Hey Rosetta reap from their Seeds at Lee's (Feb. 23)

Photo Credit: Domenico Di Mondo. Thanks!

Hey Rosetta played the first of two, back-to-back sold out nights at Lee's Palace in support of their new release Seeds. Really they are a band to be seen live so after a week with the album it was about time to see what they could do with it. As it turns out they can do a heckuva lot!

They emerged through the darkness to album interlude Downstairs playing, which serves as a welcome to the song Welcome. How fitting. (Wait 'til you read what song they played last... it's as if they plan their music around the live show. Oh right, they probably do.) Well, on Welcome the septet were spot on and there's not much more to say than that the musicianship from this band is stellar. Highly regarded amongst them are the two lovely female violinists who looked almost heavenly as they were backlit during their solo in Yer Spring. An interesting change-up they went to an oldie in Another Pilot, tenderly plucking the first half before reverting to the crashing version Plan Your Escape fans know. Following There's an Arc was another new track that we were here to see, Yer Fall, with its fat bass line midway through, upon which they layer instrumentation and build to an epic crescendo. However it was the next song that totally hit the mark, with no fancy changes or solos, Young Glass was simply outstanding (and I do mean outstanding in its simplicity.)

The latter half of the set focused less on Seeds, and instead included renditions of I've Been Asleep for a Long, Long Time (amusingly going quiet for the note of the word "quiet"), We Made a Pact, and Swing the Cellar Door. Tim was absolutely entertaining during the latter as he roamed the stage in a very emotive fashion while cupping the mic with both hands, and the band playing an extended outro.

They did however include the title/opening track, Seeds, which is one of the songs from the new album that they've been playing the longest. And it only seems to get better with age - that mandolin intro, and the full-band-except-Tim-and-bass percussion, (this time including the clapping of two pieces of wood) - all before the dramatic, lights-out pause.... and then absolutely hammering home the closing!

How could you possible top that? By going to an old favourite? A sing-along? A jamming extended finale that Hey Rosetta is known for? A Red Heart!

The band left the stage absolutely beaming at the outpouring of love from the capacity crowd. We knew they'd be back but cheered as if it was only a remote possibility anyway.

A rendition of the Red Songs EP/Seeds acoustic closer, Bandages calmed us with its beauty and optimism (and xylophone). However it was short lived as we were only riled up again as Tim introduced the female lead from opening band, Gramercy Riffs, and she joined them onstage for a first-half-true-to-form, second-half-in-true-Hey-Rosetta-fashion cover of Cyndi Lauper's Time After Time. Pure fun!

That closing track I mentioned earlier, of course, was New Goodbye. Appropriate, for it was a send-off from a show that featured plenty of new material and really succeeding in bringing the slow-burning sophomore album to life. After taking it in live I feel that I can now more fully appreciate the album and relish the thought of listening to it through fresh ears, with vivid memories to accompany it. Yes, their concerts are that good!

Gramercy Riffs (Lee's Palace, Feb 23)

Gramercy Riffs were an east coast band but unlike Hey Rosetta, for whom they were playing support, these guys made the jump to Toronto to pursue the music scene. Fronted with a female and male vocalist, they fill out to your standard indie rock contingency with regards to instrumentation. (Need I point out that the lone female also plays keys?) What they do on those guitars is rock straight chords, besides the rare solo tossed in by the white haired guitarist. The music they play could be likened to Hooded Fang but noticeably less catchy or quirky. Truthfully I was bordering on boredom (though the drummer's singing along to all parts was entertaining) until the lady took the reigns and showed her vocal strength in building Dreaming to great heights.

Akron/Family for Family Day (Horseshoe Feb. 20)

A night of indulgence began with All-You-Can-Eat sushi luckily I slipped away from that smorgasbord to continue with Delicate Steve at the Horseshoe. The five-piece out of N.J. seemed like Akron/Family lite, in that their music was slightly improvisational, kept vocals to a minimum but featured some tight musicianship. Not ordinarily considered an instrument, the keyboardist also threw down some intense clap patterns (intense judging by his facial expressions anyway). Additionally he was featured with a whistle solo, but unlike Friday night's whistle solo at the 'Shoe this one was played on a gym whistle! These were just eccentric aspects of a thoroughly entertaining opening set where the singing guitars and driving drums carried us through. Having the drummer prominently sat sideways, facing the band at stage-edge was an added treat too. The closing song had a drum machine in addition to his drumming, which they turned down for a stellar mid-song guitar solo and then cranked back up to finish an already strong set with an intense melding of everything all at once. This was met with an equally intense response from the crowd and these lads looked genuinely appreciative of the outpouring of appreciation.

$10 seemed like a steal for an Akron/Family-Day eve spectacle and many others agreed with me as the place was packed out (likely sold out) and heating up by the time the beloved band took to the sweaty stage. Indicating that they were going to play some slower older songs, and hoping that was okay with us the three stood with their guitars and did just that. It was good but I was anxious for them to turn the volume up, forgetting the old notion of being careful what you wish for. Perhaps 15 minutes later they took advantage of the eagerness of the crowd and began interaction through an 'internal dance' followed by a swaying, humming dance too and fed off of this for the first song featuring percussion. Before we knew it the drummer was working a light-induced effect box of some sort (a theremin?) with the flashlight in his mouth, then the floodlights on the stage. The others worked their tables of pedals too, as well as effect mics jammed in their mouths, producing a large sound. The drummer and then the bass player from Delicate Steve took turns in succession joining the band on stage to add another layer to the dense mix. Upon their departure the band brought things back to only vocals again only to build things back up. Admittedly at times when all rhythm was lost, the percussion had stopped, and there was only a wobbling screech coming from the awfully loud speakers steps away it did become a little wearisome. However for the final song they brought the drums back in, picked up the guitars again for a semblance of a 'conventional' song, complete with lyrics.

Upon exit the crowd began their own improvised chanting, clapping, stomping and cheering, all in time and eventually Akron/Family returned and simply joined in, with little to differentiate the encore cheer from the encore itself. That is until they took over for another ear-drum numbing, face-melting, wall of sound experience. As with the main set the closing number saw them pick up their instruments again (rather than poke and prod and wobble buttons and dials) to close out. It had neared two hours of full-on music stimulus - sometimes to the point of excess but always with the potential for greatness and many times hitting that mark. A Family/Day event well worth the cover charge!

WILDLIFE, Paint Movement, Make Your Exit (Horseshoe Feb.18)

Whoa Wildlife! That album of yours... somehow reminiscent of Wolf Parade and still catchy/grabby like Tokyo Police Club. But this isn't a record review; I'm just getting it out in the open that I ventured out into the Wildlife for the first time already smitten. Admittedly I groaned when the laser and smoke machine were hauled on stage but besides the occasional blinding dart of green light I was won over in a hurry. As I was with the performance too.

Jamming out an intro in the dark the five lads looked well accustomed to the stage with a confident presence. They showed that they've got the chops to back it up too as they broke out into album opener Stand in the Water. With ease they performed a slew of songs, largely retaining their album veneer - even amped up further for the live setting. Matches with its singable and quotable chorus shone like a laser to the eye. Drunken Heart was an interesting inclusion in the set-list, while personal fave Move to the City was an equally disappointing exclusion (- a reason to catch them again I suppose!). Current single Sea Dreamer also fared well, though with a consistently strong performance no single track stood head and shoulders above. If there's one thing that always gives a show a boost in my books it's adding extra drummers to the mix -and the whistle-solo is A-OK too! Wildlife give it their all, evidenced by the blood pouring from a self-induced run-in between bass and forehead (requiring stitches), and they don't show any signs of slowing down from intro to glorious outro.

The Paint Movement have continued despite my lack of attention. Last I heard from them they were honing their sound and I'm happy to report that they've been successful on that front. Their instrumental breakdowns were something to look forward to song after song, especially as the vocals for Buffalo-beard and No-beard were muddled and low this night. Actually when Normal-Beard sang the final song and it came through loud and clear it made me wonder why he hadn't piped up more, though the stronger moments of female vocals that broke through were also impressive. Sounding less like Broken Social Scene this time around they appear to be gaining confidence and growing into a sound of their own - Faults proved this.

Make Your Exit actually made quite the entrance Friday night - it was the exit that I found lacking. With the core five and an additional two members lined across the stage front they settled down a decent-sized, babbling Horseshoe crowd to start a slow snap. Quickly I realized that this was their a capella version of Zeus' The River By The Garden, as seen on Southern Souls. Both that video and the live version were pretty darn great, building up to epic proportions with melodica and kazoo. Unfortunately for me this turned out to be the high point of the set as I was unfamiliar with their music, and though it was decent indie rock it sort of melded together which made it feel as if it were dragging on. (Being band 3 of 3 and nearing last call probably had some effect on this too.) At the time I stated that the encore felt extraneous.. make your exit boys, make your exit.

A Rich Residency (Rich Aucoin, Pete Samples - Drake Hotel - Feb. 16, 2011)

When is the last time you danced? Okay, okay, easy one. When is the last time you sang? at the top of your lungs? under a parachute?! The Rich Aucoin gig (date 2 of 3 week residency) at the Drake offered an opportunity to do all of the above, and so much more! An intimate but fun-lovin' Wednesday night crowd (apparently including my new Toronto band-crush, Wildlife, though I haven't seen them yet so can't confirm) came out for what always proves to be a ridiculous party of an event when Rich rolls through. In addition to the above there was jumping, silly-string, hands-in-the-middle cheers, glow-stick parachute-popcorn, arm-in-arm bobbing and so many more unmentionables that completed the whole night. (Like the 3D video accompaniment - I've got the glasses to prove it!) Trying to describe a Rich Aucoin spectacle is about as hard as trying not to dance while at a Rich Aucoin spectacle. The dude knows how to throw a party, and a mean handful of confetti!

Do NOT (like me) miss Rich's final night at the Drake next Wednesday! (If it wasn't for Hey Rosetta that night...)

Pete Samples had the honour of opening up, in what is planned to be one of, if not THE, last Toronto show for Pete. Stating that he felt like dancing and doing karaoke he forewent playing many instruments, choosing instead to bust out over prerecorded tracks. Along with this came drum and cymbal bashing, bubble blowing, chime kicking and all sorts of other noisemakers in front of a video reel lifted from a miniature village. (What?? It made just as much sense watching it...none.) He shimmied and shook, often all the way down onto the dance floor with the pint-sized but eager crowd, even forming us into a dance circle around him and having us serenade him sans backing music (like I said, eager crowd). By the end of the set the stage was littered with broken chimes, a slide whistle, gong, and even ice cream cone-shaped bubbles, making it look like the aftermath of playtime at a children's choir!

Mary Rose Obsession - Hard Rock Cafe - Feb.9 - UPDATED!

Yes, this was a battle of the bands but Mary Rose Obsession are much more polished than your high school rock group. They've got a mix of influences all stemming from the popular hard rock genre (I'd put Finger Eleven in with them; a friend likened them to Danko Jones). The stage presence from the two pairs of brothers is impressive and shows that they've been at this for some time, yet still one step away from gaining recognition for it. They have built a small but loyal following and perhaps a win in the next round would not only secure them an opening spot for Bon Jovi in London, England but have that fan base explode too - or at least they'll start getting some rotation on The Edge where they would fit in nicely. Check it out and cheer 'em on, might just luck out and take in their pretty darn entertaining reinvention of Justin Timberlake's What Goes Around.. 

Best of luck in the finals Wed. Feb 23, 2011 back at the Hard Rock!

Update Feb 23: 

Mary Rose Obsession have won the battle! They are off to fight the war, alongside Bon Jovi in London, England. Congrats boys - you deserve it.