More Hillside performers..
Kate Reid (more acoustic, folk)
Kae Sun (reggae, hip hop)
Jayme Stone (jazz/roots/african, banjo, Juno-award winner)
Kristin Sweetland (acoustic, folk rock)
Grupo Fantasma (funky latin orchestra)
..stay tuned!
Monday, March 30, 2009
Sweet-side
Friday, March 27, 2009
Thriftstock
I'm a bit late to the game.. but the family thrift store is closing down (for reasons you can easily read elsewhere on the net), however on a positive note they are throwing a 6-day shindig running right on through until Tuesday night.
Highlights:
Friday
The D'Urbervilles
The Magic
Tacoma Hellfarm Tragedy
Saturday
Richard Laviolette and His Hollow Hooves
Sunday
Sunparlour Players
Superfantastics
Monday
The Neutron Stars
Tuesday
Host: Professor Orbax
Wax Mannequin
The Burning Hell
Doors at 7:30pm each night (*All day Sunday starting at 11am)
$7/night or $25 for the whole thing.
More info on the facebook group "
The Ghost of Modern Girls
An anthemic opening number started the night off properly as The Ghost is Dancing crammed all six members into the front nook of the Jimmy Jazz. With a couple guitars, a couple sets of keys, bass, drums and seldom-used trombone they built soaring, layered pop songs into rocking crescendos for nearly every tune. Most of these songs were from their upcoming release - apparently choosing to work on the new stuff and skip the old faves. It didn't matter though as they packed the energy, and the "stage" - evidenced by the lead singer's failed leap from it. The coupling of the rubber-booted (then stocking-footed) lead female with the velcro-shoed (yeah! crossed straps!) lead singer went over well, especially when she pushed her voice to cut through the roar of the band. Taking advantage of the intimate venue the band included very friendly banter and this was reciprocated with love and applause from the crowd. Despite not playing my favourite, the The Darkest Spark's title track, I still thoroughly enjoyed the set, and am looking forward to the new record and seeing the band upon their mid-summer return to Guelph.
Speaking of sparks, the next act were nearly as electrifying as the mic that repeatedly shocked the singer throughout the Modernboys/Moderngirls set. (Admittedly that was a stretch of a segue; gimme a break!) Normally a four- or five-piece, last night they cranked up the volume with simply a guitar and a drumset that they dragged down onto the floor, presumably to get closer to us and increase the volume that much more. It was a pretty decent rock'n'roll set that would have been cool to have seen flushed out by bringing more modern boys and some modern girls. For their minor hit, My Baby Says Boy, they moved in the opposite direction in fact, by removing the drummer and playing a stripped-down version that wasn't half bad. Overall the hard-hitting drummer, and big-buckle-cowboy-booted singer definitely entertained.
Tuesday, March 24, 2009
Porte a Portes
I managed to catch a couple of the groups at the band night at Doogies (a UoG CPES-SC production) last eve. Benton Brown and the Door to Doors rumbled with their deep bass lines, playing a handful of pretty decent originals. I'd caught a very similar show from them at the exact same location a few months earlier and both times were enjoyable (though this time I was slightly distracted by a wacky dancing couple that eventually got the boot for groping and disrobing on the dancefloor). The band interestingly kept a whiteboard of the setlist hanging onstage, crossing each track off as it was completed. The set comfortingly included the Door to Doors' signature funky instrumental song, which predates Benton. Catch them again at Cowboys on Wed. Mar 25.
BullShark Bites - a mishmash of friends playing together for the first time - only played covers, and though that provided bunches of fun to close out the night, I don't review cover bands and am not willing to compromise.
Sunday, March 22, 2009
No Rival for Young Tokyo Police
Your standard all-male four-piece hit the stage to a somewhat reserved reaction from the young university crowd. Beginning the set Young Rival came across as a fair rock group from the '60's, with their short, guitar-driven rock-without-an-edge. (Perhaps the '60's feel was heightened due to the low-fi sound quality.) As they forged on through multiple broken strings and a busted effect pedal the sound somehow improved, as did the group - embracing their sixties likeness by playing an instrumental pop song written by a sixties performer (that was actually one of the highlights of the set). After they played Your Island there were a string of tunes that just got better and better, including Poisonous Moves. Though between song banter was not quite as witty as the band thought it was. Considering how awful the space is as a concert venue (usually worsened by the uninitiated underage university crowd) this Hamilton-band did a decent job of filling it.
The headliners took to the stage shortly thereafter. Josh Hook must be my favourite part of the band, vitally filling out TPC's songs with those catchy guitar riffs. After the inordinate amount of shows in the band's brief history he has obviously polished his chops and mastered his effects pedals (including a loop which was used sparingly but effectively). During the instrumental breakdowns Josh just goes off live and it is fun to watch (especially soloing on, even with a busted string!). Though come to think of it, it may be Greg Alsop kicking the cans out back that I like most. His driving percussion keeps the already short tunes running along at a blistering pace, yet still managing to be indie-rock danceable. In fact, if it is possible TPC played their songs even faster than they come across on record. And yet they still managed to play for an hour, despite having only about 45 minutes of proper music on disc. This was helped by playing self-proclaimed "classics" which I scoffed at due to their relative youth, but the inclusion of singles such as Cut, Cut Paste did please me. New or old these songs are carried along by Dave Monk's vocals. Maybe that is what grabs me with this band - Monk. I mean I couldn't see his face for his hair but his voice rang clear, echoing the records so I could easily sing along with all his hooks, or just appreciate it on the one song they played I wasn't familiar with (new?). Throughout all of this it was the bundle of energy that is Graham Wright who kept calling my attention. Whether he be ferociously pounding on the keys, showing the tambo who's boss, or simply dancing, he is just so into it that it is infectious. For instance, though he sings back-up vocals he can also be seen belting out the lead along with Monk, just not into the mic. These are songs he must have played three bi-jillion times by now but the enthusiasm is still there. Oh I can't choose!
Altogether the band is tight and they know how to put on a show. The venue proved no obstacle as they sucked everyone in, drawing ungoaded clap-alongs and whipping excitement into the sometimes "too-cool" crowd. For the most part the songs were improved versions of themselves; sounding like the record but more rocking wherever they could amp up the guitars and hit those drums even a bit harder. This proved as true for vintage songs like Nature of the Experiment, and Citizens of Tomorrow from the Lesson in Crime buzz EP, as for tracks from the finally released Elephant Shell full length (which they played most of). The one song that wasn't played faster but did get a notably altered live treatment was Juno. This was just before the packed latter-half of the set which rocked along with hits like Tesselate, Your English is Good, Box, a slight reprieve from the full-throttle rock for Listen to the Maths, and then back to it before closing up with Be Good. We the crowd managed to Cheer it On until TPC came back onstage to return the favour (I couldn't resist!). It was brief and left us wanting more, but if any band has mastered the art of rocking hard and fast, and then leaving them wanting more it would have to be my faves - Josh, Greg, Dave and Graham. It's Tokyo Police Club!
Hillside Police Club?
Dave cryptically finished his set with a "See you at Hillside!" sign-off. Excited as I wanted to be, the feeling I got was that he meant they'd be attending, just as we should be. Considering they are an Ontario-local band (hailing from Newmarket) I would presume that is what they meant, but can cross my fingers that they do get to perform. After all they did play the inaugural Inside version back in '08..
Update: Turns out they will be playing Hillside, huzzah!
Thursday, March 19, 2009
Pull Out.
Last minute bail by a couple bands for the Michou show on Monday at Doogies. Updated Mar 22 - Replacements have been found and a show will go on!
Tuesday, March 17, 2009
Hillside Countdown!
Perhaps it is the warm weather kicking summer planning into high gear?
Real early Hillside Festival details.. it will run Friday July 24-26, 2009. Tickets available May 2. Volunteer opportunities posted April (don't steal my dish rag, ninja!)
But what you wanna know is... Performers?
Buffy Sainte-Marie (Native Performer)
Eccodek (World music)
Red Rosary (Young Guelph "all-girl rock band")
That's all I could dig up for now, but gimme a break - it is 1/3 of a year away! Stay tuned..
*all performers completely unconfirmed.. Some performers confirmed, other found somewhere in the depths of the internet
Friday, March 13, 2009
Jon Rae's Lucky Pinecones III
Tucked into a cozy, wood-paneled attic the cross-legged crowd sat attentively as Lucky Fonz III began to play. A solo Dutch artist, he sang simple, though well-crafted, songs through a slight accent over the strumming of his acoustic guitar. He broke out the Wurlitzer electronic organ a couple times too. Between tunes, as he fumbled with his set list trying to pick the perfect song, he chatted with the crowd in the very intimate setting. This became tense at times due to Lucky's blunt nature, but provided hilarity as well. For instance, when he asked for crowd participation and received a yelp from the audience he jokingly accused us of being hipsters- too indifferent to participate. In the end he did get us to whistle along, which sounded very lovely in the small space, as did the whole set.
Overflowing from the cubby-space were Brent Randall and his moustache, er, Pinecones. As he manned the keys of his 4 out of 10 (his rating) keyboard, Brent sang lead on songs that leaned toward indie folk pop rock (whatever that means, there was a deal of variation). Along with the charismatic guitarist they ran through a couple call & response-esque tunes, including a couple nifty guitar solos. By now the room was beyond capacity and overflowing onto the stairs, even with everyone standing (and many leaning due to the sloped ceilings.) The stoic bass player obscured my view of the therefore descriptionless drummer. Altogether though, they effectively brought up the energy of the room in anticipation of Jon Rae Fletcher.
Along with a few band members (no sign of album-artist Kathryn Calder) Jon Rae debuted some songs from his recent River-less release - Oh Maria. The title-namesake track was especially enjoyable, as Jon impressed all with his son-of-a-preacher-man voice. Though I expected things to be slightly more subdued without the River backing him, there was still plenty of gusto in the new material; including hints of gospel, blues and folk. In his shirt and tie (he'd removed those hallmark glasses) he commanded attention and received it from the throng of people crammed in the attic to see him. Nearing the end of the set the soundman added some lap steel to the mix on a couple tracks. Despite already promising an encore, Jon played his final song and during the aforementioned encore his band left him to carry on his own- first with a guitar and during the final tune he simply crooned while we nearly clapped the roof down (literally). It was a brilliant and uplifting performance to cap an excellent (and my first official) house show.
I may never attend a main floor concert again!
Granted
Arriving from Halifax just today (in town for CMW no doubt) Jenn Grant joined us at the University of Guelph for another noon-hour concert. Accompanied by a female violinist and a male bass clarinet, it was Jenn's voice that was the instrument of note. With great control she sang an assortment of fairly folk songs, with the hint of east coast and celtic shining through. In fact during the first couple numbers there were moments that reminded me of The Cranberries vocalist, before things settled a bit into more laid-back acoustic compositions. However Jenn officially informed her shiny acoustic guitar that they were "getting a divorce" and that Betsy'd be traded in for an electric very soon. While tuning Jenn attempted to fill the gaps with long-winded and rambling stories that never really seemed to get to a point. She did, however, succeed in drawing us all close to her (literally) so she could fill our ears with her lovely voice.
!AttN!
Simply wanted to call attention to the newly implemented concert calendar on the sidebar ->>
Trying to stick to mostly local shows (Guelph), with exceptions being out of town shows I plan/hope to attend.
An Grammatically Incorrect Horse
Fresh (and I mean fresh) off a gig on The Late Show with David Letterman, An Horse arrived at our humble school for a noon-hour concert. I'm sure the audience was a little thinner than the previous night but they slogged on regardless. The two-piece from Brisbane, Australia cranked up the amps as the female lead played fuzzy electric guitar over her male counterpart banging on the drum set, making more midday noise than any two people usually make after sundown. Songs were catchy enough with the hooks sticking in my head (as hooks are meant to do). Perhaps it was just the aussie accent that made the banter amusing as they lamented playing a noon-hour show directly after a 8+hour drive from New York. Coupled with some equipment issues the group disappointingly geared down and switched off after only a brief set. (Not to discredit them, since I did appreciate the effort, but why make the drive at all for 25 minutes?)
Though their sound may not be utterly novel it seems they are currently riding it on an upward trajectory. All the best to 'em
Thursday, March 12, 2009
Holler. with your Library Voice
The Library Voices collective took to the stage, nearly outnumbering the sparse but enthusiastic crowd at the Ebar. There were a whack of instruments played by the assorted 8 members cramped onto the stage. The females held down the keys/synths/xylophone (alternating with an accordian and melodica), while the males played bass & drums, a couple electric guitars and notably a rented sax (since they recently had ten grand worth of equipment ripped off). It seemed that every member kept a tambo close at hand too. Self-proclaimed "pop as fuck" they layered on the sounds to make joyous and full-bodied pop tunes one after another. Noting the intimacy of the small crowd they slowed things down and played a lovely quieter number about the Book of Love. The entire Hunting Ghosts EP was played, including the R3 fave, Step Off the Map and Float which was excellent. During the final track the obscenely tall bass player picked up a drum and held it in the body slam position above his head while the short-in-stature, long-in-drumstick drummer banged away on the drum whilst standing on an amp. Spectacular!
Up next were the 4-piece outfit known as Hollerado, from (rhymes with) Quebec. They played some gritty rock'n'roll with a couple electric guitar riffs buzzing over deep bass lines and hard-hitting percussion. This was the standard for all but their regular-rotation R3 single, On My Own, which was more slow and steady. Banter was rather amusing as they pointed out the celebrities in attendance that included a member of The Arkells and the dude from the back of the $5 bill (the skater. I know, I was hoping for Sir Wilfred too!). All these people took in a solid rawk show.
Thursday, March 05, 2009
Lunch with Gentleman Reg
Gentleman Reg (the band) ironically consisted of two ladies (keys/backing vocals, drums) and a guy on the guitar, plus of course Reg himself on vocals and guitar. I found the music was more rock than the indie-folk I expected, which was fine for the most part. However when they did slow things down to a more stripped-down sound (instrument-wise) it seemed that Reg's excellent voice could take more of the centre-stage and showcase it's delicate side that was sometimes lost amid the music. An enjoyable though not life-altering 45 minute set with notable banter from former UoG student Reg, "I dropped out of school and look what I've become. If you want to be like me, drop out now!"
Down with Tiny Danza at the Street Pharmacy
Though I saw Noah23 in the venue my arrival was too late to catch his act, which was a slight disappointment. However the other opening bands that I didn't recognize more than made up for this missed opportunity. (Besides I'd seen him at Stay Out of the Mall in December)
Some local boys, from nearby Welland Ontario, took the stage under the moniker Street Pharmacy (drug dealer?). No one I was with had heard of the guys before, yet everyone enjoyed their bass-heavy set. With touches of reggae, and dub they played a relaxed but nonetheless entertaining set that most people could groove to. Their small legion of fans had followed them to this show and demanded an encore which the lead singer delivered solo on his guitar while the rest of the band dismantled the stage for the next group.
Next guys up brought up the energy a bit, with their dual MCs laying down some hip hop verses over a full backing band. This 6-piece from Toronto, who apparently named themselves after the commonly mis-sung Tiny Dancer chorus, barely fit on the small stage. One of the white-boy rappers actually sounded a fair bit like JT when he would sing which was a little surprising but easily recognizable. They did a respectable rendition of an N.E.R.D. track but for the most part Tiny Danza stuck to their original material which fared just fine (especially their second last tune).
I've have long known the name, Down With Webster, despite never hearing or seeing them before this night. Years earlier a friend had seen them at some puny battle of the bands and had rave reviews, even played me a couple tracks (okay that thing about never hearing them before was a slight exaggeration) but I hadn't sought them out for myself. Even with consistently positive reviews from many sources I hadn't the opportunity to check them out. Until now. They rushed the stage (literally - pushing me out of the way as they passed) and cranked the energy in the room up to Full, rarely allowing it to droop below that level. As I'd been warned, the stage antics and apparel sometimes outweighed the songs themselves but you go to a show for entertainment and with D-dub (as the kids like to call 'em) you get it. For a sparse collection of instruments (drum kit, guitar, keys - which would alternate with bass or keytar at times) they sure made a lot of noise (plus I could hear scratching but didn't see a DJ so I assume there was a laptop track playing too). The three people on the mic were bouncing and jumping all over the stage (with their teddy bear and shark backpacks) - disappearing for moments at a time and then reappearing somewhere else unexpectedly. It was tough to keep track of the six of them (I thought there were 7 according to myspace?) as they constantly shuffled. Everything was hooks, or call and response but the crowd (primarily college girls) ate it up. I thought I'd get bored of the full-force hip hop/rock/funk assault, but stuck around to see if the dude with the massive DWW bling chain around his neck was going to knock himself out with the thing, and found myself enjoying the music more and more. The edge came off for a couple tunes nearing the middle of the set when the guitarist took over vocals for awhile and he really impressed - plus his ripping guitar-solos added huge cred to any song in which they were featured. By the final track, Back of My Hand, they were back to crank but with the crowd fully behind them it was exactly what they wanted and it sounded darn good. A two-song encore kept things going (and showcasing the keytar for the first time), and I left finally understanding what the hype about their live shows had been all these years.
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