Coachella 2011: aftermath sixteen, The Morning Benders, Warpaint and Cee-Lo Green

Cee-Lo Green played the first day in the late afternoon. This was my big conundrum because Odd Future, The Morning Benders, Warpaint and Cee-Lo were all more or less playing at the same time. By some miracle I managed to hear all three acts as I had wanted to.

I went to Odd Future first, they went on a little late. I stayed for four songs or so and hopped over to see The Morning Benders to just hear them play their last song, "Excuses." Absolutely delightful, I've never seen them play this song to an audience that were active enough to sing along. Lead singer Chris Chu divided the audience up to sing different bits, people seemed slightly confused, but it all sounded lovely.



After my quick fix of the Morning Benders I ran over to catch Warpaint who I found absolutely intoxicating. I think Warpaint were my choice band of the weekend for new acts to dive into. Warpaint is comprised of five absolutely stunning women who are fantastic at everything they do. It was a toss up between the drummer and the bassist for standout musicians.



I once met a semi-famous bassist who told me that the bass is a very manly instrument. He continued by saying it takes a strong man to play it. If I knew of Jenny Lee Lindberg, I'd stick her to him. Lindberg was absolutely alluring with her guitar playing. I have never been so attracted to a woman in my life!

Lindberg is actually the sister of actress and former Warpaint member Shannyn Sossaman.

I stayed for the rest of the Warpaint set, finding myself pleasantly surprised. I had bought their CD based on good feelings earlier that day.

I sprinted to see Cee-Lo Green to catch the final two songs of his set. He played his Gnarls Barkly hit "Crazy" which sounded a little lazy and poorly concluded. He then followed it by "Fuck You" which bled into what I could only assume was the closer "Don't Stop Believing."

After his performance of "Crazy" he complained that he felt rushed and the sound was crap. He asked the audience to raise their middle fingers up in the air for his next tune.

I was really happy to see that he had an all-girl back-up band supporting him. After playing "Fuck You," his sound was cut out because he had gone over his time limit. He walked off the stage with a towel on his head while cursing. His back-up band continued to play without full sound or vocals.

"This shit sounds terrible. They're fucking rushing me"

There was a stylish black guy behind me who made a comment about how he was one of the only black guy he'd seen all day and that's how he decided to act. I kind of got a kick out of that comment as Cee-Lo kind of was being an asshole.

Best Coast 'Crazy For You'

There isn't a song on this album longer than three minutes and two seconds!

Coachella 2011: aftermath fifteen, Tame Impala

Before the festival I put together a list of all the artists and I had the great ambitions of looking into. Of that list, many were missed completely due to the sheer volume of artists playing the festival. Tame Impala for certain would've been skipped out completely if my good Australian mate didn't point them out very casually.

I had a brief minute to see them at the festival between seeing Cee Lo Green and Ms. Lauryn Hill. Their set embodied everything that I got from a brief listen - cohesive, nothing like I've ever heard, psychedelic rock.

The parallels of sound between lead singer Kevin Parker and John Lennon are absolutely remarkable. Just ridiculous.

I'm seeing these guys tomorrow. It's going to be really great to hear a full set of dream-like bliss.

Strong album opener:

Iron and Wine 'Creek Drank the Cradle'

'Creek Drank the Cradle' is one of the most beautiful, underrated albums I have come across in quite some time!

His sound has beautifully evolved over the years. It's really nice to hear where it all began.

Phosphorescent "Nothing Was Stolen (Love Me Foolishly)"

Best new discovery in a while, just saw him play Coachella. Doesn't this tune have a happy Bon Iver sound to it?

Kate Hudson the new Pamela Des Barres

I just watched a very charming bit of Kate Hudson's recent appearance on David Letterman. I realised that she might possibly be the new Pamela Des Barres of our time.

She portrayed her, or a vixen like her in the Cameron Crowe film Almost Famous and now she's living it up, but with slightly more commitment.

So far she's got a seven year-old to the Black Crowes frontman Chris Robinson and a baby on the way to Matthew Bellamy of Muse.

I'd love to be at those Sunday night family dinners!

Apparently, HBO is releasing a series based on Des Barres' memoirs I'm With the Band, starring Zooey Deschanel as Des Barres!!

Thursday in Exclaim! May 2011

I very rarely enjoy reading Exclaim! For a nationwide monthly, the content is very brief and thin.

This month however they seemed to featuring all the right people, I felt absolutely satisfied when I reached the final page of the May 2011 Exclaim!

I found the questionnaire with Geoff Rickly to be most entertaining. There's something really exciting about reading an article or an interview of your favourite artists. It's especially exciting when you learn something new about them, it's as if you know them personally. Your being drawn closer. Maybe that's why I enjoyed looking at the celebrities at Coachella shots, how voyeuristic.

This article shows just how diverse Geoff Rickly is - loving bands from Iron and Wine to Godspeed You! Black Emperor, Rickly's not your average punk.

Make sure you read the online version, it's much more extended than the one in print. They've definitely even cut out some bits of his words in the print edition so scour out the online version!!

Some exerts that really got me:

What has been your most memorable or inspirational gig and why?


"The Flaming Lips at Coachella...They were so alive, and so fun. They didn't stress me out at all. They just gave me this really warm lovely feeling. It was kind of life-changing, for me. I'm used to bands that are a little lighter than us being occasionally very boring live. And just to see something that I didn't expect at all, something so exciting and fun and making the crowd part of it, that was great. That was really inspirational for me." 


What have been your career highs and lows?


"A low for me would probably be when Efrim [Menuck] from Godspeed You! Black Emperor started a fight with us for no reason. I've never met him. I guess he thought we were somehow ripping his band off, which was disappointing for me because I've always loved them, so that was pretty low for me. I still love the band! I don't care that he hates us. It definitely stung at the time. Like, man! You don't want one of your heroes you've never met telling everyone how much of an idiot you are. It was a few years ago on a Thee Silver Mount Zion tour. From stage every night he would say "This shitty emo band called Thursday stole from us and we're stealing it back," or something along those lines. I had to look up the song and see what he was talking about. They were the same lyrics, but I totally stole that from like a South American poet! Maybe you stole it from the same person that I did! [Laughs] I sent him an email being like 
"Hey, I think you might be wrong!" But he never wrote back. I still haven't met him but I saw Godspeed on this last tour, and they were fantastic. As always."



Who would be your ideal dinner guest, living or dead, and what would you serve them?


"...And dead, I think it would have to be David Foster Wallace, because I always loved his books. I met him very briefly at a signing once and got him to sign my copy ofInfinite Jest. He just seemed really kind, and he didn't seem like a bore. He didn't seem like he was just interested in literature at all. He thought TV writing was just as good as Faulkner. I guess I'd probably have to serve him lobster, because he wrote that insane essay about lobster season."


What song would you like to have played at your funeral?

"That's dark. I like it. There's a song by Iron and Wine called the "Trapeze Swinger," and it doesn't have a chorus or anything, it just tells this long beautiful story. I just really love that song, and every time I hear it makes me cry a little bit. And I'm a sap like that, so I'd probably want it played up."

Godspeed You! Black Emperor at Lee's Palace; Sunday April 24, 2011

This concert was the first time I felt myself completely immersed in Godspeed You! Black Emperor. I know they're legends in the Canadian music scene, but I just hadn't got around to doing so. There was no motivation.

I'm surrounded by friends that adore this band and I just finally got my first gulp of their music. I'm totally behind.

I can see how Godspeed has served as a key influence of many bands that are making it big today. They have a clear, concise sound that I can tell few in the nineties really had.

The thing I can't really understand is how Godspeed got as big as they did. People flocked for this show and the band knew it. Thankfully, they had the decency to play four shows all at Lee's Palace. There's nothing worse then when you have tickets for a tight, intimate show and the band pulls it to a bigger venue.

Although there were some tickets for sale at the door, this show was ram packed. This was a man's show, post-rock is a male adored genre. I always get such a kick of shows where women are the minority. You could tell people were delighted to finally hear this band live.

I really loved the film reel bits they had going on while they played. The first few tunes had the word "hope" showing in the screen behind, the rest of the show had various other images, no words to follow. From where I was sitting I could hear the film moving in the projector, a sound I greatly enjoy hearing.

I think it'll take a bit more than a loyal fan base of enthusiastic concert goers for me to get in this band. Given they had a tremendous live sound, I still don't think this show alone is enough to hook me into their music. Music-wise, I think I better enjoyed the Mogwai show tonight.

I hope I haven't lost my cool completely as a music lover/journalist.

Mogwai at the Phoenix; Tuesday April 26, 2011

This was my post-rock week. I have to say, in just three days I feel like I've had a serious education on the post-rock genre.

I first heard Mogwai about two years ago on the Matador at Fifteen compilation album. I bought this album on a limb at Sonic Boom because it was less than ten bucks for three solid discs. This album holds some tunes that have made their way deep in my mind and heart.

Most notably is the Matmos tune "For The Trees" which is pretty obvious how I took that one and ran with that.

But it also had the first Mogwai tune I got my ears on - "Hunted By A Freak." Mogwai played this song second last and it was also the second song of their encore. It was one of a small handful of songs I was familiar with, but definitely without a doubt my favourite tune of theirs. There's something incredibly eerie about it with the build ups and swells throughout. Furthermore the additional non-instrument sounds really add a lot to the tune.



Two other tunes that I really love but didn't get the chance to hear live are "Rage: Man" and "Take Me Somewhere Nice."





Surface listening to this band most of their music sounds the same. I absolutely adore how you can really feel the complexity of an instrumental tune when you are very familiar with it. Mogwai makes tunes that sound anthem-like without sounding overly glamourised, almost effortless.

My friend lost his mind when he heard the tune "Mogwai Fear Satan." A tune with a flute bit in the calm before the heavy build up. This was the final song they played sans flute.



I'd see this band again in a heartbeat. I can't wait to listen to their catalogue.

Coachella 2011: aftermath fourteen, The Joy Formidable and the Twelves

I didn't think much of this band when I stumbled upon a positive comment on the message boards about them.

I however passed their CD half a dozen times in the local record shop and found myself slowly drawn to their album not thinking very highly of their music.

This band although very poppy, a hard sound to avoid with a female lead, are incredibly good. For a three piece, they sound fantastic. All the way from North Wales, the Joy Formidable really packed it.

The bleach blonde front woman Ritzy Bryan was perfect in every way live. She made the most ridiculous faces with every word she'd sing, you could tell she was doing what she truly loves to do.

They had a pretty early afternoon set, I remember looking behind them as they were setting up thinking how lovely the view is looking behind the stage. I had a very rare but always welcomed moment of complete bliss.  A life orgasm.

I adore the song "Whirling," a great feel good tune, whatever she's singing about. This band should make it big with music as accessible as this:



I trotted on over to the Twelves before The Joy Formidable's set was up. I was really surprised just how much I enjoyed hearing DJ's play live, the Sarhara tent was the electronic tent. I found myself there two or three times throughout the weekend. The Twelves have been sporting an incredible reputation for being the next Daft Punk, except from Brazil.

They definitely didn't let me down. Two seemingly dorky guys in plaid made the entire crowd move. I really liked their take on Phoenix's "Lisztomania."

I would love to see these guys in Toronto, definitely got me moving.

Coachella 2011: aftermath thirteen, The Arcade Fire

This was my first time seeing Canadian heavy weights The Arcade Fire.

I suppose that I had a feel for what these guys would sound like, but I had no idea that they would be so explosive. They were everything I wanted and needed at 11:00pm on Saturday at Coachella.

Spending an entire day soaking up every band humanly possible is quite draining. So the expectation of lasting through to the closer set is actually quite difficult. Furthermore, them being at the main stage is another difficult feat. The Arcade Fire were the only headliner that I actually stayed throughout. The day prior I stayed out late to hear Gayngs play a late night slot, but that's all I toughed it for.

I was most impressed with the Arcade Fire's sincerity. Part way through the show frontman Win Butler very earnestly said to the crowd: "If someone told me in 2002 that we'd be opening for Animal Collective, I'd tell you to shut up."

Furthermore, I was impressed with myself and just how much of their material I was actually familiar with. I first got into the Arcade Fire because they were all we played in a record store I worked at, way back when we'd play albums all the way through. There's something about knowing a record from start to finish, in my later  years of working at a record store they'd play five albums on random. Heartbreaking.

But from that familiarity with Funeral I really started to dip into their music. There's something really interesting about that transition from feeling neutral towards an album and moving towards loving just because it's familiar. I feel like Tegan and Sara's So Jealous and Funeral are two albums that won my heart over that way.

I remember a man in his mid-forties asked if we had Funeral on hand, and I was a little confused why a man of his age would be interested in an under the radar album like Funearl. He later told me that he read good things about Funeral in the Globe and Mail. That was back in 2004, I'd say the Globe's prediction was right.

It's pretty impressive to think just how great of a leap the Arcade Fire has really made in just three albums. (three SOLID albums) And through this consistent quality they've more than likely exploded the way they have.

They have a really polished live sound, one that really feels comfortable and close, even in front of twenty five thousand people. It felt more intimate than a show at the Sound Academy would feel any day.

There was big talk about a black box that was lowered from above the stage. I was in a position that I could see this box fully three quarters of the way through the set. As I predicted, balloons would be lowered onto the crowd, but it was the amount that I wasn't ready for. There must've been over one hundred large balls (beach ball-like) dropped onto the audience during the band's performance of "Wake Up". For a good three songs people were bashing them around like a massive group volleyball game. Eventually the balls even began changing colours as it turns out they were sensitive to bass sounds.

Just watching this video gives me the quivers:

After the band first left the stage people decided to hold tight to the balls as they felt the need to keep them as souvenirs. It was only later that someone pointed out how much they obstructed one's view of the live show. Fortunately, I was far enough back to have a pretty decent view despite the surrounding stationary balls.

The Arcade Fire put on a serious spectacle both visually and musically. After seeing this performance, I vowed never to miss an Arcade Fire gig that I had an opportunity to watch.

Coachella 2011: aftermath twelve, Jenny and Johnny

I definitely jammed this one in after a quickie shower. Their set was at 5:45pm and I remember arguing with the security guard (maybe more of a plea than an argument) regarding my DSLR camera. There was some serious confusion between security regarding what sort of camera was to be permitted. On the website they detailed anything with a removable lens was not permitted, while the first guard I encountered with camera just said "big lenses" were not permitted as he held out his hands describing what he thought was big. Clearly he's no photographer.

But how do you articulate that you are a mediocre photographer with an OK camera? You just beg and tell them that your gig is on now and you really don't have time for this! That was my ticket into seeing a good chunk of Jenny and Johnny's brilliant set.

If you haven't got your ears on anything Jenny Lewis to date, you're really missing out. I highly suggest you start with something Rilo Kiley, maybe More Adventurous and then ease your way into her solo album Rabbit Fur Coat. It doesn't get much better than that.

Couples in music and in life, Jenny Lewis and Johnathan Rice are a duo not to be reckoned with. The first time I saw either of them play was the tour pushing Jenny's first solo effort Rabbit Fur Coat. It was an Opera House gig and I was in grade twelve - I felt cooler than cool just being at that show.

Johnathan Rice then opened for her.

I've sort of flopped off the Jenny Lewis hunt in the past few years, I think I was riding on my love for Rabbit Fur Coat for so long, I felt completely satisfied. I really do love the tune "Trying My Best To Love You"



I still feel completely satisfied with Rabbit Fur Coat, I really don't need anymore.

This show however was really lovely. I had no expectations walking into it and it had been so long since I had seen Jenny Lewis live, I really forgot just how fabulous she is. Her typical concert uniform is a classy bathing suit. She's in her mid-thirties and she can still pull this look off. God knows how.

Johnathan Rice is a few years younger than Jenny. When I first saw him, he was probably only twenty-three years old - just a year after his epic debut Trouble Is Real. Rice remains one of the very few celebrities I have gone up to speak to. After watching him play at the El Mocambo (completely spoiled) I approached him as the Redwalls were playing and tugged his arm, asking him why he didn't play any of his old material. Rice has a funny drawl to his voice, that I can't seem to really peg where his accent belongs. He very sincerely replied: "I just played what came to my head." Fair enough, I trotted home not quite satisfied.

After seeing him a handful of times, I get the strong feeling that Trouble Is Real wasn't really his album. Although music legend Mike Mogis produced it and Jenny Lewis grazed her lovely voice on it, it still wasn't his album. At the tender age of twenty-two, I feel as though he had a serious record label leash on.

If you listen to his work post-Trouble Is Real, you really hear a difference. It's a lot slower, less produced and simple. Rice definitely has the makeups of some serious country influence.

I think to really understand how Jenny and Johnny was birthed makes understanding them so much more clear. I can't help but ooze credit to these two brilliant people and they look so good doing it too!

Jenny and Johnny's debut album is called I'm Having Fun, I don't think it gets any cuter than that. Or sexier than this:

If I can leave a show and feel as though I've committed a song to heart, I can confidently say something was done right. It's pretty great to leave a gig with a song that you can't wait to listen to and love.

For me, this was the tune "Switchblade" for the chorus of the tune. The beautiful mix of voices and lines - "See you on the way up" and "See you on the way down." This is a very Johnathan Rice song with perfect background vocals compliments of Jenny Lewis.





It was also fun to hear Rice's tune "We're All Stuck Out In the Desert" in a very appropriate context. Here's an old, old video of this tune:



Although not at this years Coachella, Lewis played "Silver Lining" at the festival in 2009, I just thought I'd share this beaut:

Coachella 2011: aftermath eleven, fashion and trends

I didn't think to snap photos of fashion, but there were some serious trends going on at Coachella. 

Minimum was key for practicality reasons, although some lovely people took it a wee bit far - many women wore just bikinis, confidence! Crazy!

TOMS were HUGE. They were the shoe of the festival for certain. 

One look I'd kill to part with is cut off shorts and bikini tops. What's worse is when girls unbutton their pants so their bikini bottom shows at the crotch of their shorts - WORST. 

Coachella 2011: aftermath ten, celebrity sightings

I'm not one to get all gooey over celebrities, but it is sort of exciting to see them outside of their normal haunts. Coachella seems to be a hot spot for people that matter, I just saw very few - actually only one - Dominic Monahagn.

Reflecting afterwards, I thought celebrities just didn't exit the VIP areas. Well, with all said and done and looking at these papparzzi photos - it seems the celebrities just blended in so well with the normal people I just didn't notice! Celebrities galore!

Creep on Creepin':

Coachella Day One
Coachella Day Two
Coachella Day Three

Coachella 2011: aftermath nine, OFWGKTA

It takes me a few minutes to spell the acronym out while rattling off what it actually means in my head. Odd Future Wolf Gang Kill Them All. What a name!

These guys are seriously hot shit. I hate hot tickets, I've had three serious heartbreaks due to sold out shows. Now, I'm pretty good at keeping on top of this stuff, but damn, some just sell out before I can possibly even catch a breath.

So - that list -

Death Cab for Cutie at the Phoenix
OFWGKTA at the Mod Club
James Blake at Lee's

But onto the main purpose of this note - OFWGKTA is a group of young guys aged 17-23. They're a hip hop group. Between you and me, I'm not going to pretend I know how to even dance around this genre, because I don't. But, what I will say is that these guys have some serious energy. In the first tune, they had people chanting WOLF GANG WOLF GANG and SWEAT SWEAT SWEAT as loud as they could and one of the runts jumped into the crowd full force.



They were definitely entertaining and I can see why they exploded as they have. It's just something new and fun that people are sinking their teeth into. Additionally, it seems like they're putting out some real quality music.

I love the attention that has been given to Earl Sweatshirt. People were really let down that Earl was not going to be at the Coachella gig because he was sent to boarding school. So, in response people were decked out in shirts that read "Free Earl." Cute.

Alright, here are some hand picked tunes from the LA natives (also the Coachella set openers)



"Sandwitches" features the two guys in the Nardwuar video below:



Nardwuar taking on Odd Future at SXSW:



Tyler the Creator's solo material:

Otis Redding "Pain in My Heart" and the Rolling Stones

I know you've heard Otis Redding, but how much do you really know of him?

I'm going to pony up and be the first to say, I really didn't know much about him before today. 

He died at twenty-six in a plane crash after a show in Cleveland, Ohio, the plane crashed in Madison, Wisconsin. Despite his very young age, he had three children and a wife!

So - all those hits, hits upon hits that you know but don't really know well were done by a very young fellow!

His big hit "(Sitting on) The Dock of the Bay" was recorded only a few days before his fatal crash:

"Pain In My Heart"

Stones cover of "The Pain in My Heart" 

Redding cover of "Satisfaction"

"You Don't Miss Your Water" 

"Let's Get Lost" Elliott Smith

This week was a week of music. I kicked it off by visiting the Figure 8  wall in downtown LA, the second time I've seen it this year. It's such a tremendously historic bit for me because I fell in love with Elliott Smith's Figure 8 years ago, to be at the spot where he and Autumn de Wilde shot the album from (and subsequent videos) makes my heart beat ten folds faster.

But what really moved me to post this was a word-picture poster I found online that seemed to be the perfect accompaniment to the Elliott Smith song off not Figure 8 but From A Basement On A Hill.

Coachella 2011: aftermath eight, Bright Eyes

So, rumour has it Bright Eyes is closing. With that in mind, this show was extremely special to me as this may be the last time I could hear his beloved tunes live.

Conor Oberst, frontman of Bright Eyes is somewhat of a musical genius. He started making albums in his early teens and hasn't looked back since. He's the brian power behind the Saddle Creek label and has participated in countless other projects and albums, my favourite being the Traveling Wilburys-esq Monsters of Folk. Very appropriately named.

This show was everything I wanted it to be at Coachella. A few years back I bought a Coachella DVD that was released around the time I'm Wide Awake It's Morning was. On the DVD he played at dusk, a really gorgeous time to have a set - not too hot, but not too cold. To top it all off, completely beautiful lighting to accentuate the mountains that surround the polo grounds that Coachella is set on. The DVD version he played "Lua," one of my favourite Bright Eyes songs, it sadly was not played this set.

This DVD served as my first impressions of Coachella - bathing suits, hot sun, beautiful sunsets and lots of people enjoying fab music. I'd say those impressions were pretty spot on to my first Coachella. This video really is Coachella.



Instead, I felt he had an eclectic mix of songs across the board drawing "Four Winds" from Cassadaga, "Old Soul Song (For The New World Order)" and "We Are Nowhere and It's Now" from I'm Wide Awake; "Bowl of Oranges" and "Lover I Don't Have to Love" from Lifted amongst other really fabulous tunes.





There's something really impressive about watching Conor Oberst and company live. You are certain to have a well put together set with an impeccable sound. I can't really articulate just how good these musicians are. Between Conor Oberst and Mike Mogis,  you really can't go wrong.

It's been a while since I have seen Bright Eyes. I have seen them three times to date and the last gig was in support of Cassadaga in 2007! This show served as one that I could hear some songs live that I hadn't before like - "Bowl of Oranges" and "Lover I Don't Have To Love." It was really great to hear the girl-guy contrast compliments of Laura Burhenn of the Mynabirds. Burhenn apparently did some vocal work on his new album  titled The People's Key. She did a fabulous job in "We Are Nowhere and It's Now" and "Lover I Don't Have To Love" and in some bits even taking over vocals completely, small parts albeit.

His most recent tour has had a great load of trumpet lines. It was really brilliant to hear the intricate and dominant trumpet parts replace the plain, overly country sounds of the violin. It really made "Four Winds" for me this go 'round.

After his performance I bought The People's Key used for nine bucks! Great set. Great buy.

Coachella 2011: aftermath seven, Best Coast, Fistful of Mercy and Death From Above 1979

The voice of Bethany Cosentino, aka Best Coast has served as my soundtrack for my trip to California. I cruised around Long Beach listening to tracks seven and eight on repeat, playing it loud enough so I wouldn't hear my own voice.

Cosentino's voice isn't great. That was the consent between my friend and I. But there's something edgy about her voice that works with her '60s girl group meets girl punk sound. She can be super delicate or a train wreck when she needs to be.

I ran as hard as I could to catch her set. This was the hardest decision I had to make the entire festival - I was caught in a three-way tie between Fistful of Mercy (Ben Harper, Dhani Harrison (George Harrison's son) and Joseph Arthur), Best Coast and Death From Above 1979. I managed to very lightly satisfy all three.

I started off at Fistful of Mercy because they had a set that started fifteen minutes prior to Best Coast's. I made my decision because I thought I'd have more fun at a Best Coast set than a Fistful set.

I was right.

I ran the six hundred metres to get to the Outdoor Stage to catch Best Coast at maximum speed. By the time I could stop and take a breath I was sweating bullets and for once, I didn't really care.

The first two songs I caught (about four songs into her set) were "I Want To" (Track 8) and "Our Deal" (Track 7) in that order. Around that time I looked up to the sky to see a plane flying by with a flag that read - "Dance Like No One's Watching." I took those wise words to heart by brushing off my sweat and busting some sweet moves.

"I want to go back to the first time, the first place"





She did a cover of Lesley Gore's "That's the Way Boys Are" and introduced it by saying she was going to do a Lesley Gore song and encouraged everyone to listen to her if they haven't already.



You'll notice her drummer is the former Vivan Girls drummer Ali Koehler.
Also, note she doesn't have a bass player, but a second guitar player that occasionally plays bass lines with his guitar. Gives it a incomplete sound. Jenny and I wrote it off as a bad thing initially, but I don't mind it at all.

A few other notes:

I had no idea Death From Above 1979 were so big. I had just known them as a big hit in Toronto, as I had seen them with Alexisonfire a few times way back when. This was their second gig in five or six years and they had a slot at the main stage. Not bad for a couple of dudes from Toronto. Jesse F. Keeler slays the bass.

Death From Above 1979 with a back drop that says 2001-2006.

Fistful of Mercy:

Fistful of Mercy playing "As I Call You Down":

Dhani Harrison:

"Father's Son"

I wish I caught this song, he even sounds like George!

Coachella 2011: aftermath six, Mumford and Sons

I have these moments when I feel as though I live under a rock. The first time I heard of this band it was through facebook status' of friends who like this band. I believe they played a show at the Mod Club last fall some time. I thought very little of it.

Then I went to a local pub's open mic night and they played a cover of "Little Lion Man." It reminded me a lot of Spirit of the West's "I'm Not At My Best" for the celtic flare it boast so well!

Mumford and Sons were playing on the Coachella stage which is the festival's largest stage. I was amazed to see that they could draw a crowd of the amount of people they did. I knew it was trouble when a group of young things pushed me all the way to the core of the crowd about fifteen rows back. I had a few arm pits in my face, not a position I really wished to be in.

After about thirty minutes of pit to face action, they took the stage. Their band was very full - a few guitars, the occasional upright bass, keyboards, banjo and the occasional drum. I was surprised to find not all their songs required a drum kit.

Mumford and Sons makes great music - live and recorded. A very fine, polished band that have made good for themselves in a shockingly short time. They're super young and I really look forward to the crap they put out in the upcoming years.

Oren Lavie "Her Morning Elegance"

Oren Lavie is an auteur that is from New York by way of Tel Aviv.

He self-produced his "breakthrough" album The Opposite Side of the Sea in 2007. The video for "Her Morning Grace" received a Grammy nomination for Best Short Form Music Video. The video stars an Israeli born actress named Shir Shormon. It was apparently shot in 48 hours without a break.

"Her Morning Elegance"



You can see the individual frames here.

The making of:

BON IVER new album June 10

Justin Vernon, it's been too long since you've released anything under Bon Iver. Finally! It's apparently going to be self-titled. The weirdest thing about the release of this album is that it'll be summer when it gets into my hands. 'For Emma, Forever Ago' was a winter album to me (and many others I'm sure). I wonder how this album's going to take as a summer listening album...

'Perth'
'Minnesota, WI'
'Holocene'
'Towers'
'Michicant'
'Hinnom, TX'
'Wash.'
'Calgary'
'Lisbon, OH'
'Beth/Rest'

The Darcys at The Harry Rosen Underground; Wednesday April 21, 2011

This show was open bar, Peroni's galore!

I have to say, I will very soon start disliking the Darcys if they don't put any new material out soon.

Word on the street says their new album is to be named Aja after the Steely Dan album.

Broken Social Scene at the Ventura Theatre; Tuesday April 20, 2011

Seeing Broken Social Scene has become somewhat boring for me. Since the release of their last album 'Forgiveness Rock Record,' they've really shaved down their list of artists. To me the band has downgraded from a labour of love to a force of habit. 

Their live shows have turned into the Kevin Drew show where he says ridiculous things. I'm not sure if I appreciate his banter, although it can be often entertaining. Shenanigans aside, Drew has an incredible voice to listen to. He can turn it up when he needs to or down when he's just helping out. I think although he is the band's least appealing member, he does hold the band together like super glue. 

Some kid got kicked out mid-show for smoking pot. Kevin Drew yelled out - "Aww yeah, sorry man. Happened to me at Rage Against the Machine"

I was surprised most by the venue - TEENY TINY. They even divided half of it off with a huge gym style curtain. Drew made a comment at the beginning of the show about how he felt like he was in high school, he stated that this gig was going to be high school themed. He stuck true to his world by playing "Lover's Spit" and insisting everyone slow dance. Some people even did. 

In chatting with them post gig, the band really felt that it was a young gig as the show was open to all ages. It didn't feel particularly young, everyone seemed to be of a good age. 

The second last song was "Anthems for a Seventeen Year Old Girl" sung by Lisa Lobsinger. Kevin introduced the tune as "one for the girls." 

It's really unfortunate to see this band play such a sloppy set. I mean, I was excited and I did have fun, but it just seems so out of touch to ways I have seen them play before. 

It is however always a treat to see Andrew Whiteman live. I find his live presence absolutely intoxicating!

Coachella 2011: aftermath five, Gayngs

As much as I adore Bon Iver, I never really got into Gayngs.

Gayngs sites their musical inspiration as the song "I'm Not In Love" by 10cc. I only know 10cc because tehy used "I'm Not In Love" in the Virgin Suicides soundtrack, other that that they're completely lost to my ears. Soft rock tunes are not really my cup of tea, but I've gotta hand it to the guys, they really knew how to showcase these tunes live. 

Actually a great tune:

Gayngs is comprised over twenty five musicians, most notably - Justin Vernon of Bon Iver. I was completely floored to see the chubby, unattractive Har Mar Superstar enter the stage. Much to my surprise, he's actually one of the twenty five in the band. Despite his troubling exterior, Har Mar has an incredible vocal range and a special aptitude for the soft songs. He did a killer rendition of "One More Try" originally sung by George Michael. He completely melted all the girls around me, all the while, I told them the story about Har Mar plucking his pubic hairs and tossing them into the row in front of me at a past gig. He walked on stage with a large towel draped over his back as though he was little red riding hood. Really dressed to the nines, from his previous appearance.

There's a certain confidence to Gayngs, without a doubt they have a serious following. I was surprised as their album never resonated with me or anyone else I knew. I didn't even know there was a good market for this kind of music. 

The big following sported the Gayngs logo formed with two hands. A band member would do the sign every few minutes, evoking a large response of signs from the crowd.

I enjoyed it enough to buy the album.

Coachella 2011: aftermath four, The Strokes

I had no expectations walking into the Strokes set late the last night of the festival. I kept to the back of the huge crowd watching the gig, I couldn't really see much, but the music was a plenty.

I have to say, the Strokes have to be one of the finest sounding bands I saw that weekend. Given, I only really love a handful of their songs through and through, their classic cool sound was well maintained.

By the end of the day, I felt incredibly tired from all the standing and sunbathing in the long hours of the day. So by the time you get to watching the late night gigs you just collapse. This show most certainly was no exception to my stamina. I found myself alternating between sitting down and standing up dancing.

"Someday" was the first Strokes tune that brought me up to dance. I remember turning around mid-song and finding everyone around me dancing like a '60s surf film. It felt so exaggerated, but so comfortable. I loved every minute of their set for this reason.

"Working so I won't have to try so hard, tables they turn sometimes"





And closer to the end of their set:

Coachella 2011: aftermath three, The National

I think the song "Fake Empire" without even noticing it throughout the festival is my song to summarise the Coachella festival experience. In listening to this very stripped down version of the tune recorded for QTV (go CBC go!) I got the chance to listen to the vibe of the song.



The National possessed this incredible vitality that few bands really had. I'm certain it was formed by a vicious combination of the atmosphere of the festival, the people around me and the band's immaculate live sound.

For a band I got into less than two weeks before the festival, they've won my heart over very quickly. I'm just sorely sorry to say I just got into this band considering they've been around for quite a few years now.

I can tell they have a pretty predictable performance, same floppy leaps down to the crowd during "Mr. November," but there's something really wonderful about seeing a well-rehearsed band that has some kind of indie edge to them.

"I wish that I believed in fate, I wish I didn't sleep so late"



The National were definitely a memorable performance of the weekend. There were a group of guys behind me, hanging on to every word, raising their hands in their air with excitement and anticipation of a few lines in a song. I can't wait to find myself so well acquainted with their music too very soon.

No CDs by the National acquired as a wonderful friend gave me their entire discography a few weeks ago. The deciding factor for a purchase will be the artwork included within the album. Gosh, I love how my brain works.

Coachella 2011: aftermath two, the history

November 5, 1993 Pearl Jam played a gig in front of an audience of 25,000 people on the Empire Polo Club grounds. This is the same space that Coachella has been held for twelve festivals.

This Pearl Jam gig was so iconic because it marks a shift in ticket sale practice - the service charge. For a  period of time, Pearl Jam avoided Ticketmaster altogether because of a gig they had previously played where they were later informed that each ticket was slapped with a service charge. Profits from this bit obviously going to Ticketmaster. It's a funny thought because service fees are a household procedure now - small ticket retailers try to nix the service fee, but still you'll find a buck or two tacked on to each ticket.

Pearl Jam were giving Ticketmaster the boot for this event (and many others, I'm sure) because they hugely disagreed with the extra cut for the company on each ticket.

It's kind of funny to think about this all because in my time working for the company, I realised it's not just Ticketmaster that takes the cut, but in addition Sunrise (or whatever host runs the Ticketmaster outlet) will take a partial cut based on the tickets sold. It was rumoured that Malcom and Roy Pearlman, the owners of Sunrise Records and Jean Machine got a five or ten cent profit from each ticket printed out.

The Empire Polo Grounds is a tricky venue for a number of reasons. Firstly the land, one of America's hottest and driest spots and secondly there's a fifty mile drive from the city was far from the life. Somehow the festival manages to seriously flourish each year, despite the time travel cost and the excruciating heat.

The first festival was several years later in October of 1999, with only two days of music. It was miraculously held only three months after Woodstock '99. As a result of the riots and fires that accompanied Woodstock, Coachella was not permitted to allow onsite camping, a ban that was continued until 2002. About 25,000 people attended the first festival with big names like Rage Against the Machine, Beck, Jurassic 5 and DJ Shadow.

Despite the solid acts in the first festival, Coachella was a flop as far as revenues go. They were unable to generate any profit almost resulting in the end of the music festival. They failed to continue in 2000, which was likely because of the financial bind they were in because of the first year. Live and learn, I suppose. The festival has been running strong since 2001 with incredible acts like Paul McCartney, Madonna, My Bloody Valentine, Iggy Pop, Morrissey and Leonard Cohen.

When California folk as about the festival, they usually associate it with Stagecoach (Coachella's sister country festival) and Burning Man. Both pretty different, but impressive in their own rights. California is well-endowed with some pretty classy (and also not so classy) music festivals.

Coachella now offers brilliant camp sites, with or without a car and somewhat comfortable showers and toilets. It's gotta be the best going rate for a four night stay in California.

Coachella has grown from a simple boycott to something people use to escape into another world of music and artistic splendor.

Keep up, more words on the festival are coming, once I get more sleep!

Lauryn Hill "That Thing (Doo-Wop)"

One thing - I was absolutely won over by Lauryn Hill on Friday. Apparently, Erykah Badu trumped her ten fold.

But I couldn't help but think about this brilliant video for Hill's tune "That Thing (Doo-Wop)." How smart -

Coachella 2011: the aftermath one

Coachella was one of the most delightful musical experiences that I have had the opportunity to enjoy. Never have I been surrounded by so many bands in one place all at once. 

I can't wait to tell you all about it, every detail from the fashion show looks to the scorching hot weather. I unfortunately will not have the opportunity to jot all that in tonight. Instead, I'm finishing up my vacation in California by seeing Broken Social Scene tomorrow night. 

So stay tuned, the website will be updated on Wednesday! 

California here I come, right back where we started from

Music is in the air in California.

Get ready Amoeba Records, Hollywood, we're going to become re-acquainted today. Get ready wallet.

Coachella 2011: preamble seven

"I wish you would tell me how you really feel"



This song has all the ingredients of a sixties pop song.

Coachella 2011: preamble six

"I won't fuck us over, I'm Mr. November"





Lead singer Matt Berninger is forty years old. This performance gave me the chills.

Coachella 2011: preamble five

I AM IN LOVE WITH TAME IMPALA.

Coachella 2011: preamble four

Jenny and Johnny (Jenny Lewis and Johnathan Rice)

Pairs in music and pairs in love.

Looking forward to seeing them while wearing shorts!

Coachella 2011: preamble three

The Strokes? Really?

I think I posted their single "Under Cover of Darkness" on here once before (see premable two). But tonight was the first night I really listened to it. It's actually really great fun.



And Tame Impala who are playing Toronto May 1 at the Phoenix. Great sound, not really likely anyone else - fab influences. Is it me or does the song "Desire Be Desire Go" sound a crap load like John Lennon. LOVE LOVE LOVE.

"Home" by She & Him

I wanna be where your heart is home, it's a comfort to me

Timber Timbre at Trinity St. Paul's Church; Friday April 10, 2011

FRIDAY APRIL 10, 2011. Can you believe it? Time flies so fast. If there's one thing that's consistent it's time, everything else - throw to the waste.

So, with that being said, I would just like to say that I saw Timber Timbre last night. Which you know, two years ago I could have said without anyone giving a hoot. And I did. Two years ago, I saw him play The Music Gallery, Trinity St. Paul's younger sibling church. It's pretty hard to believe just how well Taylor Kirk has done in the last year. This was his album release gig for his new one Creep on Creepin,' a very eerie title that fits his very eerie sound.

I just stumbled upon this video of a gig he did at South by Southwest! REALLY? I can't help but feel giddy to see success flourish so nicely.



Studio:



Timber Timbre is truly a household name and I'm really proud to say that I was able to see him really unfold.

His band has expanded along with his repertoire. It's funny because I remember hearing his song "Demon Host" at his gig at The Music Gallery and he had the stage filled with people. He had people singing a very eerie "oooh, oooh, oooh, oh." Which just haunted me. In comparison to this show, his sound has really filled itself, which I think is a result of better consideration for instrumentation. For instance, that SXSW NPR video is incredibly full for just three people playing it.

People were definitely feeling Timber Timbre's lush sound. The lights went out with the exception of a few red coloured spotlights and a few hand held lights hung on some stands. It reminded me of the long hours I use to spend in the darkroom (serious), or that scene in the Woody Allen film Annie Hall where Alvy brings out a red lightbulb to set the mood (not so serious). I'm not sure if I was feeling the red mood lights, I guess it put more emphasis on the sound than the sight.

This was my first go at his new tunes. I didn't realise the gig would be so dominated by new tunes, he only sported two tunes off of the older album Timber Timbre (2009). The two tunes were "Demon Host" which he plopped in the first bit of his set, much to my surprise and "Magic Arrow" which he left near the end.



Of the few articles I've read of Timber Timbre in the last few weeks, I get this altered image of his perception as a successful performer. In the Exclaim article, he talks about not just writing for himself, but other people too, the audience. Judging from the live gig - I really like his work that he wrote alone, it's bare and minimal. It has a sound that sounds more old blues, less haunted house on halloween.

i.e.





The openers were a band called Tasseomancy, which was lead by two twin girls that I had actually seen before, under the moniker Ghost Bees. Funny enough, I actually saw them with Timber Timbre two years ago. I wasn't really having them then either, but they had a really developed, clean sound. The only regret I have for their performance is the use of a single steel drum. I stick to my guns in saying there are few words sounds than the sound of a steel drum.

My mate Chris, who was my hot date to the show, pointed out that he enjoyed Tasseomancy more than Timber Timbre. I personally didn't, but that's probably because of his amazing version of "Demon Host" and my particular affinity for the individual song. He mentioned how the minimal drum use of the band really droned out each tune making it sound the exact same. I couldn't agree more with what he said. There's something insanely repetitive about a continuous and constant booming sound of the bass drum.

I WISH I HEARD: