Shout Out Out Out Out appear to authentically love Waterloo - likely because the city's inhabitants authentically love their live show. Rather than using Run, the natural opener from the recently released Reintegration Time, SO4 were already on stage and built up How Do I Maintain (Pt.2) to a compact but rabid bunch of fans at the Starlight Lounge in Waterloo. The sextet carried on their tradition of all out dance parties with their crushing double percussion, and danceable synths, deep bass lines and vocoded lyrics. Most of the new material doesn't require the quadruple bass guitar (yes, you read that correctly, 4!) as on their previous effort Not Saying/Just Saying, but instead relies on the keys/synths/samplers and a lot of mixing on the fly. Does the band ever pull it off! It's hard to remember it all through the haze of beer, bouncing, beats and beads of sweat, but there definitely were a whackload of high kicks - another Shout Out Out Out Out staple. Sticking with mostly new material they ripped their way through Bad Choices and Guilt Trips Sink Ships before tossing in a throwback to Dude, You Feel Electrical and then a strobe-lighted-to-perfection version of the Procrastinator's Fight Song. I believe it was around Remind Me in Dark Times that the PDA couple next to me really got going hot and heavy, disguised by the rest of the pulsating dance floor that was just red hot. However next up was the title track from the latest release, which I suspect was purposely placed to give everyone a moment to catch their breath, because in finale there was a wild rendition of Chicken Soup for the F*ck You the hilariously-titled and potentially never-ending set closer. After winding down the song using the regular album ending, 'the kid' drummer stood up and raised the roof (literally in the squat Starlight) while we cheered ourselves hoarse and drummer #2 kept the beat barely alive, until the band joined back in for another go-round of the song. Eventually it did end, much to the chagrin of the crowd who wouldn't let SO4 off that easily and hollered them back out.
The encore was a phenomenal blowout of hits, as the now rabid crowd jostled and danced (and half the PDA couple shouted at the other half "I told you to get your hands outta there!") to Forever Indebted, and their go-to show closer In the End it's Your Friends.. Having toured this album a bit more they have improved since last time around - building the song up to ridiculous heights, whipping the crowd into a frenzy where they were just begging for the song to break - to climax - and when it did, it went off! In fact, these Edmontonians had pumped the half-filled Starlight crowd up to such levels that even the end of the song wouldn't calm them down. What was meant to be the end of the show was filled with the pulsing claps and shouts of the band's most chantable name. Based on excitement and goaded on by the cameras that had been taping the entire show, the crowd would not cease, and so, with a few shrugs, Shout Out Out Out Out kicked into one last tune for an authentic encore. Despite a couple warnings about the unpolished state of the song they played us a new track that sounded great, finally closing the set down for real. It was another pumping, fun, high-energy, amazing show from the guys who are renowned for just that.
The Cansecos opened with a decent set that relied on their synths, and also incorporated some electronic drums into the normal drumset, which interestingly worked out. It seemed completely different than the Halloween set with the Russian Futurists from a few years back - so much so that I didn't believe the merch girl when she told me that was who was on stage. In fact, I still didn't believe it until they played Raised by Wolves, the "Best Song in the Whole Wide World (caveat: about wolves)".
Small Town DJs spun a set between the two bands which helped to set the stage for the SO4 dance party to come.
Thursday, April 30, 2009
Shout Out Out Out Out's Reintegration Show
Tuesday, April 28, 2009
Choose Your Own Adventure
Classified recently released his major label debut Self Explanatory - and much has been made of the fact. However any sellout worry is unnecessary, as the album is as solid as any of his independent releases. Interestingly he includes a 'Choose Your Own Adventure' on the album which is pretty damn cool (and novel, as far as I've heard). Check the CYOA flowcharted..
----SPOILER ALERT!----
"You can pay for school, but you can't buy class."
Winter Gloves = Summer Fun
Winter Gloves will be bringing their rockin' dance show to the Hillside Festival this summer! Hopefully after recently touring with Thunderheist they will have learned how to turn a Hillside tent into a rollicking dance party!
Japandroids Postponed
Heads up that the Japandroids tour has been slashed due to illness.. apparently make-up dates will be made down the line. No word yet as to whether the Fortnight show will go on with the rest of the line-up/replacements.. Canceled!
Monday, April 27, 2009
The Ghost Dances; Battles On
Like a rousing anthem, perhaps in anticipation of the ultimate fighting match, the album opens with the Dream of a Failed Architect which only begins to prepare one for the onset of combat. Without hesitation the Battle(')s On as the Ghost is Dancing come out swinging, steadily peppering their opponents with the crashing of the high-hat and sing-along body shots. The next round (Rogues and Heroes) opens with a slight reprieve from the onslaught (with an Immaculate Machine feel), before building back up and once again using an infectious na-na-na chorus as a weapon. With the next frame being billed as 'This Thunder' more heavy blows are expected but instead we end up dancing most of the time. We Stick Together as we build steadily up to what turns out to be the round of the fight. From the onset they draw us into their hex, before the Ghost comes pounding with a super catchy beat, and Louis Riel could prove to be the surprise underground hit of the summer. It is a saving grace that after the pummeling they let up with piano-based Strange Times, before saying the Battles Off in such a convincing manner with that beautiful female refrain that you do believe wholeheartedly and forget the fight ever happened.
Was a Universe softly picks the guitar, and then Flashing Pictures continues at a slower pace until the building percussion bursts out a chorus, before dropping you back to quiet and then returning again - before taking an unexpected lovely turn as the piano comes in. It is a song that is more dynamic than anticipated, and it keeps things interesting over its far-longer-than-pop length. Once again a piano-opening greets you on Old Children, and offers sound advice for children of all ages "Don't give up on the fight, don't give up on your dreams." The album closes with a rousing song which is much more uplifting than its title (Without Friends) would lead you to believe, and leaves the combatant toe-tapping and cheery.
Friday, April 24, 2009
Construct a Burning Hell, Barzin!
The atmosphere of this show was jubilant, as it seemed more like a party of close friends than a concert. The crowd consisted of all sorts of local artists and members of the local scene, and the Burning Hell really played off of this to great effect. It was a fantastic show - perhaps the best Burning Hell show I've seen (which is saying a lot, not just because I've seen them many times, but because their standard show is a sight to behold!). It's difficult to describe the friendly, and light-hearted atmosphere in the room. An attempt would mention...lead-singer Mathias' ad-libbed pretend-dialogue with a rabbi during the opening number "Dance, Dance, Dance" that remarked on his love of Guelph and its residents, mentioning many in attendance by name. Carrying on they played most of the new album (since it was another CD release) including highlights such as Dancer/Romancer, Everybody Needs a Body (to Be Somebody), When the World Ends. Mathias then remarked that even in their hometown of Peterborough they wouldn't get as warm a response to that many new tracks. It wasn't difficult to enjoy these tracks, as not only were we treated to clever and amusing lyrics, but the full 8-piece ensemble were simply exuding energy which became contagious. Local violinist (and Magic frontman) Geordie Gordon was especially excited, dancing freely and surprising even his own band by sneaking sidestage to change into a severely undersized, striped, blue, one-piece, shorts/t-shirt that looked utterly hilarious. The backing female, Jill Staveley, wowed the crowd everytime she used her amazing voice. Overall the entire band was joyous and played a stellar set that eventually included some old favourites such as Grave Situation Pt. 2, and The Things that People Make. Nobody wanted to the show to end - not even the band as they returned for a medley encore. Hilariously this consisted of Nick Ferrio (bass) singing a slow and stupendous version of Destiny's Child Bills, Bills, Bills, the intro to Madonna's Like a Prayer, before the Burning Hell original, Last Will and Testament, which garnered a great singalong, leaving everyone absolutely beaming.
[Note: A couple bands opened, but this post is in reverse order]
Barzin played a more conventional folk rock set, with a full band backing including a double bass, full-blown xylophone and a lap steel (on the final track), in addition to standard guitar/drums/bass. The lead singer, Barzin himself, controlled the set by singing mostly personal narratives - many off the album for which this was a CD release. Banter consisted mostly of mixed memories of the time Barzin had lived in Guelph, while pointing out that Nick Zubeck who was backing him (and is a solo artist in his own right) had recently moved to Guelph. While not mind-blowing, it was aquieter enjoyable set that ended with a Leonard Cohen cover.
Stepped right into a male-female Nova Scotian duo, Construction-Destruction, covering a wide range of songs from an assortment of arrangements. If you made a still-photo montage of each song you'd find each one was entirely different as they cycled through drums, guitar, and bass, while also trading lead vocal duties. From the grungy electric guitar and drums, to a quaint guitar/female-sung song with a french chorus, they really did run the gamut - and there was goodness to be taken from it.
Hey Zeus! Hey Pinecones! Hey Rosetta!
Recent Arts & Crafts signees, Zeus, opened the show (well another band actually played before, but I missed them and no one, comically including the bands, was able to recall their name). The melodic instrumentation was key, as even during extended breakdowns it did not overpower or turn to noise. This was especially impressive considering there was a hot-potato of instruments for three members (excluding the drummer) who swapped piano, bass and guitar. Each took their turn with lead vocals, usually whoever was manning the keys, while the other duo would sing the back-up ooo-oo-ooo’s that accompanied many songs. At first I thought there’d be a Sloan vibe, but that was mostly due to a member’s sideburns and glasses, but as they progressed I heard something like an amped-up Willy Currie & the Country French. Whatever it was - it was done well, and they left promising a Sounds like Zeus EP in the coming months. Expect a bit of a stir when that eventually drops.
Brent Randall and his Pinecones battled with the sound guy next...[Aside: the sound for the shows was pretty terrible, with plenty of buzzing, and unknown rattling that, despite the band’s continued pleas, plagued all parties] After taking in a tiny attic set from these guys a few weeks prior I was looking for a little more out of the guys, and I got it - but only a tiny bit. The version of This House was decent enough, and the Kinks cover was alright too but my fave was the one about Jenny’s penny thievery. The pinecones proved to be friendly chaps as we met over a cigar after the set.
Upon reentry I expected to see a packed house of rabid HR fans, but was disappointed with a half-filled Casbah (I suppose they were scheduled against Hawksley and the Reason). At least the invisible line 3m from the stage had finally been breached, unlike for the first couple bands. After ages of soundchecking before they shrugged and resigned to “good enough” Tim started up with a bare acoustic intro (hinted with the smallest drop of Dylan) before the rest of Hey Rosetta! came in to bring things to a swell as they so amazingly tend to do. Despite Tim’s voice being distinct and a focal point of many songs, he appears completely modest and his bandmates seem to reflect this back at him even while he’s playing his solo parts. Though quiet, Tim's parts are strong and moving, and yet many members of the Casbah audience were more interested in the sounds of their own voices, adding to the sound problems much to my chagrin. However Hey Rosetta managed to overcome all of these issues, playing a powerful and packed set of lulls and swells, and those heavenly strings. Not only were the violin (new female?) and cello imperative, but the guitarist hidden in the back added an exceptional element too. (Not to mention that killer bass line on Yes! Yes! Yes!) Also of note, on the one new song tossed in near the end of the set, Tim opened with some solid mandolin before switching over to the keys.
The thing about HR songs is that they are so well constructed; knowing how to rock toward crescendo and draw the listener in. As successfully as this is done on record their live show is just That Much More. Even while reproducing the seemingly chaotic sounds from the record, it is totally recognizable as being spot on, yet they cram in additional amazing while they’re at it. Despite their brief catalogue (Plan Your Escape EP, Into Your Lungs) they already have a variety of songs that make the hair on the back of your neck bristle due to the grandiose live renditions (Black Heart, A Thousand Suns to name just a couple). Each of these songs would make a suitable closer, but the finale is still a given- and same as it was at the last show -as the crowd roared for an encore, and were treated to a New Goodbye.
Set list (~1.5hrs):
Opener – new
Lions for Scottie
Red Heart
The Simplest Thing
There is an Arc
Black Heart
Yes! Yes! Yes!
Tired Eyes
Handshake the Gangster
I’ve Been Asleep for a Long, Long Time
*New song about driving the TransCan
Another Pilot
Encore (held to 1 song by awful sound tech):
New Goodbye
Thursday, April 23, 2009
First Official Acts! (Plus More Leaks)
The Hillside Festival website has released its first peek at this year's line-up that includes a couple of exciting acts previously not mentioned here:
Final Fantasy (one-man amazing pop violinist)
Xavier Rudd (unique multi-instrumentalist, who played the inaugural Hillside Inside)
Loreena McKennitt (world/celtic)
Also likely to play the fest, though not official just yet is
Coeur de Pirate (fantastic young female francophone)
which is very exciting.
As previously posted here, but now confirmed via the website:
Tokyo Police Club
David Francey
Buffy Sainte Marie
Tuesday, April 21, 2009
Pat Robitaille and Everyone at the Albion (4/20)
As pointed out by every band of the night, it was the 4:20 afterparty at the Albion, which I'm sure Pat Robitaille was aware of and planned on, but it was also the final day of exams at the university which I doubt he'd prepared for. This lead to debauchery, dancing, and drunken drumming which may sound like fun, but were detrimental to the show.
The name of the openers eluded me all night, however I can get away with not reviewing them according to my general policy, since they played primarily cover songs with their mish-mash of members and hundred effect pedals (most of which weren't put to use). I can fill the gap with descriptions of the atrocious behaviour happening all around. From the onset the drunk couple who'd disgustingly been making out on a chair beside the merch table hit the dancefloor (yes just the two of them) with a full pint glass each, which was soon a half glass with most of the difference splashing its way to the floor. A few songs later the band asked headliner, Pat, to join them on stage and before he could even make it there, he was accosted by a man asking him if he could play the bongos, while a second drunk girl (dg2) removed his hat. Once he finally made it to stage and started playing he was joined by dg2 who decided she wanted pics with all her dg's and was going to take them from the stage. However dg1 thought she was just up there to dance and hopped up as well, still with the pint glass and lurched overtop the boards of expensive effect pedals. In the meantime her dance partner, the "accomplished" bongo-er, slipped onto the side stage and started pounding out some percussion that could have been for any song but the one being played. Sheesh!
I did catch the second artist - it was D.(iane) Archer and she played the keys and sang on a number of funky, rockin' songs. It wasn't horrible and got the dancefloor legitimately going, and not only due to the alcohol coursing through it. The full rendition (excessive) cover of Come Together and an old '80s song were a little much. To make up for that though the entertainment was provided by a third drunk girl. First she attempted to hijack another girl's man but forcing herself in front of him for a dance. Immediately upon being rebuffed she slid up on the guy beside him and was again shot down. Only a minute later she'd slithered back to the sound guy, and struck out for the third time in 5 mins when she reached for a dial and had her hand smacked away. You'd think that'd be enough rejection for any one person but instead she turned around to fiddle with none other than Pat Robitaille's scarf, while he did his best to avoid her for the rest of the night until his set began.
This setting did not lend itself to a Pat Robitaille show. Trying to cut through the din with his acoustic guitar, intricate loops, and guitar-slapping percussion proved nearly impossible as the beer continued to flow. Even excellent songs such as Found Blue Skies and No Superman were lost in the unwarranted frenzy on the floor. This in addition to the artists who kept appearing on the stage wanting to lend an instrument. It seemed like an open-door policy as people came up mid-song to pick up a guitar, or some drumsticks (the opening band members, semi-acceptable) but then the accomplished bongo guy started up again, this time with strikeout girl smacking the same bongo between beats. After the song Pat remarked that they must have been "playing along to the Weird Al Yankovic song in their heads." As well, some godforsaken audience member got a hold of the shaker and wouldn't let go all night. By the end of the extended Floyd number, fleshed out with much of the opening band, I had to call it a night - there were just too many distractions. A high crowd would have been putty in Pat's hands, but this intoxicated one overwhelmed and ruined the sound.
Monday, April 20, 2009
Hillside Dilly-'Dala's
Hillside still hasn't released any official line-up, but should be out soon. On that list will likely be:
Dala (female duo, acoustic indie) from Toronto.
Gravity Go Green!
If I were to tweet about the Gravity Wave show last Thursday at the ebar it would go something like "Rubber boots and heavy beats; scratching and lyrics to make you scratch your head." Since I have the luxury of more than 140 characters I will treat you to a slight elaboration. This three-piece turned the volume up on their laptops and then holler-rapped overtop whilst scratching some vinyl in the background. Sampling from rather varied genres the beats they composed were out of the ordinary and sometimes too complex or odd to really find a rhythm to dance to. Lyrically they were much the same as the beats - sometimes silly, bordering on nonsensical. The DJ with the record player did have some classic bursts of phrases ie: when introduced as DJ Romantic Thief he boomed through the mic "I steal kisses!". More impressive than the frontman's garb (rubber boots, navy jacket and a shirt reading "Rad is for radical") was the extended whistling solo DJ Thief busted out that stretched well beyond any whistle solo I've ever seen (albeit they are limited). In the end Gravity Wave did manage to get a handful of people from "Guelphadelphia" (their term, not mine) on the dance floor (perhaps it was for the "Free Shit, Free Sh!T" which they kept hollering and tossing about).
Guelph buzz band, Green Go who's night it was (Borders CD release) took the stage shortly before midnight. Opening with Ghosts of the Future I was very impressed to hear them replicate the electronic-sounding song without the use of computers or samples. However it is a rare case that you want a band to sound exactly the same live as on record. So the very next song proved that this would not be the case, as they rocked out a completely revamped version of You Know You Want It, complete with interlude and ad-libs. Considering a portion of their buzz has been generated based on their remixing capabilities (of such acts as the D'urbs, Gentleman Reg) it was not surprising to hear this change-up. After this point the show seemed to take a bit of a nose-dive, which may be attributed to abandoning the second drum kit for a guitar, or could be due to my lack of familiarity with most of the tunes from the rest of the set. It wasn't bad by any means, but the synths/keys, bass, guitar could really have used the double drums for that extra oomph. In fact, nearing the end of the set someone jumped back on them for an instrumental that really got things going again, and remaining on percussion for the finale and they managed to close out strong.
Thursday, April 16, 2009
Ladies of Hillside
A couple more to add..
Ladies of the Canyon (Montreal folk group)
Jenn Pidgeon (experimental, lyrical)
and
David Gillis will be joining previously announced Ariana Gillis (his daughter) at the festival.
Tuesday, April 14, 2009
Gibson et Mecanique
Beginning the show with a list of excuses as to why things may not go well, such as 3 of the 5 band members being absent, and a lack of playing together or practicing for a month, proved to be wholly unnecessary. Musee Mecanique entertained the gathering of people at the Attic with a stripped down set of slow, steady songs. Primarily focused on the acoustic guitar and lead vocals (which were swapped partway through) they played a handful of pretty songs that were spiced up at times with keys, a touch of melodica and a few strikes of the xylophone. Laura Gibson joined the duo as a backup singer for a quicker finger-plucking number nearer to the end. As it turned out they had nothing to be worried about.
The same two members also played the role of backing band for the next act. Each of them mixed up the sound by coupling the playing of two very different instruments simultaneously. For example, while Micah strummed a bass and kicked a drum, Sean would tap on both a keyboard and a xylophone. On the next track it would be Sean starting with an accordion and switching to a lay-down violinesque instrument played with a bow, and Micah would man the melodica and then reverberate around the room by playing a saw (also with a bow). All of this instrumentation simply lent support to the spotlight of the show which was Laura Gibson's lovely voice. Coming across very well in the small space, she sang like JayMay's quieter moments, with hints of Jenn Grant too. Not only were the vocals beautiful but the lyrics she'd penned were also quite great. Laura told a few stories in between songs, including how they had learned a Leonard Cohen song by request in one night, and they went on to play it. This song definitely sounded different than the rest of the set but was still rather enjoyable in its own way. For the finale, Laura stepped out amongst the attic full of people sitting with rapt attention and played a gorgeous acoustic song unaccompanied. It concluded with a sing-along of "This is not the end" and judging by the show, this is by no means the end of Laura Gibson as she has a very promising future.
Monday, April 13, 2009
Hillside Recap to-date
Only a couple weeks until Hillside tickets go on-sale (May 2). There's been a mad frenzy for them each of the past few years so all bets are on another sell-out. One of the advantages for Hillside organizers is Hillside loyalty - the return of patrons regardless of the line-up - however that loyalty has been built by years (25 of them, in fact) of solid programming. I know you're saying "get to the goods!" so here is the list of performers I've gathered so far - look for an official early release from the Hillside website in the next couple weeks.
Confirmed:
Tokyo Police Club (indie rockers)
Buffy Sainte-Marie (Native Performer)
Kae Sun (reggae, hip hop)
Basically Confirmed:
Bahamas (2-piece indie rock)
Eccodek (World music)
Kate Reid (acoustic, folk)
Jayme Stone (jazz/roots/african, banjo, Juno-award winner)
Kristin Sweetland (acoustic, folk rock)
Grupo Fantasma (funky latin orchestra)
Red Rosary (Young Guelph "all-girl rock band")
Probable (from the depths of the internets):
David Francey (alt. folk)
Ariana Gillis (folk rock/pop)
Wednesday, April 08, 2009
Francey That, Hillside
Another couple performers:
David Francey (alt. folk)
Ariana Gillis (folk rock/pop)
Other Hillside info - volunteer program now open. Tickets to become available Saturday, May 2. This year NO Saturday/Sunday night-only tickets, which means MORE weekend passes/day passes. Smart move, imho.
Expect the first official performer announcement in the next few weeks, but for now you can keep up by hitting the "hillside 2009" label below for all the leaks.
Sunday, April 05, 2009
Rolling Tundra Review-ed
Walked up to the River Run Center in time to catch the opening act, Bahamas. The walking scored me a free pin reading "Weak - Cons - Serve" since they are running a "Rock, don't drive" green tour. The River Run Center proved, once again, to be an exquisite concert venue, as was evidenced instantly when the two-piece took the stage. The sounds of their electric guitar and drums rang out clearly as they played unoffensive, though also unenthralling, rock music. The final song that included the hairless-headed (besides full-on-handlebar-moustached) drummer was easily the best, and the set ended with the white-jean and red-lumberjack-shirt-wearing guitarist/singer playing a song on his own.
The Constantines burst out with a rawkin' version of I Will Not Sing a Hateful Song which set a tempo that carried on through excellent rock tunes such Trans Canada, Hard Feelings and Hot Line Operator. Fronted by Bryan Webb and his uniquely appealing voice, the Cons really know how to bring it (along with an extra case of rock) for their live shows. Although their style is more suited to a cramped, sweaty dive bar where the beer flows freely, they still managed to make a solid impression in this large, formal theatre. The set did slow for a song on which John K. Samson joined the group to sing lead vocals before returning backstage. There were a couple more mid-tempo cuts in the midst of the set that meandered slightly too long, but using such hits as Night Time, Anytime (It's Alright) (as inscribed on the Ebar mensroom wall) they were able to amp the energy back up at the end to leave on a high point. In fact, it was the amp that did it - as a guitarist cranked all the dials on his amp during the last song and then picked up his guitar in a battle-axe fashion. For a moment I thought he was going to destroy the guitar as he began swinging it around over his head, until I realized he was creating phenomenal feedback to fit in with the rocking out that the rest of the band were doing. They left the stage to a standing O.
It was a near perfect set from Winnipeg's biggest indie export - The Weakerthans. They play live songs as though they were studio-produced, managing to reproduce their songs almost identically. This works however (especially with the sound quality at the River Run) because it allows you to more fully appreciate the songwriting abilities of this band. Plus, despite being Canada's most prolific lyricist, John K. Samson comes across as a completely humble and endearing fellow. The sold-out crowd hung on his every word, for both in-song and between-song banter. It is difficult to pick stand-out songs but to only name a few, I'd be forced to include Left and Leaving, Our Retired Explorer, Tournament of Hearts and both of Virtute's laments. However choosing the most unique solo of the night is a cinch. Beating out the One Hundred Dollars-t-shirt-clad trumpeter, was the pedal-steel player who grabbed a meter-plus-long flexible plastic tube and whirled it above his head, varying the pitch of the whistle by ever-so-slightly adjusting the speed with which he twirled it. Incredible!
Tremendous applause resounded throughout the theatre as the Weakerthans departed the stage and we jumped to our feet. The acoustics in the hall are so great that the few thousand of us sounded like a sold-out Madison Square Garden and we could not be denied an encore. After minutes of our hollering, John returned to the stage alone and broke into the much-demanded One Great City! which I'm sure satiated many people's desires (since I could hear them singing along). The full band rejoined him for another couple of songs before the Rolling Tundra Revue (II!) finished rocking, and rolled out of Guelph.
Taste of the Caribbean at Hillside
Update April 7th: Probable - apparently bands aren't as cryptic as I give them credit for.
Another band departs saying "See you at Hillside!" once again leaving us to wonder - As an entertainer or a patron? The last time it turned out to be a performer, we'll see if the same rings true for the two-piece band
Bahamas.
They are playing the Winnipeg Folk Fest which leads one to believe they may be on the festival circuit.
Friday, April 03, 2009
Hillside's First Confirmations!
As first reported here, when Tokyo Police Club said "See you at Hillside!" they meant, "we'll see you while playing a Hillside stage!". According to Radio3, who were reporting on summer festivals yesterday, TPC will be playing, alongside Buffy Sainte-Marie and Kae Sun. No surprises!
Keep in touch - surely many more to come..
Thursday, April 02, 2009
Hillside Shout Out
Pure speculation (and perhaps desire?) but does Hillside like Shout Out Out Out Out enough to have them back for a third time in 3 years*?! Maybe...
See you at the SO4 show April 28 at the Starlight in Waterloo.
*including Inside
Wednesday, April 01, 2009
BURNING the Family Thrift Store Down!
It originally seemed strange that a Peterborough band would play the final set at the beloved Guelph institution, but Mathias Kom showed his connection to- and reverence for- the Guelph music scene, and in particular Ray Mitchell, the proprietor of the venue, with this show. The nine-piece settled into their instruments (including glock, synths, trumpet, dueling violins, xylo, uke and more!) that were arranged along one wall of the now-barren floor of the Family Thrift store. Full of mixed-emotions, the crowd (as crowds do) crowded around the group, as well as watching from upstairs, standing on crates, and atop empty shelves. The Burning Hell started with a new track, Tired of Playing Music, from their recently released Baby album. This provided one of the slower tracks of an otherwise rocking set (no, my personal fave It Happens in Florida didn't make it). The crowd really got going (ie:stomping down the place) for old favourites such as Grave Situation Pt. 2, and Dance Dance Dance, while also thoroughly enjoying the new tunes sprinkled amongst them.
At the strike of "eviction time" (aka 12:00am April 1st) Mathias stopped to give praise to the man who had so generously offered his space for rehearsals and shows over the many, many years. No lengthy speech was required, as all it took was "Thank you Ray Mitchell!" to induce a rumbling of clapping, that grew louder into an outstanding ovation which carried on and on, in gratitude for the generosity that had touched everyone in the room. The crescendo sounded like thunder as people stomped, hollered, clapped and sang out their praise - a truly uplifting display of respect.
After things finally settled back down The Burning Hell played I Love the Things that People Make and dedicated it to Ray, whose store had probably sold each of the things mentioned in the song at some point. As if that didn't bring the house down, the sing-along Bretton Woods definitely did, and as we sang out "And the hippies say 'I can't get enough of the green stuff'" the always-witty Ray held up a nearby sign that happened to be hanging around (as things do at a Thrift shop) that clearly read "No Hippies!". In finale, and to make sure anyone on the verge of tears was pushed over the edge, Jenny Omnichord (née Mitchell - Ray's daughter) who'd been playing all night with the band joined just Mathias for a quiet and stirring rendition of the Kom-penned Municipal Monarchs. He said it would be retired along with the Thrift Store, and the song that speaks fondly of The Royal City gave Jenny the deserved privilege of being the final person to sing in the Family Thrift Store that will now only live on in memories - for which we have Ray Mitchell to thank.
To HELL with City Council!
Hosting the final night of Thrifstock was The Great Orbax who was not so great at all. In fact his entire show consisted of a combination of crass jokes and rather unamusingly putting things into his nose. (By the way, due to the backlighting we could see the translucent holes in your supposed blindfold during the chainsaw bit.) His "co-host" was The People of Canada who, despite the name, is simply one man playing (thankfully) short and quick ditties on a ukelele that ranged from pointless, to silly, all the way to downright dumb. The first act they introduced was Scott Nightingale who's simple strumming and plucking acoustic set was slightly better than his awful whale joke that he led off with. When he wasn't tuning his guitar, his vocals surprisingly covered a dynamic range of styles. Wax Mannequin played next and was able to stop the chatter in the audience, or at least cover it up with prerecorded samples and drum-machine loops that he played his mega-distorted acoustic guitar over. A couple covers were sprinkled in but mostly he stuck to originals including Animals Jump and The Price. Taking in the night was a who's who of the Guelph music scene, with many musicians, and promoters in attendance, not to mention the dancing lady from Franks!
(More to come.. including the final set ever at the Family Thriftstock featuring The Burning Hell)
