I've always got an excuse for why my musical consumption wasn't as high as it should have been - this time it was a move to the UK at the end of the summer and no real internet connection since then to listen to a lot of new stuff. Regardless I present the best of what I did hear.
Albums/EPs
1. Young Fathers - White Men are Black Men Too
(Scotland)
Shame rattled in my head from the first play and I just had to seek out the artist. It was bold, unique and came with energy in spades. Sure enough the rest of the album lived up to this introduction and I couldn’t get enough. They seem so unique in their swagger – the closest I could liken is an unhinged TV on the Radio. All the ideas seemed to have been tossed in the pot in the studio and only briefly stirred such that there’s a frenetic rawness that makes it exciting time after time. It was stunning to me that this was not their debut, as it just seems so fresh and new, like adolescents bursting with creativity.
2. Purity Ring - Another Eternity
(Edmonton)
I’ll be honest – I thought that Purity Ring’s last album, Shrines, which nearly landed here in 2012 was lightning in a bottle, not to be repeated. How happy I was to be wrong when Another Eternity proved to not just match but be a step up from this Edmonton crew. Doing electro pop the way it is meant to be this is Canada’s answer to Chvrches and frankly this is better.
3. Hayden - Hey Love
(Toronto)
From the Massey Hall preview that he delivered of a few Hey Love songs (particularly No Happy Birthday with it’s introduction/explanation) it was clear that Hayden wasn’t resting on his laurels. Often singer-songwriters of his ilk will pen a couple great albums early on that will keep people coming back to see them looking for the classics. Not here, not Hayden. He has pushed the envelope with this excellent effort, proving his often introspective songwriting continues to be on point. In terms of pure music he has made a wonderful album, refusing to clutter he manages to stick to the basics but make them sound oh-so-good; an album that continues to give on repeat visits.
4. Allie X - COLLXTION 1 [EP]
(Toronto/LA)
This may not quite be an album at just seven songs and under thirty minutes but regardless it’s going right here on this list (because it’s my list and I do what I want.) I knew her best from her role as vocalist in Dwayne Gretzky (Toronto’s premier cover band) so this incarnation was foreign, strange and amazing because of it. The first tease I had was a live Hillside Festival set where she wore glasses and tights and although slightly hesitant in this popstar incarnation the promise was there. Next was that (still) weird video for Catch and finally this EP which delivers on the anticipation. Pure pop done right - her voice is strong and dynamic, her music catchy and the production slick. Like Diamond Rings before her hopefully the pop god(dess) schtick will take off!
5. Sufjan Stevens - Carrie & Lowell
(USA)
Carrie and Lowell at first disappointed me, so how did it get onto my top ten? Admittedly I was looking for another Age of Adz which I loved dearly and each of the first seven times I played this it just wasn’t. I even shelved the album for awhile, returning to it on rare occasion when I was feeling mellow. However by perhaps the twelfth time (maybe the time I awoke on a plane to the magic of Blue Buckets of Gold) I began to get it. I’d think “this is actually a really great song” and then the same two tracks later. Before long I would hear a snippet and would crave the rest. So not even a slow burn – more of a roasting, cooling-off period, and now a high temperature broil. It may not be the way to make potatoes but it landed this album right here.
6. Coeur de Pirate - Roses
(Montreal/Paris)
Beatrice came out with a confident pop album, unleashing herself in a big way. Previously her musical profile was primarily ‘lovely Francophone piano chanteuse' but she has blown the doors off of that. Not only is half of the album in english but the tracks have fuller arrangements that boldly embrace the pop realm and thrive because of it. Although her previous releases, including Trauma a disc of english cover songs, were great it seems that this incarnation is what that standout voice was destined for.
7. Peaches - Rub
(Toronto)
Bitch rub! This is the first time that I gave Peaches a chance and have been rewarded. Perhaps I’d written her off as an attention-seeking shock artist which, to be fair, she may be to some degree. But she’s not just that – underneath the onslaught of vulgar language and the graphic X-rated content there are some grimy beats and serious hooks. Refraining from re-recording your voicemail greeting to “can’t talk right now, this chick’s dick is in my mouth” is an ongoing struggle. She challenges everything here and does so in a way that gets tunes jammed deep inside your skull. Killer album that’s going to make me delve into the back catalogue and see what I’ve been missing.
8. Tobias Jesso Jr. - Goon
(Vancouver)
Late to the party on this one – it was all the press after Adele’s release which he co-wrote on that prompted me to finally put this on. Was I happy that I did! Otherwise I’d have missed out on a quiet but strong album full of feelings and keys. Apparently he taught himself the piano for this record out of necessity having left his guitar on the other side of the continent. It would appear that this junior could write a tune with a cereal box and some dental floss. Beautiful, really.
9. Burning Hell - Don't Believe the Hyperreal
(Canada..)
Here Matthias brings his quirky songwriting to the fore in this instrumentally sparse duet album. Along with his partner, Ariel Sharrat, they sing some of the funniest and most charming songs to come out this year. Particularly amusing is the recounting of their first ever meeting in Fuck the Government, I Love You (even the titles are top notch). It may be short but front to back these are catchy and lovely songs. Let me paraphrase a lyric to summarize what you may be thinking: “love songs are dumb… oh yeah? wait til you hear these ones!”
10. Django Django - Born Under Saturn
(UK)
Altogether catchy. This is my upbeat, slightly quirky, indie pop record entry for the year (see Dodos, Vampire Weekend etc.) These United Kingdom fellas jangle and rock with hooks galore. Sure, by the end of thirteen tracks you may have figured out the formula but that doesn’t stop you from putting it back on two days later.
Other Considerations
Evening Hymns - Quiet Energies
(Ontario)
A very good album perhaps hampered only by my lofty expectations for Jonas. The amplification over previous works – more drums and less ambient swirlings – move him away from the signature sound I adore him for. Not that this is bad by any stretch.
Chilly Gonzales - Chambers
(Canada/Germany)
This album with the Kaiser Quartet is an excellent work that I listen to often. Honestly though, I really enjoy Chilly’s rapping and am disappointed that it’s instrumental (besides Myth Me.)
Grimes - Art Angels
(Vancouver)
"Has Grimes given up her grime and simply gone pop?" I wondered about a few of these tracks on first play (California in particular.) But as the disc grows it becomes clear that Claire is still instilling her own vibe.
Les Jupes - Some Kind of Family
(Winnipeg)
This prairie band gets little love but they’re doing their thing so well. They’ve carved out a signature sound and press on with it which is by no means me complaining – quite the opposite, in fact.
[Update: Just read the announcement that the band has broken up]
Albert Hammond Jr. - Momentary Masters
(UK)
Knowing he had a gig coming up I decided to give this a spin and was pleasantly surprised by how much I liked it…and kept coming back to it. Well-written and catchy, it may not be the best release of the year but it’s worth listening to.
Wavves X Cloud Nothings - Wavves X Cloud Nothings
(USA)
Frankly Cloud Nothings can drum with anyone and I’m probably going to put it on the list.
Last Minute Shoutout
In the new year I discovered Loon Choir's Alway Golden and have been smitten with it leading me to the rest of the album All This and Everything Else which isn't half bad either (and nearly leading me to quit my job.)
(Ottawa)
Showing posts with label hayden. Show all posts
Showing posts with label hayden. Show all posts
Tuesday, January 12, 2016
Tuesday, November 26, 2013
Hayden - Yonge Dundas Square (June 14/13)
Hayden had announced just a few days earlier at Field Trip that he, along with the other two members of his band, would be opening for The National the following week. Naturally the show a mere six days later wouldn't differ drastically from the afternoon set but with Hayden's deep repertoire and stage presence it was worth checking out again. As before they opened with Taylor Knox up front before jumping behind the kit and the first half played out similarly including Worthy of Your Esteem and Rainy Saturday. The set list did vary slightly and Hayden returned to the piano for some worthwhile time. They included Bad as they Seem and Dynamite Walls, which gets me everytime, especially as Taylor's hair was flying during his mid-song drum breakdown. Once again Lou Canon joined him onstage for their recent duet which was perhaps even better this time around. Altogether worth getting their early for.
Wednesday, June 26, 2013
Field Trip (Stars, BSS, Mangan, Hayden, Bloc Party+) - Fort York (June 8/13)
Gold & Youth
I was curious as to how Gold & Youth would be able to present the electronic-based indie rock of their highly enjoyable debut album, Beyond Wilderness, and the way that it was done was by integrating an electronic drum set right into the regular set. These pads were not visible to the audience but could definitely be heard and it allowed for the set to resemble an organic guitar show, without a bunch of backing tracks or knob twisting. The foursome recreated the sound quite well, with the lead male had a much deeper voice than his appearance would indicate, while the female vocalist hit her marks despite some maladjusted microphones. Wrapping up a short set with Time to Kill proved a pleasant way to start the festival.
Still Life Still
Sure were a bunch of dudes on stage for the first main stage set of the day. Alright there were only five of them including the hype man in leather manning the effects and keys. They rumbled out some rock music as the crowd assembled on their blankets all around. Not bad, but not much to jot down here.
The Darcys
Despite supposedly alternating sets on the main and second stage it seemed that every time I arrived to the Fort York stage things were already underway - although upon reflection that may have had to do with the one-lane commute between the stages. Therefore The Darcys were already cranking out their music to an appreciative audience. They incorporate the "Nighttime, anytime. It's alright" refrain by The Constantines (and also covered by Guelphite, Jim Guthrie). Incorporating some keys they were another respectable set that served as a suitable warm-up for a big day.
Jason Collett
A recognizable man in the Toronto scene he was less recognizable having cleaned himself up with a snazzy hair cut that gave an overall clean cut feel. He began with different backers including do-it-all Taylor Knox (bass, drums, vocals) for songs like Rob a Bank. But soon afterward he invited his former bandmates, Zeus, to reprise their roles for a couple tunes including Love is a Dirty Word and the tinny guitared Charlyn, The Angel of Kensington. (One of the first blatant outbreaks of local politics of the day, as he made reference to blocking the proposed WalMart to that neighbourhood.) It was a bit of a revolving door as Ms. Amy Millan joined him for a Hangover Days duet as he broke out the acoustic. To top it all off fellow BSSer, Brendan Canning, toted his guitar on stage for the obligatory I'll Bring the Sun which saw the return of Amy as well as her Stars bandmate, Torquil Campbell to sing along. Unfortunately the clouds remained for the duration of the tune but spirits were buoyed regardless.
Cold Specks
Admittedly most of what I heard from Al Spx was while salivating over my snack options in the food field next door but it seemed like a very full, loud sound, in contrast to her mostly quiet and subdued (but absolutely excellent) record, I Predict a Graceful Expulsion. There was a sax that added some deep bass to the sound and delightfully accompanied her impressive voice which would not be easily overpowered.
Zeus
This band is beloved, fittingly like a god, for their throwback sound and varied live show. It seems as if every member can play every instrument and throughout a half hour set they appeared to have hit on every possible configuration. It's just fun - like the call and response on Anything You Want Dear. They shredded through a bunch of their hits making for a jaunty, quick show.
Trust
One of the few bands of the day that I hadn't yet seen live (Still Life Still, Gold & Youth) again it was a mystery as to how they were going to come across in a live show. And let me tell you - it was a spectacle! The set-up was simple enough; drummer, female keys, and strictly singer. All three members of the band were dressed only in black, with the male lead singer wearing sleeveless top and black skirt, but to offset this lack of colour a very colourful character joined them. As this masked, sequined, jean-vested, short-shorted dancer worked it the band played on. The music is pretty electro catchy and this gave us some entertainment in addition to the otherwise straightforward musical presentation.
Hayden
Mr. Desser was in fine form as he started slowly, seated at his piano bench to open the set with a couple of tunes. The man of many talents, Taylor Knox, began on the guitar before swapping with the third member to take over the drums. He played a relatively perky set considering his catalogue, drawing heavily from the recently released album lit up in a neon Us Alone sign behind him. This included Rainy Saturday plus a cameo from Lou Cannon on Blurry Nights which was quite sweet. However I find it is Hayden's has a knack for putting real feeling into his songs that sets him apart, as on Almost Everything which drips with emotion with each ivory key and harmonica hum. For this reason alone I was left dreaming of a long, late-night set in a dingy back room bar where he could really get into it with a captive audience. That being said, there was much to be enjoyed from this festival set as well.
Ra Ra Riot
An American band that tours Toronto surprisingly often, likely due to their Arts & Crafts representation. For this reason I've seen them a couple of times in the past without getting too worked up about them - but their latest album had caught my ear again so I was willing to give them another go. And it was a worthwhile endeavour too as they impressed with the translation of their hooky songs to the live stage. I hadn't realized there were so many of them - six - but they were tight as the lead male burst out with his higher range vocals, nicely matched by the violin and countered with the deeps of the bodyless standup bass. They lead the crowd with energy and it was fed right back to them appropriately. One notable flair was when a member hugged his guitarist from behind, slipping his arms between the guitar and the guitarist's arms to start a clap. That was a silly sight but otherwise an entertaining little set.
Bloc Party
It has been some time since I fell hard for Silent Alarm but the album still passes muster when I return to it some eight years later - and not quite that the same length of time since I saw them perform last, but awhile, no doubt. And wasn't I pleasantly surprised with this performance! Granted the music since that magnificent debut has evolved but they retain their catchy senses. So of course I enjoyed So Here We Are, Banquet and Helicopter but also Waiting for the 718 and Song for Clay from 2007's A Weekend in the City too. In fact, they played an unreleased track about Montreal which sounded excellent despite being a slower number - great response. The band still retains a certain swagger that carried them through the elongated set length. In finale they did not disappoint my twenty year old heart either as they performed a rousing rendition of This Modern Love that brought everything back around. Beautiful.
Stars
The last Stars show renewed my reasoning for having seen this band a dozen times - that Danforth show was stellar (pun not originally intended). Here they had a massive black and white backdrop poster of their North album cover which I could make out from my vantage point by the sound tent (as the festival had packed out by this point). The duo were energetic as usual though they were aware of the time limitations and burned through the hits rather than spending too much time waxing poetic. Torq did get a word out to enjoy ourselves even "under this shitty highway" as he motioned to the Gardiner nearby. There appeared to be another new guitarist, even since the Danforth show, though I couldn't be 100% sure - he did seem awfully happy to be there however, as he smiled away. Amy and Evan were amped up as each was seen jumping up and down at various points throughout the set that many in the crowd remarked was one of their favourites of the day (whereas I was slightly distracted by my burrito and being at the back). Perhaps ranked somewhere lower in the long list of Stars shows based on personal enjoyment, primarily due to circumstances, but that still makes it a better set than most concerts going.
Theory of Relativity
Lights Changing Colour
A Song is a Weapon
The North
We Don't Want Your Body
Elevator Love Song
Soft Revolution
Backlines
Midnight Coward
Take Me to the Riot
Hold On When You Get Love and Let Go When You Give It
Dan Mangan
A surprising highlight of the day. Not because I doubt Dan - I have professed my love for him many times before and stand by it - but because they hadn't played in such a long time following their last tour (including the recent birth of Dan's first child). While a tonne of people staked out their spot for Feist there was still a horde of Manganians hanging on each of his lyrics. Despite the absence the entire band seemed sharp, still building it up to knock it down. I've said it before but that Post War Blues just wallops you live! It is so darn good and received my virtual vote for best single song of the festival. (I had hopes for Anthems for a Seventeen Year Old Girl but..) Of note was the quickened version of Sold which still worked, while If I Am Dead worked slowed. The Leaves, Trees, Forest lyric caught my ear for some reason this time around too - "That's the thing about everything; everything always does that."
For better or worse the tune that is still Dan's signature remains Robots, so it was interesting to hear them change up the opening to the song as a disguise, but when the chorus rolled around and Dan had us all singing along there was no doubt remaining. As a bonus that song did not close out the set but instead we were treated to Rows of Houses which is a fantastic tune recorded and live, and was always destined to be a hit.
Feist
Coming upon the set late I was disappointed to see guests Aroara being thanked as they departed the stage (worth it for Dan though). From here Feist played an intriguing, if somewhat muddled and disappointing set. Sure, she could have played a more generic typical standard set of her hits as she has hundreds of times over (like Centre in the Square, Kitchener some years ago) but that is the music that made her famous. Primarily backed by only a DJ she ran through a series of reinterpretations of her own catalogue. Unfortunately the singing hardly sounded like singing as few words were heard between a series of sounds and notes emitting from her mouth. Often it is interesting for a live set to differ from its recorded counterpart but as with Dylan when the original is barely recognizable a great deal is lost. This seemed indulgent. I can't be certain that she ever got to "4" to start that thumb war as the loops continued without really going anywhere. When the hooded (caped?) lady finally exited the stage it was to a mixed ovation. I am still a Feist fan but would have reservations about making reservations to see her next show, unsure which one I was going to get.
Broken Social Scene
Yes it was a reunion for BSS after their hiatus announcement a couple years ago, after all isn't it "time that we grow old and do some shit"? The reason was the ten year anniversary of the label which essentially was established for the Broken Social Scene and definitely prospered due to their success, as well as the success of their cohorts and offshoots who also made music for Arts and Crafts. Plenty members had already taken to the stage earlier in the day including Andrew Whiteman (and his wife Ariel) with AroarA, Kevin Drew with anyone who invited him up, as well as the Stars crew. Here they were all (~13) together presenting their seminal album You Forgot It In People in its entirety and sticking much to the recorded versions as should be done in instances such as this. Mind you the standout track (of the album and perhaps their entire discography) Anthems for a Seventeen Year-Old Girl sorely missed Emily Haines' presence as despite the obvious enthusiasm from the female contingency, Amy, Ariel, and Lisa, they couldn't match it even together. However Metric, and hence Emily, was unavailable due to conflicting tour commitments. Yet a tender moment came following the conclusion of People as straight from the airplane James Shaw arrived to surprise everyone, especially Kevin Drew who blubbered his delight. Yes, they did carry on with a good number of further tunes beyond the album reproduction, tossing in a few from the last release including the strongest song from it, All to All, but primarily adding in the greatest hits and a previously unreleased song as well. Unfortunately the closing tune selection wasn't quite as joyous and ecstatic as could be but the show was excellent regardless. As he's wont to do, often enough that Feist hilariously impersonated him during her set, Kevin politicized the affair by calling us together to stand up for Toronto - barely veiling his condemnation of the current mayor. It was true that it was a beautiful culmination of art and people at historic Fort York as we all came to celebrate A&C and by extension the Toronto scene as a whole.
I was curious as to how Gold & Youth would be able to present the electronic-based indie rock of their highly enjoyable debut album, Beyond Wilderness, and the way that it was done was by integrating an electronic drum set right into the regular set. These pads were not visible to the audience but could definitely be heard and it allowed for the set to resemble an organic guitar show, without a bunch of backing tracks or knob twisting. The foursome recreated the sound quite well, with the lead male had a much deeper voice than his appearance would indicate, while the female vocalist hit her marks despite some maladjusted microphones. Wrapping up a short set with Time to Kill proved a pleasant way to start the festival.
Still Life Still
Sure were a bunch of dudes on stage for the first main stage set of the day. Alright there were only five of them including the hype man in leather manning the effects and keys. They rumbled out some rock music as the crowd assembled on their blankets all around. Not bad, but not much to jot down here.
The Darcys
Despite supposedly alternating sets on the main and second stage it seemed that every time I arrived to the Fort York stage things were already underway - although upon reflection that may have had to do with the one-lane commute between the stages. Therefore The Darcys were already cranking out their music to an appreciative audience. They incorporate the "Nighttime, anytime. It's alright" refrain by The Constantines (and also covered by Guelphite, Jim Guthrie). Incorporating some keys they were another respectable set that served as a suitable warm-up for a big day.
Jason Collett
A recognizable man in the Toronto scene he was less recognizable having cleaned himself up with a snazzy hair cut that gave an overall clean cut feel. He began with different backers including do-it-all Taylor Knox (bass, drums, vocals) for songs like Rob a Bank. But soon afterward he invited his former bandmates, Zeus, to reprise their roles for a couple tunes including Love is a Dirty Word and the tinny guitared Charlyn, The Angel of Kensington. (One of the first blatant outbreaks of local politics of the day, as he made reference to blocking the proposed WalMart to that neighbourhood.) It was a bit of a revolving door as Ms. Amy Millan joined him for a Hangover Days duet as he broke out the acoustic. To top it all off fellow BSSer, Brendan Canning, toted his guitar on stage for the obligatory I'll Bring the Sun which saw the return of Amy as well as her Stars bandmate, Torquil Campbell to sing along. Unfortunately the clouds remained for the duration of the tune but spirits were buoyed regardless.
Cold Specks
Admittedly most of what I heard from Al Spx was while salivating over my snack options in the food field next door but it seemed like a very full, loud sound, in contrast to her mostly quiet and subdued (but absolutely excellent) record, I Predict a Graceful Expulsion. There was a sax that added some deep bass to the sound and delightfully accompanied her impressive voice which would not be easily overpowered.
Zeus
This band is beloved, fittingly like a god, for their throwback sound and varied live show. It seems as if every member can play every instrument and throughout a half hour set they appeared to have hit on every possible configuration. It's just fun - like the call and response on Anything You Want Dear. They shredded through a bunch of their hits making for a jaunty, quick show.
Trust
One of the few bands of the day that I hadn't yet seen live (Still Life Still, Gold & Youth) again it was a mystery as to how they were going to come across in a live show. And let me tell you - it was a spectacle! The set-up was simple enough; drummer, female keys, and strictly singer. All three members of the band were dressed only in black, with the male lead singer wearing sleeveless top and black skirt, but to offset this lack of colour a very colourful character joined them. As this masked, sequined, jean-vested, short-shorted dancer worked it the band played on. The music is pretty electro catchy and this gave us some entertainment in addition to the otherwise straightforward musical presentation.
Hayden
Mr. Desser was in fine form as he started slowly, seated at his piano bench to open the set with a couple of tunes. The man of many talents, Taylor Knox, began on the guitar before swapping with the third member to take over the drums. He played a relatively perky set considering his catalogue, drawing heavily from the recently released album lit up in a neon Us Alone sign behind him. This included Rainy Saturday plus a cameo from Lou Cannon on Blurry Nights which was quite sweet. However I find it is Hayden's has a knack for putting real feeling into his songs that sets him apart, as on Almost Everything which drips with emotion with each ivory key and harmonica hum. For this reason alone I was left dreaming of a long, late-night set in a dingy back room bar where he could really get into it with a captive audience. That being said, there was much to be enjoyed from this festival set as well.
Ra Ra Riot
An American band that tours Toronto surprisingly often, likely due to their Arts & Crafts representation. For this reason I've seen them a couple of times in the past without getting too worked up about them - but their latest album had caught my ear again so I was willing to give them another go. And it was a worthwhile endeavour too as they impressed with the translation of their hooky songs to the live stage. I hadn't realized there were so many of them - six - but they were tight as the lead male burst out with his higher range vocals, nicely matched by the violin and countered with the deeps of the bodyless standup bass. They lead the crowd with energy and it was fed right back to them appropriately. One notable flair was when a member hugged his guitarist from behind, slipping his arms between the guitar and the guitarist's arms to start a clap. That was a silly sight but otherwise an entertaining little set.
Bloc Party
It has been some time since I fell hard for Silent Alarm but the album still passes muster when I return to it some eight years later - and not quite that the same length of time since I saw them perform last, but awhile, no doubt. And wasn't I pleasantly surprised with this performance! Granted the music since that magnificent debut has evolved but they retain their catchy senses. So of course I enjoyed So Here We Are, Banquet and Helicopter but also Waiting for the 718 and Song for Clay from 2007's A Weekend in the City too. In fact, they played an unreleased track about Montreal which sounded excellent despite being a slower number - great response. The band still retains a certain swagger that carried them through the elongated set length. In finale they did not disappoint my twenty year old heart either as they performed a rousing rendition of This Modern Love that brought everything back around. Beautiful.
Stars
The last Stars show renewed my reasoning for having seen this band a dozen times - that Danforth show was stellar (pun not originally intended). Here they had a massive black and white backdrop poster of their North album cover which I could make out from my vantage point by the sound tent (as the festival had packed out by this point). The duo were energetic as usual though they were aware of the time limitations and burned through the hits rather than spending too much time waxing poetic. Torq did get a word out to enjoy ourselves even "under this shitty highway" as he motioned to the Gardiner nearby. There appeared to be another new guitarist, even since the Danforth show, though I couldn't be 100% sure - he did seem awfully happy to be there however, as he smiled away. Amy and Evan were amped up as each was seen jumping up and down at various points throughout the set that many in the crowd remarked was one of their favourites of the day (whereas I was slightly distracted by my burrito and being at the back). Perhaps ranked somewhere lower in the long list of Stars shows based on personal enjoyment, primarily due to circumstances, but that still makes it a better set than most concerts going.
Theory of Relativity
Lights Changing Colour
A Song is a Weapon
The North
We Don't Want Your Body
Elevator Love Song
Soft Revolution
Backlines
Midnight Coward
Take Me to the Riot
Hold On When You Get Love and Let Go When You Give It
Dan Mangan
A surprising highlight of the day. Not because I doubt Dan - I have professed my love for him many times before and stand by it - but because they hadn't played in such a long time following their last tour (including the recent birth of Dan's first child). While a tonne of people staked out their spot for Feist there was still a horde of Manganians hanging on each of his lyrics. Despite the absence the entire band seemed sharp, still building it up to knock it down. I've said it before but that Post War Blues just wallops you live! It is so darn good and received my virtual vote for best single song of the festival. (I had hopes for Anthems for a Seventeen Year Old Girl but..) Of note was the quickened version of Sold which still worked, while If I Am Dead worked slowed. The Leaves, Trees, Forest lyric caught my ear for some reason this time around too - "That's the thing about everything; everything always does that."
For better or worse the tune that is still Dan's signature remains Robots, so it was interesting to hear them change up the opening to the song as a disguise, but when the chorus rolled around and Dan had us all singing along there was no doubt remaining. As a bonus that song did not close out the set but instead we were treated to Rows of Houses which is a fantastic tune recorded and live, and was always destined to be a hit.
Feist
Coming upon the set late I was disappointed to see guests Aroara being thanked as they departed the stage (worth it for Dan though). From here Feist played an intriguing, if somewhat muddled and disappointing set. Sure, she could have played a more generic typical standard set of her hits as she has hundreds of times over (like Centre in the Square, Kitchener some years ago) but that is the music that made her famous. Primarily backed by only a DJ she ran through a series of reinterpretations of her own catalogue. Unfortunately the singing hardly sounded like singing as few words were heard between a series of sounds and notes emitting from her mouth. Often it is interesting for a live set to differ from its recorded counterpart but as with Dylan when the original is barely recognizable a great deal is lost. This seemed indulgent. I can't be certain that she ever got to "4" to start that thumb war as the loops continued without really going anywhere. When the hooded (caped?) lady finally exited the stage it was to a mixed ovation. I am still a Feist fan but would have reservations about making reservations to see her next show, unsure which one I was going to get.
Broken Social Scene
Yes it was a reunion for BSS after their hiatus announcement a couple years ago, after all isn't it "time that we grow old and do some shit"? The reason was the ten year anniversary of the label which essentially was established for the Broken Social Scene and definitely prospered due to their success, as well as the success of their cohorts and offshoots who also made music for Arts and Crafts. Plenty members had already taken to the stage earlier in the day including Andrew Whiteman (and his wife Ariel) with AroarA, Kevin Drew with anyone who invited him up, as well as the Stars crew. Here they were all (~13) together presenting their seminal album You Forgot It In People in its entirety and sticking much to the recorded versions as should be done in instances such as this. Mind you the standout track (of the album and perhaps their entire discography) Anthems for a Seventeen Year-Old Girl sorely missed Emily Haines' presence as despite the obvious enthusiasm from the female contingency, Amy, Ariel, and Lisa, they couldn't match it even together. However Metric, and hence Emily, was unavailable due to conflicting tour commitments. Yet a tender moment came following the conclusion of People as straight from the airplane James Shaw arrived to surprise everyone, especially Kevin Drew who blubbered his delight. Yes, they did carry on with a good number of further tunes beyond the album reproduction, tossing in a few from the last release including the strongest song from it, All to All, but primarily adding in the greatest hits and a previously unreleased song as well. Unfortunately the closing tune selection wasn't quite as joyous and ecstatic as could be but the show was excellent regardless. As he's wont to do, often enough that Feist hilariously impersonated him during her set, Kevin politicized the affair by calling us together to stand up for Toronto - barely veiling his condemnation of the current mayor. It was true that it was a beautiful culmination of art and people at historic Fort York as we all came to celebrate A&C and by extension the Toronto scene as a whole.
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?
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