Showing posts with label the burning hell. Show all posts
Showing posts with label the burning hell. Show all posts
Friday, January 4, 2019
The Burning Hell - Sunflower Lounge - Dec 13, 2015
Starting as the truly duet show that was advertised Mathias and his partner, Ariel, treated us to "love songs" fresh from their Don't Believe the Hyperreal album. With Mathias on acoustic and Ariel on clarinet, both lending their complementary voices, it was instantly engaging even only having heard the new songs once the night before. Following these they did break out some classic Burning Hell tunes, eschewing a set list and instead taking requests from the intimate and engaged audience. This brought a variety of songs to the stage but with a catalog like his it's hard to go wrong. Old World was played, and Amateur Rapper in finale. I hadn't shouted out during the first call but now was my chance as in the small room we cheered them back for a one song encore - "Florida!" Sure enough they complied with "possibly the first Burning Hell song" and had us sing love along. Beautiful.
The Burning Hell - Sunflower Lounge - Nov 29, 2018
The Burning Hell played a short but thoroughly enjoyable set at the Sunflower, although I tend to feel that way about many of the bands that I cherish, especially in great venues. As only a three piece, Mathias on guitar, of course, with Ariel drumming, bass-clarineting, and singing too naturally, plus Darryn Brown on bass and mandolin. It's the songwriting that sets this bands apart however, so although it was pared down the bright side is it gave more room to the stories in the lyrics. Mathias chatted a little with the crowd, primarily urging us to give generously to Parkinson's UK for whom the evening was a fundraiser. He did reveal that he'd received many requests for the evening and despite lots of them having fallen out of their repertoire they did their best to oblige. Opening with The Stranger from 2016's Public Library, with its excellent plot twist, they also did The Things People Make, Part 2 by request, which went down well. An interesting choice was the extended story of Barbarians, even with the passage of time being sped along by Kom unwinding his first string to strum it signifying as much. It also medleyed in some Rage Against the Machine before merging directly into a cover of Dolly Parton's 9-5. To exhibit that Mathias still has it he spit Amateur Rapper with the hilarious "whip out my diction" line. Ariel also got to give us a vocal performance too by singing a solo song and then a duet with Mathias in their also-requested finale of Baby closer, Everything Will Probably Be Okay. An encore would have been nice as there's always more songs to choose from but I believe the full room was happy with all that they did get.
Nine Dart Finish were the middle openers (we missed the bottom bill band) and did a hearty job of rocking us. Three down-to-earth Birmingham blokes who were happy to be playing for us as they admitted they'd be playing in their gardens anyhow, oddly saying "naked" in unison. Mind you. they did take full advantage of the slot given them, playing at least a dozen songs rooted in rock, pop and punk without too much individualisation.
Nine Dart Finish were the middle openers (we missed the bottom bill band) and did a hearty job of rocking us. Three down-to-earth Birmingham blokes who were happy to be playing for us as they admitted they'd be playing in their gardens anyhow, oddly saying "naked" in unison. Mind you. they did take full advantage of the slot given them, playing at least a dozen songs rooted in rock, pop and punk without too much individualisation.
Tuesday, January 12, 2016
Top Ten 2015 - Year in Review
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)
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)
Tuesday, December 2, 2014
Burning Hell, Blimp Rock - Dakota - Oct 23
The Burning Hell
Somehow it was Mathias' first time in the Dakota and they even took the stage as the opening act of the early time slot. Using the excuse that a member was vacationing (in Spain, with his mother) he was accompanied by only Nick Ferrio on bass and Ariel Sharon on the plugged clarinet. As an introduction, Mathias played My Name is Mathias on his acoustic guitar and then they proceeded with mostly cuts from the latest full length, not reaching back overly far. One exception was a new tune about rapping that was followed by the song that inspired it, Amateur Rappers. A mid set story about a public washroom dilemma had everyone laughing but the smaller audience was already rapt and enjoying the shared smirks at the sly jokes hidden throughout. We earned a joke from Ariel and audience participation during the Amateur Rapper joke, plus a clarinet keynote in the finale.
It was a grin-worthy night as usual that also included Kings of the Animal Kingdom and a singalong for Industrialists.
Somehow it was Mathias' first time in the Dakota and they even took the stage as the opening act of the early time slot. Using the excuse that a member was vacationing (in Spain, with his mother) he was accompanied by only Nick Ferrio on bass and Ariel Sharon on the plugged clarinet. As an introduction, Mathias played My Name is Mathias on his acoustic guitar and then they proceeded with mostly cuts from the latest full length, not reaching back overly far. One exception was a new tune about rapping that was followed by the song that inspired it, Amateur Rappers. A mid set story about a public washroom dilemma had everyone laughing but the smaller audience was already rapt and enjoying the shared smirks at the sly jokes hidden throughout. We earned a joke from Ariel and audience participation during the Amateur Rapper joke, plus a clarinet keynote in the finale.
It was a grin-worthy night as usual that also included Kings of the Animal Kingdom and a singalong for Industrialists.
Blimp Rock
Blimp Rock are built on a joke premise but don't seem to be a joke band. I was surprised that they had the later set on the early Dakota bill with The Burning Hell but they were a fitting partner so it didn't much matter. The mixed-sex four piece included a female drummer who had at least two incorrect set lists that threw them for a loop while the lead singer threw down a little dance at one point. They played a likeable twee pop show to the majority of people who stuck around.
Blimp Rock are built on a joke premise but don't seem to be a joke band. I was surprised that they had the later set on the early Dakota bill with The Burning Hell but they were a fitting partner so it didn't much matter. The mixed-sex four piece included a female drummer who had at least two incorrect set lists that threw them for a loop while the lead singer threw down a little dance at one point. They played a likeable twee pop show to the majority of people who stuck around.
Wednesday, May 1, 2013
The Burning Hell, Nick Ferrio, Eons - The Silver Dollar (Apr 29/13)
In the stripped down 5-piece configuration that has come to be the norm since leading man, Mathias Kom, uprooted to The Rock, The Burning Hell made a return to their former province's capital city. A moderately-sized, energetic Monday night crowd greeted them kindly in the intimate Silver Dollar venue - even if they opened with some more downbeat songs, including Grown-Ups and Kings of the Animal Kingdom. A healthy amount of new Peoplewas interspersed with older, beloved Burning Hell tracks through the night - the former including Realists and the latter Things That People Make (1) and more recent Nostalgia. The guitarist got to play us some licks, as did Nick Ferrio on bass, and the female clarinet also had a featured solo or two. Mathias was obliging to requests which fortunately added The Berlin Conference to the set list though My Name is Mathias seemed to be the planned closer. Also planned was the encore as there really isn't any backstage to go to in the venue, so they were soon back for the uke-free Amateur Rapper which saw Kom banging the drum set for the crashing ending. Furthering the requests they came back for a second encore to uplift us into the night with my favourite song, It Happens in Florida, for which we poured out the "Love".
Eons
Billed as Matt Cully of Bruce Peninsula he was joined by a lady on the violin and effect keys, though she wasn't fellow BP member Misha Bower who apparently features.prominently on the album with imminent release. We can likely expect similar sounds on that to this live show which was primarily composed of Matt"s deliberate electric guitar work, and occasional effect or reverb, under his signature baritone. This voice got especially gruff on the traditional cover he performed and changed again for somewhat familiar finale, Chair on Fire.
Nick Ferrio
Monday, April 30, 2012
The Burning Hell (Lee's Palace, Apr 26 '12)
Lee's Palace seemed a little more like a cavern for this sparsely attended Thursday night gig. Mathias Kom asked us all to come forward so he could at least see who he was playing to and being the good Burning Hell sports that we are, we obliged. Besides a familiar bassist the backing band has changed significantly since the good ol' Guelph shows, not to say these guys were any slouches. Besides it is Kom's brainchild and he reaches well beyond mediocrity in all aspects. His songwriting is wonderfully literate and it was fun just to listen to the new girls beside me as they heard the jokes (as well as the outrightly heartbreaking lyrics, eg. Remote Control) for the first time. In fact the only new song was a duet with Berlin-based opening lady Freschard. A lovely, simple English song sung through her endearing French accent. Not to say the set was totally a rehash though either nor that she was the only guest. Actually during Flux Capacitor's Nostalgia Matthias called for any sax players in the building to make themselves welcome for this song, without any real expectations. Sure enough following the first verse the man to follow on the bill, Stanley Brinks, strolls out from backstage nonchalantly and joins in without missing a stride. Matthias is so caught off guard by how awesome this is that he momentarily forgets the words to verse two.
It wasn't the most prolific BH set by any stretch but it did make me smile, such as when Matthias introduced Let Things Slip Away by saying 'I was going to call this Losing My Religion but somebody told me that was already taken. By U2.' Who ever said hell couldn't be enjoyable?
Let Things Slip Away
Nostalgia
Kings of the Animal KingdomDuet with Freschard "I liked you from the start"
Everybody Needs a Body (to be somebody)
Old World
The Second Cigarette
It wasn't the most prolific BH set by any stretch but it did make me smile, such as when Matthias introduced Let Things Slip Away by saying 'I was going to call this Losing My Religion but somebody told me that was already taken. By U2.' Who ever said hell couldn't be enjoyable?
Set
Remote ControlLet Things Slip Away
Nostalgia
Kings of the Animal KingdomDuet with Freschard "I liked you from the start"
Everybody Needs a Body (to be somebody)
Old World
The Second Cigarette
Wednesday, August 3, 2011
The Burning Hell, Tony Dekker, The Pining (Tranzac, July 29, 2011)
The Burning Hell
Mathias Kom was back with a decent sized Burning Hell composed of Toronto and St. John's (his new home) musicians, including three women holding down violin, sax and clarinet. All told the sound was rather full as they opened with the straightforward My Name is Mathias and kept it going with a number of new Flux Capacitor songs. During a song about pirates (Pirates) band introductions were made, giving ample opportunity to showcase each instrument with a solo.
A slightly sad, slower song about pets still showcased the quirky but amusing wit of Mathias' lyrics. Our moods rebounded with some more familiar songs such as the trumpeting Everybody Needs A Body and a faux-jazzy intro to Last Will and Testament.
Working toward climax they launched into The Things That People Make 1 and 2, with a hilarious In the Air Tonight intro. For the Dance, Dance, Dance finale they upped audience participation with an on-stage then in-crowd limbo contest below the bass neck.
We roared for more and they gave it to us in the form of a medley of sorts. Okay it was more like the first half of absolute fave It Happens in Florida with a drawn out singalong to the word Loooove each time it came around, meshed clumsily into Bretton Woods. What a celebration it seems to be whenever Mathias and friends play a show - now that he's moved base from Peterborough to St. John's the shows become more and more special.
Tony Dekker
Tony Dekker took to the stage without the Great Lake Swimmers. Instead he simply had his guitar in hand as he opened by plucking through a rendition of Moving Pictures, Silent Films. However being a large Tranzac room on a Friday night the place was a little chatty for the core of the set with either less recognizable or new GLS/T. Dekker tunes. He did play the wonderfully worded Your Rocky Spine and closed with an earlier Swimmers fave in Imaginary Bars.
The Pining
The Pining were a group of women playing country music. The vocals were sometimes unexpected but sounded solid even if I wasn't a huge fan of the genre. A small number of tracks were recognizable from Radio3 listening and the familiarity improved enjoyment.
Mathias Kom was back with a decent sized Burning Hell composed of Toronto and St. John's (his new home) musicians, including three women holding down violin, sax and clarinet. All told the sound was rather full as they opened with the straightforward My Name is Mathias and kept it going with a number of new Flux Capacitor songs. During a song about pirates (Pirates) band introductions were made, giving ample opportunity to showcase each instrument with a solo.
A slightly sad, slower song about pets still showcased the quirky but amusing wit of Mathias' lyrics. Our moods rebounded with some more familiar songs such as the trumpeting Everybody Needs A Body and a faux-jazzy intro to Last Will and Testament.
Working toward climax they launched into The Things That People Make 1 and 2, with a hilarious In the Air Tonight intro. For the Dance, Dance, Dance finale they upped audience participation with an on-stage then in-crowd limbo contest below the bass neck.
We roared for more and they gave it to us in the form of a medley of sorts. Okay it was more like the first half of absolute fave It Happens in Florida with a drawn out singalong to the word Loooove each time it came around, meshed clumsily into Bretton Woods. What a celebration it seems to be whenever Mathias and friends play a show - now that he's moved base from Peterborough to St. John's the shows become more and more special.
Tony Dekker
Tony Dekker took to the stage without the Great Lake Swimmers. Instead he simply had his guitar in hand as he opened by plucking through a rendition of Moving Pictures, Silent Films. However being a large Tranzac room on a Friday night the place was a little chatty for the core of the set with either less recognizable or new GLS/T. Dekker tunes. He did play the wonderfully worded Your Rocky Spine and closed with an earlier Swimmers fave in Imaginary Bars.
The Pining
The Pining were a group of women playing country music. The vocals were sometimes unexpected but sounded solid even if I wasn't a huge fan of the genre. A small number of tracks were recognizable from Radio3 listening and the familiarity improved enjoyment.
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