Harlan Pepper
Heavy on the intoxicant referencing song titles Harlan Pepper brought their whiskey soaked guitar country and blues to the Dakota, once again in support of the Strumbellas. The only remaining piece of their Harlan and Pepper deer is one had on the kick drum. Easily holding their own with their sound rooted firmly in classic guitar work they also brought us a couple new songs in Modern Blues and the drum-led new one from the forthcoming 2013 LP. After Whiskey Business they wound down by winding us up with their riff referencing instrumental medley taking us from Ozzie through Secret Agent Man and finally the King of the Hill theme song. Cheers.
Strumbellas
Following a friendly game of dice pre-show the full 7 piece began sound checking for the show. Yes, Dave was back and making his presence felt. Barefoot count off the top was once again a disappointing 4, two pair. That was quickly forgotten as they launched into a My Father and the Hunter heavy opening set that had everyone singing along, except the brand new Jesus Doesn't Like Me. In fact, on Left for Dead a super fan who'd requested that song earlier was invited on stage to singalong and he definitely did it justice, beaming the whole time. Maybe just being on the stage with The Strumbellas infects happiness? Sure seems that way.
Simon had playfully been tossing in some Meatloaf - Anything for Love - all night and during the second set the covers took off in earnest. As in weeks earlier there was Ryan Adams, and Modest Mouse. They also covered Royal City and not sure exactly what else but whatever they played everyone remaining in the place seemed pleased. Even minutes to 2 a.m. a call for an encore went up and an impromptu band meeting had them perform a final cut for the hardcore. See you next week!
Tuesday, January 29, 2013
Monday, January 28, 2013
Aroara - Cameron House (Jan 27/13)
A last minute text dragged me out of my comfortable Sunday confines for the AroarA show - a makeup gig for a missed opening slot on Friday previous due to snowy traffic conditions. As Andrew Whiteman explained, it could have been in Ariel's basement with her studying daughter but for the intimate crowd who gathered in the Cameron House back room we were thrilled about this venue. The band are playing in lead up to the release of their debut album, one based on a collection of poems about somebody tripping out on Hep C medication contracted while doing Speed. Uplifting huh? Strangely so, according to Andrew. The sample- and guitar-based songs do come across positively and sound quite good under the vocals shared by the two members, Andrew and his wife, Ariel. Partway through the set they invited the one and only Feist, who had been whooping it up in the crowd, to join them for a rehearsed number or two. Her acoustic guitar complemented the others and the double female vocals worked off of each other really well. The room was full of fans, some of whom were surely introduced to the band at Jason Collett's Revue this December past (who was also in attendance following his theatre performance on the same stage prior to the show). They performed a full set covering the range of sounds and were invited back for Number Six - as the band and fans alike had fun with the fact the poems, and hence the songs, are all just numbered. I bet if you polled people they'd number this performance a ten - worth going out for!
Sunday, January 20, 2013
Patrick Watson, Barr Brothers - Massey Hall (Dec 6/13)
The Barr Brothers
The four Barr Brothers (including one Barr sister) claimed the three-way privilege of playing Massey Hall: first of all the amazing room, secondly opening for Patrick Watson and lastly that they were able to end a year of touring in such a place. As a few stragglers found their seats the band looked like visitors to a hoarder audiophile's basement as they were tucked amongst all of Patrick's equipment. However they had brought some neat stuff of their own as well. Prominently featured was the female on a full-scale harp while her brethren had what looked to be a micro organ. Along with his regular drum set there was also a bike tire for bowing of the spokes, along with a number of shaking instruments and some fancy claps. With all that to play with there was no 'regular' drumming until the latter half of the last song. Opening acoustically they performed a few more well-known songs including Old Mythologies. The singer's guitar was equipped with a string of sorts that he would pull away from the instrument with his strumming hand while continuing to play with the other hand producing an interesting scale effect as he reached to the hall's ceiling and pulled himself onto his toes. The same apparatus was not present on his electric guitar that was also featured. One song saw three of four huddled around the communal mic with an acoustic and a uke for a warm sound. With all of the varied sounds and instrumentation, coupled with the venue, it would seem like it should be a stellar set yet I didn't find myself thoroughly engaged thoughout the set. Perhaps I was simply tired considering the rest of the audience further negated the significance of a standing ovation by offering one to this fully-capable band for what I felt wasn't a completely captivating set.
Patrick Watson
The circle closed as the tour that I'd caught in its warm-up days was now nearing its end. The previous show had been in the wonderful Koerner Hall and this one was in the equally beautiful, albeit larger, Massey Hall. The similarities didn't stop there as the group once again entered to Lighthouse however this time not only was I familiar with the song (the album hadn't yet been released before the previous show) but every audience member now had a finger light to match the darkened stage for a beautiful effect. Despite the excitement and lights the crowd was respectfully hushed as the band built up from Patrick at the piano to a full band arrangement. There was an emphasis on new material which was fine by me as they've been only improving on it with this tour. The lighting was great last time around and this time the production was even more elaborate and well executed, from the projections and lights to the arrangements and musicianship.
Once again partway through the set Patrick and co. crowded around a centre stage mic to swoon into it. The song following this was Into Giants where they were joined around the mic by the female vocalist from the Barr Brothers and about halfway through Patrick returned to his piano and the rest of the members picked up their instruments. Older tune Luscious Life had a new sound to it versus the record, and Beijing was mind-blowing once again. Returning to the accolade-earning Adventures in Your Own Backyard Step Out for a While hit the mark and Morning Sheets came to a satisfyingly full ending.
As if the horn and female violinist (making her mark with some excellent plucking) weren't enough, another differentiator was the choir who had offered to join them all the way from Montreal. They came out partway through a song to lend their voices without introduction (until after the fact).
Everyone was excused for the Big Bird in a Small Cage that Patrick tackled by himself from the piano bench with a drawn out story and much goading of the audience to participate, all the while chuckling to himself. It sounds odd but it was strangely endearing.
The four Barr Brothers (including one Barr sister) claimed the three-way privilege of playing Massey Hall: first of all the amazing room, secondly opening for Patrick Watson and lastly that they were able to end a year of touring in such a place. As a few stragglers found their seats the band looked like visitors to a hoarder audiophile's basement as they were tucked amongst all of Patrick's equipment. However they had brought some neat stuff of their own as well. Prominently featured was the female on a full-scale harp while her brethren had what looked to be a micro organ. Along with his regular drum set there was also a bike tire for bowing of the spokes, along with a number of shaking instruments and some fancy claps. With all that to play with there was no 'regular' drumming until the latter half of the last song. Opening acoustically they performed a few more well-known songs including Old Mythologies. The singer's guitar was equipped with a string of sorts that he would pull away from the instrument with his strumming hand while continuing to play with the other hand producing an interesting scale effect as he reached to the hall's ceiling and pulled himself onto his toes. The same apparatus was not present on his electric guitar that was also featured. One song saw three of four huddled around the communal mic with an acoustic and a uke for a warm sound. With all of the varied sounds and instrumentation, coupled with the venue, it would seem like it should be a stellar set yet I didn't find myself thoroughly engaged thoughout the set. Perhaps I was simply tired considering the rest of the audience further negated the significance of a standing ovation by offering one to this fully-capable band for what I felt wasn't a completely captivating set.
Patrick Watson
The circle closed as the tour that I'd caught in its warm-up days was now nearing its end. The previous show had been in the wonderful Koerner Hall and this one was in the equally beautiful, albeit larger, Massey Hall. The similarities didn't stop there as the group once again entered to Lighthouse however this time not only was I familiar with the song (the album hadn't yet been released before the previous show) but every audience member now had a finger light to match the darkened stage for a beautiful effect. Despite the excitement and lights the crowd was respectfully hushed as the band built up from Patrick at the piano to a full band arrangement. There was an emphasis on new material which was fine by me as they've been only improving on it with this tour. The lighting was great last time around and this time the production was even more elaborate and well executed, from the projections and lights to the arrangements and musicianship.
Once again partway through the set Patrick and co. crowded around a centre stage mic to swoon into it. The song following this was Into Giants where they were joined around the mic by the female vocalist from the Barr Brothers and about halfway through Patrick returned to his piano and the rest of the members picked up their instruments. Older tune Luscious Life had a new sound to it versus the record, and Beijing was mind-blowing once again. Returning to the accolade-earning Adventures in Your Own Backyard Step Out for a While hit the mark and Morning Sheets came to a satisfyingly full ending.
As if the horn and female violinist (making her mark with some excellent plucking) weren't enough, another differentiator was the choir who had offered to join them all the way from Montreal. They came out partway through a song to lend their voices without introduction (until after the fact).
Everyone was excused for the Big Bird in a Small Cage that Patrick tackled by himself from the piano bench with a drawn out story and much goading of the audience to participate, all the while chuckling to himself. It sounds odd but it was strangely endearing.
Everyone was once again invited back out, even all the Brothers - one of which got to share the keys with Patrick as he went back and forth from there to the center mic. Altogether they brought it down in a crashing finale of Where the Wild Things Are. That didn't negate an encore however, as they reemerged to a standing ovation and played two songs followed by a voted-by-applause (over the Great Escape) rendition of To Build a Home by a solo Patrick. Although many aspects were similar to the last time out, the show has in fact improved - who would have thought it possible? It's not simply a concert of excellent songs but a production of an amazing spectacle that draws you in and engages the entire time. Hell, I'd see it again!
Yamantaka // Sonic Titan, CTZNSHP - Garrison (Jan 18/13)
Yamantaka // Sonic Titan
It's a little disconcerting having a band soundcheck in their makeup like this, and even more still bumping into them like that backstage beforehand.
Then when they're finally ready to start the show the two front ladies swoop a dragon throughout the crowd before climbing on stage. Here they, along with their 4 cohorts already on stage, proceed to rip through an earnest, deliberate set of choreographed music and showmanship. They all appeared quite serious as they faithfully recreated the sound of the Polaris Prize shortlisting album YT//ST by layering their soaring voices on top of strong drumming, savage guitar and stellar synths. The set closer was hard-hitting (also the album closer?) and had us calling for more. They did return, after leading us through an initialism chant, with the 'nicest' song from the album Hoshi Neko (obviously a relative scale). To close it all off they did a cover that I didn't recognize but didn't take away from the enjoyment just as the new, non-album songs featured earlier in the set were promising as well.
CTZNSHP
This male three-piece from Montreal were vowel loathing like early JPNDRDS yet more melodic than them or PS I Love You who also employ a similar guitar drone. Perhaps it's the addition of the bass or maybe it is that his singing is exactly that, more sing than scream. With all that said it was the top notch drumming and somewhat intriguing time signatures that really brought this band home. Their recorded demos online didn't turn my crank the first time through but this show has made me think twice, and think hard.
Planet Creature
With lilting synths, the five-piece all female band put on their show. Due to the somewhat tone deaf singing all around (both guitarists and drummer tried their hand) it came off as slightly amateur. That may just have been inexperience leading to a lack of comfort or stage presence. The music itself was alright if leaning toward unoriginal. A few people in the crowd seemed to enjoy it enough to dance but even that was limited.
It's a little disconcerting having a band soundcheck in their makeup like this, and even more still bumping into them like that backstage beforehand.
Then when they're finally ready to start the show the two front ladies swoop a dragon throughout the crowd before climbing on stage. Here they, along with their 4 cohorts already on stage, proceed to rip through an earnest, deliberate set of choreographed music and showmanship. They all appeared quite serious as they faithfully recreated the sound of the Polaris Prize shortlisting album YT//ST by layering their soaring voices on top of strong drumming, savage guitar and stellar synths. The set closer was hard-hitting (also the album closer?) and had us calling for more. They did return, after leading us through an initialism chant, with the 'nicest' song from the album Hoshi Neko (obviously a relative scale). To close it all off they did a cover that I didn't recognize but didn't take away from the enjoyment just as the new, non-album songs featured earlier in the set were promising as well.
CTZNSHP
This male three-piece from Montreal were vowel loathing like early JPNDRDS yet more melodic than them or PS I Love You who also employ a similar guitar drone. Perhaps it's the addition of the bass or maybe it is that his singing is exactly that, more sing than scream. With all that said it was the top notch drumming and somewhat intriguing time signatures that really brought this band home. Their recorded demos online didn't turn my crank the first time through but this show has made me think twice, and think hard.
Planet Creature
With lilting synths, the five-piece all female band put on their show. Due to the somewhat tone deaf singing all around (both guitarists and drummer tried their hand) it came off as slightly amateur. That may just have been inexperience leading to a lack of comfort or stage presence. The music itself was alright if leaning toward unoriginal. A few people in the crowd seemed to enjoy it enough to dance but even that was limited.
Thursday, January 17, 2013
Freelance Whales, Hundred Waters - Mod Club (Jan 17/13)
With three members twisting knobs and pushing buttons, and the other two wielding drumsticks (and sometimes a flute), Hundred Waters isn't a conventional five-piece band. They're unconventional in more than their instruments too as they are carving out a new sound, akin to Braids but different still. There are so many sounds and sonic themes happening simultaneously that at times it can be difficult to even find the beat, especially with this being my first real exposure to their music. Despite that I could still appreciate what they're doing and feel that it would have been great to have spent some time with it through headphones to try and decipher it before seeing them live and having all the secrets given straight away. Unlike Braids there isn't as much build-up and looping, rather relying on layering of their varying keys and synths with the sometimes seemingly misfiring percussion. The two ladies covered the vocals - both together or back and forth - singing sounds as often as they did words. The percussionist of the two could really bring a lungful of air out as a strong high breath that was quite impressive. It seems that Hundred Waters have a great deal of sonic potential, though it may be best exhibited in the studio.
Out of the gates Freelance Whale's lead singer played his banjo which necessitated a slightly quieter sound, allowing for the accordion box played by the female bassist to resonate. Once the banjo was swapped in for the guitar the energy amped up a little though things never completely got airborne despite a fairly full Mod Club on a snowy evening. Throughout the core of the set they hit on a few of my favourites, culled primarily from their debut Weathervanes, including Hannah and Generator ^ First Floor. On that album they really struck me as an upbeat Death Cab for Cutie (ya know, if Ben Gibbard was actually happy) and having now seen them live I firmly stand by that. Yes, this likening is primarily due to the vocals but there are other hints too. There are traces of Belle & Sebastian as well - but then again where would DCFC be without B&S? As the set progressed the instrument swapping became more varied and there was a reemergence of the banjo, as well as horn and xylophone. Nearing the end an acoustic guitar joined in to bring it down. Not done yet, they returned with a two-song encore of entirely great songs I'd completely forgotten were theirs. The encored earned another hearty though not over the top response from the Toronto crowd who then donned their toques and headed back into the blustery night.
Out of the gates Freelance Whale's lead singer played his banjo which necessitated a slightly quieter sound, allowing for the accordion box played by the female bassist to resonate. Once the banjo was swapped in for the guitar the energy amped up a little though things never completely got airborne despite a fairly full Mod Club on a snowy evening. Throughout the core of the set they hit on a few of my favourites, culled primarily from their debut Weathervanes, including Hannah and Generator ^ First Floor. On that album they really struck me as an upbeat Death Cab for Cutie (ya know, if Ben Gibbard was actually happy) and having now seen them live I firmly stand by that. Yes, this likening is primarily due to the vocals but there are other hints too. There are traces of Belle & Sebastian as well - but then again where would DCFC be without B&S? As the set progressed the instrument swapping became more varied and there was a reemergence of the banjo, as well as horn and xylophone. Nearing the end an acoustic guitar joined in to bring it down. Not done yet, they returned with a two-song encore of entirely great songs I'd completely forgotten were theirs. The encored earned another hearty though not over the top response from the Toronto crowd who then donned their toques and headed back into the blustery night.
Wednesday, January 16, 2013
Feist, Hayden, Snowblink,, more - Basement Revue at Great Hall (Dec 20/12)
Expectations were high for the first Jason Collett's Basement Revue outside of the friendly confines of the Dakota Tavern basement and that may not have worked in the evening's favour. It had been billed as a reunion of all of the best of years past back on the stage at the also charming but much larger Great Hall. The Revue has been known to host some rather big acts through its years which lead to speculation and rumours, some built up by Mr. Collett himself in pre-show interviews, that ramped up the excitement.
The host opened the evening with a solo song that brought the focus to the stage for him to then ramble a little further about the night to come. Eventually he gave way to the duo + one of Snowblink who have been very well represented in Toronto of late. The additional female vocals added a new layer to already beloved songs like Unsurfed Waves from the only recently released Inner Classics.
From here there was another romantically linked musical pair in Andrew Whiteman and his bride, Ariele Engle who reinterpret poet Alice Notley's works into songs... on cigar-box guitars. No, it actually isn't a weird as it sounds, especially since Andrew wields his electric guitar (upon which he always slays). Actually it worked really well and was a thoroughly enjoyable set - enough to prompt listening to the EP that is currently out and whet the appetite for the full-length due this year.
Following this was the first downfall of the larger venue where despite Jason's pleading to keep quiet, pay attention and stay off your cell phones the attention was not all there for poet Marie Soliel(?). Her poetry wasn't bad either but it was hard to be entranced by it with all of the distractions.
Hayden fared much better as the notorious recluse was the one true surprise of the night and commanded the attention of the crowd. With a full five-piece band including Lou Canon, and Howie Beck on the drums, they played a couple new songs from his forthcoming album as well as an older Hayden song. This was actually the first time that I've ever witnessed Hayden live and realize just why his shows sell out in a snap. (Anyone have an extra ticket for his upcoming 3-nights in Toronto??) A great lyricist, a natural showman without being showy and a distinctly Hayden voice.
The next poet, Jeramy Dodds, was able to hold the crowd better as his poetry was more obvious and quite hilarious in fact. Finishing with a tongue-in-cheek ode to Canada people were hanging on his words and laughing right along which brought a whole new dynamic to the show.
In keeping with the literary aspect radio host and rapper, Buck 65 regaled us with an excerpt from a story that didn't seem all too believable but was told with the ease of a man who speaks and tells stories for a living - which goes a long way.
Following was another BSS member - the ringleader, Kevin Drew. He led his band, including Charles Spearin (also BSS) on guitar, through a full rendition of a brand new song called Good Sex and then Kevin Drew's ego launched right back into the exact same song again. It was decent but there's no need to repeat a song, especially when that is all you play.
The Kevin Drew spectacle remained on stage as Chris Murphy (Sloan) performed his party trick - to sing a string of back-to-back-to-back one-liners from songs of yesteryear as heard on some informercial. It was hilarious and entertaining and he didn't falter throughout the 45 second spiel. This morphed right into the introduction of Andy Kim, the co-author of the song Sugar Sugar, and off we went into an Andy Kim led singalong of that old, old tune. It was kinda marvelous!
Next up was a rousing response to the appearance of Michael Ondaatje. Perhaps it was my ignorance to his works but the excerpt he read from his book somehow kept the audience rapt while I couldn't find anything within it to engage me - and it hardly stood on its own. The definite low point in the night for me (though apparently not for the majority in attendance). Fortunately it was all up from here!
As anticipated Leslie Feist finally was spotted on stage, having been mostly lurking out of sight, unlike many of the other performers who were previously spied watching from upstairs. In an interesting programming node Feist was flanked by Snowblink to her right and Aroara to her left, with Charles Spearin holding a bass guitar. It was great to see both these bands performing again after their abbreviated sets earlier and as they played together on a a few (rehearsed) songs from each of their catalogues it proved that this was a mash-up to die for. All three female vocals melded in dream team harmonies. Feist's The Bad in Each Other was a particularly strong inclusion though Snowblink's Pray For Surf would have to be tops for me - otherworldly. In closing they performed Aroara's Number 4 and it was stunning as well though as pretty well all of the performers from the entire night came back out on stage they didn't know what to do and couldn't exactly join in so when the song ended the show came to an awkward, abrupt stop. With all of that talent standing around there was an expectation that magic would transpire... but nothing did, and so after a delay we accepted our fortune and filed out not sure how to feel.
Looking back on the performers it can be said that it was indeed a very strong line-up and an enjoyable evening however the way the expectations were toyed with there is a lingering feeling of a missed opportunity - not quite disappointment but not 100% satisfaction either.
Maybe next year?
The host opened the evening with a solo song that brought the focus to the stage for him to then ramble a little further about the night to come. Eventually he gave way to the duo + one of Snowblink who have been very well represented in Toronto of late. The additional female vocals added a new layer to already beloved songs like Unsurfed Waves from the only recently released Inner Classics.
From here there was another romantically linked musical pair in Andrew Whiteman and his bride, Ariele Engle who reinterpret poet Alice Notley's works into songs... on cigar-box guitars. No, it actually isn't a weird as it sounds, especially since Andrew wields his electric guitar (upon which he always slays). Actually it worked really well and was a thoroughly enjoyable set - enough to prompt listening to the EP that is currently out and whet the appetite for the full-length due this year.
Following this was the first downfall of the larger venue where despite Jason's pleading to keep quiet, pay attention and stay off your cell phones the attention was not all there for poet Marie Soliel(?). Her poetry wasn't bad either but it was hard to be entranced by it with all of the distractions.
Hayden fared much better as the notorious recluse was the one true surprise of the night and commanded the attention of the crowd. With a full five-piece band including Lou Canon, and Howie Beck on the drums, they played a couple new songs from his forthcoming album as well as an older Hayden song. This was actually the first time that I've ever witnessed Hayden live and realize just why his shows sell out in a snap. (Anyone have an extra ticket for his upcoming 3-nights in Toronto??) A great lyricist, a natural showman without being showy and a distinctly Hayden voice.
The next poet, Jeramy Dodds, was able to hold the crowd better as his poetry was more obvious and quite hilarious in fact. Finishing with a tongue-in-cheek ode to Canada people were hanging on his words and laughing right along which brought a whole new dynamic to the show.
In keeping with the literary aspect radio host and rapper, Buck 65 regaled us with an excerpt from a story that didn't seem all too believable but was told with the ease of a man who speaks and tells stories for a living - which goes a long way.
Following was another BSS member - the ringleader, Kevin Drew. He led his band, including Charles Spearin (also BSS) on guitar, through a full rendition of a brand new song called Good Sex and then Kevin Drew's ego launched right back into the exact same song again. It was decent but there's no need to repeat a song, especially when that is all you play.
The Kevin Drew spectacle remained on stage as Chris Murphy (Sloan) performed his party trick - to sing a string of back-to-back-to-back one-liners from songs of yesteryear as heard on some informercial. It was hilarious and entertaining and he didn't falter throughout the 45 second spiel. This morphed right into the introduction of Andy Kim, the co-author of the song Sugar Sugar, and off we went into an Andy Kim led singalong of that old, old tune. It was kinda marvelous!
Next up was a rousing response to the appearance of Michael Ondaatje. Perhaps it was my ignorance to his works but the excerpt he read from his book somehow kept the audience rapt while I couldn't find anything within it to engage me - and it hardly stood on its own. The definite low point in the night for me (though apparently not for the majority in attendance). Fortunately it was all up from here!
As anticipated Leslie Feist finally was spotted on stage, having been mostly lurking out of sight, unlike many of the other performers who were previously spied watching from upstairs. In an interesting programming node Feist was flanked by Snowblink to her right and Aroara to her left, with Charles Spearin holding a bass guitar. It was great to see both these bands performing again after their abbreviated sets earlier and as they played together on a a few (rehearsed) songs from each of their catalogues it proved that this was a mash-up to die for. All three female vocals melded in dream team harmonies. Feist's The Bad in Each Other was a particularly strong inclusion though Snowblink's Pray For Surf would have to be tops for me - otherworldly. In closing they performed Aroara's Number 4 and it was stunning as well though as pretty well all of the performers from the entire night came back out on stage they didn't know what to do and couldn't exactly join in so when the song ended the show came to an awkward, abrupt stop. With all of that talent standing around there was an expectation that magic would transpire... but nothing did, and so after a delay we accepted our fortune and filed out not sure how to feel.
Looking back on the performers it can be said that it was indeed a very strong line-up and an enjoyable evening however the way the expectations were toyed with there is a lingering feeling of a missed opportunity - not quite disappointment but not 100% satisfaction either.
Maybe next year?
Monday, January 14, 2013
Brasstronaut - Mean Sun: (Year-End Album Review)
A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.
It's always a difficult task to put into words just what makes Brasstronaut's music so compelling; it is intelligent without being too complicated on the surface. The variety and quality of the instrumentation draw you in and give the album a great depth that allows for new discoveries even on repeated listens. When this first arrived I was driven to wrap my head around it and would spin it day after day just trying to get it all. There's a depth to it that anyone can enjoy.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
It's always a difficult task to put into words just what makes Brasstronaut's music so compelling; it is intelligent without being too complicated on the surface. The variety and quality of the instrumentation draw you in and give the album a great depth that allows for new discoveries even on repeated listens. When this first arrived I was driven to wrap my head around it and would spin it day after day just trying to get it all. There's a depth to it that anyone can enjoy.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
How To Dress Well - Total Loss: (Year-End Album Review)
A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.
There's a smoothness to this album - a nice, creamy, refined sound rooted in R & B but touching on a variety of genres. The music itself is so wonderfully orchestrated and arranged it makes the listening experience wholly pleasurable. Although the focus does not shine on the lyrics or vocals these do not lack (something I couldn't say about the lyrics of the somewhat comparable Weeknd releases). It really is a beautiful aural journey.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
There's a smoothness to this album - a nice, creamy, refined sound rooted in R & B but touching on a variety of genres. The music itself is so wonderfully orchestrated and arranged it makes the listening experience wholly pleasurable. Although the focus does not shine on the lyrics or vocals these do not lack (something I couldn't say about the lyrics of the somewhat comparable Weeknd releases). It really is a beautiful aural journey.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
Strumbellas - Dakota (Jan 8/13)
The first of a month-long weekly residency at the Dakota Tavern, The Strumbellas began to make themselves comfortable , packing six people on the small stage. Only six as the enigmatic keyboardist was noticeably absent although other members promised he would return next week. With that rug on the stage I anticipated bare feet all around but I suppose being winter there was only one pair to begin, though lead man, Simon, did join in the fracas partway through the first of two sets. Even as they played favourites, like Lakes and The Sheriff, the crowd remained somewhat tentative and didn't break into the hoedown as desired. The written set list was extensive but they didn't stick to it at all, choosing to mix in some covers to keep things spicy. A rendition of Modest Mouse's Float On didn't just hit the spot but nailed it. Later on The House of The Rising Sun was also a winner. Even without the full-on party that I'd hoped for the show was still great fun and everyone seemed pleased with Pistol as a closer, but not pleased enough not to beg a one-song encore.
The Strumbellas are set to do this all month. Do yourself a favour and check 'em out on Tuesday!
Openers were the Tin Star Orphans who were rather entertaining. The male lead singer's voice was not what was expected based on his appearance but he did sound really good (even if he had to make silly emotive faces to achieve it).
The Strumbellas are set to do this all month. Do yourself a favour and check 'em out on Tuesday!
Openers were the Tin Star Orphans who were rather entertaining. The male lead singer's voice was not what was expected based on his appearance but he did sound really good (even if he had to make silly emotive faces to achieve it).
Wednesday, January 9, 2013
Top Music 2012 - Albums, Singles, EPs, Videos
The big reveal..
I've finally gotten around to sorting through my scraps of (digital) paper holding notes scrawled throughout the year as reminders of just which albums I was thoroughly digging in 2012. People have mused that it wasn't an overly strong year but looking within and beyond the Canadian borders there was no issue filling this out. (Mind you it was no 2011)
Without further ado
Albums
I've finally gotten around to sorting through my scraps of (digital) paper holding notes scrawled throughout the year as reminders of just which albums I was thoroughly digging in 2012. People have mused that it wasn't an overly strong year but looking within and beyond the Canadian borders there was no issue filling this out. (Mind you it was no 2011)
Without further ado
Albums
- Evening Hymns - Spectral Dusk
- Patrick Watson - Adventures in Your Own Backyard
- Wintersleep - Hello Hum
- Fun. - Some Nights [US]
- Jens Lekman - I Know What Love Isn't [Sweden]
- Cold Specks - I Predict a Graceful Expulsion
- Brasstronaut - Mean Sun
- Regina Spektor - What We Saw From the Cheap Seats [US]
- The Strumbellas - My Father and the Hunter
- How To Dress Well - Total Loss [US]
Other considerations
- Purity Ring - Shrines
- Japandroids - Celebration Rock
- Said the Whale - Little Mountain
- Phedre - Phedre
- AC Newman - Shut Down the Streets
- Jeremy Fisher - Mint Juleps
- Ben Folds Five - The Sound of the Life of the Mind [US]
- Kathleen Edwards - Voyageur
- Aidan Knight - Small Reveal (**didn't actually hear this until 2013..)
*Canadian except where indicated
EPs
There were a couple notable EPs released this year as well. Let's make a new category.
Singles of the Year
- Luke Lalonde - Undone
- Alt-J - Tessellate [UK]
- Phedre - In Decay
- Ben Folds Five - Do It Anyway [US]
- Sunparlour Players - Shake and Bake for Goodness Sake
- Two Hours Traffic - Amour than Amis
Video Singles
(Song and Message too!)
Late 2011 Find
As much as I wanted to dislike Donald Glover aka Childish Gambino's musical offerings it was pretty easy to dismiss his I am Just a Rapper mixtapes but Camp could not be ignored and I just had to listen to it. Candid lyrics with a smart wit and quick wordplay, it is a mostly fun and revealing hip hop album.
- Childish Gambino - Camp [US]
The 1975 - Facedown EP, Sex EP: (Year-End Album Review)
A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.
A couple of EPs that seem to fly by, each time leaving the listener wanting more. Rather than this being a negative in fact it is just an itch for more. There's definite promise here and the full length has great anticipation building for it.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
A couple of EPs that seem to fly by, each time leaving the listener wanting more. Rather than this being a negative in fact it is just an itch for more. There's definite promise here and the full length has great anticipation building for it.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
Shad - Melancholy and the Infinite Shadness: (Year-End Album Review)
A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.
Shad really lets loose on this EP and my goodness does it ever work. The samples are all blatant and fun throwbacks to an era but given a refreshing breath of Shad's witty flow atop. It's hyperactive and it bursts in, blazes out, and takes no prisoners in between. Unbridled enthusiasm and a welcome one-off from Canada's premier spitter.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
The Strumbellas - My Father and the Hunter: (Year-End Album Review)
A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.
Admittedly this band first won me over in concert so my love for their live show may have bled into this album. Regardless there is an energy on this jubilant country-tinged album that stands on its own. Like Kidstreet of last year the members bring it on stage but represented that energy reasonably well in the studio also. There are shout-along tunes sprinkled throughout the disc and the more you hear them the better they get. Cutting their teeth in the Toronto scene this year they deserve further recognition and all hopes the effort pays off.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
Admittedly this band first won me over in concert so my love for their live show may have bled into this album. Regardless there is an energy on this jubilant country-tinged album that stands on its own. Like Kidstreet of last year the members bring it on stage but represented that energy reasonably well in the studio also. There are shout-along tunes sprinkled throughout the disc and the more you hear them the better they get. Cutting their teeth in the Toronto scene this year they deserve further recognition and all hopes the effort pays off.
Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.
Basia Bulat - AGO First Thursday (Jan 3/13)
People lined around the block to get into the sold out First Thursday event at the AGO featuring a performance by Ms. Basia Bulat. They were everywhere as seemingly the majority of the 2000 attendees crammed the atrium awaiting the musical portion of the evening. Finally Basia arrived with simply a guitar and took a place on the floor behind the stage for a (noticeably) unmic'ed opening number all on her own. In fact she was solo for the entire set, a first time for that she admitted, but accompanied by a visual artist, Stephanie Comilang, who used projectors to portray her art on the screens that divided the room and made for an interesting room dynamic. Basia did her best to accommodate everyone by playing on all sides of the screens in what she dubbed "Basia 360".
Her instruments varied from acoustic (where she altered her vocal delivery on Go On), to auto harp (strummed on Gold Rush, but tapped with a springy hammer later in the set), and keys (like on old fave Snakes and Ladders). Among the known catalog she also incorporated a couple from this year's forthcoming new release (!). These are promising and included "First Five Now Four" and a song she was playing for the very first time to an audience, "Tall Shadow", which was quite nice. In the spirit of 'out with the old and in with the new' she closed with an a cappella (stomp/clap) rendition of her favourite old standard, retiring it from her repertoire to make room for her new ideas. An interesting setup, she did a lot with the space and was fairly inclusive considering the circumstances, giving everyone a taste of her wonderful performance.
Her instruments varied from acoustic (where she altered her vocal delivery on Go On), to auto harp (strummed on Gold Rush, but tapped with a springy hammer later in the set), and keys (like on old fave Snakes and Ladders). Among the known catalog she also incorporated a couple from this year's forthcoming new release (!). These are promising and included "First Five Now Four" and a song she was playing for the very first time to an audience, "Tall Shadow", which was quite nice. In the spirit of 'out with the old and in with the new' she closed with an a cappella (stomp/clap) rendition of her favourite old standard, retiring it from her repertoire to make room for her new ideas. An interesting setup, she did a lot with the space and was fairly inclusive considering the circumstances, giving everyone a taste of her wonderful performance.
Wednesday, January 2, 2013
Jeremy Fisher, Snowblink, Todd Clark - Amnesty International (Dec 10/12)
Snowblink
The Daniela/Daniel duo understandably toned things down for this intimate artist-only evening in recognition of Amnesty International's Human Rights Day. Even still it was a lovely short few tunes as they both were seated, except when Daniela passed out the bells for the crowd to lend their ring. Black and White Mountains is an Inner Classics fave and therefore a welcome inclusion in the set.
Todd Clark of Pilot Speed
It has been ages since I've paid much attention to Pilate (now Pilot Speed) yet the singer played an enjoyable acoustic set. Actually I enjoyed it much more than anticipated considering it was just himself and an acoustic - didn't hurt that he included Into Your Hideout at the behest of the host.
Jeremy Fisher
Understandable Jeremy Fisher played only a couple of songs on his acoustic guitar but I could listen to him all night. Seemingly simple yet catchy he can really tell a story with his songs and offers them up in an engaging and authentic manner. A treat for him to have come all the way from Ottawa for such a legitimate cause and excellent event.
Todd Clark of Pilot Speed
It has been ages since I've paid much attention to Pilate (now Pilot Speed) yet the singer played an enjoyable acoustic set. Actually I enjoyed it much more than anticipated considering it was just himself and an acoustic - didn't hurt that he included Into Your Hideout at the behest of the host.
Jeremy Fisher
Understandable Jeremy Fisher played only a couple of songs on his acoustic guitar but I could listen to him all night. Seemingly simple yet catchy he can really tell a story with his songs and offers them up in an engaging and authentic manner. A treat for him to have come all the way from Ottawa for such a legitimate cause and excellent event.
Wildlife, Jane's Party - Drake Underground (Dec 21/12)
Wildlife
Wildlife are doing it all right but haven't yet caught the break they deserve to launch them into orbit. If there is justice in this universe their forthcoming album, due in March, will be their spaceship. The new material which was justifiably featured in this last minute, hometown, headlining gig is strong on first live listen and if it's anything like Strike Hard, Young Diamond, their previous effort, will merit repeated headphone listens. Even with only a semi full Drake Underground they were grinding it out and giving us an early Christmas gift of a show. After a debut or two they played the When I Get Home into Drunken Heart combo that has that beloved transition from the album. Added to the mix were Sea Dreamer (with a hilarious, poorly executed slide whistle), Stand in the Water and closer Killing For Fun but it was really a chance to tempt us with the new year's offering. In short time it'll be a story to tell "I remember the time I stood front row and they played this tune." Let's hope!
Jane's Party
Jane's Party were meant to get the party started and while there was plenty of milling about on stage - of the four members all but these drummer were swapping instruments on every other song - the rest of the crowd participation wasn't up to snuff. Mind you it was an opening band for a last minute show with early set times so things weren't in their favour. The bass player, ahem, the longer-haired fellow who primarily played bass had a solid set of pipes, though everyone seemed to lend a voice whether taking their turn in lead or harmony. It didn't sound bad but there wasn't much there to set them apart, at least not until the slick final tune which must be the set closer for a reason as it has some potential.
Wildlife are doing it all right but haven't yet caught the break they deserve to launch them into orbit. If there is justice in this universe their forthcoming album, due in March, will be their spaceship. The new material which was justifiably featured in this last minute, hometown, headlining gig is strong on first live listen and if it's anything like Strike Hard, Young Diamond, their previous effort, will merit repeated headphone listens. Even with only a semi full Drake Underground they were grinding it out and giving us an early Christmas gift of a show. After a debut or two they played the When I Get Home into Drunken Heart combo that has that beloved transition from the album. Added to the mix were Sea Dreamer (with a hilarious, poorly executed slide whistle), Stand in the Water and closer Killing For Fun but it was really a chance to tempt us with the new year's offering. In short time it'll be a story to tell "I remember the time I stood front row and they played this tune." Let's hope!
Jane's Party
Jane's Party were meant to get the party started and while there was plenty of milling about on stage - of the four members all but these drummer were swapping instruments on every other song - the rest of the crowd participation wasn't up to snuff. Mind you it was an opening band for a last minute show with early set times so things weren't in their favour. The bass player, ahem, the longer-haired fellow who primarily played bass had a solid set of pipes, though everyone seemed to lend a voice whether taking their turn in lead or harmony. It didn't sound bad but there wasn't much there to set them apart, at least not until the slick final tune which must be the set closer for a reason as it has some potential.
Joel Plaskett, Two Hours Traffic - Horseshoe (Dec 14/12)
Two Hours Traffic
Discovered by Joel Plaskett himself, Two Hours Traffic were set to open this sold out Friday evening smack in the middle of Joel's five night stand at the Horseshoe Tavern. With the promise made by the latest Siren Spell EP, in lieu of the LP to come in the new year, my excitement was high for this opening set. A few unknown tunes from that LP opened up and didn't win too many over and seemed like a misstep in the set list as it wasn't until Amour than Amis and a few lesser known tunes from previous releases that we got some familiar material. It's the catchy ditties from Little Jabs that originally hooked 2HT fans, yet this show was lacking in these. Unfortunately the entire set, although alright, felt lacking and I was disappointed especially after hyping this night over others specifically for this opener. Part of it was likely the crowd who weren't in much of a shuffling mood all night. Even when they I invited Joel on stage to join them on a thin-necked four string guitar for an Isolator EP tune it didn't much invigorate anyone. I know that Two Hours Traffic have it in them as I've witnessed it on many occasions. With fan familiarity and band comfort I'm confident they'll be back in top form once the album drops in the new year.
Joel Plaskett
Never one to phone it in Joel hit the stage running on his third night of the 65th Anniversary stand. An eclectic list of tunes kept us guessing with a healthy mix of B-sides and deep cuts (ex: Natural Disaster) alongside the offering of Plaskett favourites (Deny, Deny, Deny), of which there are many.
Discovered by Joel Plaskett himself, Two Hours Traffic were set to open this sold out Friday evening smack in the middle of Joel's five night stand at the Horseshoe Tavern. With the promise made by the latest Siren Spell EP, in lieu of the LP to come in the new year, my excitement was high for this opening set. A few unknown tunes from that LP opened up and didn't win too many over and seemed like a misstep in the set list as it wasn't until Amour than Amis and a few lesser known tunes from previous releases that we got some familiar material. It's the catchy ditties from Little Jabs that originally hooked 2HT fans, yet this show was lacking in these. Unfortunately the entire set, although alright, felt lacking and I was disappointed especially after hyping this night over others specifically for this opener. Part of it was likely the crowd who weren't in much of a shuffling mood all night. Even when they I invited Joel on stage to join them on a thin-necked four string guitar for an Isolator EP tune it didn't much invigorate anyone. I know that Two Hours Traffic have it in them as I've witnessed it on many occasions. With fan familiarity and band comfort I'm confident they'll be back in top form once the album drops in the new year.
Joel Plaskett
Never one to phone it in Joel hit the stage running on his third night of the 65th Anniversary stand. An eclectic list of tunes kept us guessing with a healthy mix of B-sides and deep cuts (ex: Natural Disaster) alongside the offering of Plaskett favourites (Deny, Deny, Deny), of which there are many.
Bursting out of the gate he was backed by the Emergency who consisted of only a couple other guys on this night but allowed him to bring the rock. Following this they were excused and they "added a dash of handsome" (Joel's words) by having Peter Elkas come up to play some acoustic guitar with him. This was a lovely pair as they both are true singer-songwriters in their own respect and were able to bring a new level to some of Joel's catalogue.
After a good number of songs in this setup, as if Joel could sense the crowd growing slightly anxious, not only did the Emergency return to crank it up but another guitarist and a fireball of a red-headed fiddle player also joined the mix. She really added a new dimension to the set and Joel was all smiles even if his throat wasn't exactly happy.
After a good number of songs in this setup, as if Joel could sense the crowd growing slightly anxious, not only did the Emergency return to crank it up but another guitarist and a fireball of a red-headed fiddle player also joined the mix. She really added a new dimension to the set and Joel was all smiles even if his throat wasn't exactly happy.
A highlight string of Snowed In/Cruisin' straight into Face of the Earth pleased the Ashtray Rock lover in me and it was fun to see Liam of Two Hours Traffic have the favour returned in being asked to sing on Happen Now (and a respectable job he did). Speaking of guest vocals Peter Elkas had the honour of a verse of Nowhere with You. Following a solid couple hours of nonstop Joel, including a Million Dollars clap-along, the man finally exited the stage only to return for an encore after a minute's rest. First he brought it down with another artist's song off his iPod before flipping over to his own Fashionable People tune on the iPod, the Yamma Mamma version, to which he shuffled and sang the chorus. Similarly to Hillside he freestyled through his own song and some of April Wine, though of.course it was entirely fresh as it was a freestyle. Closing tune was Extraordinary - a fitting song from an artist who is that - extraordinary.
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