Top Albums 2010

A year with missing chunks due to travel I still managed to cram my head full of plenty of music - primarily of the Canadian independent variety (and admittedly much less international play, as reflected in the list). I have NOT glanced at any other year-end list yet, choosing to go with what I've actually loved this year (before playing catch up on the great things I've missed). It was also a big year for catching up on 2009 as I was travelling for 1/3rd of that year and hence was out of touch. Check the "Found in 2010" section following the list. Blah, blah, On with the List->

Top 10 of '10

#10. Kathryn Calder - Are You My Mother?

A pretty album through and through. Stemming from a time caring for her dying mother the music obviously comes from the heart and comes across as such.The stripped down So Easily is a hauntingly beautiful display of Kathryn's strengths. I loved her in Immaculate Machine, not to mention her work in The New Pornographers, so to put her lovely voice on display as the focal point here is a dream come true.

#9. Ketch Harbour Wolves – Anachronisms

This band caught me by surprise. I was surprised by how much I liked what I heard considering I’d never heard of them before. In the span of three days I discovered their existence, saw them play, reviewed the show and e-friended the band. Well-written songs that really move along with tight instrumentation. There are a hundred influences swirling around and it all comes together to sound familiar yet unique at the same time. This album deserves your ears so I’ll name-drop a few like Pearl Jam, or even a hint of Coldplay, (but not as wanky as either of those two), The National and Hey Rosetta. Who do you think of?

#8. The Books – The Way Out

Another “sample” record making the year-end. With a five year absence The Books returned and didn’t miss a beat. Part spoken word, part music, it combines for an intriguing journey of a record that calls for repeated listening, and deserves it.

#7. New Pornographers – Together

I learned my lesson by leaving 2007’s Challengers off my year-end list – and the only explanation was that it came across as an instant classic – so good that it was as if I’d loved it for ages already, and hence forgotten it was a new release by year’s end. The New Pornos continue to craft practically-perfect pop on Together and this time around I’m going to recognize it. (Permanent addition of Kathryn Calder [#10], and finally seeing them live, kinda, this year helps too!)

#6. Hollerado – Record in a Bag

Short, catchy, indie rock’n’roll that bounces around your head all day. Good on them for cracking the FM dial – lord knows there’s enough singles on this album that deserve the airplay. Have you heard Juliette with the volume up?!

#5. You Say Party! We Say Die! – XXXX

XXXX is the best You Say Party! We Say Die! album released to date, period. It had already attained that status well before the absolutely devastating and sad on-stage death of their drummer, Devon Clifford. This occurrence will overshadow this year for the now-name-changed band (understandably dropping the “You Say Die”), but they still deserve the recognition for this release. I XXXX it.

#4. Tokyo Police Club - Champ

I’m a sucker for a hook. If I find myself belting out the lyrics third listen through that puts me in a happy place (as I did with summer-singalong Favourite Colour). Tokyo Police Club burst out of the gates with catchiness packaged up in microscopic packages leaving you wanting more. It seemed damn near impossible that this band would fulfill the promise (and match the hype) but on this, their second full-length, I’m tickled to report that they have.

#3. Girl Talk - All Day

It has come to the point that Greg Gillis has sharpened his craft so much that the sample swaps come across that naturally that you’re almost saying to yourself “Of course this riff came next” when in reality no mortal could predict what’s twenty seconds ahead. I listened the shit out of Feed the Animals and didn’t think it could be matched. Having only had two weeks with this sample-dense record the verdict is still out – but it is enough to say that it is in the running!

#2. Brasstronaut - Mt. Chimaera

The EP was promising and the full-length is just that “Full” - and phenomenal. The instrumentation of this 6-piece is tight and the song dynamics really, really smart (ie: Six Toes). Boy did I rave about these guys before Hillside, and they didn’t embarrass me in the least. I'm not intelligent enough to adequately describe this album so please save me the effort and listen to it for yourself.

#1. Sufjan Stevens – Age of Adz

Sufjy placed fewer obsessions on the lyrics this time around, focusing on the overall feel of the music. Sure he may repeat “I’m not fucking around” fifty or so times in one song for example, but the song absolutely soars – as does this album. Soars straight to the top of my list (closing track auto-tune and all) as a fall release that I still can’t get enough of come January.

Oh, one more thing... as always the ordering could change from day to day, but Sufjy would decidedly remain #1.

Honourable Mention 2010

Owen Pallett - Heartland

Shad - TSOL

The Acorn - No Ghost

LCD Soundsystem - This is Happening

Description written BEFORE getting bumped...

"The final offering as LCD according to James Murphy, it is a strong one. Considering the repetition and some long track lengths I thought I might tire of this one quickly, but there’s just enough build up to keep you waiting for that beat to drop, that tempo to shift, that keeps ya hanging in there. Not every single song hits the mark but there are enough strong tracks that “This is Happening”, this is squeaking onto the Top 10 (not top 3 as 2007’s Sound of Silver sat)."

2010 Artist of the Year

Okay, there's no science behind this, in fact it is basically just a title I punched in so I could have a chance to rave about Japandroids. One of those bands that at first I didn't 'get' but finally when it did click I fell harder than for bands that I love from the start (same thing happened with Death From Above 1979, RIP). Post-Nothing may have been released in 2009 and was played non-stop on my ipod in 2010. I also got to rip it up in the pit at Hillside (yes a pit at Hillside) seeing them for the first time, and this year's single, Younger Us, epitomizes youth.

Discovered in 2009

Pat Lepoidevin - Blue Tornadoes

If this had been a 2010 release it would have rivaled for top spot. Discovering this East Coast artist as an opener I was enraptured by his solo live performance and loved this album. It has the ability to calm me in the most stressful times. Pure love.

Said the Whale - Islands Disappear

Despite the hype around this album last year I didn't get my hands on it til 2010 and then it all made sense. Out on the Shield, a first-person recollection of the gold rush is one of my most-played songs of the year. Goodnight Moon and Holly, Ontario - the final two outro songs - are both fantastic, Camilo (the Magician) was one of the singles of 2009. All told it sums up to greatness.

Regina Spektor - Far

It combines beautiful vocals, straightforward yet deep lyrics and catchy music in Regina's unique way. I've loved her in the past and this is one of her strongest efforts to date.

Jamie T - Kings and Queens

Not much to say but this English lad has got a flair that I dig.

Read More...

Summary only...

Dan Mangan and The Crackling, Harbourcoats (Trinity St.Paul's Church, Toronto Oct. 28)

There's something about that Dan Mangan. An unmistakable likability, the way he can warm a room with his presence, charm a crowd with a flicker of a smile. Last night he proved that this can extend to hundreds of people at a time as he wowed an assembly of followers in the Church of Mangan. (Sacrilegious? It was actually held in Toronto's Trinity-St.Paul's Church.)

From the line snaking down Bloor West full of devotees rushing for front-pew seating (including me - success!) or procrastinating fans desperately hoping for a ticket at the door (was that Will Currie and TPC's Graham Wright I saw?), it was clear excitement was riding high for this show.

Before Dan could take the stage a few additional treats were bestowed upon the crowd that quickly filled up the small lower lever, before lining the benches in the larger upper auditorium. The Crackling came first and did a rather impressive job as a three piece making some 'beautiful music' (Dan's words, though I'll agree) sans drummer. The lack of drumming makes sense as the band is actually fronted by the drummer from Dan's band, Kenton, now manning an acoustic guitar, who is flanked by Gord the guitarist and Conrad(?) the fretless bass player, in their usual roles. Using both their vocals, sometimes in harmony, and their instruments, they really did create great music and knew how to add emphasis - primarily via footstomp.

A respected Canadian indie rocker turned singer-songwriter followed this up. Bry Webb under the guise of Harbourcoats did a set of purely acoustic songs which allowed his raw talent to show through. It is obvious but can't go without saying that his distinctive voice, made famous through his role fronting The Constantines, really sets him apart.

Finally it was time for Dan Mangan - though by finally I don't mean it, as it was only 9pm, and secondly he had already made an appearance as humble guest drummer for The Crackling's singalong, "I hear what you're saying". (Taking his spot at the drumset and wise-assing "So Stayin' Alive in B?")

The music may all fall under the solo heading 'Dan Mangan' but nine people took the stage for this performance, and though members came and left throughout various points of the evening, when the crash of nine instruments hit, it really made a thunderous impression. (Stand-up bass, acoustic guitar, electric guitar, keys/trumpet, trombone, drums, 2 violins, cello) Right from the start they gave us a taste of what they could do with a version of Sold that sucked in the audience and had a clap-along from song one.
It was actually a miscue during the second song that set the mood for the evening. Partway through You Silly Git Dan accidentally bumped his mic stand sending it oscillating in front of him, but in a mere moment, while sauntering back and forth with it, he hurriedly snuck in "..and the next line couldn't be more topical" before singing "I'm not as clever as I look". This was heartily received and from here out the evening's mood was good-natured and intimate, despite the size of the crowd.
Paring down to five members for Road Regrets they maintained the smaller line-up and went acoustic for The Indie Queens are Waiting. However this version required a pre-apology from Dan, "you'll see why". During the chorus band members would echo the lyrics, Veda Hille's recorded part, in near-falsetto voices which not only had the audience members in hysterics, but also got Dan going too with one glimpse of his bass player's scrunched up singing face. A normally sentimental song was given over to comedy but it was well worth it!
Also showcased this evening were a number of new songs. Showing promise from the very first, Post War Blues, it was a rocking song that began with military-like drums and ended up roaring as-much-as, or more than, any other Dan Mangan song released to date.
Tina`s Glorious Comeback saw the members forgo a drumset in exchange for tapping drumsticks and the shaking of a tambourine - complimented by hearty footstomping.
With only two guitars, bass and drums the core group introduced another as-yet unreleased song, Oh Fortune, which had ambient string scratching and cymbal rubbing.
The most stunning song of the night may very well have been a heartfelt version of Basket, introduced as an ode to his grandfather. Beginning with Dan alone he sang emotively while picking his guitar. With everyone fully drawn in, the bass joined, then the violins and the song built to crescendo, before returning to bare guitar and voice. Incredible.
The only way to follow this was with Fair Verona which had a similar structure of quiet, working up to huge heights before coming down again.
Having been treated to a few lush, layered songs it was time for a change of pace. As everyone but Dan exited the stage we were told we were about to witness the first ever playing of this song for any audience - not even the band had heard it. What followed was a courageous song, one that asked many questions ranging from anger to sorrow and absolutely hit its mark.
To add yet another dynamic to this already impressive show the band, minus violins and cello, returned for a cover song - Elliott Smith`s I`m Gonna Love You Anyhow. R.I.P.
A pick-me-up was offered in the form of Some People. The improvised instrumental interlude showed the band`s chops and sounded pretty great, before bringing it back around to finish off the tune.
In finale, perhaps predictable but no less appreciated, they burned into Robots. The silly song that everyone loves to sing along with. And boy did we sing, as Dan leapt from the stage into the aisles we leapt to our feet, and as he climbed onto the back of a pew our voices climbed to the rafters. It was an uplifting experience, one might say magical or even holy considering the appropriate setting.
With looks of genuine appreciation, mixed with charming humility, Dan smiled and waved as he left the stage met by our natural standing ovation that carried on from the close of the set.
Just as naturally the five main members (keys included) returned for an absolutely necessary encore. In a bit of a twist they played another new song, inspired by the movie Stand By Me, that was excellent and seemed to have the quintessential 'Dan Mangan' feel.
Joined by everyone on stage, and from the sounds of the angelic voices, everyone in the church, the closer was So Much For Everyone. A beautiful song in its own right it is brought to a whole new level fully unplugged. As Dan's guitar & voice intro works up to the song's breakout and he is joined by the better part of one thousand voices united in the love for his music, it sends chills. Euphoric!

Read More...

Summary only...

Wintersleep Live Up to their Potential (Vinyl, Oct.21)

Both previous times I’ve prepared to see Wintersleep I’ve listened to their records and dreamt about how amazing it the live show should translate. Yet both times I’ve been let down – mid-afternoon Hillside Inside set, and openers to a half-empty gargantuan Toronto Amphitheatre from half-way back. Each time I’ve thought “if only they could play in a sweaty, crammed little club where the fans are stoked to be there specifically for them”. Last night at the Vinyl my wishes came true and it was absolutely everything I could have hoped for.

Shoulder to shoulder with fans the energy buzzed in the darkness while the air filled with smoke. Finally the anticipation was sated as Wintersleep took to the stage and proceeded to rock our faces off. With well-composed songs and accomplished musicians playing them, they really know how to build a song up to epic proportions that make you lose your place in the swirl of guitar and drums. It didn’t matter whether the songs were new or old throughout the night because the band was feeling it, and the fans actually gained energy along the hour and a quarter of mindmelding music. Just as New Inheritors tracks like Preservation, Baltic and Trace Decay build and improve as they go along, so did this show.

A fine subset of Welcome to the Night Sky was included too, such as Archaeologist that played well with keys traded for tambo and a modified chorus, while Dead Letters.. was simply and purely awesome. The crowd sure was pleased by the early-set back-to-back accessible hits of Weighty Ghost into Oblivion while deeper cut fans must have been blown away by the full rendition of that album’s closer Miasmal Smoke & the Yellow Bellied Freaks that also closed this set.

After going out with a bang (figuratively, and literally – burst of confetti) the crowd hollered for a legitimately deserved encore and the efforts fully paid off. They led with the repeatedly requested Orca, dating way back to 2003 from the bands first self-titled effort, and it was appreciated. Finally they hit on 2005’s release, finishing oh-so-strong with the neatly drummed Danse Macabre letting us all yell out “Oh you had such big, big plans!” Well my plan was to take in Wintersleep at their best, in this well-suited situation and that’s exactly what I got; one of the best live shows in recent Guelph history - or anywhere for that matter.

Nearly Complete Set List
Drunk on Aluminium
Encyclopedia
?Trace Decay
Dead Letters & the Infinite Yes
Black Camera
Experience the Jewel
Weighty Ghost
Oblivion
New Inheritors
Preservation
Archaeologists
Baltic
Lasers
Miasmal Smoke & the Yellow Bellied Freaks
Encore
Orca
Danse Macabre

Read More...

Summary only...

Rah Rah open for Wintersleep (Vinyl, Oct. 21)

The evenly mixed-sex, sextet on stage known collectively as Rah Rah were performing their driving pop, lead by earnest drumming. They burst out with Betrayal Pt. 1, including male/female vocals, violin and plenty of energy. Carrying on in short time they covered the infectiously ridiculous Going Steady hit, Tentacles, as well as its record-mate Fuck NAFTA. Like their Saskatchewan brethren (and sistren(?)) of Library Voices they really know how to make a catchy hook and back it up with nearly frenetic pop instrumentation – keys and accordion included. That or burst out in the middle of songs like Henry with lines such as “Hey Henry, you better lock that shit down!” The female drummer who had been clanging a cymbal with a tambo earlier then doled out extra sticks to any bandmate with a free hand and they tapped out Beaches all over the joint (speakers, walls, mic stands etc.) – a highlight for sure. Unfortunately there wasn’t much more time for other highlights as they had a sick member so they tossed in a Duet for Emmylou.. and took off after playing for about as much time as it took them to sound check. Not even enough time for recent single Arrows – which leaves a reason as good as any to catch them on the next fly through.

The Noise and the Ghost are four guys from Guelph who had the honour of opening the evening. Catching only the closing few numbers they held their own with some chill roots rock, tossed in a few decent electric guitar riffs (and had an acoustic going too), before closing off with a Wilco cover.

Read More...

Summary only...

Danny Michel & Emma Lee (Dublin St. Church, Oct 20)

Whether plucking her guitar or pounding it in a percussive-strumming manner Emma Lee’s voice soared above. Her singing is strong right across her impressive range, easily filling the open hall of the Dublin Street Church. Her whistling is nothing to scoff at either, as she proved with a fully-whistled verse – just another element of a diverse show. From beneath her hat she mixed storytelling with lovely and at times revealing songs, including one penned alongside Ms. Jill Barber. An enjoyable set from a performer who comfortably mixed brand new songs into a set book-ended by Never Just a Dream songs That Sinking Feeling and Until We Meet Again.

Danny Michel has a proven fan base, no doubt built up from putting on quirky and fun performances over the years. This show was no different as Danny played, with an emphasis on playfulness, a solo show to a large gathering. Foregoing introduction he took the stage and launched into song with his trusty red electric guitar. His silence didn’t last long though as the atmosphere was kept light with stories, new and old, as well as questions from the audience. He even solicited requests only to jokingly ignore most of them, though he did bend to include his harmonica and I Will Love You For Miles to appease two shout outs. Whether it was recently released songs or back-catalogue tracks, Danny kept things interesting with loops, curious glances, and occasionally unique and unexpected delivery.

Having seen Danny solo recently, and knowing he’d recently been touring with a full band I was slightly disappointed when they weren’t there. Especially for Sunset Sea cuts that really snap on record with their full, upbeat sound that just can’t be duplicated with only a guitar, no matter how many layers of loops are added. That being said, if the band had been there we may not have witnessed as much quirk, or as many new takes on old songs, so it is a trade-off.

All in all the audience seemed pleased, both old fans and new converts alike. A two-song encore was demanded and saw the aforementioned harmonica, as well as an electronic sound-effect solo that was pretty neat. Danny Michel, entertaining as always.

Set List after the Jump
Into the Flame
Maybe You Can Find It In Your Heart
Sweet Things (yes, rock and roll ending, in a church)
This Feeling
Feather, Fur and Fin
Whale of a Tale
Wish Willy
Bank Robber (quick Clash cover)
If God’s On Your Side
White Lightnin’
Who’s Gonna Miss You?
Tennessee Tobacco
Encore
I Will Love You For Miles
Switchman

Read More...

Summary only...

Sunparlour Playas (eBar, Oct 14)

The Sunparlour Players are one of those bands. Like Shout Out Out Out Out and The Burning Hell their recorded music is fine and all, but it is the live show where they really take off.

As they were soundchecking I was worried that Guelph had forgotten about this as the eBar seemed to have cleared out to some degree, but when the banjo broke out the crowds came flocking, seeing as we are what singer Andrew Penner described as their pseudo hometown. What better place to kick off an extensive tour?

And kick it off they did.
The raucous three-piece ran through a serious amount of favourites from both of their previous two albums, much to the delight of the attentive and responsive people clapping along up front.

The key difference to the live show seems to be the drumming. Not only is he lined up at the front of the stage along with his bandmates, but Rosie is seriously killer at percussion - multi-talented too! Most tunes saw a xylophone rested on his set being played by one hand while the other manned the drums, and the kick leg kept the beat. He even broke out the accordion a few times.

Dennis celebrated his birthday by accepting a spontaneous outpouring of fan-led 'Happy Birthday', a couple of pints, and then rocking out the guitar and banjo. He even set banged on the "The" kickdrum and cymbal for a few tunes too like Dyin' Today. (The band is still rocking the rattiest looking kickdrums which at one point were painted one-word-per-drum "The" "Sunparlour" "Players".)

Hollerin' and singin' is what Penner does best and last night was no exception. Belting out old favourites like John Had a Bell and a Whistle and If the Creeks Don't Rise from Hymns for the Happy he sure did make us happy. Also give him some creativity points for hanging a windchime from the stem of his instrument, and tying bells to his boots for other songs!

It was a full, energetic and upbeat set but we still wanted more. An encore screamed O'Captain, the movie-soundtrack tune Bless this City and once again a distinctly Sunparlour version of Thunderstruck! Can't wait for the new album sometime next year, and surely a tour to boot.

Sunparlour Players Set List:
Wall Sisters
Battle of '77
Joy in What You Lack
Nuclear
North
*New Song?* "Your Grandfather"
Point Pelee is the Place to Be
Pacifist's Anthem
If the Creeks Don't Rise
Dyin' Today
John Had a Bell and a Whistle
The Detroit River is Alive

Encore:
O'Captain
Bless this City
Thunderstruck

Read More...

Summary only...

Hoodie Good, Modern Field Recordings (eBar Oct 14)

The recognizable eBar/Hillside sound guy, Jordan, has a solo musical incarnation. It's called Hoodie Good and it is pretty good. Primarily a one-man show he plays guitar, sings, taps some keys, bangs drums, and sometimes runs a drum machine, and loops a bunch of this - all while barefoot! It was entertaining, even Tiffany's I Think We're Alone Now. Highlight was when he had a backing trio chanting and hollering along while the intensity ratcheted up and Jordan fully circled the stage, working from guitar, to beating the drums from all sides and back to his guitar. Check out the CD that was released this night, and then watch him do it live next time.

Modern Field Recordings had a stand-up drummer and a stand-up bass but the music went along more with the seated singer/guitarist, and his wooden box tapping counterpart. The songs would start out with promise but the level never elevated - the set never took off. Fun instruments like the melodica - even a synthesizer! - still didn't quite break through. I think they're okay with this since the singer did note "We want to be a band you can dance to, but we like chilling out too much."

Read More...

Summary only...

Missing the Action

Dear Vernacularists,

Or should it be Sandrushers? Either way, Dear YOU - reader of the blog. This may come as a disappointment to you, but trust me I'm taking it harder. With all of those wonderful shows upcoming in Guelph (check the sidebar ->) I sadly find myself out of town for the foreseeable future. That means I likely won't be around to document many of the shows. Sad, truly sad.

Depending where the job market takes this computer programmer/physicist/blogger extraordinaire I hope to pick up where I've left off in my new city, town or village. Unfortunately my current location is practically scene-free so things might be a little quiet round these parts for the (hopefully) short term.

Don't worry, upon my return I plan to woo you all back via descriptive reviews and whispered sweet nothings.

Until then!
Stefan

Read More...

Summary only...

Ruby Ruby Ruby Ruby, Cooooooooast! (Newmarket, Sept 18),

Assembled in, of all places, a new salon in downtown Newmarket, fans came together for a preview of Ruby Coast’s as-of-yet unreleased first full album. (That or they were there to help support Studio 5’s efforts to clean up the BP oil spill via trimmed hair.) With their keyboardist raised up in the front display window and the band crammed in below him at the end of the long, 150-year old building Ruby Coast took their positions. Sightlines may not have been great but the music made up for it. Claiming it to be their first time ever playing an album front to back for a show they launched into it – catchy indie rock from the get-go. Like their brethren Tokyo Police Club (actually from Newmarket, just up the street from Ruby’s home of Aurora) they create infectious jangly rock, tossing keys, synths and xylophones into the regular mix of bass, guitar and drums – all serving as a the bed for yelped yet appealing choruses.

Showing maturity from their More than Television-inclusive EP they haven’t lost that pop sensibility and energy (as I’d argue Born Ruffians did on their latest, albeit second, LP). There was tambourine, there was hollering and there were dramatic tempo changes. These young boys know how to move into rock territory too as they proved in the driving closing of Liza, Liza (track 6?). Garnering attention through the window from those passing by on the street they ripped through a solid rendition of Monsters, the one previously recognizable song of the night. The night and therefore album closer built up with an extended introduction and was quite dynamic as it carried on through shifts and served as a strong way to go out.

The floor withstood the strain, and the guys withstood the sweat, producing a fitting introduction to their latest effort. If all is right in the world this full-length release should push Ruby Coast into the stratosphere alongside TPC and the Born Ruffians, taking them far beyond the confines of small town hair salons.

Read More...

Summary only...

Hillside 2010 - Sunday Recap

The Acorn falls from the Wooden Sky

There were enticing collaborations happening throughout the grounds to kick off a sunny Sunday morning. Being a big Acorn fan (with new concert tee to prove it), and after an impressive Wooden Sky performance the day before this team effort drew me in. Many of the so-called ‘workshops’ had fallen flat with bands simply interchanging on the same stage, but this set went beyond that to integrate both bands in ‘the hole in the universe’. For example they all played a light-hearted rendition of the Barenaked Ladies’ Lovers in a Dangerous Time which was good fun and included some slide guitar. Keeping with the easy-going set they led a Happy Birthday singalong, and joked about the seemingly accidental ‘uniform’ for nearly all on-stage members – plaid shirts of all colours.

Location appropriate, and carrying on the weekend-long love for Royal City, they performed a cover of these legendary locals. Keeping with the covers while commenting on how indulgent they were being, they closed out strong with a double dose of Tom Petty - Last Chance for Mary Jane and finally Runnin’ Down the Dream. Cliché or not, I think the audience enjoyed hearing it as much as these boys did playing it.

Plenty more after the jump including Gospel Choir, Braids, Shapes and Sizes, Hayley Sales and Gord Downie.

Gospel Hour

In Hillside 26 years the Sunday morning gospel hour has gained a strong following. No matter how hard people go on Saturday night they make a point of being there for this now three-hour ‘hour’. Sarah Harmer was charged with duties of overseeing this melee and that was no easy task with the amount of performers listed and hanging around (ie: emcee Vish Khanna holding down drum duties). As mentioned above the workshops really take off when collaborations add a hint of spontaneity to produce magic. Unfortunately those ingredients were missing in the section that I watched, so there was little sorcery making its way to the back edge of the tent where I was peeping in. The Good Lovelies led a tune but didn’t have enough of an opportunity to exhibit their reputed humour. Despite the extra backing Basia Bulat’s If It Rains didn’t blow away her strong version from the previous afternoon’s set. Luckily it wasn’t raining, so the opportunity was taken for an early dip in the lake.

The Skeletones Four

Being locals, and with a Gordon as a member, The Skeletones Four were on the radar without having yet made a huge impression. This set may not have changed that for everyone but it was should have. With hard-hitting, instrument-based music (as opposed to lyric driven) they included a couple electric guitars and added some synths to a rocking sound. Evan Gordon held down bass duties as the fourtet (surprise, surprise) played a jam-my set of tight music, if you know what I mean.

The Shapes and the Sizes

In the early afternoon set the 4-piece Shapes and Sizes sounded pretty good over a lunch and beer. They came off rather loose in a positive way, and closed well with Head Movin’.

Braids

With a bit of hype coming into this set the bar was set pretty high. (High enough to draw me in over the Zeus set that everyone seemed to be talking about for the rest of the day, which I don’t want to talk about at all, to avoid that sinking feeling of regret.) This Pop Montreal band built from ambient noise composed from synths and effect pedals and reverberated vocals, into swirling songs with texture. Animal Collective references seem to follow them like, well braids on a little girl, but there’s definitely some substance to that. The set was intriguing with much to take in, with all four members contributing unique sounds from their individual instruments, in addition to all of their voices.

The Gord Downie Hour

The introductions for this tried to sound like a list of living legends from Canadian indie rock. Judging by the rammed tent people were obviously excited by this, but without a sightline I couldn’t be bothered to stay beyond Julie Doiron’s song (the second of the set) when I realized they’d be round-tabling it with a song from the back catalogue’s of each member’s career.

Corb Lund and the Hurtin’ Albertans

There isn’t a heckuva lot of country I like. Usually I hide it under a ‘folk’ heading even if I do. But Corb Lund is unabashedly country and I will unabashedly say that I enjoyed him thoroughly. Staring into the afternoon sun of the mainstage (no cowboy hat to protect his eyes) Corb played a handful of Horse Soldier! Horse Soldier! favourites, including the title track, and I Wanna Be in the Cavalry complete with banjo. Nearing the end of the set Corb gathered us all in with a very serious and somber introduction. He had us hook, line and sinker and I couldn’t help but laugh as the song he was prefacing turned out to be Time to Switch to Whiskey. And a rousing version it was as they went around the band each offering a solo, mixing in some Folsom Prison Blues, and returning to the song that left everyone content - and fixin’ for a drink!

Holy Fuck in a Tent

With gear of all sorts stacked center stage each member of Holy Fuck faced the other three to create their electro rock and eventually a dance party. Arriving late due to a Shad set that just couldn’t be torn away from it would have been more interesting to have a better vantage point to figure out how they produce this music live. From what I could gather they had two guys manning keys, a third on bass and another beating the drums. Mostly instrumental at times they would scream with the microphones firmly implanted in their mouths, busting out vocoded vocals atop the music. Expectations may have been built up since their last Hillside appearance a few years ago so when the dancing didn’t erupt immediately it was slightly disappointing. Song after song the momentum built, playing a bunch of well-known tracks and for the second-to-last track things finally let loose with the entire crowd bouncing up and down in unison.

Hayley Sales

Hayley has come recommended before, but it wasn’t until she’d sung live that the full extent of her talent was realized. This was a few years ago at Hillside and in the meantime I’m sure much has changed for her but she remains gorgeous, with a voice to boot. Slotted against Canadian music royalty (see the Hippest singer in the land) Hayley was fully cheerful and engaging with the audience that came to marvel at her range. In a blue polka-heart dress, Ms.Sales’ powerful voice rang out over her acoustic guitar with bass accompaniment, except when she dismissed him to play a Simple Song on a broken ukulele. As a sign of how great she is, I left her set to catch some of Gord’s (out of necessity) but ran back before Stars to catch her last few songs.

Gord Downie and the Country of Miracles

The Country of Miracles filled out to a six-piece on stage, with Julie Doiron being quite outgoing while Gord Downie seemed slightly more subdued than he usually is in his normal gig. (No broken mic stands!) It was more of a rock impression live than the recorded material gives, but either way it’s that signature voice that defines it. The East Wind under a rising full moon was something to behold.

Read More...

Summary only...

City & Sara, Ra Ra-Sleep (+Special Hip Guest)

Ra Ra Riot

Ra Ra Riot have a dense sound with a lilting vocal delivery and that is exactly what came across at Toronto’s amphitheatre on Saturday night. The six piece began a stellar night of music to those patrons that knew about their excellent sound and specifically showed up for it, and those that were just early enough to be introduced to it. The ever-prompt amphitheatre had them mid-set as I found my seat, perfectly coinciding with my most favoured track Too Dramatic from this year’s The Orchard. This upbeat tune pulsed its way throughout the gorgeous early evening shadows. With the skeleton of an electric cello rumbling and the violin streaking overtop they won people over in short time.

Wintersleep

Returning to past Wintersleep albums is a reminder of their strength as songwriters, managing to craft catchy songs while incorporating exquisite guitar work. That being said their live show has yet to translate that as well, at least in the situations I’ve seen them. Opening this set they treated us to new New Inheritors such as Mirror Matter before dropping that catchy as all get-out Oblivion. It appeared a difficult task to translate to this huge venue that was slowly filling with mostly non-fans. Even a blistering version of recent single Black Camera wasn’t enough to draw people in as the amazing guitar breakdowns were being lost in the ether. Miscommunication led them to rush into finale Weighty Ghost, which they put a slightly new spin on as they do to most live songs which may have disappointed those radio fans who yelled in recognition off the top. Realizing they actually had time for two more songs after this was a blessing as they rocked Archaeologists with loose vocals, leaving them with the somewhat synthy, tempo-changing Trace Decay as their strongest performance in finale. Give this band a headlining spot in a moderately sized club and I bet they’d have the power to floor ya.

Tegan and Sara, City and Colour after the jump..

Tegan and Sarah

Tegan. Sarah. Admittedly nervous at the start (massive crowd? opening for Dallas?) it took a few songs before they really began to translate, despite the hearty response to them off the top. They shine at their most vulnerable and so it was songs with revealing lyrics like The Con, and numbers such as the slowed down Back in Your Head – laid out over acoustic guitar and synths - that really hit their mark. In fact there was a midset section that removed much of the presence of the backing trio (drum, bass, keys/guitar) and put the focus on the band’s namesakes to great effect. Teegs and Sassy did So Jealous ‘classics’ such as the title track, Walking with a Ghost, Speak Slow and Where Does the Good Go? There was also a neat version of Nineteen that had the mid-song vocals over just an ethereal guitar. To close it out they brought everyone back for a rocking Northshore and after giving authentic, heartfelt thanks the two of them alone used The Con’s closer, Call It Off for an emotional singalong leaving a hanging T&S presence as they exited the stage.

City and Colour

City & Colour is Dallas Green and that's just how this show began, Dallas strumming a guitar in his suspendered Canadian tuxedo for 10,000 or so (mostly) screaming fans. Partway through opener Comin' Home he was joined by his backing band who were present for about half the set. "I said I wouldn't say anything... but 'Holy $h!t'" were some of the first words Dallas muttered to the audience a couple of songs in, and of course the crowd went crazy. Back and forth from acoustic to electric he mixed in cuts from both albums as well as a couple of new tracks to boot. A vocal-only outro to Hello, I'm in Delaware resounded, while Save Your Scissors had the crowd's voices in unison covering the chorus for him after the band had left again. A knockout was the harmonica-laden Body in a Box, which preceded the predictable Tegan and Sara accompaniment - at least it was for the oil spill response song freshly written by Mr.Green. The girls held their own with their vocals but didn't produce particular magic on their only song.

That Girl had the couples in the house (both gay and straight) reaching for each other's hands, while Sometimes was reworked as a rocker with legit electric guitar solos and everything. To close out the set he followed T&S' lead by closing with an album closer - the slow burn of Bring Me Your Love's As Much As I Ever Could.

Lights out, "I Love You Dallas'" drowned out by cheering for the encore. This eventually brought him back out alone to the piano to play an "almost cover" of Alexisonfire's Happiness by the Kilowatt. Euphoric right? But as the cry went all morning at Buskerfest - wait there's more!

To paraphrase the man of the hour's introduction to the next and final song of a rather solid evening of performances, "I brought my friends back out with me for this one," backing band strolls on stage as the lights shine on them, "and I brought another friend with me too. Ladies and gentlemen, this is Gord." The introduction by first name only was all that was necessary as speculation had been running rampant all day about this potential collab. Spontaneously the crowd went officially bonkers - the guy directly in front of me impulsively jumped in her lap and hugged the sh!t out of his girlfriend - as the reigning god of Canadian rock sang his verse and backed up the chorus on Sleeping Sickness. Gord Downie and Dallas Green embraced both before and after the song, as caught up in the moment as we all were. As Dallas pointed out - I feel sorry for those who decided to beat the traffic by sneaking out early.

Read More...

Summary only...

Band of Horses, and other Toronto Island Bands (Pavement, Beach House, Zeus, Timber Timbre)

Despite being on Toronto Island and in line before doors were set to open most of the patrons did not make it in before the bands began, with us being no exception. The Beauties and Flash Lightnin’ had come and gone.

Zeus was wrapping up their last couple tunes as the sun broke out to match our exuberance of finally making it into the venue. The huge and still relatively empty space didn’t allow Zeus to crank up the energy as they are capable of, but the sound did come across clearly, especially during the guitar solos. They did their go-to Genesis cover That’s All but overall didn’t leave much of a distinct impression.

Timber Timbre’s music seems more appropriately suited for a darkened basement club and was therefore out of context on this now-sunny afternoon in the glorious nature of Toronto Island. Taylor Kirk – the mastermind behind it all – even commented on how he was about to play an awful song on a nice day before picking his guitar and keeping slow, distinct time with a simple kick drum. He was accompanied by a lap steel which was being bowed, and deeper in the set the sound was filled out by a female violinist, a clarinet and a subdued sax. He cut the speed of Until the Night is Over in half during its live rendition. The set didn’t particularly fit the vibe and didn’t much improve my previous opinion of his music being a slight yawn played live.

Beach House are receiving a lot of love lately and the music does seem suited for lazy days in the sun, even at a beach house. However the live performance was not all that entertaining for someone with only a cursory knowledge of their music, and from what I heard even fans weren’t particularly blown away. The duo played their guitar and synths, backed by a drummer, and the music swirled lazily while the female did a take on headbanging that didn’t sync up all too well. Repetitive vocals didn’t do anything to increase interest and eventually the set passed us by.

By the time Band of Horses hit the stage I was ready for something to impress me, and this set was the prescription the doctor had ordered. For some reason I find it funny that middle-aged dudes are often behind some of the most adored hipster music of the day, and from Band of Horses made this thought resurface. Regardless of their appearance they are a group of five hard-hitting great musicians. Often combining three guitars simultaneously, both electric and acoustic, they remade their already stellar album cuts in impressive fashion live, featuring tracks from all of their full lengths. Their technical playing was pretty darn great, and that unique voice coupled so well. Infinite Arms has taken longer to gain traction in my playlist but the performance of the new material improved its chances (though unfortunately Northwest Apartment wasn’t included). What was included, saving the best for last, was The Funeral which the crowd clapped out with great appreciation for a fantastic performance.

Pavement were before my time. I missed them in their prime, and despite all the good I'd heard and checking them out via their recently released Quarantine the Past 'Best Of' I couldn't get into them. After the exuberance of BSS I couldn't be much bothered with them here either. The five-piece, (including two drumsets) did open with Cut Your Hair which is the one song that I had dug. I couldn't get into the set though, even with Kevin Drew and the Band of Horses lead singer joining them onstage early in the set for a collab. After a beer Pavement played the soundtrack to our walk to the inevitably long ferry line back to the city.

For the main event of this day, curators and co-headliners, Broken Social Scene check this review that was actually published soon afterward.

Read More...

Summary only...

Danny Michel, Solo, Sunlight Music Fest 2010

Danny Michel took the honour of headlining the fledgling Sunlight Music Festival in Guelph with grace and ease. Playing a very loose, solo set Danny oozed charm while entertaining the crowd gathered on the benches and grass encircling the Riverside Park bandshell. As mentioned he was unaccompanied on this occasion and worked primarily with his electric red guitar, swapped out briefly for a beat up black telecaster and augmented at times by his harmonica. It is the song writing that sets Danny apart moreso than his catchy, seemingly-simple music so this arrangement was just fine.

In keeping with this feeling his looping was understated and unobtrusive, as he laid down a few base samples for the first song while mirroring a child who was dancing and prancing near the stage. However for the catchysweet opening track from new album Sunset Sea Danny jovially noted that there were about 15 instruments on the album and that he’d do his best to replicate at least two, before playing Maybe You Can Find It In Your Heart. He described this album as being very happy and that feeling could certainly be heard on This Feeling – written on a bus riding in the Caribbean. Wish Willy played the part too. Older tracks were also put in the mix, with his environmentally-conscious Feather, Fur and Fin and a reinterpreted version of White Lightning that worked really well, especially with the mutli-layered ending (one of the few times the sampling was emphasized).

Throughout the show Danny was easy-going, playing with his cadence and with the kids in the audience. On I Will Love You For Miles he had a false start, momentarily forgetting the line and looking around to no one in particular, but laughed it off and began again with renewed confidence. A few songs also had false stops since the step of the sample pedal didn’t take effect but none of this detracted from the show, in fact it made it that much more personal. Adding to that was Danny laying bare his favourite song he’s ever written, Who’s Going to Miss You?, for good reason.

Leaving on a playful note the closer was Tennessee Tobacco, an upbeat ditty that had people tapping and bobbing along. So much so that they turned this kinetic energy to encore-worthy applause and received If God’s On Your Side, Who’s On Mine? in return. Danny Michel played a relaxed, easy-going set to a parkful of pleasant, fortunate people.

Read More...

Summary only...

Saturday Round-up with Jason Collett, Beauties, Wooden Sky +more (Hillside 2010)

A promising workshop between Flashlight Radio and Zeus failed to meld the two groups very well, creating chocolate and vanilla cake, not marble. Rather than play together it was mostly a back and forth that saw FR play New Constellations and Z rocking Marchin’ Through Your Head with the other band simply adding a little extra guitar and obligatory tambourine and some shakers in the background.

Read more for Jason Collett, Wooden Sky, The Beauties, Emerald City, and Chris Trapper

Chris Trapper played solo acoustic singer-songwriter stuff on his guitar or uke. It wasn’t bad but the fact that it took me away for The Canned Goods closing song was a bummer.

That early set finish did afford me the opportunity to check in on Emerald City. Like The Canned Goods they are a rather young band, but they seemed to have more unbridled energy, though perhaps less poise. Most members sang at one point or another, often overlapping too. Of note instrumentation-wise, they used a stand-up bass, as well as bowing a cello at times and included a whistle solo, which was the fashionable thing to do this weekend it seemed.

The Wooden Sky had a packed tent, and it wasn’t all due to the rain falling outside. Out of the gate they seemed to be a rockin’ band but the energy waned as the songs slowed mid-set and things didn’t quite live up to their promise. With the finale some of this was recouped on a percussion-centric that brought on a solid hand clap. The crowd reacted with more hand-clapping than seemed due, but perhaps I just wasn’t feeling it.

The late afternoon son came out in time for Jason Collett’s timeslot. From backstage while grabbing volly dinner I could hear the Angel of Kensington. Rounding to the front I saw Jason, backed by Zeus of course, playing Love is a Dirty Word including that wicked bass riff. As I’ve felt before while watching his show, if I could choose the setlist I think that it could be a great show, but with major songs missing its hard not to feel slightly underwhelmed. At least he pulled out the prerequisite I’ll Bring the Sun in the blazing sun while sweat poured down his face as he strummed his beat-up acoustic guitar, and Zeus rocking out behind him.

The Beauties had a tough task to follow-up Flash Lightnin’ but with a bit more notoriety bringing the fans out already, and the sound traveling throughout the grounds they were up to the challenge. I was stuck in line for the loo during Fasion Blues but they had plenty of other bluesy rock’n’roll tracks to fill out the set. Die, Die, Die was a rambler that played on with varied pacing and instrumental interludes but showed just how tight the band are together (following their Toronto tavern residency). They extracted a huge singalong during Devil Do which was a bunch of fun. For a finale they had a big jam during which they would encircle the drummer, build up the song, let it cool off, only to do it again and again until the top finally blew off and left us all pleasantly exhausted.

Read More...

Summary only...

Richard Laviolette, Oil Droplets, and Lime Parade (Sunlight Music Festival 2010)

I'll be honest - the country, folk of Richard Laviolette and the Oil Spills doesn't normally do it for me (I'd prefer his other incarnation with the Hollow Hooves). However being a local upstart quickly gaining popularity, and the strength of the backing band, along with endorsements for their live performance I stuck around to see if there was anything to it. As it turns out there is. Behind Richard and his acoustic guitar were an accordion, banjo, couple more guitars and drums that livened up the sound (unfortunately some of the regulars like Jenny Mitchell and Geordie Gordon were replaced on this evening, though the understudies fared just fine). When they stepped it up it felt like a jamboree, with dueling guitars and banjo solos that were good fun. Funeral Song stands strong on the album and did so again live. As a finale they threw down a Neil Young cover, Music Arcade, and bid us adieu.



Lime Parade are a young, Guelph band trying to cut their teeth. Their apparel, shiny silver dress and sunglasses all around ended up being louder than their sound which pretty tamely wrapped the female vocals. The four piece used bass, keys, drums, ukelelee and guitars to play their brand of indie rock, as well as tossing in a kazoo on a respectable rendition of Feist's 1,2,3,4. On their closer they claimed to let loose but it still seemed a little bridled. The highlight of the set was another numeric cover, Bedouin Soundclash's 12:59 a song I'm especially familiar with but had no reason to be disappointed by this version. Props.

Read More...

Summary only...

Hillside 2010 - Friday Night Recap

A clean-shaven Beardyman kicked it all off on the main stage. Blinded by the afternoon sun that had busted through after an ominous day he composed blazingly danceable tracks by feel alone. Amazingly this beatboxer does not use samples or records but instead composes entire tracks by recording his vocals on the fly and whipping them into club beats. Only during his "sound check" did he perform a full-on beatbox track which turned out to be the highlight, even though the rest was great. Unfortunately it was still mid-afternoon and things were just getting underway so the rather sizable dance party that did form was only a fraction of what it could (and I argue Should) have been.

Read on for First Rate People, Warped 45s, Laura Marling and Flashlight Radio!

First Rate People were hard to pin down. As a young band, both age and experience, it may simply be that they haven't yet found their sound since it varied greatly from song to song. Not to say that it didn't sound good at times as this five-piece swapped vocal duties, even letting the female drummer in on the action. Songs were short, bass was groovy and the few tracks I caught were alright.

The Warped 45s were a quick, upbeat take on country, complete with a singer in a cowboy shirt. Their keys were poppy akin to Will Currie from the quick glimpse I had.

Laura Marling has been receiving quite the buzz for a solo twenty year old out of the UK. Up for the Mercury Prize she brought her music to Hillside's main stage. With a powerful full band behind her on most songs Laura's nicely accented, soft voice still managed to come through. The dynamics of the songs were pleasant, as were the tracks where she strummed solo on her acoustic guitar, using lulls to to her advantage.

Flashlight Radio were quite enjoyable live. Their deliberate instrumentation was offset well by the powerfully pretty vocals of the female lead singer. Laid over an acoustic bed the song Leaving caught attention - and did I mention they were pretty?

Read More...

Summary only...

Shad and Hey Ocean reverse roles (Hillside '10)

I'm nearly out of adulation for Shad's live show. Not because I'm growing weary of it, but in fact just the opposite. His live show is even more polished than ever and his charisma comes off completely naturally. Added attraction at this show was the guest vocals of the acoustically and aesthetically pleasing Ashleigh from Hey Ocean on Rose Garden.

Another contribution to this performance was his Hillside-themed freestyle rap which I captured below.

With a joke about Hillside being like BC-away-from-home Shad introduced another member of the British Columbian band Hey Ocean, the bass player for Rock to It amongst other songs. The woman-empowering Keep Shining fit the Hillside vibe, as did the everyone-empowering Compromise. The only downer was the lack of TSOL bangers Yaa I Get It and We, Myself and I but older Out of Love Part II helped to fill the void.

As an indication of how much he pulls in his crowd, myself and friends pushed off a hugely anticipated Holy Fuck set so we could stick around for the end of Shad. No one was upset with the decision, especially as he played a crowd-friendly set pulling out classics interspersed with new TSOL songs, guests and freestyling.

Read More...

Summary only...