Top Ten 2019 - Year in Review

1. Dave - Psychodrama
Marvellous. As in, every time I listen to this album I marvel at how exquisite it is. Nothing is overlooked, from the varied and interesting beats, to the high production value, the quasi-concept album thematic, and most importantly Dave's astounding word play. It's impossibly clever and impeccably delivered, including hooks, social commentary and downright funny jokes; I discover something new each time without even consulting Genius.com. Lesley may be the best tale in a tune of the year - please, sit down and listen. Santan Dave's wisdom, vision, execution, skill, voice, and, yes, piano-playing are all on display in this damn-near masterpiece of a rap album.

2. default genders - main pop girl 2019
I couldn't get enough of this album and still cannot describe properly why. It is a super-pop album that swaps genres at blistering speed, many of which I wouldn't normally find myself listening to but here it just works. Lyrically it tells some tales, again things that I wouldn't necessarily relate to, but there I was putting it on for my morning run for the 50th time months later. Just give it a try.
(Not available on Spotify but grab it from Bandcamp PWYC, including free)

3. Snotty Nose Rez Kids - Trapline
Late to the party, I'm glad to have caught onto this blazing band this year. With their unreserved Reservation-rap (okay, I made that term up) they pull no punches in upping their lives and their lifestyles through song. It is fresh, eye-opening and altogether ass-shaking. Unfortunately I haven't yet caught them live but their Insta-stories sure do make it look like it absolutely goes off! It's a good time to grab hold as these high-fliers are taking off.

4. Sigrid - Sucker Punch
Diamonds, sapphires, rubies - this album is full of pop gems. A rising star, Sigrid has the voice and the musical sensibilities to burn long and bright. Anytime I was looking for an accessible and mostly upbeat shot of music this year, Sucker Punch was an easy fix, and it held up on the repeatability too. But there's a depth to it as well with emotional songwriting that tackles real feelings without drowning the listener in sorrow. Sigrid's versatility makes this a complete album.

5. Sir Babygirl - Crush on Me
Unabashed retro-beats pop music - I'd read someone liken it to a pumped up Britney Spears album for 2019 - and Sir Babygirl plays with expectations with glee. Starting with that gender-fluid name they don't hold back on the glorious 26 minutes of this album (I looked it up, it's not an EP), including two reprises! Haunted House is the standout, with that chorus raising more questions than answers, and the album is perfectly punctuated by the tongue-in-cheek closer, Crush On Me. All I want is more.

6. Black Midi - Schlagenheim
Defying conventions, these music-school nerds have gone ahead with a gloriously indulgent album that brings many influences together to make something so new. Based around their impressive individual instrumental skills they've managed to flaunt their musicianship appropriately. The math-rock elements, the "unique" vocals, and the varying signatures make for an eclectic mix that keeps the listener guessing but it's a challenge worth taking.

7. Tim Baker - Forever Overhead
Fronting one of my all-time favourite Canadian bands, Hey Rosetta!, could be either a blessing or a curse when it comes to the first solo offering. Would Tim be able to live up to the heightened expectations without the six super-talented musicians supporting him in both the songwriting and performing? I'm happy to report that this is a very worthwhile offering that doesn't try to recreate the magic of HR! but maintains the eloquent lyrics in an appropriate, slightly stripped-back, singer-songwriter context (still showcasing some of Tim's piano too).

8. Better Oblivion Community Centre - Better Oblivion Community Centre
This combination of a couple of true, through-and-through songwriters has struck gold symbiosis. Coner Oberst (Bright Eyes) and Phoebe Bridgers could both play their way out of a troll's trap alone so when they joined forces for BOCC it was like giving both of them a turbo boost. The songwriting is impeccable and the interplay is excellent. Released early in the year it has been an album that has never really left the rotation and still plays frequently and with much adoration.

9. Sacred Paws - Run Around the Sun
An upbeat, carry-you-along album filled with quirky and catchy ditties highlighted by the back-and-forth vocals of this cross-UK-border, female duo. It's music for any bright occasion, or even to make a not so bright time, like dusting the living room, into an bopping dance party.

10. Vampire Weekend - Father of the Bride
An album that I'd been looking forward to in the long interim between releases that just gave and gave and gave. Yes, it's long but it hardly falters and finishes on a gem. Bringing in the duets and accompaniments throughout manages to keep the songwriting and delivery fresh, for repeated listening (it showed up all over my Spotify year-end breakdowns). Very pleased to have VW back in town.

Honourable Mentions

Shotgun Jimmie - Transistor Sister 2

Jimmie has captured lightning in a bottle again on this revisitation to the Transistor Sister that set a benchmark in his earlier career. Simple, yet catchy and effective, this album can fit most moods.

Pup - Morbid Stuff

Who'd have known that Pup could squeeze so much traction and love out of this genre? Here they are once again giving a damn fine performance and encouraging the kids to get out there and catch them live where they really ignite.

Tallest Man on Earth - I Love You. It's a Fever Dream.

Quietly this album ended up in my year-end conversation by being a lovely accompaniment to those moments of reflection and tranquility.

JOHN (TIMESTWO) - Out Here on the Fringes

Discovering this duo late in the year I was sold from the get-go with their guitar-to-the-wall brand of rock.

Press Club - Wasted Energy

An energetic burst of Aussie punk that enthuses a freshness into the genre.

Sandro Perri - Soft Landing

Similar to In Another Life, this album is anchored by a ploddingly excellent opening track, Time (You Got Me) with a still-strong B side.

The Futureheads - Institute Dec. 6 '19

Cut Glass Kings
It was so odd to be in a nearly desolate Institute. Seriously, it seemed like there were 25 people in the whole place when we entered at 6:20pm on a Saturday night in December. Too bad for those that had tickets because the two-piece guitar and drum duo were putting on a decent show. Loud and full of classic rock (not Classic Rock) riffs they powered through the set, seemingly not put off by the attendance that didn't even double during their short set.



Indoor Pets

Still playing to a cavernous (and cold!) space, this four-piece put on an enteraining set of poppy, indie rock somewhere in the realm of Weezer Green-era, though perhaps that was just the singer's Rivers glasses that got me thinking that. His glasses sat upon his nose which did most of his singing, in a very distinct, minorly annoying, nasal fashion. It was definitely unique but once I got over it I was happy to report that the boys did a fine job of beating their recorded-music expectations.




The Futureheads
Celebrating a fifteen-year anniversary of their beloved self-titled debut the Sunderland quartet, that often sing a-cappella like a barbershop quartet, were playing it in its entirety on this evening. Having caught them way back in the day, originally as Franz Ferdinand openers and after that whenever they toured through Toronto, it was definitely a night rooted in nostalgia. And even though they did play through the old tunes it isn't a band strictly revelling in the glory days as they still have the musical interplay that always set them above the rest. Not to mention comical interplay too as they interluded songs with origin stories and any chance to get a lick in on each other. One such story did both in telling how The City Is Here For You To Use was about the then-sixteen year old drummer crying in a tube station in London when they first started gigging there. Another revealed that the singer used to have to write the bass parts as well since the bass player wasn't good enough yet and they remarked that one with a particuarly "fruity bass line" (their words) must have been as a punishment for pissing him off. "Here, try and learn this, ya tall c*nt." From opener Le Garage, through highlights such as Decent Days & Nights, "not every song needs to be about something" Alms, nearly instrument-free Danger of the Water, and frenetic First Day they proved that they've still got the magic. Yet it was in the closing two tracks that they absolutely won me back over. As always the split-chanting crowd gave their amazing take on Hounds of Love true glory but equally good was Man Ray to close it all down. Their quote-unquote lead singer was battling a throat infection so they rightly took a break following the album but were gracious enough to return and burn through a few more for us. Fittingly they played three highlights from the recently released Powers that you'd think they would be touring, and the material held up. I'm particularly partial to Good Night Out but Jekyll and Electric Shock were good too. As a finale they threw another classic, Beginning of the Twist, before waving us off having surely pleased longtime fans and excited those catching them for the first time alike.

Fontaines DC - Institute Nov 25, '19

Fontaines were.. rather disappointing, I have to say. Hardly any words were spoken - he might have said 'thank you' after the final song and he did grumble something about we they do encores before it but literally those were the only words (and I couldn't understand them anyway). The first half was all the shitty songs from their only album (starting with Hurricane Laughter, followed by Chequeless Reckless) which are basically one-riff on repeat and 1 line repeated over and over until line 2 which gets repeated and then back to line 1. They stood stock still except the singer who acted like a bored little boy, pacing in small circles and looking at his nails and stomping his mic stand. That was literally the "show". They did add an unreleased song in Televised Mind which was interesting for its novelty, at least.

The second half was only saved 'cuz it was better music, songs that had more than one chord each, but the on-stage was the exact fucking same. Zero interaction with us, or with each other, except when the singer cut not one but two songs from their already brief set. Following the previously mentioned new tune they were presumably going to play another new track (seeing as they played all 11 Dogrel songs) but it got axed. Then the guitar tech had already tuned them up for a track but the singer called an audible and then told us this was their last song meaning he cut another one right at the end. The whole thing came in well under an hour which if you're headlining a massively sold out gig in a decently big hall you've got to give us something more. Musically it was fine - the sound wasn't that great in this venue though. Stand-outs like Too Real, Boys in the Better Land, and closer, Big, got the crowd going and rightfully so, but to me it shouldn't have taken much given the anticipation to get people into it and yet the crowd seemed rather reserved for much of the night (from my vantage point just off the edge of the sometimes-pit.) One standout track was the slightly more nuanced Television Screen that at least showed the guys had a different gear.

I can see if they had opened for Idles and just straight rocked for 30 minutes and only played the good stuff that it would have been a great "surprise" but as headliners I'll give 'em a bit of a "fuck off". At the End of the Road festival this summer they also got a pass from me 'cuz they were in a massive fucking tent in the middle of the day and I was stuck at the back trying not to be anti-social. I just assumed that if I was up front that it would have been great but, alas, now I know my answer - No.

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Warm Drag opened and while I only caught the final song and a half (having previewed them before arrival) I think I got the gist of it. Playing music akin to The Kills the male worked a synthesizer over a drum machine while the woman sang and shrieked into the mic. Not entirely bad it wasn't anything for me to get excited about.

Pup, Sløtface, Fresh - Academy 2 Nov 23, '19

It's no secret that I love Pup. Tracking them down whenever they come near and so I was first in line when they finally announced a proper gig in Brum. Stefan acknowledged this early on - no shit, the last (and only?) time they headlined was in the basement of The Rainbow. Anyhow that was the past and this was now and as always they were here to rev it up and so they did by launching into Morbid Stuff with as much abandon as ever. The Kids were incredibly stoked for the set as they shouted along to every lyric, even those from this year's Morbid Stuff through which the band understandably did a deep dive (considering they toured the hell out of the last two albums already). With a captive audience, Babcock took full advantage to espouse on politics, encouraging us to vote even if it sometimes seems fruitless ("we're Canadian and we adopted your shitty system so we understand" Steve added), and eliciting a Seven Nation Army "Jeremy Corbyn" chant. They also encouraged donations to their European charity Sea Watch. On other topics, Stefan admitted he likes being a shit-disturber and repeated his slagging off their first album despite receiving negative feedback for doing the same thing the previous night. He did say that there were a few tunes they still liked, presumably Dark Days and Reservoir considering their inclusion in the set. But back to the music, despite Stefan's sick throat they didn't hold back and threw in a few from The Dream is Over as well, highlighed by Familiar Patterns. Now road-worn they can really rip a set without looking too weary for the effort. This included ventures out into the constant mosh pit by Stefan and Steve while the crowd literally carried them, physically and with "backing" vocals throughout. By the time it came around to sign off, Stefan was still being purposely unlikeable and clearly voiced the band's stance on encores, even going so far as to suggest that other bands should stop doing them and encouraging us to chant "No More Songs" at future gigs. All that to say they didn't leave the stage before playing their "encore" of the still-incredible one-two punch of If this Tour Doesn't Kill You directly into DVP. If anyone in the crowd had any breath left in their lungs beforehand it was all spent by the end of this sweaty, raucous set from this band that three albums and innumerable in give no appearance of coasting in any regard yet.

Sløtface have been on my radar for a few years now and so I was really excited to catch them again. And they brought it, despite not having yet unleashed their second album. Everyone involved did their part though it is their pint-sized frontwoman who sets the scene. The crowd was appreciative to start and got more and more into it, with moshing and the like. Finally I couldn't take it anymore after one of the new singles Telepathetic rolled into Nancy Drew as I ran in to join them for the closing of the set. A perfect set-up for Pup.


Arriving partway through the set from Fresh I got a good dose of what I expected based upon their recorded stuff - decent indie rocking music with a melodic female voice atop it all. They didn't blow me away but I wouldn't shy away from them in the future either.

Pup Setlist

Morbid Stuff

Kids

My Life Is Over and I Couldn't Be Happier

Back Against the Wall

Free at Last

See You at Your Funeral

Sleep in the Heat

Dark Days

Scorpion Hill

Closure

Familiar Patterns

Reservoir

If This Tour Doesn't Kill You, I Will

DVP

Weakend Friends - Baby G (Toronto) Nov 12, '19

Weakened Friends
It was a frigid Toronto winter evening outside but the lucky and the brave were inside the Baby G. Consisting of Sonia singing and guitar, Annie on bass and backup vocals, plus fill in drummer (Zack?) these were the Weakened Friends. Super grateful for the small gathering who had come to see them they delighted with a perfect set of punk rock. Relating with us by Sonia having grown up in an unnamed Toronto suburb ("you know where Canada's Wonderland is?") the band is now based in Portland, Maine but holds a special spot for Toronto. Having just played a warm up gig for Pup in Halifax (where those Haligonians bought up all the vinyl!) I'd have thought the city taste makers would be all over this trio but they are obviously sleeping. That's alright, I'll be the one saying "I saw them play on a Tuesday at the Baby G and it was superb.

Baby Band
Baby Band the band, playing at Baby G the bar, are still teething. Literally giggling over with enthusiasm they can't quite make up for the lack of polish. The songs were straightforward enough yet it seemed that each of the four of them was stumbling on the regular. The backup vocalist ought to stick to the fringes and the whole crew really needs to hit the rehearsal studio hard before pushing out into the real world. There are some novel ideas here, the Sad! Gay! Broke! chant intro for one song seemed to resonate with some in the room, including the headliners, but the whole set could use some work.

Owen Pallet - Longboat (Great) Hall, Toronto Nov 9, '19

Camille Elle from Army Girls took to the stage first with a couple of electric guitars for herself. At first it didn't seem all that inspired singer-songwriter but after she introduced herself and admitted to some of her anxieties leading up to the show the crowd got behind her and things improved. The start of the upswing was when she played an Army Girls song that had some more oomph, followed by a self described "It Gets Better" song addressed to her teenage-self that further endeared us to her. From there it was smooth sailing as she got stronger with her stage presence, vocals, and just the overall flow to the set.

Owen came to the stage in a long, see through black robe of sorts. While tuning up he introduced himself and warned anyone who has attended the previous night (added due to popular demand) that it would be a near identical repeat "but I'll play it better." In his charming manner he explained that it was a cohesive set, best run uninterrupted and kindly asked us to hold any clapping until he gave us the go-ahead. With a guitar strapped on his back and a violin hung from his mic stand he began as a projection faded in from black behind him. It was a new, lighter take on an In Conflict track to start us off. From there he followed with mostly new songs through the main set, much of the instrumentation coming from the guitar, although his signature violin still featured well. Overall it was a more soothing sound than his earlier frenetic Final Fantasy music, still building songs layer upon layer via his looping pedals as there were no other musicians, yet it showed a lot more restraint. The base layer of the songs was often from the guitar before adding the violin and finally that beautiful, delicate voice of his. The visuals, by a woman named Trudy, continued in their very slow panning through abandoned towns, fields, valleys, and coasts. It was all lovely though it may have been better suited for a sit-down show due to the pace and the fact that it was predominantly new material.


Later on, he did include a couple of released songs, primarily from In Conflict including an album highlight The Passions, some as originally recorded while others got a new take. Finally he broke and was washed over with applause before playing one last song - I believe this was the moment of a personal favourite, Lewis Takes Off His Shirt. Taking a small pause backstage I really wasn't sure what to expect from this evening, whether that was it, but alas he returned for a few more which helped to make up for the indulgent first half. But first he had a chat with the audience and took questions, including "when is It out?" to which Owen gave the unclear response "It. Funny thing is, it's been finished for nearly two years. I listen to it sometimes; it's really good." Another was "when are you playing Toronto again?" which was met with mock outrage "I haven't even finished this set!" There was also banter about how he lives five minutes from the Great Hall and that he actually walked over, though the question about an afterparty at his was met with a laugh "Afterparty? There will be copious amounts of herbal tea." In terms of music he introduced I Am Not Afraid as "my favourite song that I've ever written; I'm just happy I finally learned how to play it." To close it all off was the song that has had many renditions and is a live show stalwart, This is the Dream of Win and Regine, which reminded me of the amazing way Pallett's violin loops and voice can draw me in and take me on a musical wave all while stood in a darkened club. Thanks Owen, looking forward to It.

Murder Capital - Castle & Falcon Oct 12, '19

One of the hottest tickets going was this intimate venue gig nearing the end of the Murder Capital's breakout tour. Managing to snag a pair at the nth hour excitement was high in the room, and for me a chance to catch up on a clash from the End of the Road Festival at the tail end of the summer.

The openers, Happy Couple, did no favours though. While the guitarist and drummer were skilled, just having a female singer in a rock band is not enough to make you interesting. Her monotonous singing, mostly washed out anyhow, and lack of stage presence made us all anxious for it to end and get to the goods.

Murder Cap eventually came out of the dark slowly (very slowly) to rapturous applause from the surprisingly mature audience. They were very methodical in the approach to the set, taking a tact of extremely slow everything to begin with - from the one by one entrance to the music. It was a little anti-climactic in my opinion as everyone who wanted to go off was stuck plodding along. Dressed to impress the boys showed class and poise, giving much love first to each other and then to the crowd. Finally in the third song they reached a tempo that could fire up the crowd and a small mosh got going. Overall they sounded quite good, as everyone says they are set for the big time and you can both see and hear it. (Immediately following this gig they announced a new tour playing the much bigger Institute in their return in the new year.) With only 43 minutes of recorded music in their debut album they played every song and managed to draw it out to a 50 minute set which seemed acutely short after all the build up. I hoped there might be an encore - throw in a cover or a new track - but it wasn't meant to be and we filtered out. Overall it was enjoyable and the guys are worthy of the praise but I'd still like to see the next step bring them to the lofty levels of expectations that they may already be falling under.

Slowdance I

Slowdance II

On Twisted Ground

Love, Love, Love

For Everything

Green & Blue

Don’t Cling to Life

More Is Less

Feeling Fades