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