Chilly Gonzales - Southbank Centre (London, England) - Nov 7/15

Chilly brought his bathrobe, along with his piano, pop sensibility and humour to the large, full Southbank Royal Festival Theatre in London on Saturday evening. Emerging alongside the Kaiser Quartet they exhibited some instrumental cuts from their Chambers album together before Chilly broke the vocal silence and said good evening. From there it was a mix of music, comedy and showing off his 'musical genius' in a variety of ways. This included giving us examples of arpeggios in popular music throughout the times (and what certain songs would sound like without them) as well as conducting his quartet from different perspectives - as a producer using them as a sampler, or as a drum machine. Naturally he included Sample This too. He did rap, such as Supervillain Music and the cleaned up version of The Grudge and as an encore an amalgam of Self Portrait and his own rebuttal (Not) A Musical Genius from stood atop the piano bench. A particular moment of levity came during one of the more serious instrumentals featuring the quartet where from the shadows a man emerged and walked purposefully to the drum kit, stretched, and then delivered one thundering two-handed beat before immediately retreating the way he had come. (The drummer later was made to dance which brought on an awkward moment of forced audience participation that we won't speak of.) It wasn't just the Chilly show though - at one point he took a seat off to the side and instructed his quartet to "entertain me" which they did; payback for the song or two that he did solo while the lights went out on the Kaisers. One instrumental was performed entirely in the dark, leaving us to visualise it ourselves without the newly deprived sense. Plus there was a unique world premier as a writing partner of Chilly's took a mic to centre stage where he rambled about a hotel room with a piano and then sang three somewhat ridiculous songs about the things that may have happened in that room. It was interesting but not the strongest part of the show. Knight Moves, two standing ovations, and one encore later (but conspicuously no bongos) the two hour spectacle came to a satisfying close with the patrons left to gush about the entertainment that was had.

Polaris Prize 2015 - Initial Reaction

Where is Purity Ring? Hayden? Chilly Gonzales? to name a few off the cuff.

I'm notoriously bad at actually predicting so I won't bother with a specific shortlist but I'd be content with Colin/Sarah, DFA, Caribou or BBNG coming out on top. Probably going to be fr*gging Alvvays..
Absolutely Free – Absolutely Free

ddmmyyyy I should check this out
The Acorn – Vieux Loup

It's good! Not gonna win!
Lydia Ainsworth – Right from Real

?
Alvvays – Alvvays

overrated!
Arkells – High Noon

mainstream but decent
Rich Aucoin – Ephemeral

fun but not prizeworthy
BADBADNOTGOOD & Ghostface Killah – Sour Soul

has a shot because BBNG are excellent and it's unique
Bahamas – Bahamas Is Afie

artist with an ego and decent music
The Barr Brothers – Sleeping Operator

I should listen
Braids – Deep In The Iris

Not a bad album - maybe I should give it another listen
Steph Cameron – Sad-Eyed Lonesome Lady

? (unknown to me)
Caribou – Our Love

Yes! Great stuff.
Jazz Cartier – Marauding In Paradise

The hip hop contingent
Jennifer Castle – Pink City

yawn (haven;t actually heard the album though)
Cold Specks – Neuroplasticity

Not as good as her first
Louis-Jean Cormier – Les grandes artères

?
Death From Above 1979 – The Physical World

VG you make the list
Drake – If You’re Reading This It’s Too Late

Won't be a serious contender like last time but worth being on the long
Frazey Ford – Indian Ocean

Not a huge fan of the artist, haven't heard the album
Tobias Jesso Jr. – Goon

?
BA Johnston – Shit Sucks

Guess I should check this release
Pierre Kwenders – Le dernier empereur Bantou

?
Lee Harvey Osmond – Beautiful Scars

Their second time and I still haven't heard them
Jean Leloup – À Paradis City

?
METZ – II

Not bad - I'll give it another spin
Milk & Bone – Little Mourning

?
Tre Mission – Stigmata

?
The New Pornographers – Brill Bruisers

Good band but their worst album in recent history..
Joel Plaskett – The Park Avenue Sobriety Test

Actually really dug this one from him
Buffy Sainte-Marie – Power in The Blood

Never paid attn, still haven't
Elizabeth Shepherd – The Signal

?
Siskiyou – Nervous

Was bored by older stuff
Colin Stetson and Sarah Neufeld – Never were the way she was

Cool! Of course it was - it'll be short listed too
Various Artists – Native North America (Vol. 1): Aboriginal Folk, Rock, And Country 1966–1985

?
Viet Cong – Viet Cong

Couldn't get into it despite repeated tries
Patrick Watson – Love Songs For Robots

Agreed, this is quite good but not winning good (especially cuz he's already got one)
The Weather Station – Loyalty

I usually get bored and leave
White Lung – Deep Fantasy

Should check out..
Whitehorse – Leave No Bridge Unburned

Surprisingly liked this - could see it being a popular choice
Young Guv – Ripe 4 Luv

?

? - I haven't heard this album or know much about it or the artist

Flaming Lips - Riot Fest Saturday (Sept 6/14)

The Flaming Lips show had been built up to nothing short of epic in the years since I'd failed to pay attention to them at Sarstock (at this very same venue) during which I'd discovered Yoshimi at the very least. Noticing the massive tanks of compressed gas on the stage earlier in the day I finally got to see them put to work as the confetti began to fly, and not just to the front of the stage but at least fifty meters out into the the air where it rained on and on and down and down for minutes onto the entire crowd who had squished in for the spectacle. Included was a two-person dancing rainbow, a couple magical mushrooms and all sorts of other eye candy in the way of streamers and lights. They stuck around for the opening and the naturally acoustic Yoshimi Battles the Pink Robots (Pt 1) during which Wayne Coyne had to roll the karate chop back. "I find this really sets the tone for the show and that just isn't going to cut it. 'The name is Yoshimi. She's a black belt in karate.'" He did not stop there as he was the cheerleader the whole time, pumping up the crowd and reminding us that we get back what we put in. Unleashed were 'Fuck Yeah Riot Fest' balloons that bopped over the crowd but only the H survived.

After the mushrooms and rainbow went offstage they were replaced by a couple caterpillars mid metamorphosis to butterflies, and a shining sun - plus a couple of alien blow ups (It doesn't have to make sense.) Wayne reemerged in an anatomic "body"suit that was then covered in silver tin foil streamers before his famous party trick - the hamster ball. Inside this huge ball he crossed atop the crowd and nearly came to my position halfway back, a showman the entire time. Following this was an odd bit on a raised platform where he was coddling a fake child with video projections of running women and the strings of lights still all over the stage. It gave a moment to notice the six-piece band, including a standing and a seated drummer, who were playing through all the nonsense of the show.

Their signature song for damn good reason is Do You Realize? and it was live rendition rung out in all of its epic glory, with Wayne unnecessarily asking us to help him belt it out. This could easily have brought this bold spectacle to a close but the cover of Lucy in the Sky with Diamonds felt like an bonus shot, as Wayne was back up on the raised platform and each time the chorus came around the ridiculous strobe lights would strobe and the confetti overtook the sky yet again. Woo - a whirlwind. "Incredible" was the word that was falling off everyone's lips.

Hey Rosetta! and Stars - Danforth (Feb 12/15)

Hey Rosetta!

Disclaimer: As if Hey Rosetta weren't already one of my favourite Canadian bands they went and put out a disc to rival all others last year and this was my first time to experience it live.

The performance was brilliant, a perfect weight of new and old, soft and hard, build and break. It can take years and years for bands to reach this height and Hey Rosetta has been at it for quite awhile now and having started strong seem to only be improving. What a spectacular show through and through. Although it seemed like it was supposed to end earlier, technically being an opener, it just kept going as if it were a double bill. That really wasn't a problem especially considering when I first saw these two on the same bill (Feb 2010, Vancouver) Torq came out so impressed that he stated "well that's the last time those guys open for us" predicting that they were going places.

Tim is the focal point of the group but let's be honest - all seven musicians are extremely skilled in their own right. From the intro that led into Second Sight's cleverly titled opening track Soft Offering (For the Oft Suffering) with its percussion and keys into the next album cut, Gold Teeth it was on. Utilizing a second reverb mic Tim also used the acoustic for this. Breaking into the back catalog with a surging rendition of Yer Spring that had a badass bass line and extended outro they then dialed it in with an acoustic What Arrows, also changing up their instruments halfway through the tune. Seeds was the next effort before they came back with a Second Sight highlight in Neon Beyond that I assumed would be the closer due to its crashing ending. I was far off though as Cathedral Bells showed off both acoustic and electric guitar solos before the absolutely stunning Harriet - my personal new favourite even before this hair-raising rendition. They weren't done as the rollercoaster of Red Heart totally brought it down but no! there's more! Kintsukuroi truly was the set closer. And boy, oh boy, what a set!

Stars
Yet again Stars reminded me why I have practically lost count of their shows that I have attended. With confidence and charisma they charmed their way through a dazzling set, they have which experience to know the sweet spot between new tracks and old faves. I may not be over the moon about their latest release, No One is Lost, but it translated better coming direct from their fingertips and mouths. Actually Trap Door, the current radio single, hadn't really caught my attention until I stood in front of Torq laying it bare and with rapt attention realized its strength. When they pulled out perhaps their marquee Elevator Love Song from breakout Set Yourself on Fire, the he-sang, she-sang still hit all the emotional cues while the weird bass line made it just different enough to be extra interesting. Some of the strongest moments came from their Bedroom album which I recently revisited on vinyl and think despite liking it on initial release that I have been undervaluing it since. Take Me to the Riot is a fantastic call to arms while Up in our Bedroom was also endearing. Torq didn't spout off too much which is almost a disappointment for no matter what he says he is thoughtful and passionate and entertaining. (I was waiting for a 'Fuck Harper' that didn't arrive.) The set was brimming and bright and while the encore was compact it was still great and what Stars fan doesn't want to relive their breakups courtesy of Your Ex Lover is Dead?

Long Winter - Great Hall (March 13/15)

Friendly Rich was peddling his decidedly child-unfriendly (despite running a charity music school for children) show complete with squeezebox and schtick galore. Musically it wasn't to my taste but as a spectacle it was fairly entertaining.

With zero idea of who was in stage in the conversation room I entered and for the first part of the song thought, "this three piece band are rocking quite melodically, kinda like The Constantines." And then the latter half of the song came in and the chorus spiked in intensity, especially from the impressive bassist dressed like a serviceman. He shared vocals with the guitarist who looked more like you'd picture a hard indie rock guitarist dressing, all time checked by their drummer under a Nets cap. It was definitely head nodding groovy even when each song seemed to build to strong shouted peak. Several Futures, one of the several musical discoveries that has nearly become the norm at Long Winter.

Pins and Needles had the Girls Rock Camp stamp of approval and deserve it. All girl four-piece that seem to be in high school - that theory backed by the majority of the kids rocking up front - they were impressive and not just for their years. The drummer was having fun and showing flair as she stood up at a number of points to really bang at her set. The bassist had an underrated voice, the keytarist (yes!) came in strong with hers, but the sparkling guitarist's was stunning. Altogether they played well written songs that seemed to have roots which was really impressive. Even their throwback cover (that escapes me) worked and the only criticism is that the encore was unnecessary but considering how much they've picked up already they'll get that sorted out soon. Real record release coming this year!

Vag Halen were the spectacle they've become. Stalking the stage in panties, pantyhose and cutoff tops the singers gave it their all and the crowd gave it back and more. The AC/DC cover actually had a massive mosh pit which was present throughout the set. Whether screaming, writhing on the stage or railing against Harper's terrible parliamentary bills they were making a scene.

Moon King, Lee Paradise, Blunt Chunks - Smiling Buddha (April 14/15)

Moon King
Granted I'd only very recently found Moon King and hadn't listened to much recorded material the live show hit harder than I was expecting. With just the four of them they made a roar. Even with Daniel's yelping lilt his three bandmates were enough to turn up the volume. On the couple mid-set tracks where he threw his shakers into the corner and picked up an electric guitar it rose even further. He was becomingly grateful for the support "look how many of you there are, and I don't recognize any of you! I live just down the street." On a few tracks his female counterpart took control of the mic and did a fine job of it as well. Set closer Roswell was rockin' if repetitive but they've definitely got a good thing going and should have success on this longer tour they are about to embark on. Though during the encore tune Daniel did promise to return to us soon and judging by the bulging Smiling Buddha it appears there's an appetite for Moon King.

Lee Paradise

Sludgy bass drums and synths plus fang singer with paint face. Punky. Pissing in the sink, to open.
The guys from Hooded Fang/Phedre are constantly genre dabbling. This incarnation saw the singer with vertical stripes messily painted up his face under his Kim Jong Un haircut. He primarily yelped into the mic in front of a sludgy bass and woman playing synths. Alongside their pounding drummer they created a rocking sound that bordered on punk, especially with lyrics like the opener "pissing in the sink." I still prefer Hooded Fang's first EP and LP (but I could say that about just about everything they've since touched, except perhaps In Decay.)

Blunt Chunks

Smiling Buddha was not smiling on her as the full house was chatty well in advance of Moon King. However fiddling about for minutes before launching into your last song wasn't the best move either. The lyrics were a little low (or the conversation was just that high) but her voice seemed alright. This was definitely not a legitimate showing to judge by.

Chilly Gonzales - Koerner Hall (April 21/15)

Settling in on his piano bench Chilly must have already been comfortable, not simply because he was dressed in his now traditional bathrobe and slippers but because he was about to play a homecoming. Although a European resident for many years now and a consummate performer regardless of locale I'm sure, there still seemed to be something special in the air here in the Great North. Without a word he focused on his piano for a prolonged moment before bringing his hands from his lap to the keys. From there he impressed with a few solo piano songs (not necessarily from the compilations with the same title) before finally bringing out the Kaiser Quartet. To applause they took their positions, violin 1 and 2, viola and cello, and then continued to just hold these positions while Chilly played an entire song until coming in for literally the last note - an A minor. "My Crazy Horse" he would introduce them as - Gonzo's playful side beginning to show. A performer through and through, he had a flair during his playing as well as a number of other tricks. As banter he often acted as a teacher, explaining some musical elements with audible examples (we did hear The Eagles, however briefly, not wanting that to be the one takeaway) and history likened to contemporary pop culture (Wagner is Kanye but also Tupac). Yes the quartet (plus drummer) were sometimes used as props but he also obviously had high respect for the group who played excellently and took everything in good humour. Before his first rap he broke out the bongos and played a sample of Beethoven's 5th (or LVB as he preferred to refer to him) but carried on with the bongos for his own tune. Although he did also rap Supervillain Music, Self Portrait (a great Nick Cage quip) and a couple others these were less prominent than straight instrumental. Personal favourite The Grudge was introduced by saying it had been converted from a piano track to a "banger" by Boys Noize and then he had to convert it back. The change was noticeable in a slower version but also of note, despite the semi-frequent curses that littered the songs it was "sick f&%!" that was changed to "schmuck" and the first half of "put it in your mouth/so you won't see it coming" was dropped altogether (plus he added "supposedly" before "hit him in the stomach" when talking about what led to Houdini's death.) A few others from Ivory Tower made the set, as did a song that he showed was in the attached school's grade 9 piano book before dramatically throwing it away with a dismissive "I don't need this - I wrote it!" At the end of the set, after a hum-along, a nearly instantaneous standing ovation was put up which was warranted, for despite being mostly instrumental (not my fave) it was highly engaging and a thoroughly unique show. Upon his encore return with the crew he claimed to be a "musical genius" and then stood upon the keys of his piano (cringe!) to rap (Not a) Musical Genius. The second encore didn't seem that unheard of considering to that point Never Stop hadn't been heard (instrumental). However the third and final outing just saw Chilly and the cellist for a song announced to a groan as Cello Gonzales, from recent Chamber Music. Even after that many reappearances, all of which spurred by standing applause, I would have been content to settle back in for another set. Not that I wasn't satisfied but more that I was thoroughly enjoying the mix of music, classical elements melded with contemporary pop, plus learning a few things and the comedy of it all from Chilly's unique flair. A non-traditional concert but an excellent one of a kind.

Drive By Truckers - First Avenue, Minneapolis (May 1/2015)

Without opener the screen raised and The Truckers took their places on stage without need for a tardy slip at 9pm. There was excitement from the mostly approaching-middle-age crowd and the band echoed that excitment back all night, repeatedly mentioning how much they love the room and that it was one of their favourite places to play ("in the world" even). An acoustic set, the two songwriters sat up front  and swapped lead on songs essentially all night with Jay Gonzales on keys and pedal steel, plus their drummer and reliable bass player tucked in just behind them. Not only did they treat us to their very vivid and literal tunes but also introduced many with colourful back stories of either the characters in the songs or the songwriting itself. This brought an intimate aspect to the show even if the volume was still up for the acoustic show. I haven't seen their electric set but can imagine that it comes on strong! Admittedly I'm not nearly as in touch with their catalogue as the man next to me who mouthed the entire set as I hardly recognised anything. Therefore it wasn't until partway through the first set when they did play a track from the latest release (that I studied in preparation for this show, to little end), Pauline Hawkins, that I could get an idea of whether they were vastly modifying the songs. There were definitely differences but it was enjoyable to hear the new takes. As mentioned there were two sets because this show would go all night. Nearing the close of set one they rocked out Elton's Benny and the Jets to everyone's enjoyment. The Dirty South is the album I know thoroughly and it was after returning from a barely quarter-hour break that I finally got a taste of it and then it was two back to back. The Sands of Iwo Jima had a mid-song story accompaniment about the actual man who gave the quote which was touching and lovely. A rousing response allowed the singer a moment to wipe the tears from his cheeks. Foregoing the song-and-dance of leaving the stage and returning for an encore they just told us that it was time to close it down and focused on the song aspect. It was midnight - curfew - when they finally brought it all to a close, this time with a cover of Ooh La La ("wish that I knew what I know now"). It wasn't the covers though but their originals that are so original and that revealed through the stories they shared that made it a lovely and special evening.

The Dodos, Springtime Cannibal - Horseshoe (Mar 3/2015)

The Dodos
This time out The Dodos were stripped back down to the original duo but that didn't limit the amount of notes they played. The songs blister as the drummer raps the edge of his drums or overhand crashes his cymbals while the guitarist plucks and strums his guitar, acoustic or electric alike, utilizing both approaches in such short succession that it's hard to keep up. With minimal looping and backing tracks it's amazing how dynamic they can be but it all seems to stem from the quick and snappy play. By the second tune they were already winning over the strong Tuesday night 'Shoe crowd and that was before they dropped Red and Purple next. Actually despite being on tour for yet another solid album, Individ, they reached back to a good number of deeper cuts and seemed to still be having fun doing it. During a few of the songs the drummer could be seen gleefully singing along out of the mic even to the parts reserved for his partner who was swapping between straight and reverb mic. It was warm in there and they worked up a lather entertaining us before a short break. All the "bros" in the joint cheered them back and then drowned each other out when the duo asked for a request and stood for a laughingly long time attempting to choose what to play. They finally decided on an older track before the preordained closer that saw the return of the opening band lead singer who strummed her electric and sang backup on Don't Try and Hide It. Good show!

Springtime Cannibal were poppy enough of a four-piece with a BBC-Office Dwight on drums, groovy bassist, smiling female key player and perky lead blonde singer. She would have been impressive at a jam session with her voice but altogether it was relatively bland pop, not super hooky. It could have been that her first banter came across as a little stuck up such that I spent the rest of the set trying to get over what seemed saccharine and almost smarmy.

Elwins - Hoxton (Mar 8/15)

The Elwins are a keen, likeable Toronto-via-Keswick band that try to befriend everyone and have grown a large community of friends and followers. Doesn't hurt to give out cookies at your shows either. But bribery and effort can't make up for the unknown element that takes live music from enjoyable to blissful. Their tracks, whether from their debut or this record release, are poppy enough and they seem to be enjoying themselves onstage and yet I have never been able to get truly excited before, during or after a show. Breaking out old single Stuck in the Middle second in the set seemed like a good move to set a good mood but it just didn't carry all the way through. The highlight for me was when the bassist grabbed a guitar and took over leading vocals. Another touch of fun was (High Like a) Bubble during which the cookie lady went through the crowd with a bubble gun. Following a brief departure they returned for a two-song encore that closed with their Beyonce Countdown cover though unfortunately Luke Lalonde, who they have recorded this with previously, was absent. There was nothing inherently wrong with the show but perhaps it just isn't for me.

Lowell - AGO First Thursday (Mar 5/15)

The drummer was in place, the guitarist tweaking the laptop in anticipation of the arrival of the lady of the hour.. Lowell snaked through the crowd with white lights draped along her silhouette on her way to appearing on stage with a smile, a semi-transparent white sweater and some horrid pink-eye boxer shorts. Banter was kept to a minimum making for longish breaks between songs and the little interaction that did happen was awkward and forced. (And I like Lowell.) The opener about The Shit We Do For Love was new as was the next tune; both seem to have taken the gloss off for a slightly edgier sound than the majority of We Loved Her Dearly, with beats bordering on bangers. These new songs worked and she sang them earnestly which couldn't quite be said of the core of the set. Something to do with the spaced-out, all-things-are-magical persona detracted from the presentation of 'hits' - The Bells, Money - especially her careless voice cracking. Even on Palm Trees and Cloud 69 I was thrown, though it may have been the underaged kids who had snuck in front of us (therefore directly in front of Lowell) and appeared to be taking advantage of the alcoholic experience. Funnily enough on the finale, written this week, she appeared more sincere than the previously well-worn tunes and though it wasn't the poppiest number it translated well. I implore Lowell to stick with the skills that brought her this far and lessen the cultivation of this image.

Owen Pallett - Lee's Palace (Jan 31/15)

Before the set began the mystery was "what is under the camouflage tarp?" but practically the instant a bearded Owen Pallett confidently appeared onstage the attention was focused on him and his violin, with little else necessary. Joking about it being his first time in the city (a former resident), how much he likes it and may have to come back he then launched into a solo rendition of That's When the Audience Died, a song from the album that launched his solo career. Remaining in the Final Fantasy era he then played a beautiful rendition of a personal favourite, This Lamb Sells Condos, before being joined by his band members, Robert Gordon and Matt Smith formerly a band including Owen, Les Mouches. With this fuller sound they very cohesively tackled the more sonically dense albums Heartland and last year's In Conflict, arguably Owen's best work to date. There was some especially enjoyable drumming but Owen easily remained the focal point, extracting audible elixir from his violin, the bow his wizard's wand. Later he took another turn sans band which included the moving I Am Not Afraid - an early standout from In Conflict (the only shame of the afternoon was not getting to hear others such as The Passions and the title track.)

When the pair returned to the stage it was for a powerful closing segment that seemed destined to be highlighted by Infernal Fantasy, an incredibly fast-paced song which showcased the strobing of the mirrored lightbox that was uncovered from its camouflage. And yet despite this driving, heart-pounding performance they continued it with The Riverbed and even after it died away in a joyous crashing climax The Great Elsewhere sealed the set. Oh boy, what an incredible performance with Owen laying it all out there.

Amazingly there was more than a little left in the tank as he reappeared on his own after only a short delay to open the encore with a cover of Tori Amos' Pretty Good Year - a song I was previously unfamiliar with but enjoyed nonetheless. Knowing how to close out it was all hands on deck for two excellent Heartland songs split by another perfect throwback in This is the Dream. There is a reason I say that Owen Pallett is my absolute favourite live, solo, Canadian artist. Hell, with performances like this I may be able to remove all of those qualifiers

Opener: Foxes in Fiction

(solo)
That's When the Audience Died (Has a Good Home)
This Lamb Sells Condos (He Poos Clouds)
(band)
Midnight Detectives (Heartland)
Keep the Dog Quiet (Heartland)/Mount Alpentine (Heartland)
Soldier's Rock (In Conflict)
Tryst With Mephistopheles (Heartland)
(solo)
E is For Estranged (Heartland)
I Am Not Afraid (In Conflict)
Song for Five and Six (In Conflict)
(band)
The Secret Seven (In Conflict)
Infernal Fantasy (In Conflict)
The Riverbed (In Conflict)
The Great Elsewhere (Heartland)

-Encore-
(solo)
Pretty Good Year (Tori Amos cover)
(band)
Scandal at the Parkade (Heartland)
This is the Dream of Win & Regine (Has a Good Home)
Lewis Takes Off His Shirt (Heartland)

Foxes in Fiction - Lee's Palace (Jan 31/15)

This three-piece was already making their ambient, dreamy bedroom-pop reminiscent of Memoryhouse when I arrived to their afternoon opening set. With a male lead on electric guitar and primary vocals plus beat machine, the female played keys and synths - adding her lovely voice sparingly throughout the set. Owen Pallett was happy to give them the spotlight and play his violin in the background. Each song was well-crafted and really filled the room even at manageable sound levels, winning over the packed all-ages room who clapped enthusiastically to the understated pleasure of the leading-man of few words.

Opening for Owen Pallett