Rural Alberta Advantage, Yukon Blonde - Castle & Falcon - March 16, '18

Yukon Blonde

Entering the Castle and Falcon I was surprised to hear live music emanating from the back room ahead of the venue’s own set times. Sure enough, Yukon Blonde must have gone on early and were playing to a surprisingly well-filled room. Surprising only because I’d never seen any advertising for anything at this pub before this show and only noticed this gig because I knew the bands. The five of them, with a sideways, side stage drum kit and a female tucked in back were jamming out their throwback guitar rock. Besides the vocals being occasionally flat, whether due to singing or sound system I couldn’t quite tell, they were pretty tight. Playing a lot of new tunes from their last release, .. On Blonde (get it), I didn’t recognise as much as I expected, with Saturday Night being a highlight. The new single Crazy came across well and they excelled when jamming out loudly. Heads were bopping and toes tapping throughout.

Rural Alberta Advantage
I forget just how good The RAA are. Despite having seen them umpteen times it has been awhile; this the first time since the release of The Wild and it all came flooding back when they hit the stage. As an additional bonus I was stoked to see Barefoot Amy back in the fold after a departure for the recording and original tour of The Wild. The crowd were obviously here for this and rocked out right along with us up front, some more determined than others to get individual band members attention (in the form of fist bumps.) I don’t blame them too much as Paul Banwatt is still one of the best in the biz, as exhibited right in front of me, also with a sideways kit. I can’t even keep track of the rhythms and changes and he’s the one playing them. Nils brought his signature nasal to the table, slightly toned down perhaps due to sickness or maybe just evolution. While Amy was her regular geeky self, trying to impress with awkward yet endearing banter about slimy feet and all age shows. The music drew on the entire catalogue, with love throughout, though earlier tunes seemed to get a bigger reaction (perhaps that’s a personal bias though.) Don’t Haunt this Place got things revving a couple tracks in while mid set In the Summertime was beautiful as ever. For the much deserved encore Nils returned alone and rather than his old go-to of Eye of the Tiger he played an acoustic rendition of North Star that definitely mixed things up a little. He introduced it as being written about an encounter with a crush while watching a Stars gig at an Ontario festival. Finally they all came out for Deathbridge in Lethbridge for us to leave it all on the floor. I’d have liked Four Night Rider but besides that I was thoroughly pleased!

At The Drive In, Death From Above 1979 - Institute - March 12, 2018

The original reunion tour of the unlikely reunion of At the Drive In got serious interest but a new album tour seems to have attracted far less attention, given the ticket deals and eventual downsizing of the venue. It was still busy but not to capacity. The five of them took to the stage, originals besides a swapped out Jim Ward (backing vocals, guitar, Sparta) and launched into it. I’d like to say that the whole room kicked off but the truth is it was a limited response. Things did build as I moved up into the pit by the second or third tune. The set list was well crafted, playing a couple new ones from the decent Interalia (2017) but more importantly a good selection of the old songs that we’d come here for ("we", the thirty-somethings whose youth was spent downloading Relationship of Command from Kazaa song by song, drawing our allegiances to the various ATDI offshoots on internet message boards.) Napoleon Solo got the pit moving early, while everyone’s favourite One Armed Scissor was unceremoniously played just past the halfway point. I was pleased for a live rendition of Invalid Litter Dept. even if Cedric Bixler did adjust the vocal tempo at times. Still under his signature Afro, albeit a rather thinned out one, he was doing his best to play the outrageous frontman and belie his age and shape; heel-kicking the mic, stomping the custom stand, flinging the cable. He did put on quite a performance. It was Omar Rodriguez-Lopez that I was interested in most though and so I worked my way through the pit to be lined up in front of him. Despite the askew hat he wasn’t particularly showy, mind you his playing speaks for itself. Without needing to ham it up his guitar work was still stellar and great to see live. They returned to encore despite a mediocre call for one and pleased most with Pattern Against User. For this olden day fan it pushed the right buttons, maybe not jamming them all simultaneously but was satisfying nonetheless.

Death From Above 1979

With the Physical World, DFA's "comeback" album it took a live rendition to properly drive the songs home and make me fully realise them. Jesse and Seb's performance of the follow-up, Outrage is Now!, was unable to do the same, in fact pushing the latest tunes further from my heart. Granted they were an opening band probably well-tired of their now 13 year old debut but to only play one song, a deeper cut at that in Goin' Steady, is a bit of a snub to fans. While album one got one song, album two only had two, meaning this lacklustre show was primarily new material. Although not awful it made for an underwhelming set that long-time fans would be ultimately disappointed in.

Peter Donohoe: Mozart Cycle - Birmingham Conservatoire

As an excuse to give the new 57 billion pound conservatoire a glance I went to my first strictly piano recital. Now this wasn't some elementary school performance but a concert from an exceptionally talented pianist, more renowned for his 20th century renditions than the "classics." As he described it though, performing a Mozart cycle is like conquering his Everest and so we were given witness to a superb show. I don't know enough (or nearly anything) about this musical scene to properly review it but I was engaged by the music alone as it wound through the three cycles of the first act. In the second half, with a view to his hands it was amazing to see the work that goes into such music. He even returned for a quick encore when it was all said and done. Who knew two hours could pass with just one instrument? As for the conservatoire, it looked shiny and new but not particularly fancy, but the sound was spot on.

The Weather Station - Hare & Hounds

Red River Dialect had the makings of an interesting band - a six piece, with violin - but the music was just not that compelling. The songs were long but didn’t go much of anywhere and were very calm but not sweet. A full 45 minutes was more than plenty. 

Tamara introduced herself and the Weather Station, starting with a couple of older songs alongside her three male counterparts. Then they dug into the latest album which brought the show to life for me. Despite recovering from a cold so admittedly not being able to sing quite as she wanted to her delicate voice was still lovely, as showcased on a few stripped back songs mid set - one acoustic, one solo, and another with minimal bass accompaniment. Without even a wry smile she explained that “I’m Canadian so I love Neil Young” and how she mined for things to worry about, rather than a heart of gold. She also told a story about the dungeon hotel they’d been stuck in the night before, getting only some of it out before her band mates broke into hysterics and she could barely finish the story herself for laughter. Claiming that she’d written quiet songs for years but now felt the things she had to say needed to be said louder they rocked out a little more before closing with new single and favourite Thirty. This was before an awkward, no side stage encore call, where she called it a charade and beckoned her band back for Tape encore. Altogether it was a lovely show, and I’m glad her voice had returned to be able to perform it. 

January 31, 2018 - Hare & Hounds

Riscas, Spilt Milk Society, Candid, The Real Cool - Sunflower

The Real Cool
With a name like that what would you expect? Three guys from Walsall who I'd say were stuck in the worst of the early nineties fashion trends but probably weren't alive to experience it the first time around. Appearances aside, if you closed your eyes you'd hear a reasonable approximation of stuff you'd find on side two of a 1975 EP. Really enjoyable stuff that was appreciated by a full room at the Sunflower despite being on only 15 minutes after 730 doors. Good on 'em.

Candid
Some straight ahead indie rock here that stripped away the vogue keyboards and reverbs and played their bass, guitars and drums. The refreshing sound out of Cov. lasted through about three songs until it started to repeat itself - noodling guitar over rhythm guitar, a mid-song breakdown for a clapalong drum beat, a swell, end, repeat. Don't get me wrong, they did a solid job of it but some variation in songwriting would go a long way.

Spilt Milk Society
This band had an air of experience despite their youthfulness. They began with their hit She Tastes Like Summer to appease the audience and get it out of the way; that tune starting slow and building. Th entire set, including Cops and Robbers, was engaging. The five of them had a large stage presence, fronted by a singer in an odd scarf-poncho. (Lead singers, amirite?) It was a departure night for both their drummer and bass player, who seem to be heading off to uni, but the band has gigs and plans to carry on. With the confidence they carry they could lead the next wave of Brummie bands.

Riscas
After the polish of SMS, first impressions of Riscas made me wonder if they'd stack up but that doubt was quickly silenced. Their music spoke for itself and the crowd that had not thinned swelled to cheer them along. I'd already been impressed with the calibre of local talent on the night and yet these guys took the cake, deserving of their headlining spot. By the time their 1,000,000 play Spotify tune Panic Like Tom came on to close the set everyone was into it, the floor opened up and everyone charged in to dance to it, myself included.

Friday January 19th, 2018 - Sunflower Lounge

Top Ten 2017 - Year in Review

1. Lorde – Melodrama

I didn’t see this one coming. Sure, I heard her debut because it was everywhere and I kinda liked it but before Melodrama I wouldn’t have called myself a fan. With this piece of pop perfection that has certainly changed. Intimate yet playful, and uniquely funny, it hits its marks from front to back.

2. Leif Vollebekk – Twin Solitude

I read that Leif made this album as one that he would like to listen to himself. Well get me this guy’s record collection because his ear for stripped back folk is spot on. Not to mention that beautiful and sometimes delicate voice delivering lyrics to the heart via the ears.

3. War On Drugs – A Deeper Understanding

The production value on this record is worth a million bitcoins. Although the composition must have been pored over for ages it doesn’t feel like it, it just plays exactly the way it should. I don’t know anything about composing, playing, singing or producing music but I like to think that I know what it sounds like when masters of these arts are at work.

4. Future Islands – The Far Field

Yes, I’m now fully on board with the band that everyone should have known tens of records ago. Discussing their discography is not my objective here though, it is to say that this is the album that caught my ear and compelled me to spin it over and over again.

5. St.Vincent – MASSEDUCATION

Another artist that I’ve known and respected only from the second deck until this album. There’s the guitar work that she’s made her name on but there’s also evocative lyrics and varied songwriting that is all top quality. MASSEDUCTION brings me down to the front row.

6. Idles - Brutalism

Whether their swagger is legitimate or for show(s) is irrelevant as the music they put down on tape roars (and that is not a knock on their incendiary live gigs). It rocks those earworms right into your skull. Extra points for the current, cutting, politically-forward lyrics that give this record another imperial tonne of weight.

7. Run The Jewels – RTJ3

El-P and Killer Mike have each been at it a long time and now on their third album collectively they may have hit their sweet spot. El’s beats are as razor sharp as ever while the lyrics hold their edge too, even during those times when it feels like you’re eavesdropping on a couple of bros ribbing each other.

8. Weaves – Wide Open

Weaves are making some of the most interesting music anywhere these days. Yet it’s not completely out there, "WTF-is-that?" kinda music; it’s immediate and relatable, truly engrossing. I can’t even form the sentences to describe it, you’d be much better served listening to it yourself.

9. Japandroids – Nearer to the Wild Heart of Life

Sure, I may have a soft spot for these two but I do think this album hit it right. They’ve evolved their game and if it has a few more “ballads” and the odd sentimental lyric, as opposed to reckless abandon and nostalgia, this comes as a sign of maturity. Japandroids are yearning less for younger us and appreciating the now, and it still resonates.

10. Kendrick Lamar – DAMN.

I could not get the hype. Each time I put on M.A.A.D City or Pimp a Butterfly it would get turned off before long without leaving much of an impression on me at all. Then DAMN. dropped and all things changed. Die-hards may hear this as a turn to the mainstream and, if so, it has worked because it converted this non-believer.

11. Broken Social Scene – Hug Of Thunder

BSS have their sound and they are masters of it. Polished, bombastic tracks that soar with male/female vocalists and ratcheted up brass. It works, it’s good - very, very good - and just because this album follows the sound does not make it derivative or repetitive. The addition of Ariel on vocals helps to breathe a fresh voice here too. I’d be remiss not to shoehorn it in here, especially with that closing song. 

Long-List Considerations

Lana Del Rey – Lust For Life

LCD Soundsystem – American Dream

Wolf Parade – Cry, Cry, Cry

Los Campesinos – Sick Scenes

The National – Sleep Well Beast

Sylvan Esso – What Now

Cloud Nothings – Life Without Sound

Jens Lekman – Life Will See You Now

Beck - Colours

Author’s Address

In the year of the #metoo movement many horrifying actions have come to light, where people of a privileged position manipulated that power, and it has been sickening to read. There are essays to be written on the merits of art versus artist but this will not be one. However, I will take this opportunity to add another voice as a supporter of those who were taken advantage of and to consciously choose not to glorify the perpetrators nor their work. 

Fireball Tour 2017 - Reel Big Fish, Anti-Flag - Leicester Academy - Oct 13, 2017

Anti-Flag

Anti-flag where fucking great - they were so inclusive and lovely but still razor sharp and rockin'. Obviously they were political and played all my faves (except Red, White & Brainwashed, Rank 'n File, and drinkdrankpunk) but things like Turncoat, Fuck Police Brutality, 1 Trillion Dollars (can buy a lotta bling), and Die For Your Government were wicked. Lauren did me a solid and cabbed our bags over to the hotel and back cuz they wouldn't let us bring them in the front door, let alone check them (I guess cuz of all the terrorist shits) so I went wholeheartedly in the pit. They just had the positive outlook without being preachy. "We're Anti-Flag (anti as in ant-tie, not ant-tea as I always say it). Look at you - you're beautiful. You know why? Because you make the world around you. In this room, while you're with us there is no racism, no bigotry, no sexism, no hate. We are here to enjoy ourselves and for everyone around us to be able to enjoy themselves too! So slap hands with your neighbour, introduce yourselves - this life is about the relationships between people and not the divisions." They then ripped through they're take on Should I Stay or Should I Go? ("we wouldn't be here if it weren't for The Clash") and finished by moving the drumset to the pit and having the lead guitar stand on the kick drum and play the last song. Effin' brill.

Reel Big Fish
Reel Big Fish are jokers through and through. They did a decent set of a mix but appeased with a bunch of old tunes and their famous covers. Plus they did the two good songs (and only the two good songs) from their last album including Everyone Else is an Asshole. Maybe the best part was when they said "We're Reel Big Fish and we're nobody today but back in the 90's we were the bomb. This was our hit song" and then launched into Smells like Teen Spirit then stopped partway "sorry, that was a song by Metallica" then My Own Worst Enemy by Lit "sorry, that was Nickelback" then it was 500 Miles by The Proclaimers ("another from Metallica") then The Impression that I Get by The Mighty Mighty Bosstones "sorry, that' was actually a number one from Less than Jake" before finally playing Sellout! Beer was obviously great and as part of the encore they had to cover Take on Me while the confetti rained down. Brought me back to my teenage days.

Mad Caddies also played and I think I caught the very end of the set but due to early set times and having to travel up to Leicester on the day it was all a blur. Pretty sure I missed Sweet Little Machine altogether.