimental Heart" (serious Spanish accents with the singalong)
Wednesday, June 9, 2010
Kings of Convenience at the Phoenix; Tuesday June 8, 2010
In going to many shows, and seeing the same bands over and over, I've come to terms with what really gets me in a live show. It simply isn't enough that a band gets up there and sings - I need a bit more to keep me happy. The Kings of Convenience really pushed kindness and fun. The Norwegian pair casually walked on stage just past ten and greeted the audience. Erlend politely thanked everyone for coming out and asked people to keep it down during the slow songs, while discouraging loud drink purchases in those times. His running joke was that every bar they played in the US shut down their drink services when they were playing and the Phoenix was the sole exception. This was obviously not true, but it was cute nonetheless.
Their stage show was so attractive because they were having fun. Considering these guys have likely been playing together for over a decade they managed to keep everything fun and light. Midway through the show, Eirik gave Erlend the stage claiming he had a very special song planned. He played the tune "Heart Like a Wheel" in memory of Kate McGarrigle. His introduction was very lovely, he started by saying he loves many Toronto musicians, of them he rattled off Broken Social Scene and the lovely Feist (who was not in attendance because she's currently in Spain). It made me really happy that other people were let down too! He then started to reminisce of his childhood and his parents listening to the McGarrigle sisters albums. He said: "I'm not sure if they're from Toronto..." Despite unease about where they were from, he played a lovely, condensed version of "Heart Like a Wheel" (1975). After a bit of research - I found out that the song was written by the McGarrigles, but was first released by Linda Ronstadt and more amazingly Billy Bragg. Erlend said he only knew a few minutes of the song because that's all he could learn backstage just before the show.
Erlend definitely was the charismatic person. A good stage show now involves some serious charisma. Erlend danced a bunch and was very animated, with truck loads of heart. At one point he even took two fans on stage for a dance off to what I believe was their tune "Love is No Big Truth." In this section, they played about four songs with the band. I have never heard them play with a full band, so it was a bit of shock, but it gave their songs some much needed revitalisation. It was at this point in the show that I was feeling a bit floppy from standing in one spot for such a long period of time. It was really fun to have the band out to play their more lively songs. After the dance off they played "I'd Rather Dance With You" and another song I can't put my finger on this very moment.
The video for "I'd Rather Dance With You" pretty much captures what fun this band was. By the end of the dance off, Erlend told the audience that there was too much room in the front and we all needed to cramp together. I was near the back and I must've moved three or four big steps towards the front of the stage. He then insisted everyone to dance the way the dance off pair did.
At some point they also divided the crowd in two and conducted a two part choir bit to conclude one of their songs. At the end of "Know How" they asked everyone to sing Feist's finale bit... "Oh...What is there to know? Oh... This is what it is." At the end they thanked the crowd for being their girl replacement. I realised how Feist owns those parts, they are her parts, I couldn't see any other person doing them. Much to my chagrin, they didn't play "The Build-Up," another Feist heavy song.
The biggest let down of the show was the simplicity of the group. Their biggest asset is their biggest flaw as well. I really couldn't handle an entire show of just guitar and vocals. Although they were absolutely charming and they sounded perfect, it was simply too bare. Their new album's greatest appeal was its instrumentation and life (released at the end of October 2009), this was something the other albums seriously lacked. 'Declaration of Dependence' had full band arrangements, and most importantly a very dominant violin accompaniment throughout the entire album. I really love how it fits in the tune "Boat Behind." Anytime I hear a really well crafted violin part I think to the jazz genius Stephane Grapelli. On the album, the violin was really well played in the song "Peacetime Resistance," again completely lost in the live show.
I loved how real they were in talking to the crowd, nothing of their show was staged. This was really refreshing after coming out from a Carole King/James Taylor show where their words were practically teleprompted. Eirik talked about the last time they were in Toronto, five years ago. He said they played at Lee's, and asked the crowd who was there, only a dozen or so people stuck their hands up. He was very grateful more people were at this gig. He said it was in the winter season and he didn't have a coat, so his memories were trapped in finding a "Canadian Goose" coat to wear. He very politely tied in that he is very prone to colds, hence why they had to cancel their February 2010 show, as originally planned. Soon after the pair broke out into the song "Mrs. Cold."
I had a surprisingly lovely time. It was fun and comfortable. I would have really've like to see them at a more stripped down, smaller venue. I think their intimate sound could have greatly benefited from the closeness that a smaller venue could have provided.
Their stage show was so attractive because they were having fun. Considering these guys have likely been playing together for over a decade they managed to keep everything fun and light. Midway through the show, Eirik gave Erlend the stage claiming he had a very special song planned. He played the tune "Heart Like a Wheel" in memory of Kate McGarrigle. His introduction was very lovely, he started by saying he loves many Toronto musicians, of them he rattled off Broken Social Scene and the lovely Feist (who was not in attendance because she's currently in Spain). It made me really happy that other people were let down too! He then started to reminisce of his childhood and his parents listening to the McGarrigle sisters albums. He said: "I'm not sure if they're from Toronto..." Despite unease about where they were from, he played a lovely, condensed version of "Heart Like a Wheel" (1975). After a bit of research - I found out that the song was written by the McGarrigles, but was first released by Linda Ronstadt and more amazingly Billy Bragg. Erlend said he only knew a few minutes of the song because that's all he could learn backstage just before the show.
Erlend definitely was the charismatic person. A good stage show now involves some serious charisma. Erlend danced a bunch and was very animated, with truck loads of heart. At one point he even took two fans on stage for a dance off to what I believe was their tune "Love is No Big Truth." In this section, they played about four songs with the band. I have never heard them play with a full band, so it was a bit of shock, but it gave their songs some much needed revitalisation. It was at this point in the show that I was feeling a bit floppy from standing in one spot for such a long period of time. It was really fun to have the band out to play their more lively songs. After the dance off they played "I'd Rather Dance With You" and another song I can't put my finger on this very moment.
The video for "I'd Rather Dance With You" pretty much captures what fun this band was. By the end of the dance off, Erlend told the audience that there was too much room in the front and we all needed to cramp together. I was near the back and I must've moved three or four big steps towards the front of the stage. He then insisted everyone to dance the way the dance off pair did.
At some point they also divided the crowd in two and conducted a two part choir bit to conclude one of their songs. At the end of "Know How" they asked everyone to sing Feist's finale bit... "Oh...What is there to know? Oh... This is what it is." At the end they thanked the crowd for being their girl replacement. I realised how Feist owns those parts, they are her parts, I couldn't see any other person doing them. Much to my chagrin, they didn't play "The Build-Up," another Feist heavy song.
The biggest let down of the show was the simplicity of the group. Their biggest asset is their biggest flaw as well. I really couldn't handle an entire show of just guitar and vocals. Although they were absolutely charming and they sounded perfect, it was simply too bare. Their new album's greatest appeal was its instrumentation and life (released at the end of October 2009), this was something the other albums seriously lacked. 'Declaration of Dependence' had full band arrangements, and most importantly a very dominant violin accompaniment throughout the entire album. I really love how it fits in the tune "Boat Behind." Anytime I hear a really well crafted violin part I think to the jazz genius Stephane Grapelli. On the album, the violin was really well played in the song "Peacetime Resistance," again completely lost in the live show.
I loved how real they were in talking to the crowd, nothing of their show was staged. This was really refreshing after coming out from a Carole King/James Taylor show where their words were practically teleprompted. Eirik talked about the last time they were in Toronto, five years ago. He said they played at Lee's, and asked the crowd who was there, only a dozen or so people stuck their hands up. He was very grateful more people were at this gig. He said it was in the winter season and he didn't have a coat, so his memories were trapped in finding a "Canadian Goose" coat to wear. He very politely tied in that he is very prone to colds, hence why they had to cancel their February 2010 show, as originally planned. Soon after the pair broke out into the song "Mrs. Cold."
I had a surprisingly lovely time. It was fun and comfortable. I would have really've like to see them at a more stripped down, smaller venue. I think their intimate sound could have greatly benefited from the closeness that a smaller venue could have provided.
Tuesday, June 8, 2010
My nuts concert week
Tonight I'm going to see the Kings of Convenience and tomorrow the lovely She & Him. I have to say, I've been listening to both bands a bunch and I am more excited for She & Him. Amidst piles of school work, I was super tempted to return my Kings of Convenience ticket for tonight... (Something about seeing a slower show all alone at the Phoenix!) I have the slight feeling that Leslie Feist is going to come out and sing a few tunes with the boys. I'll letcha know real soon!
See:
"The Build-Up" (Kings, Featuring Feist)
"Know-How" (Kings Featuring Feist)
"The Build Up" (Feist cover!)
I gave this a listen on my run today and it absolutely won the contest between the two bands...! There's something incredibly charismatic about Zooey Deschanel, she's such a peach.
See:
"The Build-Up" (Kings, Featuring Feist)
"Know-How" (Kings Featuring Feist)
"The Build Up" (Feist cover!)
I gave this a listen on my run today and it absolutely won the contest between the two bands...! There's something incredibly charismatic about Zooey Deschanel, she's such a peach.
Monday, June 7, 2010
The Black Keys 'Brothers'
The new Black Keys album is as anticipated, pretty incredible. The name suggests familiarity and closeess, but the songs on the album suggest distance and longing.
The Black Keys have always been in the back of my mind, but it wasn't until the record store I use to work at played the life out of their last album 'Attack and Release.' Last year I even had the opportunity to see Dan Auerbach live which really got me.
I think I will forever favour the slower Black Keys songs. The real standout song for me off of 'Brothers' is the tune "Unknown Brother."
For good measure and your enjoyment, the song "Things Ain't Like They Used to Be" off of 'Attack and Release.' If you listen close the back up vocals in the chorus are by the lovely gem, Jessica Lea Mayfield.
The Black Keys have always been in the back of my mind, but it wasn't until the record store I use to work at played the life out of their last album 'Attack and Release.' Last year I even had the opportunity to see Dan Auerbach live which really got me.
I think I will forever favour the slower Black Keys songs. The real standout song for me off of 'Brothers' is the tune "Unknown Brother."
For good measure and your enjoyment, the song "Things Ain't Like They Used to Be" off of 'Attack and Release.' If you listen close the back up vocals in the chorus are by the lovely gem, Jessica Lea Mayfield.
Friday, June 4, 2010
The Darcys at the Horseshoe Tavern, Thursday June 3, 2010
The last time I was at the Horseshoe for a record release gig it was Wintersleep about two years back. It was a free show and I didn't know a soul in the room, which is always a comforting feeling. This show I knew a few more familiar faces.
Comparing Wintersleep and the Darcys is a big stretch as far as how established the bands are, so I won't stretch to that length. However, listening and watching the Darcys live, really makes me think how successful this band will be in the near future.
Their past tour dates reflect some serious hard work in playing shows. Someone once compared going to a concert like running a race. I imagine being in a rock band you get asked, "How many gigs have you played this year?" Likewise when you're a runner you often get measured up to how many races you've run, and you're personal best.
The Darcys have found their ground. I imagine after losing your singer, a band really has to reestablish their roots good. From seeing them live, they seem to have really reached this point.
Their live gig was impressive. I made it there for the opener, who I really wasn't wowed by in my quick listen before the show. The band was present and having a lot of fun on stage, but I just wasn't feeling it. Their music was messy and they sounded very young, as a band.
The Darcys on the otherhand, showed a incredibly juxtaposition of sound. They were incredibly tight, unlike the last gig I saw them play at the Supermarket a couple of years back. I was really amazed by how well they duplicated their studio sound on stage. I feel if they had a looping machine (as much as they don't impress me!), or another guitarist they could much easily duplicate the sounds better. I feel that the bridge bit of "From Edmonton to Purgatory" wasn't as well played as it was on the album. There's a guitar part that is played from 1:34 point on that I think would have sounded better if it was played through. Regardless of my petty nitpicking, the sound was transferred well.
They even closed with an angst filled version of Sheryl Crowes' "If It Makes You Happy," where a good chunk of the crowd jumped on stage to help out.
This show was in support of the release of their 7" for the tune "House Built Around Your Voice," which I believe also featured the tune "From Edmonton to Purgatory." Two tracks you can check out on their myspace, and download them off of their website.
In Trinity Bellwoods-
"House Built Around Your Voice"
"From Edmonton to Purgatory"
Comparing Wintersleep and the Darcys is a big stretch as far as how established the bands are, so I won't stretch to that length. However, listening and watching the Darcys live, really makes me think how successful this band will be in the near future.
Their past tour dates reflect some serious hard work in playing shows. Someone once compared going to a concert like running a race. I imagine being in a rock band you get asked, "How many gigs have you played this year?" Likewise when you're a runner you often get measured up to how many races you've run, and you're personal best.
The Darcys have found their ground. I imagine after losing your singer, a band really has to reestablish their roots good. From seeing them live, they seem to have really reached this point.
Their live gig was impressive. I made it there for the opener, who I really wasn't wowed by in my quick listen before the show. The band was present and having a lot of fun on stage, but I just wasn't feeling it. Their music was messy and they sounded very young, as a band.
The Darcys on the otherhand, showed a incredibly juxtaposition of sound. They were incredibly tight, unlike the last gig I saw them play at the Supermarket a couple of years back. I was really amazed by how well they duplicated their studio sound on stage. I feel if they had a looping machine (as much as they don't impress me!), or another guitarist they could much easily duplicate the sounds better. I feel that the bridge bit of "From Edmonton to Purgatory" wasn't as well played as it was on the album. There's a guitar part that is played from 1:34 point on that I think would have sounded better if it was played through. Regardless of my petty nitpicking, the sound was transferred well.
They even closed with an angst filled version of Sheryl Crowes' "If It Makes You Happy," where a good chunk of the crowd jumped on stage to help out.
This show was in support of the release of their 7" for the tune "House Built Around Your Voice," which I believe also featured the tune "From Edmonton to Purgatory." Two tracks you can check out on their myspace, and download them off of their website.
In Trinity Bellwoods-
"House Built Around Your Voice"
"From Edmonton to Purgatory"
Wednesday, June 2, 2010
Ugly Casanova's "Lay Me Down"
I first stumbled upon Ugly Casanova through attempting to download the entire Modest Mouse discography. They just sort of appeared in my library.
I never dipped into them until today. I like their new tune - "Lay Me Down."
I never dipped into them until today. I like their new tune - "Lay Me Down."
Modest Mouses' 'Interstate 8'
I think the only CD I really want at this very moment is 'Interstate 8' by Modest Mouse. It has to be the hardest CD to find.
Here's to hoping!
"Edit the Sad Parts"
"Edit the Sad Parts" (Built to Spill cover)
The first time I heard this song was in the tenth grade and I was watching an Jeff Stockwell video that featured the tune. Eight minutes of amazing.
Here's to hoping!
"Edit the Sad Parts"
"Edit the Sad Parts" (Built to Spill cover)
The first time I heard this song was in the tenth grade and I was watching an Jeff Stockwell video that featured the tune. Eight minutes of amazing.
Tuesday, June 1, 2010
Ricky Nelson
The first time I heard of Ricky Nelson was when I worked at the Flea Market, four or five years back. A greatest hits had just been released and it was selling quick.
I wasn't taken by him at the time, but after watching a few videos online I have been charmed by him! See "Cindy Cindy"
Nelson's father Ozzie started the show 'The Adventures of Ozzie and Harriet' which was an American sitcom that ran on ABC from 1952-1966, starring Ozzie's real family. DC even made a comic book of the same name in 1949, the good and wholesome, nuclear family!
From the success of the TV program, the youngest son Eric went on to become the Justin Bieber of the late 50s. His first single in 1958 was titled "Poor Little Fool". Another big hit was titled "Be-Bop Baby". Nelson is often regarded as the individual who kept rock and roll alive after Elvis Presley entered the US Army in 1958.
I wasn't taken by him at the time, but after watching a few videos online I have been charmed by him! See "Cindy Cindy"
Nelson's father Ozzie started the show 'The Adventures of Ozzie and Harriet' which was an American sitcom that ran on ABC from 1952-1966, starring Ozzie's real family. DC even made a comic book of the same name in 1949, the good and wholesome, nuclear family!
From the success of the TV program, the youngest son Eric went on to become the Justin Bieber of the late 50s. His first single in 1958 was titled "Poor Little Fool". Another big hit was titled "Be-Bop Baby". Nelson is often regarded as the individual who kept rock and roll alive after Elvis Presley entered the US Army in 1958.
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