http://www.youtube.com/watch?v=o3-2DlyNy9M
What a fun halloween gig. Imagine them playing their real songs in these get ups!
Tuesday, November 3, 2009
roll on roll on little train
roll on, roll on oh little train. brakeman blow your whistle, put your weight upon the train. make way whatever will be, will be between the sandman the brakeman and me.
Monday, November 2, 2009
Monsters of Folk at Massey Hall; Monday November 2, 2009.
Monsters of Folk at Massey Hall; Monday November 2, 2009.
This was easily one of the best shows i've seen this year. I know this because even during the show I was dreaming up ways I could start this little blurb about the show. There were no openers, much to my delight. They took the stage dressed in suits, M. Ward's was army green.
I knew this was going to be a solid show when the band broke apart after three songs leaving M. Ward and Jim James on stage to sing M. Ward's beautiful tune "One Life Away". To date I've seen M. Ward three times, this was the first time i've heard him play this tune. James' vocals sounded perfect, on the album I believe it was sung with a girl and live I've heard him do it with Norah Jones too on YouTube. The most awe-filled moment was part way through his live rendition of "One Hundred Million Years," a tune off his brand spanking new album the Hold Time. This song comes of stupid simple but is more complex than it leads on to be. It sounds like a simple ditty done by a couple of guitars, in actual fact it's only M. Ward. Which proves to me he's one of the greatest guitarists of my time.
When I saw M. Ward with She and Him he stuck close to the sidelines, clearly he let this be Zooey Deschanel's project. I always assumed from interviews that he hated the lime light and always preferred keeping to himself - this show proved otherwise ... I'm pretty sure I said something along these lines for my review of the M. Ward gig earlier this year. Performing he shines, it's clearly his passion. It comes with such ease and effortless comfort that I couldn't achieve in this lifetime.
Jim James (aka Yim Yames) was the biggest surprise to me. I first met Jim in his George Harrison cover album. I immediately thought of Fleet Foxes' Robin Pekenold - and I still do! He looks like he could be the granddaddy of the band, bearing a few years on them but also bearing the facial hair to prove! Jim James' edge on the rest of the band was his extremely broad vocal range. He "oooh'd" and "ahhh'd" like no one I'd ever heard before. I knew he was something special when I couldn't tell the difference between his voice and the lap slide guitar that Mike Mogis played the entire gig. I don't know any My Morning Jacket tunes, but apparently he played some in the set.
Mike Mogis was no surprise. He was the George Harrison of the band. He layed low but shined bright. He sported the bass and regular guitar, lap guitar, and the triangle. I'm sure he played much more over that too. He didn't brave any vocals though.
I remembered why my Bright Eyes albums never leave my prime collection - because Conor Oberst is brilliant. This is also my third time seeing Conor Oberst live. The first two times were with his outfit Bright Eyes. I was so fortunate to have seen his I'm Wide Awake It's Morning tour and his impromt tour for Cassadaga. Both times I knew very little because both times the albums were far too fresh for me to know. What Oberst did at this gig was he played four or five selections from throughout his Bright Eyes catalogue.... With a couple of tunes drawing from his masterpiece I'm Wide Awake... He chose tunes that wouldn't be obvious... It would probably've been too sweet for him to play "First Day of My Life" but he played tunes he had sang with Emmy Lou Harris, probably for their folk factor.
Having Yim Yames was a real blessing because of his powerhouse dynamic voice.
I loved how they kept the repertoire fresh... They busted into M. Ward's "Vincent O'Brien" three quarters of the way through the set. "Vincent O'Brien" is one of my favourite M. Ward tunes for it's hopeful shine and beat. M. Ward played and sang from behind the piano, which was a treat. While the band rocked out.
Now that I think about it everyone leaped behind a different instrument. Everyone held a bass, guitar, and keys. With the exception of Mogis and the drummer, Will... something.... Yikes.
I really liked their rendition of "Dear God (Sincerely M.O.F.)" which was as soulful on the album, but I had no idea Yim Yames had such a huge role in.... It was very shocking. I felt back to my boy band days when I had to know which person sang which part so I could idolise that one line with bigger love than I'd ever meet, ever again.
My favourite performance of a Monsters tune was "The Sandman, the brakeman and me" - an M. Ward inspired tune. Which is quite possibly the prettiest thing ever... the main lyrics are "Roll on, roll on little train. Brakeman blow your whistle throw your weight upon the chain. Make way, whatever will be, will be - between the sandman, the brakeman in me". I think this tune has inspired me to write a favourite tunes of 2009 because it's simply so inspiring. I love love love love love this song.
M. Ward brings so much to the table - he's my favourite performer of the lot. He's just oozing class in his tunes. I felt a wave of angst with every song he performed, it was a really lovely feeling. I love him for his timid voice, as much as I like Oberst for his strong deliverance and assertiveness.
I couldn't help but think TRAVEEEEEEELLLLLING WILLLBURYS the entire gig. But I think saying that is far overdone at this point. It's about making the best music you can, or at least creating something you like with people you like. I think that is really all this is, a bunch of ridiculously talented individuals making absolutely sparkling tunes.
They played one encore song, the last song of the album... The Jim James led tune "His Master's Voice". They left to similar soul music they'd come on with. They played for nearly an hour and a half, uninterrupted.
Spotless show, well worth the sixty big ones I paid. I had a fabulous seat too...!
Thao with the Get Down Stay Down at the El Mocambo; Sunday November 1, 2009.
Thao with the Get Down Stay Down at the El Mocambo; Sunday November 1, 2009.
Thao Nguyen is a from San Francisco and she's about as cute as they come. Her first full length album is titled We Brave Bee Stings and All. It's a solid release of little ditties about absolutely nothing. My personal favourite is called "Big Kid Table" which reminds me of being really small and always referring to the table I use to sit at as the "kids table". The song also sounds really fantastic too... with the words "you are strong, strong, strong, stronger than me. With a heart much more love, love, lovely." She tends to write about how people have to be stronger or who are better than she. Which is totally cool, I think it's sort of modest nice.
She played the "Big Kid Table" tune third in her set. She peppered her new tunes in throughout her set. I really liked how she did it. It came off sounding very put together. All the songs sort of had the same flare to them, so an unaided listener wouldn't even notice.
I really like her presence, she's all over the place. Thao's voice is stupid choppy live, almost to the point where you get every other word out of her - and that's about it! Regardless, I felt like it was all there. She puts her all into it, that's for certian. She screams, dances and loses her voice while she sings.
She played "Geography" following "Big Kid Table". "Geography" is probably my second favourite song off of her first album. I really like the riff that trails throughout the song on the keyboard. I also really like the lyrics - "Oh Geography, You're gonna make a mess of me!" which she wales at the beginning of the tune and regroups back to it later.
There's something to be said about an Asian front woman. Her guitar playing is absolutely spot on. She carries herself extremely well, belting out distinct sounding vocals and maintains the guitar to some complicated level. She would leave many chord strumming girls in the dust.
If you like Kimya Dawson, lay off the crack and listen to this girl. Her lyrics are much more put together but are still a pinch kooky and rough sounding.
I seem to think Bob Boylen had an amazing desk set with the lovely Thao. I'd be interested in hearing her solo, because I think her sound could use a bit less instrumentation. I really detested her band's use of the cello, it sounded terrible with her plucky sounds.
I wish there wasn't a meowing lacing the entire set, it got pretty annoying!
Thao Nguyen is a from San Francisco and she's about as cute as they come. Her first full length album is titled We Brave Bee Stings and All. It's a solid release of little ditties about absolutely nothing. My personal favourite is called "Big Kid Table" which reminds me of being really small and always referring to the table I use to sit at as the "kids table". The song also sounds really fantastic too... with the words "you are strong, strong, strong, stronger than me. With a heart much more love, love, lovely." She tends to write about how people have to be stronger or who are better than she. Which is totally cool, I think it's sort of modest nice.
She played the "Big Kid Table" tune third in her set. She peppered her new tunes in throughout her set. I really liked how she did it. It came off sounding very put together. All the songs sort of had the same flare to them, so an unaided listener wouldn't even notice.
I really like her presence, she's all over the place. Thao's voice is stupid choppy live, almost to the point where you get every other word out of her - and that's about it! Regardless, I felt like it was all there. She puts her all into it, that's for certian. She screams, dances and loses her voice while she sings.
She played "Geography" following "Big Kid Table". "Geography" is probably my second favourite song off of her first album. I really like the riff that trails throughout the song on the keyboard. I also really like the lyrics - "Oh Geography, You're gonna make a mess of me!" which she wales at the beginning of the tune and regroups back to it later.
There's something to be said about an Asian front woman. Her guitar playing is absolutely spot on. She carries herself extremely well, belting out distinct sounding vocals and maintains the guitar to some complicated level. She would leave many chord strumming girls in the dust.
If you like Kimya Dawson, lay off the crack and listen to this girl. Her lyrics are much more put together but are still a pinch kooky and rough sounding.
I seem to think Bob Boylen had an amazing desk set with the lovely Thao. I'd be interested in hearing her solo, because I think her sound could use a bit less instrumentation. I really detested her band's use of the cello, it sounded terrible with her plucky sounds.
I wish there wasn't a meowing lacing the entire set, it got pretty annoying!
Sunday, October 25, 2009
Atlas Sound at Lee's Palace; Saturday October 24, 2009
Atlas Sound at Lee's Palace; Saturday October 24, 2009
I forgot how much I didn't enjoy seeing Atlas Sound. The project has a Bradford Cox gleam to it but it severely lacks the energy and intriuge that Deerhunter fosters. Cox came off last night as a complete asshole. I saw Deerhunter at the beginning of the year, and Atlas Sound almost a year ago and I suppose my big love for Deerhunter wiped out my bad memories of the last Atlas Sound show.
The best tune off the new album is "Shelia"... An easy tune. He didn't play "Bite Marks" my favourite older tune. I would like to think Cox was having an off day, but the better part of me thinks this project is lacking the clarity and sound that the Deerhunter albums have. Cox to me is still a genius and i'll see him again with Deerhunter, any day.
I forgot how much I didn't enjoy seeing Atlas Sound. The project has a Bradford Cox gleam to it but it severely lacks the energy and intriuge that Deerhunter fosters. Cox came off last night as a complete asshole. I saw Deerhunter at the beginning of the year, and Atlas Sound almost a year ago and I suppose my big love for Deerhunter wiped out my bad memories of the last Atlas Sound show.
The best tune off the new album is "Shelia"... An easy tune. He didn't play "Bite Marks" my favourite older tune. I would like to think Cox was having an off day, but the better part of me thinks this project is lacking the clarity and sound that the Deerhunter albums have. Cox to me is still a genius and i'll see him again with Deerhunter, any day.
Dead Man's Bones at the Opera House; Tuesday October 20, 2009
Dead Man's Bones at the Opera House; Tuesday October 20, 2009
Movie stars generally have a difficult time breaking it in the music scene. They face harsh judgements and impressions from their already acquainted audience. Judgements aside, their film career serves as a terrific platform to jumpstart a career of new sorts, with a dedicated fan base at hand. Ryan Gosling has done just that.
Gosling is a celebrity that has lived ten lives before the age of thirty. He was a mouseketeer on the Mickey Mouse Club, high school geek on the brilliant Canadian show Breaker High and most recently, heartthrob in the Notebook. His diverse catalogue makes it difficult to pin point the form his music takes. I must warn, listening to it doesn’t make this task any easier.
Just in time for Halloween Gosling and best friend Zach Shields performed the bizarre album titled Dead Man’s Bones. They use a children’s choir to serve as the supporting vocals, recorded it comes off charming amidst Gosling’s melancholic vocals. In their recent tour through North America they sought out local children’s choirs to perform in their own city. The kids of a Roncesvalles middle school were dressed in skeleton wear with makeup caked on to their faces.
The music they make was nothing to rave about. They’re cute ditties that were written to sound like something from fifty years ago. Unfortunately, on their own they weren’t able to create this consistently. The accessible tunes on the album were done tremendously well - “My Heart is a Zombie for You” and show closer “Paper Ships”. In both tunes they required heavy participation between the audience and the crowd. The men were not able to carry it on their own. Additionally, they used a powerhouse black woman to make their sound more intense. I have no idea what her name is but she had a beautiful voice that gave their music some much needed complexity.
I think that is Dead Man’s Bones greatest fault. They simple don’t have enough going for them. Using the children’s choir idea will be absolutely charming for one tour, but’ll lose its momentum after a second go round. This album is the perfect Halloween album, but its shelf life is purely seasonal. After Halloween this album is not going to get much play.
Movie stars generally have a difficult time breaking it in the music scene. They face harsh judgements and impressions from their already acquainted audience. Judgements aside, their film career serves as a terrific platform to jumpstart a career of new sorts, with a dedicated fan base at hand. Ryan Gosling has done just that.
Gosling is a celebrity that has lived ten lives before the age of thirty. He was a mouseketeer on the Mickey Mouse Club, high school geek on the brilliant Canadian show Breaker High and most recently, heartthrob in the Notebook. His diverse catalogue makes it difficult to pin point the form his music takes. I must warn, listening to it doesn’t make this task any easier.
Just in time for Halloween Gosling and best friend Zach Shields performed the bizarre album titled Dead Man’s Bones. They use a children’s choir to serve as the supporting vocals, recorded it comes off charming amidst Gosling’s melancholic vocals. In their recent tour through North America they sought out local children’s choirs to perform in their own city. The kids of a Roncesvalles middle school were dressed in skeleton wear with makeup caked on to their faces.
The music they make was nothing to rave about. They’re cute ditties that were written to sound like something from fifty years ago. Unfortunately, on their own they weren’t able to create this consistently. The accessible tunes on the album were done tremendously well - “My Heart is a Zombie for You” and show closer “Paper Ships”. In both tunes they required heavy participation between the audience and the crowd. The men were not able to carry it on their own. Additionally, they used a powerhouse black woman to make their sound more intense. I have no idea what her name is but she had a beautiful voice that gave their music some much needed complexity.
I think that is Dead Man’s Bones greatest fault. They simple don’t have enough going for them. Using the children’s choir idea will be absolutely charming for one tour, but’ll lose its momentum after a second go round. This album is the perfect Halloween album, but its shelf life is purely seasonal. After Halloween this album is not going to get much play.
Saturday, October 24, 2009
Edward Sharpe & The Magnetic Zeros
Edward Sharpe & The Magnetic Zeros is the lead singer of IMA Robot with ten other people. Their tunes are fun and upbeat. I first heard them when I dipped into Soundscapes looking for something different. I wasn't blown away at the time, but I heard the tune "Home" on the most recent episode of Gossip Girl and I had to find out who did the song. I'm not sure if it was teh show that took me first or the song in the show but it stuck.
They're coming to the El Mocambo.... A venue I regard as the icebreaker digs. Each band that starts of small plays there first and then dips into other larger facilities. It's sort of sad to see the progression. I think it's one of my favourite venues to see bands that haven't quite broke surface yet. As much as I like sharing music, somethings are best left secrets...
They're coming to the El Mocambo.... A venue I regard as the icebreaker digs. Each band that starts of small plays there first and then dips into other larger facilities. It's sort of sad to see the progression. I think it's one of my favourite venues to see bands that haven't quite broke surface yet. As much as I like sharing music, somethings are best left secrets...
Tuesday, October 20, 2009
Mogwai
I heard Mogwai for the first time early, early this year on a Matador's celebration compilation for being in business for twenty years. The tune was "Hunted by a Freak" from the album Happy Songs for Happy People.
The song that made me realise how amazing they really are is the tune "Rage:Man" off of EP+6. It was released earlier this year I believe.
It's odd just how much they sound like Explosions in the Sky, yet Explosions have never been pitted for c0pying them. They've sort of made it on their own separately.
I'm not sure how I feel about the genre "Post-Rock" or post any thing for that matter. I don't see how this is any more progressive than regular rock. Post-rock just tends to not have vocals...
Nevertheless, my point being that I'm warming up to Mogwai and it fits.
The song that made me realise how amazing they really are is the tune "Rage:Man" off of EP+6. It was released earlier this year I believe.
It's odd just how much they sound like Explosions in the Sky, yet Explosions have never been pitted for c0pying them. They've sort of made it on their own separately.
I'm not sure how I feel about the genre "Post-Rock" or post any thing for that matter. I don't see how this is any more progressive than regular rock. Post-rock just tends to not have vocals...
Nevertheless, my point being that I'm warming up to Mogwai and it fits.
Yo La Tengo at the Opera House; Saturday October 3, 2009
Yo La Tengo at the Opera House; Saturday October 3, 2009
Yo La Tengo has an enormous amount of street cred and it was sort of a wonder to see them live. Their sound was spot on.
They played throughout their whole catalogue, although they had just released a record.
Nuit Blanche was a total let down. First time for everything.
Yo La Tengo has an enormous amount of street cred and it was sort of a wonder to see them live. Their sound was spot on.
They played throughout their whole catalogue, although they had just released a record.
Nuit Blanche was a total let down. First time for everything.
Friday, October 2, 2009
All Things Must Pass
What a gem of an album! 'All Things Must Pass' is a masterpiece. Yim Yames' cover album of it is almost as great.
get a piece!
get a piece!
Sufjan Stevens at Lee's Palace; Thursday October 1, 2009.
Sufjan Stevens at Lee's Palace; Thursday October 1, 2009.
When I bought these tickets, I couldn't help but think just how far away the show was. Well... It's come and gone.
This show was remarkable for so many reasons. I really wasn't expecting much, but when I received an email from Sufjan's label apologizing for the ticketless show I knew it was going to be something. Tickets were dirt cheap and the venue was small.
He opened the show up alone with one of his tunes from the Illinois b-side album titled The Avalanche called "The Mistress Witch from McClure (or, The Mind That Knows Itself)". This song is exactly what I love about Sufjan, he can play the down, slow stuff perfectly or he can get you going with something ridiculously poppy.
Going into this show I really had no expectations. He's not my favourite artist by any stretch and quite often I find him too camp, and too flamboyant between the choral vocals and completely bizarre lyrics. Tonight everything worked out. I was taken by his slow, sad songs but blown away by his exciting busy tunes.
When he got on stage he made it quite clear the purpose of this very short tour was to showcase new tunes. He followed that up by saying that the new songs are quite long and told everyone if they're too long they can just go outside for a bit. No one budged. Pitchfork tipped me before hand, I knew his tunes would be much longer.
The band came out for the second song. His band included, a trumpet and a trombone, drums, bass, two, sometimes three guitars and two or three background singers. Not quite the chorus I was dreading. The girl came from the San Francisco bred openers Crypticize. The singer reminded me of the over powering Emily Haines, but significantly daintier and much cuter. She coyly hopped on stage and sang in every song. She was the backbone to all of the songs Sufjan played. The woman's name is Nedelle Torrisi.
The third song they played was a new song about love, heartbreak and everything wrapped up in one as Sufjan announced. It was probably ten minutes long, giving "American Pie" a run for it's money. It had many parts to it, layers and angles but it picked up many themes to build on. Repeating wors is always a hit, simple but incredibly effective. I can't wait until it comes out to hear this one again with better quality.
His new tunes were significantly louder. Perhaps they haven't been grated through the production process like most of his other songs. Sufjan comes off polished leaving the studio but live he can reproduce that sound. I use to think he was too cheery and choral based. Something about large choirs and singing along kills me. This didn't do anything, I actually enjoyed what the added vocals did.
I was incredibly amazed by the brass section. They're some of the most talented brass accompanimetns i've heard in a while. The trumpet player particularly played tremendouly well with countless trumpet solo bits. Sufjan's tunes sounded perfect with an occasional french horn.
He played most of Illinois. I wasn't let down! But to my surprised he also played "To Be Alone with You" off of Seven Swans which was made popular by the OC. I think it made a soundtrack if I'm not mistaken. He also played "That Dress Looks Nice On You" as well.
I think his new albums going to be great. He's sort of one of those musical chameleons where there is no consistancy throughout his music, but he manages to establish a similar sound throughout.
It's been probably four years since he played Trinity St. Paul. Boy I wish I was at that show.
When I bought these tickets, I couldn't help but think just how far away the show was. Well... It's come and gone.
This show was remarkable for so many reasons. I really wasn't expecting much, but when I received an email from Sufjan's label apologizing for the ticketless show I knew it was going to be something. Tickets were dirt cheap and the venue was small.
He opened the show up alone with one of his tunes from the Illinois b-side album titled The Avalanche called "The Mistress Witch from McClure (or, The Mind That Knows Itself)". This song is exactly what I love about Sufjan, he can play the down, slow stuff perfectly or he can get you going with something ridiculously poppy.
Going into this show I really had no expectations. He's not my favourite artist by any stretch and quite often I find him too camp, and too flamboyant between the choral vocals and completely bizarre lyrics. Tonight everything worked out. I was taken by his slow, sad songs but blown away by his exciting busy tunes.
When he got on stage he made it quite clear the purpose of this very short tour was to showcase new tunes. He followed that up by saying that the new songs are quite long and told everyone if they're too long they can just go outside for a bit. No one budged. Pitchfork tipped me before hand, I knew his tunes would be much longer.
The band came out for the second song. His band included, a trumpet and a trombone, drums, bass, two, sometimes three guitars and two or three background singers. Not quite the chorus I was dreading. The girl came from the San Francisco bred openers Crypticize. The singer reminded me of the over powering Emily Haines, but significantly daintier and much cuter. She coyly hopped on stage and sang in every song. She was the backbone to all of the songs Sufjan played. The woman's name is Nedelle Torrisi.
The third song they played was a new song about love, heartbreak and everything wrapped up in one as Sufjan announced. It was probably ten minutes long, giving "American Pie" a run for it's money. It had many parts to it, layers and angles but it picked up many themes to build on. Repeating wors is always a hit, simple but incredibly effective. I can't wait until it comes out to hear this one again with better quality.
His new tunes were significantly louder. Perhaps they haven't been grated through the production process like most of his other songs. Sufjan comes off polished leaving the studio but live he can reproduce that sound. I use to think he was too cheery and choral based. Something about large choirs and singing along kills me. This didn't do anything, I actually enjoyed what the added vocals did.
I was incredibly amazed by the brass section. They're some of the most talented brass accompanimetns i've heard in a while. The trumpet player particularly played tremendouly well with countless trumpet solo bits. Sufjan's tunes sounded perfect with an occasional french horn.
He played most of Illinois. I wasn't let down! But to my surprised he also played "To Be Alone with You" off of Seven Swans which was made popular by the OC. I think it made a soundtrack if I'm not mistaken. He also played "That Dress Looks Nice On You" as well.
I think his new albums going to be great. He's sort of one of those musical chameleons where there is no consistancy throughout his music, but he manages to establish a similar sound throughout.
It's been probably four years since he played Trinity St. Paul. Boy I wish I was at that show.
Thursday, September 17, 2009
Sondre Lerche at the Mod Club; Wednesday September 16, 2009
Sondre Lerche at the Mod Club; Wednesday September 16, 2009
Sondre Lerche is one of the most beautiful artists, physically and through his music. He's incredibly talented. I can't think of many artists who can simply rock the guitar without their band and still give people the same aww they did with an entire band.
One rewarding thing about seeing Lerche without a band is his natural ease in transition between songs. He engages with the audience. I was in the second row and I felt like I was in a coffee shop with him. I just wished that he would get off that stage and sing on the same level as us.
By the third song he turned to the crowd for suggestions. He played the first person's request - "Tragic Mirror". This song sounds natural on the acoustic guitar.
He played all across his catelog, I was not disappointed. The only song I longed to hear was "Happy Birthday Girl" which may or may not've been a stretch for him to play.
I really loved his encore tune - "Modern Nature" a gem he released when he was only nineteen! It's a beautiful song that he used in the Dan in Real Life sountrack and it worked swimmingly. He said before he played "OK, i need you're help and I'm still trying to get use to this one". The song usually has a girl part that echoes the guys - without telling the crowd explicitly he gave them the opporunity to sing along. It was sweet and very fun, i couldn't help but laugh, with no guts to sing myself.
Thursday, August 20, 2009
Do Make Say Think at the Polish Combatants Hall; Wednesday August 19, 2009
Do Make Say Think at the Polish Combatants Hall; Wednesday August 19, 2009
This is my one hundredth post!
Do Make Say Think are one of the finest bands out of Toronto. Their music is diverse and complex, something that is disitinct from any other indie act out of the city. Every member contributes a dynamic sound. Charles is the bass - busy, while upholding the back bone. Guitar - Ohad Benetrit and Justin Small, one not outweighing the other. But Benetrit is much better than Small.
Do Make's new album is coming out at the end of October, as anticipated they played a bunch of new tunes. Including then opening song - more aggressive and straight up. I felt by their song choice this show that their stand out album is 'Winter Hymn, Country Hymn, Secret Hymn'. Most of the tunes that were played were from that album.
I wrote the above note a very long time ago... The night o fthe show! I feel like the venue was a really nice size for them. I was a little disappoitned with the osund of the venue because the beautiful swells of their tunes were highly dimished in that venue. The light show absolutely killed me because it was one of the hardest things to watch. I love this band, and I love what they do but I hope that their music varies from their major swelling bridges. THere's somethijng abolsutley charming about their campfire pretty tunes like - "A Tender History in Rust" and "Chinatown".
Sunday, August 2, 2009
Cursive at the Horseshoe; Saturday August 1, 2009
Cursive at the Horseshoe; Saturday August 1, 2009
Tim Kasher is definitely one of my favourite artists of the last ten years. He will be thirty-six years old by the end of the month. I can tell that he's worn out, in the sense that he has past experiences that really amount to the finish product of his lyrics.
Last night I discovered I really, truly only love two full Cursive albums. 'The Ugly Organ' and one half of 'Happy Hollow' and bits of 'Domestica'. Perhaps I like a bit of 'Mama, I'm Swollen' as well. Collectively, two albums i'd say. I really took love for his solo project The Good Life, especially the album "Album of the Year".
'The Ugly Organ' was really important to me in the tenth or eleventh grade. I remember when I was in grade eleven I had my fake ID and I really wanted to see Tim Kasher play with the Good Life. I probably would have had I known they would only play three gigs in the next six years in Toronto. Two times over with Cursive and once as the Good Life.
They were playing serious catch up time for not ever touring here, so i expected to hear a great array of their catalogue. I wasn't let down. They opened with "Big Bang" from their 2006 album 'Happy Hollow'. A very intense, horn charged tune. When I saw them two years ago they played with a larger horn section, this go round they only had one, instead of three. The horn player jumped from trumpet, to bugle and to keyboard. It was very evident that this guy was a trumpet player at heart, and knew some piano but I really wasn't remotely impressed by his keyboard skills.... Especially his organ bit at the bridge of one of the songs. It was actually horrible, especially after seeing Rod Argent (of the Zombies).
I was very happy with the song choices. Cursive's sound an organised-chaos. With the exception of the soft, pretty tunes they have like "Bad Sects" and "The Recluse", two songs they played. "Bad Sects" was perfect, I wouldn't have changed a thing. "The Recluse" felt too slow - it needed more push to it, it almost felt lazy.
My favourite tune they played was "A Gentleman Caller". It's absolute chaos but for the second half of the song it was absolutely perfect.
They also played "Driftwood: A Fairy Tale", "Art is Hard" and "Sierra" off of 'The Ugly Organ'.
They closed with "The Martyr" off of 'Domestica' which shocked me.
Tim Kasher is definitely one of my favourite artists of the last ten years. He will be thirty-six years old by the end of the month. I can tell that he's worn out, in the sense that he has past experiences that really amount to the finish product of his lyrics.
Last night I discovered I really, truly only love two full Cursive albums. 'The Ugly Organ' and one half of 'Happy Hollow' and bits of 'Domestica'. Perhaps I like a bit of 'Mama, I'm Swollen' as well. Collectively, two albums i'd say. I really took love for his solo project The Good Life, especially the album "Album of the Year".
'The Ugly Organ' was really important to me in the tenth or eleventh grade. I remember when I was in grade eleven I had my fake ID and I really wanted to see Tim Kasher play with the Good Life. I probably would have had I known they would only play three gigs in the next six years in Toronto. Two times over with Cursive and once as the Good Life.
They were playing serious catch up time for not ever touring here, so i expected to hear a great array of their catalogue. I wasn't let down. They opened with "Big Bang" from their 2006 album 'Happy Hollow'. A very intense, horn charged tune. When I saw them two years ago they played with a larger horn section, this go round they only had one, instead of three. The horn player jumped from trumpet, to bugle and to keyboard. It was very evident that this guy was a trumpet player at heart, and knew some piano but I really wasn't remotely impressed by his keyboard skills.... Especially his organ bit at the bridge of one of the songs. It was actually horrible, especially after seeing Rod Argent (of the Zombies).
I was very happy with the song choices. Cursive's sound an organised-chaos. With the exception of the soft, pretty tunes they have like "Bad Sects" and "The Recluse", two songs they played. "Bad Sects" was perfect, I wouldn't have changed a thing. "The Recluse" felt too slow - it needed more push to it, it almost felt lazy.
My favourite tune they played was "A Gentleman Caller". It's absolute chaos but for the second half of the song it was absolutely perfect.
They also played "Driftwood: A Fairy Tale", "Art is Hard" and "Sierra" off of 'The Ugly Organ'.
They closed with "The Martyr" off of 'Domestica' which shocked me.
Saturday, August 1, 2009
Monsters of Folk
Monsters of Folk is a fitting name for - Conor Oberst, M. Ward, Mike Mogus and Jim James. I find this group of people to be so funny for a plethora of reasons. Firstly, it's been a while in the making. Apparently, they played a gig four years ago and are finally following it up now. I suppose in this interconnected web of the Nebraskan artists it really isn't too hard to find mend their way together.
I can confidently say that this is the Travelling Wilburys or the Highwaymen of the twenty first century. Bob Boilen, NPR indie-king said that this album wasn't that folk. I disagree from the first three teaser tracks i've had the pleasure of listening to. They sort of sound like what the love-child of M. Ward and Oberst would sound like.
I'm really excited to hear the Mogus bits of this album, because I know him more as a producer than a performer. But he's touched almost all of my favourite Saddle Creek Releases in some way, so he must be a beautiful musician.
I dropped a good mint on my ticket for this gig, but i'm prepared to be blown away. I hope my hopes aren't too, too high.
I can confidently say that this is the Travelling Wilburys or the Highwaymen of the twenty first century. Bob Boilen, NPR indie-king said that this album wasn't that folk. I disagree from the first three teaser tracks i've had the pleasure of listening to. They sort of sound like what the love-child of M. Ward and Oberst would sound like.
I'm really excited to hear the Mogus bits of this album, because I know him more as a producer than a performer. But he's touched almost all of my favourite Saddle Creek Releases in some way, so he must be a beautiful musician.
I dropped a good mint on my ticket for this gig, but i'm prepared to be blown away. I hope my hopes aren't too, too high.
Sunday, July 26, 2009
Stephen Stills
Stephen Stills "Love the One Your With" is really brining my ugly Sunday up ten notches. It's a realy gem.
Amy Millan at Harbourfront; Saturday July 25, 2009
Amy Millan at Harbourfront; Saturday July 25, 2009
I use to love Stars and everything that was in or involved with Stars. They were the band that opened my eyes to so much - The Pogues, Broken Social Scene. I can't remember which one I stumbled upon first. They were one of the bands that I really took to heart.
It's weird because I have an MP3 player that doesn't hold much anymore (16GBs) and I found myself removing Stars from my library. They don't have that place in my heart anymore!
I really like Amy's solo stuff. Or at least I did, I thought it sounded a great deal like Mazzy Star's flat vocals with Sarah Harmer fueling the music.
This show was the first time I was able to see Amy alone and I discovered how boring I find her material. I really wasn't into it. She played her cover of Death Cab's "I Will Follow You Into the Dark". Millan has just about made that her own song from playing it so much. She launched into it for her second song and she didn't even introduce it. She played two or three more covers - of them an older Sarah Harmer tune. She exclaimed Harmer is due to release another album - I couldn't agree more!
The entire time I was really hoping for "Look Up", an older Stars tune that Millan owns. From Youtube I've noticed she plays it solo from time to time. She didn't tonight.
I really love her band, it's minimal - she has an occasional trombone and banjo. It gives it a bluegrass and jazzy vibe. It spices up and saves her music as best as it can. She also had a mandolin player which I never noticed on the album but is stupid clear in live show as a key component to her songs - recorded or live.
Her voice is what ruined this gig for me. It's flat and low in her solo stuff... quite the opposite from her Stars bit. She almost seems bored. She really needs help from her band to pick up her vocals and music - breathing new life into it.
I use to love Stars and everything that was in or involved with Stars. They were the band that opened my eyes to so much - The Pogues, Broken Social Scene. I can't remember which one I stumbled upon first. They were one of the bands that I really took to heart.
It's weird because I have an MP3 player that doesn't hold much anymore (16GBs) and I found myself removing Stars from my library. They don't have that place in my heart anymore!
I really like Amy's solo stuff. Or at least I did, I thought it sounded a great deal like Mazzy Star's flat vocals with Sarah Harmer fueling the music.
This show was the first time I was able to see Amy alone and I discovered how boring I find her material. I really wasn't into it. She played her cover of Death Cab's "I Will Follow You Into the Dark". Millan has just about made that her own song from playing it so much. She launched into it for her second song and she didn't even introduce it. She played two or three more covers - of them an older Sarah Harmer tune. She exclaimed Harmer is due to release another album - I couldn't agree more!
The entire time I was really hoping for "Look Up", an older Stars tune that Millan owns. From Youtube I've noticed she plays it solo from time to time. She didn't tonight.
I really love her band, it's minimal - she has an occasional trombone and banjo. It gives it a bluegrass and jazzy vibe. It spices up and saves her music as best as it can. She also had a mandolin player which I never noticed on the album but is stupid clear in live show as a key component to her songs - recorded or live.
Her voice is what ruined this gig for me. It's flat and low in her solo stuff... quite the opposite from her Stars bit. She almost seems bored. She really needs help from her band to pick up her vocals and music - breathing new life into it.
The Walkmen at Lee's Palace; Friday July 25, 2009.
The Walkmen at Lee's Palace; Friday July 25, 2009
I don't understand why the Walkmen aren't bigger than they are. They should be up there with Kings of Leon, or bands that have independent potential but burst through the seams of popular music. They tried to with their guest gig on the OC four years back, maybe more. They did really well, they even made a soundtrack.
The lead singer has a distinct voice. He has a controllable scream over a sing, but it definitely works. It jives nicely with the dynamic guitar work. The guitarist really blew me away - crisp guitar lines, fooling to the point where one would think that it was a piano or synthesizer (see "Canadian Girl).
I went alone to this gig, and I sort of figured I would leave a little early to get a bit more sleep. They went on super late, probably close to 11:30pm! But by the second song they really pulled me in... The chiming guitar strums in their biggest tune off the album 'You & Me' called "The New Year". It really got me going, I was completely into it. I was listening to Stuart McLean's Vinyl Cafe and he mentioned that feeling at shows when you lose all your inhibitions. Not to the point where you are disrespecting everyone around you, but to the point where you can really feel something. The point where you don't care about how you look or sound. I sort of felt like that. McLean described it as the "Music taking over".
I really couldn't believe how much energy the lead singer put into the second song. This band works hard and they are great at what they do. Pitchfork's all over them, and so am I.
I don't understand why the Walkmen aren't bigger than they are. They should be up there with Kings of Leon, or bands that have independent potential but burst through the seams of popular music. They tried to with their guest gig on the OC four years back, maybe more. They did really well, they even made a soundtrack.
The lead singer has a distinct voice. He has a controllable scream over a sing, but it definitely works. It jives nicely with the dynamic guitar work. The guitarist really blew me away - crisp guitar lines, fooling to the point where one would think that it was a piano or synthesizer (see "Canadian Girl).
I went alone to this gig, and I sort of figured I would leave a little early to get a bit more sleep. They went on super late, probably close to 11:30pm! But by the second song they really pulled me in... The chiming guitar strums in their biggest tune off the album 'You & Me' called "The New Year". It really got me going, I was completely into it. I was listening to Stuart McLean's Vinyl Cafe and he mentioned that feeling at shows when you lose all your inhibitions. Not to the point where you are disrespecting everyone around you, but to the point where you can really feel something. The point where you don't care about how you look or sound. I sort of felt like that. McLean described it as the "Music taking over".
I really couldn't believe how much energy the lead singer put into the second song. This band works hard and they are great at what they do. Pitchfork's all over them, and so am I.
Jenn Grant at Harbourfront; Friday July 24, 2009
Jenn Grant at Harbourfront; Friday July 24, 2009.
Jenn Grant is sweet. She oozes it in her live shows. I really love the way she carries herself. It's like she welcomed everyone in the audience into her living room and was playing a few tunes for them. She has warmth and sincerity that few people have in their live gigs.
As usual she played most of her material from her latest record 'Echoes'. She has two records out and I've only really dipped into 'Echoes'. But it's almost certian she'll play "Dreamer" from her first album 'Orchestra for the Moon'. I remember the second time I saw her play was at the Reverb and she said she keeps trying to retire "Dreamer". I have never seen her and have her not play it.
This particular time was not outstanding, as with each time I see her I feel as though it's becoming more of a part of me - I know what's going to happen. I really enjoyed the full band set up. It really sounds lovely when she has a couple of string players and a band set up. It's the oomph she needs to spice up her act. I remember the first time i saw her was probably two years ago at the El Mocambo opening for the Veils. My biggest thought on her was that she'd never do well playing with just a violinist and a drummer - and here we are full band in tow.
I also realised that I have never paid to see Jenn Grant, I've always managed to get in for free!! How about that.
Jenn Grant is sweet. She oozes it in her live shows. I really love the way she carries herself. It's like she welcomed everyone in the audience into her living room and was playing a few tunes for them. She has warmth and sincerity that few people have in their live gigs.
As usual she played most of her material from her latest record 'Echoes'. She has two records out and I've only really dipped into 'Echoes'. But it's almost certian she'll play "Dreamer" from her first album 'Orchestra for the Moon'. I remember the second time I saw her play was at the Reverb and she said she keeps trying to retire "Dreamer". I have never seen her and have her not play it.
This particular time was not outstanding, as with each time I see her I feel as though it's becoming more of a part of me - I know what's going to happen. I really enjoyed the full band set up. It really sounds lovely when she has a couple of string players and a band set up. It's the oomph she needs to spice up her act. I remember the first time i saw her was probably two years ago at the El Mocambo opening for the Veils. My biggest thought on her was that she'd never do well playing with just a violinist and a drummer - and here we are full band in tow.
I also realised that I have never paid to see Jenn Grant, I've always managed to get in for free!! How about that.
Thursday, July 16, 2009
The Zombies at the Mod Club; Wednesday July 15, 2009
The Zombies at the Mod Club; Wednesday July 15, 2009
So when I tell people who the Zombies are I tell them that they did that song that goes "It's the time of the season..." in my lousy voice stretched far to high then it was ever intended to reach. People normally respond with a big "oooh right".
Well, tonight I felt like I was in a crowd of a really packed Mod Club that really appreciated this band. The first time I saw the Zombies it was at the Molson Ampetheatre. Seeing them at that gig meant two things for certain - short set and lousy seats.
They played everything I could want to hear with the exception of "The Way I Feel Inside". Which I didn't expect. Maybe if I walked into the bathroom Colin Blunstone might have been humming or singing that while he was taking a number one. I was shocked that they played the minimal "Rose for Emily".
This show revealed one thing, that they are very proud of how far they've come and are not ashamed to articulate just how far that is. Keyboardist Rod Argent introduced their 1967 album 'The Odessey and the Oracle' as the "slowest burning album ever". He dropped big names like Dave Grohl and Fleet Foxes who claimed that that album really made a difference in their music careers.
Before Argent played my favourite tune "Care of Cell 44" he said Dave Grohl said it was his favourite song ever.
I was very floored by Blunstone's soft, sweet vocals. He has a bit more edge than he did before but he still has a fantastic voice, together and well. I really enjoyed his stage presence. I thought it must be so hard to look busy while only keeping together vocals. But not a chance. He had a silly amount of energy and really great dance moves.
They played two or three Argent songs, of Rod Argent's solo stint. They also played a couple of new Zombies tunes, being ever so cautious not to play to much to lose the crowd.
I was amazed that they played "Time of the Season" in the middle of the set.
Wonderful band, the bassist of the Kinks played in their band as well as a really fantastic guitarist and drummer. I kept forgetting that this was a very, very high profile band because they were older and playing the Mod Club.
I was shocked by the age of the crowd. I mean given, there were a whole slew of older folk but there were also a great deal of twenty-somethings. I had my bets on the forty five plus club tonight.
So when I tell people who the Zombies are I tell them that they did that song that goes "It's the time of the season..." in my lousy voice stretched far to high then it was ever intended to reach. People normally respond with a big "oooh right".
Well, tonight I felt like I was in a crowd of a really packed Mod Club that really appreciated this band. The first time I saw the Zombies it was at the Molson Ampetheatre. Seeing them at that gig meant two things for certain - short set and lousy seats.
They played everything I could want to hear with the exception of "The Way I Feel Inside". Which I didn't expect. Maybe if I walked into the bathroom Colin Blunstone might have been humming or singing that while he was taking a number one. I was shocked that they played the minimal "Rose for Emily".
This show revealed one thing, that they are very proud of how far they've come and are not ashamed to articulate just how far that is. Keyboardist Rod Argent introduced their 1967 album 'The Odessey and the Oracle' as the "slowest burning album ever". He dropped big names like Dave Grohl and Fleet Foxes who claimed that that album really made a difference in their music careers.
Before Argent played my favourite tune "Care of Cell 44" he said Dave Grohl said it was his favourite song ever.
I was very floored by Blunstone's soft, sweet vocals. He has a bit more edge than he did before but he still has a fantastic voice, together and well. I really enjoyed his stage presence. I thought it must be so hard to look busy while only keeping together vocals. But not a chance. He had a silly amount of energy and really great dance moves.
They played two or three Argent songs, of Rod Argent's solo stint. They also played a couple of new Zombies tunes, being ever so cautious not to play to much to lose the crowd.
I was amazed that they played "Time of the Season" in the middle of the set.
Wonderful band, the bassist of the Kinks played in their band as well as a really fantastic guitarist and drummer. I kept forgetting that this was a very, very high profile band because they were older and playing the Mod Club.
I was shocked by the age of the crowd. I mean given, there were a whole slew of older folk but there were also a great deal of twenty-somethings. I had my bets on the forty five plus club tonight.
Beirut at the Phoenix; Thursday July 9, 2009
Beirut at the Phoenix; Thursday July 9, 2009
I suppose going into this show I did have some expectations. I was expecting to have my heart broken by Zack Condon, the crooner superb.
Indeed I had.
He sounds flawless live. I sometimes feel like he pushes his voice to sound a certain way. Kind of like the girl from $100. I sort of wonder what he'd sound like if he wasn't trying to sound three times his age. Zack Condon is only twenty three! Incredible!
He played everything my ears longed to hear. He stumbled on stage to play "Scenic World" first. I was amazed that he played hte songs off his EPs and smaller things. Beirut's sort of a tricky one because he doesn't have any hit, hits so nothing is really radio friendly. He also has a whole slew of tunes that didn't even make his full-lengths. He played a lot of tiny gems that I wasn't expecting.
His band instrumentally consisted of a couple of trumpets, a trombone, guitar, bass (upright and electric), drums, accordion, tuba, a ukelele and a keyboard among other things. There were probably only eight people in his band.
He brought out his ukelele on a couple of occasions. I was dying to hear "The Penalty" which he played later in the set. The first time round he teased me with the equally beautiful "Elephant Gun". That song really blossoms with the "Let the Seasons Begin.." bit. He has a real knack for writing epic, smoozy sounding songs with booming brass bits.
The song I was least impressed with was "Nantes"... This is probably because I watched this video so many times I could predict each second. It seemed pretty rushed and less impressive then the La Blogotheque version.
He even played a Serge Gainsbourg cover. True crooner at this point.
Sudbury Folk Festival- Northern Lights Festival Boreal
I had a lovely weekend in Sudbury. That was quite the most northern reach of Ontario i've touched yet. I sure felt it, with the mosquitoes.
I saw a small handful of brilliant artists. Joel Plaskett played the first night, Hawksley Workman the second, Jenn Grant the third and Bob Wiseman sprinkled in between all of that.
I love Jenn Grant. It was her live gig that pushed me to like her as much as I do. She played with just her violinist Kinley Dowling. I was amazed they were able to play practically every song off of her latest album 'Echoes'. I loved the light summer tone of her set, between the weather and the crowd it was perfect.
I saw a small handful of brilliant artists. Joel Plaskett played the first night, Hawksley Workman the second, Jenn Grant the third and Bob Wiseman sprinkled in between all of that.
I love Jenn Grant. It was her live gig that pushed me to like her as much as I do. She played with just her violinist Kinley Dowling. I was amazed they were able to play practically every song off of her latest album 'Echoes'. I loved the light summer tone of her set, between the weather and the crowd it was perfect.
Thursday, July 2, 2009
The Dave Brubeck Quartet at the Toronto Jazz Festival; Wednesday July 1, 2009
The Dave Brubeck Quartet at the Toronto Jazz Festival; Wednesday July 1, 2009
Every Canada Day I see some kind of show. This year was sort of a special occasion because I dropped fifty bones on my ticket, regardless, it was a lovely time! The stage as I suspected was outside, but well tented in with carpets and chairs, an elegant summer party. There was however space at the back that people could mooch and watch in for free. However if it rained they woudl simply just close the curtains and the moochers would be in trouble. The weather held out, mooching proceeded. I probably would have saved the money if I had known that that was a viable option.
I told myself last year around this time that I would see Dave Brubeck before he died. He's eighty-eight years old which is absolutely remarkable that he can even continue with his daily lifestyle. On top of that this man globetrots, he's still touring quite a bit and always manages to come into Toronto at least once a year.
His fingers are still nimble and they move with ease, unlike his abilities to walk and speak. He managed to get up a few times throughout the set to talk to the crowd. Each time the crowd rose up and cheered. He opened up the show by saying... "When I was younger my favourite composer was Duke Ellington, so lets play some of his stuff..." He played a song at the beginning and then they played "Take the A-Train" at the end.
He got up again to introduce his son, Matthew Brubeck, a York/U of T instructor of jazz improvisation, specialising in stringed instruments. He played the cello... I think that was my favourite part. While introducing him Brubeck described his son's brief story: "I asked him why he didn't tour any more and he said being 6'8 makes travelling difficult, so i've decided to settle down in Toronto as a York instructor". Matthew then entered the stage. Brubeck said every once in a while a moment inspires him to write a song, he read a memorised note from his wife (which i'm sure was an old jazz song). The note read things about distance and honesty... He said his son Matthew was going to play the melody and then on his cue he would improv over the tune. Brubeck described it as "Matthew was going to play the song and then he would let himself fly". I thought that was very nicely put.
Brubeck held out playing anything from 'Take Five' until the end, which earned another talk from Mr. Brubeck. He said that they recorded a little album called 'Take Five' fifty years ago, and they've been playing a lot of songs out of it recently. He described the tune "Three to Get Ready" as a tune that decieved the listener, the first two bars are in 3/4 time (fooling the listener into thinking it was a dance) and the second two are in 4/4... Then they improvise on top of that. He went on to say that and even sometimes it sounds good. Modest.
They ended on "Take Five". Except what threw me off was that Brubeck barely played. He simply stood up and leaned against the piano with his stomach over the keys with a smile on his face the entire time. He let his band and son play... Brubeck would only splash in for the recap of the beginning.
Every Canada Day I see some kind of show. This year was sort of a special occasion because I dropped fifty bones on my ticket, regardless, it was a lovely time! The stage as I suspected was outside, but well tented in with carpets and chairs, an elegant summer party. There was however space at the back that people could mooch and watch in for free. However if it rained they woudl simply just close the curtains and the moochers would be in trouble. The weather held out, mooching proceeded. I probably would have saved the money if I had known that that was a viable option.
I told myself last year around this time that I would see Dave Brubeck before he died. He's eighty-eight years old which is absolutely remarkable that he can even continue with his daily lifestyle. On top of that this man globetrots, he's still touring quite a bit and always manages to come into Toronto at least once a year.
His fingers are still nimble and they move with ease, unlike his abilities to walk and speak. He managed to get up a few times throughout the set to talk to the crowd. Each time the crowd rose up and cheered. He opened up the show by saying... "When I was younger my favourite composer was Duke Ellington, so lets play some of his stuff..." He played a song at the beginning and then they played "Take the A-Train" at the end.
He got up again to introduce his son, Matthew Brubeck, a York/U of T instructor of jazz improvisation, specialising in stringed instruments. He played the cello... I think that was my favourite part. While introducing him Brubeck described his son's brief story: "I asked him why he didn't tour any more and he said being 6'8 makes travelling difficult, so i've decided to settle down in Toronto as a York instructor". Matthew then entered the stage. Brubeck said every once in a while a moment inspires him to write a song, he read a memorised note from his wife (which i'm sure was an old jazz song). The note read things about distance and honesty... He said his son Matthew was going to play the melody and then on his cue he would improv over the tune. Brubeck described it as "Matthew was going to play the song and then he would let himself fly". I thought that was very nicely put.
Brubeck held out playing anything from 'Take Five' until the end, which earned another talk from Mr. Brubeck. He said that they recorded a little album called 'Take Five' fifty years ago, and they've been playing a lot of songs out of it recently. He described the tune "Three to Get Ready" as a tune that decieved the listener, the first two bars are in 3/4 time (fooling the listener into thinking it was a dance) and the second two are in 4/4... Then they improvise on top of that. He went on to say that and even sometimes it sounds good. Modest.
They ended on "Take Five". Except what threw me off was that Brubeck barely played. He simply stood up and leaned against the piano with his stomach over the keys with a smile on his face the entire time. He let his band and son play... Brubeck would only splash in for the recap of the beginning.
Wednesday, July 1, 2009
The Velvet Underground
In high school I use to wear a Velvet Underground t-shirt that I scored from Hot Topic. I felt so cool wearing it, and the extent of their catalogue was found on their greatest hits album.
My perceptions of the Velvet Underground are not that different from five years ago. I still feel stupid cool when I'm listening to them. It's some kind of off-beat charm that Lou Reed has. I however am super glad that I know a touch more than I did back then.
"Oh Sweet Nuthin'" is hitting the spot right now.
My perceptions of the Velvet Underground are not that different from five years ago. I still feel stupid cool when I'm listening to them. It's some kind of off-beat charm that Lou Reed has. I however am super glad that I know a touch more than I did back then.
"Oh Sweet Nuthin'" is hitting the spot right now.
Camera Obscura at Lee's; Saturday June 27, 2009
Camera Obscura at Lee's; Saturday June 27, 2009
I was going to write a bit about them and I had absolutely nothing to say. I think it was because I didn't really enjoy their set.
I liked their songs, actually love their songs. They're cute, watching them is like stepping back to a high school dance in the fifties. But you're spot on in that they were a little flat. I was surprised that the most upbeat songs that make me want to dance (and I'm no dancer) didn't even provoke a smile out of the lead singer.
I thought they sounded great live, but there was nothing to their live show. So why don't I just listen to the CD... On an up note, their conversion from string arrangements to live show really translated well... The trumpet worked really nicely. I also really loved their end to their set. I thought they'd just end on "Hey Lloyd" but they launched into another ditty... The ending completely blew me away with the messy guitars and the trumpet.
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