Following that five-night stand at the Horseshoe that I completely missed sometime back around '05 the regret mounted and since the band's demise it has weighed heavily on me. The reunion was unexpectedly announced earlier this year and the anticipation of finally seeing Death From Above 1979 has grown steadily. It seemed that it took ages to even announce a Toronto date and then the calendar crawled until finally the beloved hardcore duo were set to play. I do not say beloved lightly either - as evidenced by the sell out of the massive Sound Academy cavern on two consecutive nights. I just couldn't wait and went to the first one show, along with people of every description - from rockers to punks to hipsters, young and old. Every last one of them was in for a treat.
Considering the limited gear required the sound check seemed awfully thorough while crammed in elbow to rib waiting for Jesse and Sebastien to join us, and take us on a trip. Jesse arrived with a joint and puffed it before picking up his weapon - the bass that in some unknown fashion he uses to produce that distinctive DFA noise. Sebastien however was the more engaging of the performers with his mismatched mustache and hair colour, and growling vocals from behind his sideways drum set, moved up to stage edge. From the get-go things were raucous and all those preshow elbows were forgotten as the pit erupted. Five years is a damn long time!
It's a big, huge sound they work out of those instruments of theirs and this loud show did it justice. Despite only the one full length they were not grasping for material as they pounded out track after track, often bridging with feedback and reverb. A full-on sound assault the crowd just ate it up, screaming along to songs we never thought we'd get to hear live ever again. It's difficult to pick out highlights from an hour of power but Pull Out has always been a strong live two minutes, as was a personal favourite in Blood On Our Hands. Black History Month was the only song that plodded along at a more standard pace (opting for a more classic version than moving toward any of the multiple remixes), but frankly it was a welcome breather. The crowd reacted strongly to Romantic Rights and the band played it up while Jesse left his perch to stalk the stage and repeat the refrain. Hard to explain just how or why it was so great, but it was.
Banter was kept to a minimal - attempts at connecting with the hometown crowd by talking about the shitty location of the Docks, and how they had Conan introduce them as from East York (as opposed to Toronto, or Mississauga). There was a point of levity after a particularly incendiary track at the hands of Sebastien where a group started chanting "Bass solo" to which he responded good-naturedly, "Is this a set-up? I've been waiting ten years for this! Every song is a bass solo, what am I competing with?!" Later in the night he screamed lyrics into his bass with great effect.
After some time in the dark shouting our appreciation the duo returned for a three-song encore. It was a stellar show that was a long time in the making and I can only hope that I'll have a chance to see them do it again. Is new material too much to hope for? For the love of anything dear, please. Please.
*
Rather unremarkable openers Dopes were bordering on awful, despite one of their recorded songs being listenable. Bishop Morocco were decidedly better, except maybe when they let that one guy sing, but still not much worth noting.
Sunday, October 30, 2011
Saturday, October 29, 2011
Library Voices raised (Horseshoe Oct 28, 2011)
It is with such great energy that the Library Voices put on a show. It is infectious. The good humour and fun that they are having while playing such darn catchy music quickly spreads to the audience and before you know it - dancing, singing, sweating along. Last night at the Horseshoe was another perfect example of this (and definitely worth sprinting over to following Dan Mangan).
The Summer of Lust is the album I had been waiting for after the immense promise of Hunting Ghosts. I hear Denim on Denim as a worthwhile stumbling block toward this pop masterpiece and so I was especially stoked to finally sing along to these tracks live. Didn't take long as opening track/opening number Raymond Carver got things going. From here it was just song after song of amazing, covering the whole range of Kundera on the Dance Floor, through Drinking Games, Haunt this House and 2012 back around to a most wonderful Step Off the Map and Float. As mentioned it was the newly minted songs such as Que Sera Sarah, Traveller's Digest, Reluctant Readers and especially Generation Handclap (where everyone came to the stage front to yell the Ohhhhh), that were real treats. All the while the band is smiling, laughing and playing their hearts out. The four legs of the synth stand didn't touch the floor simultaneously all night.
There was an interlude to bring a Nick on stage and present him with a mustache cake to thank him for shaving his beard off in preparation for Movember. Further fun came from a cover (about a letter, I can't place now) and the encore-closing Oh Yoko (Lennon, who else?) that turned into a love-in and had the band all down in the midst of the crowd just belting it out through wide grins. Such fun!
The Summer of Lust is the album I had been waiting for after the immense promise of Hunting Ghosts. I hear Denim on Denim as a worthwhile stumbling block toward this pop masterpiece and so I was especially stoked to finally sing along to these tracks live. Didn't take long as opening track/opening number Raymond Carver got things going. From here it was just song after song of amazing, covering the whole range of Kundera on the Dance Floor, through Drinking Games, Haunt this House and 2012 back around to a most wonderful Step Off the Map and Float. As mentioned it was the newly minted songs such as Que Sera Sarah, Traveller's Digest, Reluctant Readers and especially Generation Handclap (where everyone came to the stage front to yell the Ohhhhh), that were real treats. All the while the band is smiling, laughing and playing their hearts out. The four legs of the synth stand didn't touch the floor simultaneously all night.
There was an interlude to bring a Nick on stage and present him with a mustache cake to thank him for shaving his beard off in preparation for Movember. Further fun came from a cover (about a letter, I can't place now) and the encore-closing Oh Yoko (Lennon, who else?) that turned into a love-in and had the band all down in the midst of the crowd just belting it out through wide grins. Such fun!
Dan Mangan, the magical (Queen Elizabeth Theatre, Oct 28, 2011)
In the dark of the Queen Elizabeth Theatre an assembled group of musicians struck up. The noise at first seemed ominous and disjointed but in time grew in structure and strength before swelling into the opening number from Oh Fortune. As finally the vocals kicked in, the lights flashed on to reveal the man of the hour, Mr. Dan Mangan, in all of his bearded glory. For the next nearly two hours his magnetism would work in unison with his talented band for a night of musical magic.
Being the Oh Fortune tour, an album that moved from singer-songwriter into a much fuller, more orchestral sound, it made sense that the show would take on that feel as well. This was accomplished through a keyboard player, violinist, and a very welcome addition of a horn, which on top of the regular three-piece backing (The Crackling) flushed the sound out quite nicely. It made already amazingly loud live numbers such as Post-War Blues (a song that needs to be heard live) that much better. In fact, as they played the majority of (if not all of) the new album things sounding so great in this nice, seated, sold-out theatre. Even the slower Daffodil was carried by Dan, and Leaves, Trees, Forest benefited from an introduction that was slightly more rare than usual on this night as Dan explained they were attempting to fit as much music in before curfew as possible. Naturally the stand-out single Rows of Houses hit its mark and resonated with the crowd, and we were quite excited to hear Dan slowly start into Jeopardy, another especially strong new song. It Starts With Them, but the latter half definitely Ends With Us as the musicians (the horns!) totally brought down the house in what I thought could have been a closing number.
With all of the new material to be heard it was almost unnecessary to dip into the back catalogue, but that of course would be a disservice to its strength. Besides, this may have been the best rendition of Baskets I have ever seen. Perhaps it was the violin that stuck around (as well as the upright bass) to back up one of the most beautiful songs going - whatever it was it was special. Sold was another more-than-welcome addition that the band has down pat, along with Road Regrets. However it is the raucous Some People that they have only improved over the years that just crashes through in the most powerful way. Yes Nice, Nice, Very Nice most definitely still has a welcome place in the show - don't ever take these gems away.
From the standing ovation that followed it was apparent that this had been a transcendental night that broke through to the audience. As Dan was mostly unaccompanied, we helped him out singing Veda Hille's role in Indie Queens. He also treated us to his beloved cover of Neutral Milk Hotel's In an Aeroplane Over the Sea before returning to the song that all of this wonderful glory seems to have built itself upon. It was a stand-up singalong for Robots and that was more than alright - people showing their sexual confidence, eh Dan? As this came to a close I hoped beyond hope that there'd be time to slip it in and could see Dan inquiring before finally making the decision that, yes, they would do So Much for Everyone. The entire band assembled front and center, and following a warm-up teaching of Oh-ooooo, Dan began into the sparse and emotional introduction to this track. In moments the band kicked in with their clap-stomp and elation swelled, as did our voices, into the pure bliss of this final shared song of a glorious night.
Being the Oh Fortune tour, an album that moved from singer-songwriter into a much fuller, more orchestral sound, it made sense that the show would take on that feel as well. This was accomplished through a keyboard player, violinist, and a very welcome addition of a horn, which on top of the regular three-piece backing (The Crackling) flushed the sound out quite nicely. It made already amazingly loud live numbers such as Post-War Blues (a song that needs to be heard live) that much better. In fact, as they played the majority of (if not all of) the new album things sounding so great in this nice, seated, sold-out theatre. Even the slower Daffodil was carried by Dan, and Leaves, Trees, Forest benefited from an introduction that was slightly more rare than usual on this night as Dan explained they were attempting to fit as much music in before curfew as possible. Naturally the stand-out single Rows of Houses hit its mark and resonated with the crowd, and we were quite excited to hear Dan slowly start into Jeopardy, another especially strong new song. It Starts With Them, but the latter half definitely Ends With Us as the musicians (the horns!) totally brought down the house in what I thought could have been a closing number.
From the standing ovation that followed it was apparent that this had been a transcendental night that broke through to the audience. As Dan was mostly unaccompanied, we helped him out singing Veda Hille's role in Indie Queens. He also treated us to his beloved cover of Neutral Milk Hotel's In an Aeroplane Over the Sea before returning to the song that all of this wonderful glory seems to have built itself upon. It was a stand-up singalong for Robots and that was more than alright - people showing their sexual confidence, eh Dan? As this came to a close I hoped beyond hope that there'd be time to slip it in and could see Dan inquiring before finally making the decision that, yes, they would do So Much for Everyone. The entire band assembled front and center, and following a warm-up teaching of Oh-ooooo, Dan began into the sparse and emotional introduction to this track. In moments the band kicked in with their clap-stomp and elation swelled, as did our voices, into the pure bliss of this final shared song of a glorious night.
Saturday, October 22, 2011
Royal Wood (Rivoli Oct 20th)
Stepping behind his piano Royal took his natural place with scant a word. The seated, sold out Rivoli crowd hushed immediately and was henceforth entranced by this marvelous performer. Royal Wood was born to sing - I cannot picture him doing anything else when he croons so smoothly and effortlessly that it is like honey to your ears. A consummate performer as well, he introduced songs such as his moving rendition of Pumped Up Kicks, and even restarted On Top of Your Love due to a sound issue, with charm. Being the Sneak Peek tour he did preview a few new songs, employing a recorded drum beat on one to flush out his one accompanying musician on guitar and bass. But for the most part eyes were on Royal as his fingers danced along the keys or strummed his acoustic guitar. Birds on Sunday was another main-set standout and a part of the reason for the enthusiastic ovation that brought on a two song encore, opened with Juliet. His only fully solo performance could not have been more fitting as Royal brought the night to a close with his most lovely acoustic Lady in White - inviting us to join in for the closing refrain. It is no wonder he added a third (sold out) show to this Rivoli residency - this man is in the upper echelon of the talented realms of Canadian singers.
Tuesday, October 11, 2011
Kidstreet is Born Gold (Drake Underground, Oct 1/11)
Kidstreet began Nuit Blanche with such a bang that they temporarily knocked themselves offline. Opener X saw the small but passionate Drake Underground crowd (surrounded by passerbyers looking for the Nuit Blanche Funhouse) get into things off the top, blowing their light-up whistles alongside the energetic fronting brother. I mean that literally as a few were invited on stage and that was where the trouble began by cutting power to the sampler at the end of the tune. Following a minor delay things were back on track and one of the guys right in front of the stage actually removed his shirt and tossed it at the band. Hilarious. The band seem to be gaining even more confidence, and rightfully so with the release of their first official album, Fuh Yeah, this week (unofficial, unadvertised Toronto release party they joked.) Leading lady sang her heart out and wowed again with the ending to Penny Candy. One brand new track wad added to the set list and most of Fuh Yeah, including the title track, was played. Spin Twirl, the one old fave from the unofficial release that wasn't brought along to the new disc, was displayed too - much to my delight. Fun times and the perfect opener to Born Gold.
Without much introduction Born Gold launched into their first song - an upbeat number, as they all are no doubt, but a relatively subdued performance piece for this band. However once this was completed they got up to their old antics again. One dude waltzed into the crowd on stilts, a little less frightening when it is expected. Shovel percussion, slinking crowd tambo, blow up ghosts and leaf blowers all remained integral parts of the spectacle that the name change (from Gobble Gobble) has not removed. Personally I was stoked to rock/dance out to Boring Horror though overall nobody was too picky and people got into most everything they delivered. If you haven't seen a Born Gold set please do as there's no chance that you have any clue what goes on from what you've read here. Just keep your head down, while continuing dance, to avoid getting whipped by a sheet or smashed by a shovel which might spoil the party.
Without much introduction Born Gold launched into their first song - an upbeat number, as they all are no doubt, but a relatively subdued performance piece for this band. However once this was completed they got up to their old antics again. One dude waltzed into the crowd on stilts, a little less frightening when it is expected. Shovel percussion, slinking crowd tambo, blow up ghosts and leaf blowers all remained integral parts of the spectacle that the name change (from Gobble Gobble) has not removed. Personally I was stoked to rock/dance out to Boring Horror though overall nobody was too picky and people got into most everything they delivered. If you haven't seen a Born Gold set please do as there's no chance that you have any clue what goes on from what you've read here. Just keep your head down, while continuing dance, to avoid getting whipped by a sheet or smashed by a shovel which might spoil the party.
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