So apparently I never got around to posting this last year:
1 alexisonfire - crisis
2 memphis - a little place in the wilderness
3 final fantasy - he poos clouds
4 we are scientists - with love and squalor
5 the pipettes - we are the pipettes
6 all that remains - the fall of ideals
7 tv on the radio - return to cookie mountain
8 belle and sebastien - the life pursuit
9 islands - return to the sea
10 muse - black holes and revelations
A year later I'm not too ashamed of this list, though I'd likely shuffle we are scientists and the pipettes down to the bottom while TVOTR and Muse could take their spots. B&S haven't gotten much play this year either but I was trying to fill-out the list last year (according to my preview post).
'07 is done (in rough) and should be posted soon. Or this time next year when I realize I forgot again... oops
Friday, December 07, 2007
Forgotten '06 List
Friday, November 16, 2007
Halen is Still Hip
Lemme tell you, Van Halen was pretty amazing. We got in partway through the tragically hip's set but got to see Gord Downie break more than couple mic stands while performing such tracks as "yer not the ocean," "bobcaygen," "fully completely" and the extenda-version (again) of "Hundredth Meridian."
after a break and a delicious $10 beer we were back in the fairly full Air Canada Centre where the elaborate stage (including walkout) was unveiled as van halen broke into their opening song "You Really Got Me", with Eddie shirtless from the get-go. They roared through a bunch of songs with David Lee Roth busting out high-kicks in his gaudy getups, including top-hat and microphone tricks too. "Runnin' with the Devil" was taken care of earlier on in the set and was brilliant. Eddie's solos dominated most songs, as they rightfully should have, though Alex's drumming was phenomenal as well. It was showcased in a mid-set drum solo that lasted a solid four or five minutes, before the band returned and he continued to play for another hour unphased. Some other favourites were played including "Dance the Night Away" and "Janie's Crying", and a quick cover of the Who's "Magic Bus" was tossed in, as well as a full rendition of "Oh, Pretty Woman." The drum intro we were all waiting for came quick and was then masked by Eddie's guitar (painted in the signature Van Halen way), but "Hot For Teacher" was still no disappointment. It could have closed the set with it's intensity, however these aging rockers brought it for nearly another hour still. Nearing the end of the show they broke into "Panama" which was fantastic. Then Eddie was left to his own devices. I sat in awe of this man's unorthodox, eclectic and outstanding guitar work - utilizing all devices at his disposal, including the whammy bar and the volume dial- he made the guitar do things I wouldn't have believed if I hadn't been watching it live. At the end of ten minutes of this I closed my gaping mouth and wiped the drool from my chin. Van Halen had already blown me away so I figured I might as well "Jump."
A spectacle indeed, brought to me by my good friend Jon (brought to him by his good friend Bhalla, brought to him by his pal RIM-Jim aka Jim Balsillie). Easily the best free concert I've ever taken in, and it could rival the $80 tickets as well.
Friday, October 19, 2007
Heart - It Races! Architecture in Helsinki -Opera House Oct 18, 2007
Opening with a lil extenda-added-female-vocal Heavy February as an intro they then drummed their way along through a few tracks off the new album. Red Turned White was in the first part of the show, as was Nothing's Wrong. The thing is that something was wrong. They weren't blowing people away and weren't getting the response they deserved even what they were doing. The lead-male even commented on the amount of chatter that was going after a couple songs. The only cure was to step things up. And as things moved along they did. Old favourites such as It'5! and The Cemetery helped immensely as the response was visibly more enthusiastic. After that tracks such as Like It Ar Not (a personal fave) and Debbie (my roommate Taylor's fave from the new album) were greeted by the crowd with more vigor. From here it got a lil personal touch, with Frenchie I'm Faking starting off with a couple minutes of fairly faithful rendition before changing into an unrecognizable conclusion. A cover - something about dancing til the beat's back in the box was much like the show, started slow but by the end had the fairly coarse Toronto crowd moving on their feet. During a bit of banter they expressed how they felt as if they were on hallowed ground since they were so near to Degrassi High and proceeded to shout out songs all different characters from the show. A little Lazy (Lazy) from the new album took away a bit of dancing but was fine. Feather in a Baseball Cap and Hold Music were also tossed in along with the number one hit from the Crocodile Dundee soundtrack circa 1985 which also picked up steam to something very fun in the end. Do the Whirlwind was fine but my standout track for the night was Wishbone as they broke out the wailing guitars at the end as if it were a real epic tune. It was mockingly funny and enjoyable at the same time.
All the while the sextet ran the gambit on instruments, and swapped out from drumming to lead vocals to guitar (acoustic and electric), cowbell, synths and keys. The female lead danced (and sang) her heart out too. Finally when they left the stage the crowd was ready to give them the ovation they had worked up to.
A protracted Nevereverdid opened the encore, and was followed by an excessively long argument with a few crowd members who adamantly called for a song that they claimed to have not played for four years. After seeming to agree to play Cocomo they charged ahead with the decent though predictable Heart it Races! Waving goodbye the cheers rang down and an enjoyable show that took a while to get off the ground concluded.
Sunday, September 30, 2007
Great Ohbijou Fantasy
The River Run Centre is a gorgeous theatre designed to hold approximately 785 spectators for plays and theatrical productions. Last night it stood as the setting for a three-band concert of indie proportions.
Ohbijou took the stage as a 7-piece that played easily twice as many instruments. Fronted by two petite sisters with surprisingly strong and lovely voices, the group played through a lush mix of light indie music. It was very well done though slightly sleepy at times.
A brief intermission didn't even allow us to leave our seats before a drumset, banjo, upright-bass, acoustic guitar and keyboard were taken up by the Great Lake Swimmers. The lead vocalist had a most interesting and excellent voice, which was nicely accented by the female keyboardist's backing. The upright bass player looked pretty mean with his full beard and tats but knew how to play. The drummer played a myriad of interesting ways and instruments, such as a washboard. The frontman also had a wonderful strum-plucking style that really did it for me on Ongaria greats like There Is A Light and Your Rocky Spine. Other songs included Moving Pictures, Silent Films and Changing Colours, though I would have liked to have heard the female take the lead on Imaginary Bars which was not on the set list. The set was absolutely lovely and could easily have been followed up by an encore - but despite the efforts to start a standing ovation I'm sure a lot of people were anxiously awaiting the main event. The one-man violining genious. Final Fantasy.
Owen was just about to start up his looping extravaganza. He came on humbly dressed in a t-shirt and pants and without much lead-up launched into his tunes. The set seemed somewhat ad-libbed. With Owen doing whatever grabbed him, including two covers of a man who he says he is planning on doing a full album of. The two-songs had funny and interesting lyrics but were solely piano-based and are definitely a departure from He Poos Clouds. The second song of the set had me grinning the entire time at just how phenomenal it was. It was a rendition of the title track from the inaugural Polaris Prize winning album and it was admittedly a tough play for Owen, in fact partway through he paused momentarily and mentioned how difficult it was to play, but this just made my grin grow wider as I was simply amazed. A total highlight. A few other highlights were This Lamb Sells Condos, Many Lives for 49 MP and the CN Tower Belongs to the Dead. Once again words cannot describe all of the ways that Owen produces noise from his violin, nor the visual display that Stephanie puts on with the overhead projector. It was another incredible set, capped off with a two-song encore including Song Song Song, that had Owen beating up his violin a couple times more before the end of the night. This simple word was uttered more than a few times last evening; "Wow."
Tuesday, August 07, 2007
More Beer, Less Pants!
Cutting Edge music festival - Grand Bend
Concert, camping (campcert) and drag racing.
After a gorgeously lazy day, biking down to the park and reading/napping in the shade of a tree Sonya picked me up and we began our journey to musical sanctuary. A couple hours and some livestock/graveyard driving game later we pull up to what we see will be an absolute gongshow. There are 700+ tents by our conservative estimate in a giant field. It's only 6pm but we already see people everywhere. Picking our way through we see a giant slingshot bombing people 3 rows over with water balloons, we are asked if we're drunk yet and see all sorts of other shenanigans and people running about semi-clothed and everyone with a drink in hand. Finding a relatively quiet corner we set our tent up in the wind and wander about to check out the grounds.
The Reason are on first and play some fun and slightly poppy but still respectable punk. Sonya loves them, i think they are decent and we head back to our site for a drink. All weekend there is just the one stage and usually about 20 to 30 mins between bands, just enough time to make the 5 minute walk back to the tent, have a drink, and then walk back for the next act - a regiment we followed for most of the weekend.
Next up are Ill Scarlett who bring "the reggae the rock and the ska punk and dub." They're fun and upbeat and got the reggae vibe at times.. the small frontman packs a punch, and the dred-locked guitarist is the visible reggae inspiration. They play an energy-packed set that the crowd lovingly appreciates. Finishing with smoke-em-if-you-got-em "Mary Jane." but disappointingly not playing "life of a soldier" :(
This time back at the tent some of our neighbours are sitting about so we join this mixed group of about 6 or 8 guys for a bit of a chat and drink. Back for the night-closers, Moneen. The crowd is perhaps half the size of Ill Scarlett's but they rock every bit as hard, in fact much harder. they absolutely rip on those guitars, trying to shred my face off and doing a damn good job. the sound is spectacular from the front row and i join the mosh pit for personal fave "are we really happy with who we are right now?" and then for some other songs that went over so well. ("Passing America", and the final tune "Don't Ever Tell Locke What He Can't Do.") The singer sings from on top of the crowd, standing-surfing style and then climbs up on the speakers while another member does the same before crashing back to the stage in unison. Quite a spectacle and it is incomprehensible how small the crowd was, considering these guys have been busting out this kind of energy at their shows for years.
It's about midnight now and Sonya and I walk back to the tent a lil drunk and we have another drink, while wandering about checking everything out. We come across a few fires (despite the full-out ban in the county) and chat the fire-tenders up. Play some drunk football in one of the aisles and just take in the scene of punkers getting their drink on. (and a fight rolls up on the side of our tent at one point)
I head out to the parking lot to grab more drinks and on my way back stop at the dance tent. Honestly these guys just brought their own gear and are mixing a sick dance party for a horde of people who are just loving it. i don't partake but smile broadly as i walk by. back at the fire there are a few cute girls hanging about and debating (Old School vs. Anchorman etc) and just loving life. A few more trips around the campground and a visit from (honestly) super-cool security who tell us we can keep our fire as long as we keep it small. People start to disperse as it's after 5am now and I don't even know how that happened but I crash til about 930am.
Sonya wakes me and says she's going to check out the races which we can hear. I groggily agree to join her and we walk over. There's just some souped up cars racing a straight 1/4 mile and it's cool enough. I read a bit and nap, check out some more races (the fastest guy i see hits 197mph and does the 1/4 mile in 7.06s.
Saint Alvia Cartel (an apparently up and coming band) are up first at noon. They play some punk rock with a lead singer that reminds me of the guy from Smash mouth and generally don't impress.
Shad is next, a rapper from London On., who has some decent flow. "I self-deprecate more than I boast, and I boast a lot" is the gist of one of his lyrics. There's a few seconds of Kanye tossed in there, over a remix of a Kanye song supplied by this kick ass DJ. He plays a bit of local hero K-OS ("every day is saturday night, but i can't wait for sunday morning" in honour of his set being real early on a sunday) He jokingly rips out some Boyz II Men. I like the set and the crowd is decent for an early in the day hip hop set at a punk festival.
The Junction, who a friend loves -and I wanted to see based on that- are a 3-piece that play rock that is okay with me but just doesn't translate live. I find I'm kinda bored and Sonya comes up 1/2 way through and I tell her she hasn't missed much. the drummer is the most interesting of the three though.
I catch a huge crowd of about 200 people form in about 30 seconds as the promise of a fight happens. by the time i arrive one guy is telling the other to punch him. he obliges. twice. the third time is dodged and the guy getting punched now becomes the puncher and just packs a flurry, punching and kicking and going crazy til people realize he's not actually landing any blows, just phantom punches. He's joking! the first puncher is visibly relieved and as the little girl behind me sums it up "they were going to fight, but then they hugged."
the crowd is a mix. there is obviously a good contingent of 19+ people but there's also a lot of young punks. 15-18 age group that are there for a good time, and to get drunk and out of control. In fact the crowd at the stages is bigger on the all-ages side than the 19+ side.
I go back and catch Social Code while being puke-splattered on by some mid-afternoon drunk guy. Yuck. Also a guy dressed solely in a garbage bag slips onto the stage, does a back flip off of it, and runs off exposing himself to the entire crowd. i laugh real hard and the band gets a kick out of it (i imagine the garbage bag guy gets a kicked-out because of it) The set is decent and they are catchy enough though their lyrics leave a lot to be desired. I believe the word "forever" was present in every tune they played.
Ten Second Epic are up next and they have a pretty-boy singer, but at least he has a good voice and some stage banter - albeit pretty generic things to say. I like them cuz they are better musically and lyrically than social code, but not as catchy and hooky. toss up.
Attack in Black play some straight up rock and get the first encore of the festival - mostly cuz their set is barely 30 mins (when most people are doing 50+) They come back and play a yawner, wasting the opportunity.
Protest the Hero are a hardcore band with a lot of hardcore fans. They have some sick guitars but i m not familiar with the music and after my buzz starts to wear off a bit im not feeling the mosh pit much more and go to MSTRKRFT who are spinning in the dance tent. they ve got a decent sized crowd and though they sound like most of the other beats i ve heard emanating from this tent all day, at least i recognize the DJs and there s a crowd to dance in. i do get my groove on for awhile, i watch a girl dump an entire beer on her chest by accident and then just dance it off. They only use one sample i recognize from their album (it's 2 djs, including ex DFA'79 Jesse Keelor, who kinda take turns/work together to mix) a bit of fun.
Alexisonfire are the headliners and main event. All the other bands had some people coming to see them but Everyone was here to see alexis. the place is packed up but i get close enough. They play 1/2 their songs off the new album which is fine with me cuz it was my overall favourite from last year and by far my favourite of their 3. Opened with "Mailbox Arson" and kicked out "No Transitory" as an older track. There was no ".44 Calibre Love Letter" which is usually a fan favourite at the live shows of theirs that i've caught but the encore is "Accidents" and is solid. At one point they cut a song 1/2 way through, turned up the lights and told us all to step back cuz the barriers had begun to buckle. that's how intense the crowd was. it was near the beginning though so it didn't kill the mood too much. They overall rocked and were really sweet to see live as a headlining set, since i ve only ever seen them in opening/short festival sets before (warped tour).
Everyone comes back from the set sweaty and ready to party. We get a fire started and curl up around it with the neighbourhood girls and boys. We have our fire put out twice (and start it back up each time) Fireworks are going off around us. All sorts of shenanigans ensue.
i was woken up by a man with a megaphone at my tent window the next morning, which wasn't the coolest thing in the world, but after he moved on i watched a couch fly by with a very dust-covered young man laying on it (being dragged at top speed by a car that was rallying around corners). The rest of the long weekend was thankfully spent recouping on the beach.
Oh my goodness the things i saw at Cutting Edge. It was like it's own society with no-word-of-a-lie 700+ tents in a field filled with music (and alcohol) fueled punks just having a great time. The things that went on are so ridiculous if taken out of that setting that i was amazed. Some of the bands were duds, as expected, the headliners rocked, as suspected. The racing was fast, the camping was nuts and the festival was a success. I hope this was Year One of a lasting tradition!
Monday, July 30, 2007
Hillside 2007
Hillside. Put the word ‘Rolling’ in front of it and you draw up a vision of a lovely expanse of undisturbed, luscious land. Following it with ‘Festival’ will paint another equally wonderful picture for those who have been fortunate enough to experience this one-of-a-kind Guelph tradition. I’m not sure where the name originates, since I write this from the location of the inaugural festival and cannot see any raised terrain worth naming a festival after. Whatever the reason, the name has stuck, as have the motivations behind the first Hillside twenty-four years ago. These years, six-thousand people pack the rather flat island at Guelph lake for each day of the festival which guarantees to be full of entertainment and lasting memories.
It impresses in every dimension. The excellent organization, the friendly atmosphere, the delightful foods, the diverse entertainment, the serene location and of course the top-notch musical talent. To paraphrase the lead singer from Rock Plaza Central, “Going to Hillside is like waking up and realizing you are in some sort of heaven.” This account of the Saturday festivities should give you a glimpse of what heaven is really like.
A wonderfully and slightly unexpected sunny day greeted me as I familiarized myself with the grounds and stumbled upon my first non-mainstage tent. Inside was a wonderful and slightly unexpectedly sunny band that really started my day off on the right foot. Dance Hall Free for All were just being introduced by CBC Radio 3 host, Craig Norris, as the future of music. I would have to agree that this group of seven local Guelph high-schoolers really could become the future. They were youthful and charming, playing upbeat music with a host of band instruments including the sole female player on trumpet. The frontman possessed enough confidence to carry them through, as slight inexperience (which was to be expected) was glossed over by fun tunes and impressively tight musicianship.
Having to honestly tear myself away from the dose of high-school sunshine (promising myself I’d check out their next local gig) I trotted over to the third tent where I planned to spend most of my day. A four-piece was on stage, with two female and one blond male singer all sharing lead vocals, and often singing in chorus. It was cheery independent rock with strong vocal interplay that led me to believe that this was not the mash-up as written on the schedule, but a rehearsed set. The acoustic-guitar bearing frontman apologized that the Born Ruffians were unable to make it for the ‘workshop’ but assured us that Mother Mother was happy to have shared their music with us.
Up next on the same stage was the guaranteed indie rock jam session (aka ‘workshop’ around Hillside) of multiple members from Do Make Say Think and the Apostle of Hustle. This was the first of many “Where’s Whiteman?” sightings as the lead-man from Apostle of Hustle took an electric guitar onto the stage. The set started off a little mechanically as the mixed musicians felt each other out. But as things progressed everyone got to know each other and loosened up dramatically, making for a much more enjoyable time for all involved I am sure, especially the listener. An older gentleman in a baseball cap, and short-shorts over pasty white legs introduced us to the group, which also included the female violinist from DMST and a standup bassist, among others. The capped man also played a killer guitar and got into a bit of a duel at one point with some other members. He then directed us around the group as each member had the opportunity to lead the jam with their respective instruments, giving us a bit of a solo. Andrew Whiteman decided a guitar just wouldn’t cut it for his and he picked up a tambourine to bash around for his minute of glory. The songs moved from rambling to soaring and I was very happy to have waited it out and taken in the whole set.
Wandering around for a little I tried some tasty and authentic perogies before ending up back at the same tent. This Bassindaface workshop featured four, count them – four, bass players and a drummer. It was an intriguing concept that played out pretty well. That 1 Guy played his modified bass/drum/thing while the stand-up bass from the previous set remained and two standard bass players also played along in front of the drum set. A few funky elements shone through and it was entertaining enough.
It was midday, and having biked 12km to the venue I was in need of a bit of rest. Unfortunately shade and Plants & Animals did not go together. Pop Montreal was hosting a two-hour block of programming at the festival and this group featured a slick-fingered guitarist who played shiny guitars he’d taken from his impressive stand. They had some good guitar riffs in the fairly standard guitar-rock way, so I found an open spot on the grass to just lie down and listen. Unfortunately the sun just seemed to bake without any wind and I soon gave up on my nap and headed for the water. That’s the convenience of hosting a festival on an island – you’re never far from a beach.
After a quick but necessarily refreshing dip in Guelph Lake, I went back to see what else Pop Montreal had to offer. What was there to meet me was entirely intriguing and very welcomed with my new store of energy. A beat-boxing, accordion-playing, balding, rapping, white guy headed up an eclectic So Called group. Another Pop Montrealer -Katie Moore- sang too, along with a drum-bass-guitar trio and a flute-type instrument player. The music was unique and danceable with seemingly random elements tossed in throughout. There was whistling into the mic, some sort of yodeling, and the aforementioned white-guy rap. They closed with a sing-along “These are the good ol’ days, na na na na na.” It was groovy and got the entire tent up and into them. It was a fantastic set that had me walking away thinking “Wow.”
Not two minutes later I experienced another “Wow” moment. The Orion drum store tent had been taken over by drummers. Everywhere I looked someone was tapping or shaking something and the rumble from the drum session just swallowed up anyone that was trying to pass by. People danced and grooved while the swirling beat forever evolved and grew as more people joined in. It was a good thing that the lead drummer and store owner eventually brought the drumming to a close because I think I would have been lost in this whirlwind of beats for good.
Breaking free from the drumbeat trance was a positive thing as it allowed me to catch the latter half of Jade McNelis’ set. She was absolutely gorgeous, and I’m not referring only to her voice. She played the piano (on a keyboard) while singing excellent up-tempo songs. Joining her at her first-ever festival was a tall red-headed bass player who would close his eyes and sing along with her, a drummer who amusingly-for-me would be overtaken every now and then with the look as if he’d just got a whiff of the most putrid thing in the world, and a man I recognized to be Chris Seligman (from Stars) on keyboard. There was also a second Andrew Whiteman spotting as he quietly sat down on a nearby amp and joined in with a guitar for one song. Closing my eyes her voice reminded me quite a bit of the also-gorgeous Leslie Feist’s, but the songs were original and make me believe that Jade has the potential for fame of Feist-like proportions.
Following this extraordinary woman was the man who had discovered her. Mr. Torquil Campbell also of Stars, went on to play this afternoon with his other band, Memphis. Let me tell you that that man has an ear for beauty. After the great set from Jade, his non-Stars outfit took the stage with a Macbook pro, a female violinist slash keyboardist, drum and bass players and co-writer slash long-time friend of Torq’s, Chris Dumont on guitar. Breaking into latest album opener I Dreamed We Fell Apart, I realized that it was the first song of the day that I recognized; yet still felt that I’d already heard so much great music. It began to sink in what a special festival this really is. Torq sang a mix of both their albums to date including In the Cinema and Into the Wild, while the rest of the band, particularly the violin, filled in the lush sounds wonderfully. Torquil was charming with some banter about it being a family-festival after finishing the rousing Incredibly Drunk on Whiskey. Another choice moment was after Second Summer when a five-year old in the front row stood to applaud over his head. Torq thanked him with “If only everyone were as kind.. and as small.” After a moment he coyly continued, “because then I would be the tallest man in the world.” Closing with Love Comes Quickly, their brand of dreamy love-pop had won over more than a few admirers and I was pleased to have witnessed Torq’s genius again in person.
I needed only stay where I was seated to be once-again awed by another band. Rock Plaza Central were a little older than most bands on this stage and had been somewhat of an undeground success- having produced the album themselves as a gift for friends and family that had somehow ended up in the hands of music lovers who realized it’s greatness. A +8 Pitchfork review later and they are a verifiable success. It appeared that they were still becoming accustomed to playing to such large audiences but this did not affect their sound in the least. The group of friends that they were managed to reproduce the quality and sounds of the disc in full, including all the minor noises that I thought were just slight feedback. Using a host of instruments such as a banjo, violin, tambourine, xylophone and maracas played by a darling six-year-old girl in a sundress on stage (probably one of their daughters), they fleshed out many of the stellar tracks from "Are We Not Horses?” These included the identifiable opener I am an Excellent Steel Horse, and the anthemic My Children Be Joyful. After closing with an uplifting rendition of We’ve Got a Lot to Be Glad For, the crowd agreed and most rose to provide a standing ovation.
Exhausted from such compelling sets one after the other; I ate a scrumptious meal of Taiwanese rice and tofu dumplings off of plastic dishware. This is a concept I’ve never seen employed before that absolutely makes sense to me. The food vendors provide the food on these reusable plates and at each garbage can there is a bin for dirty dishes. A selfless group of volunteers washes these throughout the day and keeps them in circulation – thereby eliminating untold amounts of disposable dishware from the dumps. To wash down the meal I headed to the water refill station which works in a similar vein. Using water bottles of any sort you hop in a quick moving line, hand over your bottle to have it handed back to you by a friendly volunteer filled with cold, local water. Headed up by a water conservation group it not only educates people on water issues but it saves everyone money, keeps people hydrated and prevents the need for thousands of disposable water bottles. Just two examples of the strides Hillside takes for the environment.
Getting back to the rock, Sebastien Grainger in an undershirt and a fedora with an electric guitar was just starting up as I approached. Considering the other half of DFA'79 went on to form MSTRKRFT and Sebastien himself had admitted he didn't know what his new album would sound like, I was interested to see what kind of a show he'd put on. After a minute of guitar intro, his band Les Montagnes - simply a bass and drum accompaniment - joined him. In the same way that Josh Homme leads the Queens of the Stone Age with a slow progression of repetitive guitar licks, Sebastien was at the centre of this band. Another similarity is the band’s metal history – as Sebastien had a lady read aloud about their “metal-god bassist.” There was another “Where’s Whiteman?” moment as he entered sidestage, but when QOTSA-lite needed to change drum equipment mid-set I moved on. For all I know the latter half of the set could have been completely different, seeing as Grainger's style seems to change by the minute.
Grabbing my second helping of the day of pakoras (deep-friend balls of goodness) I took up a seat to watch The Besnard Lakes close their set. Sharing the lead vocals at different times between two male and one female, they played songs from The Besnard Lakes “Are the Dark Horse.” Three guitars- one of which was being played with a bow, a synth/keyboard, the female on bass and a drum set were their weapons and they were put to good use. Personally I haven’t been able to get into the critically-acclaimed album, and the live show was much the same. However there were enough scenesters there that knew these guys were highly touted in the industry and I think that is what encouraged the partial standing-O, because frankly I didn’t feel much magic from the set.
Look who it is yet again. Andrew Whiteman is back just in time to catch the Euro-Canadian batch of self-proclaimed ‘electro-pop’ being dished out by Dragonette. The three guys enter in just jeans and designer T’s but they still looked slightly overdressed for such a laid-back kind of festival. However their music is rather stylish and sexual so it is fitting that they would look the part. In tight black pants, green high-heels, and a small jean jacket over a form-fitting shirt, the lead singer strutted on stage. Their songs are quick, with a slight electronic feel provided by the electronic drum set additionally plugged in to the regular set. A deep grungy bass emanates as a dance-party breaks out. The songs just ooze sexuality – it’s almost too much at times – as the animated singer teasingly goes on about washing her dirty body. It’s alright but a little too much for me so after five songs I leave them behind on a hunch. (But don’t tell the singer that I left if you see her. In fact, you should give her my number.)
My hunch pays off because just half a song (mind you half a Do Make Say Think song can be the equivalent of two regular pop songs) after arriving at the main stage they break into one of my faves, The Universe! with it’s Go.Stop. rhythm. It is played second-last in the set, just as it was at the Canada Day show where I last saw them. Again they are a skilled set of eleven musicians who can really roll with a song. The mostly lyric-less music can be powerful and moving, but at other times can just be atmospheric and fade into the background. I’m happy to have caught a couple songs anyways, especially that one and contentedly return to the other tent.
Like turning the page to find Waldo right in the centre with no one around him, this is the most obvious Andrew Whiteman sighting of the day. He fronts the Apostle of Hustle while they play hits from both albums, “The Folkloric Feel” and “The National Anthem of Nowhere”. I slipped around the side of the tent and ended up backstage where a bunch of previous performers were taking in the set. The three-piece play some recognizable songs, one of which Torq (of Memphis) hopped up on stage to bang a tambourine for. Not long afterwards, about mid-set, Torque slid by me and I shook his hand to ask him where he was headed. He told me that he was going to go take in some of Emily’s set. I agreed that it was a good idea so I let him continue and I left the backstage area to head to the mainstage.
The sun has finally set on this wonderful day but there are still many things to be excited about. The mainstage now has a man sitting in front of a laptop to the right (the Soft Skeleton?), a video screen in the centre and Emily Haines seated at a piano to the left. She is playing her ballads while singing as the video adds a new dimension to what could otherwise be a boring visual display. The auditory element was there- as she sang an excellent compliment from her first album. Doctor Blind, The Maid Needs a Maid, and The Lottery were songs I was lucky enough to catch. On-screen were mostly black and white, grainy videos that seemed somewhat abstract, with an unclothed lady who seemed to be in a room but the entire place was underwater. Both the meaning and the water were over my head anyways. Also it was intentionally displayed in slow motion but at a very low frame-per-second rate, which gave an interesting effect. Overall it was an intriguing set that I hadn’t planned on catching but once again Torq’s penchant for beauty was dead-on.
For the last set it was a tough decision. Do I stay at the main stage to take in the Canadian superpower set from the Dears, which I hear can be quite lovely? Or do I go to the Victoria, BC band – Immaculate Machine – since I love both of their albums thoroughly? Assuring myself I’ll take in a full set from Immaculate Machine on Thursday I head to what will be the biggest closing party of the fest judging by the crowd that has amassed for Shout Out Out Out Out. However after fifteen minutes past the set start time my patience is dwindling and when they announce that the ‘sampler’ necessary for the set is still “at least ten minutes away” I make the executive decision to try and see someone else for a little. Fighting through the crowd of people who have given up on S.o.o.o.o. I decide that heading to the Dears with all these folks would be just too much of a headache. Though I hear one of the few songs I do like coming from the main stage, I slip around back to the sparsest crowd of the day. Albeit they have stiff competition, but Immaculate Machine deserve more than this. Hopping a fence I get to hear a “Ones and Zeroes” hit, Phone No. and then Roman Statues, the fullest song from the recently (digitally released) “Fables”. Wishing to stay but wanting to go, I cut away and nearly run back to Shout Out Out Out Out while avoiding pedestrians and golf carts on the darkened back-path.
A drum beat can be heard emanating from the tent- a good sign! As I enter the area I can hear another apology for the delay. It seems I’ve arrived perfectly on time for the start of the set. Weaving my way through the throng of young people anticipating a party, I get up near enough to the front, where the beach balls are bopping along over people’s heads. Four guys stand up front with all sorts of digital equipment, plus a trio of basses. Behind them sit not one, but two full drum kits. On one is the outgoing, funny guy that all the girls want to know who stands up and makes faces at the crowd while raising his arms and in-turn, the intensity inside this already anxious tent. The boys from Edmonton break into a sampled-electronic-vocoded set that gets everyone in earshot wiggling. In fact, everywhere I look in the packed house people are grooving, from the dancefloor to the tops of picnic tables. Meanwhile, the band who had earlier looked on the verge of breaking up during the tense moments of the missing sampler, were now running around together, doing scissor kicks, flicking drumsticks and digitally altering their voices. Most of “Not Saying/Just Saying” gets played during the abbreviated set – including my favourite, Forever Indebted. When that turnaround happens about three-quarters of the way through the song everyone just about went nuts. Self-loathing Rules and Dude You Feel Electrical went over really well too, especially with the three ladies to my immediate right. Nearing the end when everyone was eating out of their hands they started a clap-along with accompanying backing music, and then phased it out so it was just a couple thousand hands resounding throughout the tent in a powerfully deafening moment. Time constraints forced the band to cut off the party despite the ravenous appetite of the crowd. In fact they stopped, threw out the drumsticks and looked to be completely done for the night, only to do a mini-encore, starting the beat back up yet again (with fresh sticks) and allowing us a last chance to get all our dancing out. Quiet hours in the conservation area nipped any additional encore in the bud (as had also happened for the Arcade Fire’s closing set a few summers previous). A sweaty, glowing crowd filtered out in the night having given their all and shouted it out, out.
Avoiding the crowds once again I cut around back of the mainstage and witnessed a telling act of the demeanor of the crowd for the day. A soft-spoken-word story, complete with light wind chimes, was concluding for a small but enraptured audience on a very dimly lit stage. A boisterous group was walking in front of me and as they realized there was a performance still going on, their conversation ceased. Everyone was very conscientious of others; trusting, friendly, respectful. Moving along I came upon a second drum circle that again rolled and swelled before finally closing out the night with a communal final beat and exhaustedly content people.
Another excellently organized day filled with delightful foods, diverse entertainment, top-notch musical talent in a friendly atmosphere at a serene location had come to a close. Having experienced it all, I know that it can all be summed up in one defining word; Hillside.
Thursday, July 12, 2007
(In our bedroom) After the War - Stars Album Review
The Beginning..
the night sky stretches high above - reaching out in all directions - just taunting us to stare into it and dig deeper. a slow pounding builds in your head; all the thoughts that are on the brink must be bursting to pass through your brain. then a glow in front of you makes you focus not on the beating anymore, for you realize it's source and stare into it trying to make it out. the light continues to grow in intensity, allowing for you to comprehend the image of a solo drummer but then your attention is diverted as a keyboard twinkles into earshot and another silhouette appears in a warm yellow cloud. things begin to swell as a female on guitar comes to light as well. the Stars have come out on this lovely night and they are ready to change you with their songs.
Amy repeats what we all know as true: The Night Starts Here indeed. Overtop of a background rumble she introduces us to the new album from a band that has made some of the most gorgeous songs to come out of Montreal this decade (and that is saying a lot). Torq finally enters to add his charming vocals to the track, and the interplay that defines many of their greatest songs is heard for the first time on this album. Along with overlap that works really well in this case. Then, like an asteroid it comes to an abrupt stop.
Torq then grabs the reins for a little while as he demands Take Me To The Riot while Amy comes along for the ride.
In an immediate tune, Amy reads from her ..Favourite Book and makes a strikingly adept comparison, in a way it is a reverse personification, about a lover. Slow and straightforward, the song is easy to listen to initially but comes off as not having much overall depth.
The same cannot be said for the Midnight Coward which is dynamic and a standout, even on this gorgeous album. Again the interplay between the two stellar singers achieves a wonderful effect.
The Ghost of Geneva Heights starts out with a beat that could be made by the ghost of the king of pop. Even during the chorus a slightly effeminate sounding Torq comes across with hints of MJ. Despite these peculiarities it is still much more a Stars track than one from Michael Jackson.
Personal gripped me so much that I won't allow myself to make an obvious play on the title for it would lessen the effect. In a recreation of a brief correspondence, a heart-breaking tale is told that slightly shocked as it tore through my chest. As disheartening and difficult as it may be, the talents of Torq as a writer, and both him and Amy as performers must be acknowledged. The song draws you into this story enough to tear at your heart while the bottom falls out. "Sorry to be heavy, but heavy is the cost."
A beautiful piano-ballad; Torq tears down the Barricades and let's his vocals shine through. "How could anyone not love your cold, black heart?"
A few abrupt tempo changes manage to keep the listener intrigued, but like the Window Bird chirping all day outside on the sill, this one sometimes fades into the background. Some guitar work saves it near the end.
Amy resumes lead vocals to sing about the Bitches in Tokyo as the album picks up pace again.
In a reflection on Life (2), Torq - the real-life actor - walks us through the screenplay for a movie. The contemplation of what life is supposed to be is grounding, especially the thesis of The Unhappy Ending.
Trying to lift you out of the rut that the sad story brought on, Amy promises that Today Will Be Better, I Swear! But for some reason it is difficult to believe her, as much as I'd like to.
Sitting In the Bedroom, After the War you grapple with the bittersweet message that forces one to decide which point of view they are going to take, but also questions whether you can just look at one side while ignoring the other. To paraphrase "Yes the war is over, and we think we've won" but is that just our state of mind, or are we lying to ourselves? The culmination into a soaring song almost tears you away from the grim outlook of the future. But must it be so bleak? That is the question being posed after all.
As the album comes to a close, it implores you to return to The Beginning After the End once more - perhaps this time with a new perspective - if Stars have been successful in their bid to effect change in people through their music.
Tuesday, February 06, 2007
Live Hip in London
Fittingly the song to open the night in a hockey arena venue was the new "At the Lonely End of the Rink" before getting into "little bones" and then "dire wolf". The show was actually moving fairly slowing until "fireworks" amped it up a bit with an altered line that sounded like "As well "..loosening my grip on ..." Joe Thornton. This was followed by "100th Meridian" which had a long interlude where Gord mixed in the beginning lyrics of the Eagles "Stairway" but he quickly cut himself off and returned to bash a mic stand and then trade it to a girl in the crowd for her sweater. the rest of the set had better flow with some more phantom power "poets" and "bobcagen" mixed in with other new World Container songs (kids don't get it, family band). They did a solid job of including songs from all eras.(Locked in the trunk of a car, long time running, giftshop, ahead by a century)
The title track of "World Container" was a good new inclusion as was the third last song of the set "yer not the ocean". The last two tracks were actually started as "new orleans is sinking" then switched off to the entire "nautical disaster" before returning to close out as new orleans with a switch to ""..looked up to" London "above, and said - hey man thanks".
After a rather long wait for the encore they eventually did hit the stage again. Another world container track before breaking into Iggy Pop's "Lust for life". It was a rather straight up rendition which didn't waver too much from the original but was fairly representative of Gord's dancing throughout the night - a lil wild, tap-dance affair with a lot of movement. Interesting to say the least. I was worried I wasn't going to hear it but the closer was "Blow at High Dough" and it was excellent. As was the show in general once it got rolling. Another mic smash handed to the crowd and a heartfelt thank-you to music fans (including a mock-painting of us) and they were gone.
