Tuesday, April 2nd, 2013
It’s the return of Björk to Toronto, starring Björk. And maybe you. But definitely Björk.
Inez van Lamsweerde & Vinoodh MatadinIt might seem like Björk doesn’t tour much anymore – after all, it’s been nearly five years since she was last here headlining V Fest 2007 in support of Volta, but that was actually her last album before 2011’s Biophilia. So besides the fact that she’s been working at a slower pace than when the ’90s triumvirate of Debut/Post/Homogenic made her one of the most unconventional pop stars of Alternative Nation, there’s also the demands of raising a family, and anyways – if you could live here just watching TED talks or in hotels on the road watching ESPN, where would you rather hang out?
In any case, Biophilia initially came with an ambitious slate of live shows, but the preference for more intimate, in-the-round, month-long residencies over conventional shows limited the cities that could host her to the likes of New York, Paris, and Manchester and even if there were intentions of adding more cities, the need for vocal polyp surgery last Fall would have probably ixnayed those. All of which is to say, yes Björk has been away for a while but she’s not forgotten us – as I speculated last month, she is indeed making a stop between already-announced engagements at Ottawa Bluesfest and Pitchfork Festival, and will be at Echo Beach on July 16 with whatever wild, weird, and wonderful show she’s put together for this North American jaunt.
Tickets for the show are $64.50 and $85.00 for VIP, but courtesy of LiveNation, I’ve got one pair of passes to the show to give away before the regular onsale happens this Thursday morning at 10AM. To enter, email me at contests@chromewaves.net with “I want to see Bjork” in the subject line and your full name in the body, and have that in to me by midnight, April 3. Yes, that’s tomorrow night. Winners will be informed before the general on-sale goes live.
MP3: Björk – “Verandi”
MP3: Björk – “It’s In Our Hands”
MP3: Björk – “Cosmogony”
Video: Björk – “Mutual Core” (in Times Square)
Titus Andronicus have announced a May 2 date at Lee’s Palace in support of last year’s Local Business. Yes they’ve already been through for that one and yes, they’ll probably be back yet again before all is said and done. And you know why? Because people keep going. Tickets for this show are $18.50 in advance.
MP3: Titus Andronicus – “Ecce Homo”
Australia’s Presets are coming back to town behind last year’s Pacifica with a date at The Danforth Music Hall on May 10, tickets $25 plus attendant fees.
Video: The Presets – “Promises”
A PSA that the Marina & The Diamonds/Charli XCX show originally scheduled for May 23 at the Sound Academy has been moved to Echo Beach, a development that will probably be welcomed by everyone unless it rains, in which case it will be cursed. Noisey talks to Charli XCX about her debut album True Romance, due out April 15, and Consequence Of Sound has a stream of one of the new songs off of it.
Video: Marina & The Diamonds – “How To Be A Heartbreaker”
Stream: Charli XCX – “What I Like”
British rockers The Boxer Rebellion have announced a North American tour in support of their new album Promises, out May 14, and will be at The Opera House in Toronto on May 24, tickets $18.50. They talked to Billboard about what to expect from the new album.
MP3: The Boxer Rebellion – “No Harm”
Video: The Boxer Rebellion – “Diamonds”
With their new album Ultramarine ready for an April 16 release, Young Galaxy have made a May 31 date at Lee’s Palace to celebrate its release, tickets $15. The Line Of Best Fit has an interview with the band.
Stream: Young Galaxy – “Pretty Boy”
Marking the physical release of last Fall’s Heavyweight EP, Rachael Yamagata will be in town at The Mod Club on June 4 as part of her Dealbreaker Tour, tickets $16.50 in advance.
Video: Rachael Yamagata – “Even If I Don’t”
Perhaps realizing that the royalties from the Veronica Mars movie won’t start rolling in for a while, The Dandy Warhols have announced a lace anniversary tour for the only record of theirs anyone ever really cared about and will play Thirteen Tales Of Urban Bohemia in its entirety at The Phoenix on June 5, tickets $32.50.
Video: The Dandy Warhols – “Bohemian Like You”
Rancid will headline the Avenues and Alleways Fest at Echo Beach on June 12, featuring all manner of Rancid-approved punk bands. Tickets for that are $35 in advance.
Video: Rancid – “Ruby Soho”
British soul-funk saviours The Heavy have made a return engagement in support of last year’s The Glorious Dead; they’ll be at The Phoenix on June 19, tickets $17.50.
Video: The Heavy – “What Makes A Good Man”
Barely making himself scarce after being pretty much everywhere during Canadian Musicfest, Mac DeMarco will be at The Hoxton on June 30, tickets $14.
MP3: Mac DeMarco – “Freaking Out The Neighbourhood”
A second official batch of NXNE acts was announced last week, with notable names including punk vets Social Distortion, who will be headlining the free Yonge-Dundas Square show on the Thursday night, confirmation of Big Boi doing the same on the Sunday, Coeur de Pirate making her first appearance post-motherhood, and Fucked Up doing their thing at The Horseshoe on the Saturday night. Also likely to be a hot ticket is Montreal’s Majical Cloudz, recently signed to Matador for the May 21 release of Impersonator. In addition to the NXNE appearance, he/they’ll be at The Great Hall on May 13 supporting Youth Lagoon. And if you’re interested in all the artists officially announced for NXNE thus far, hit the artists page.
MP3: Majical Cloudz – “Childhood’s End”
MP3: Majical Cloudz – “Turns Turns Turns”
Some more additions to Toronto Urban Roots Fest of a decidedly domestic nature; joining a host of others at Garrison Common from July 4 to 7 will be Toronto twang-duo Whitehorse and ascendant Vancouver singer-songwriter Hannah Georgas. The former is playing on the Sunday, July 7, the latter on the Saturday, July 6.
Video: Whitehorse – “Achilles’ Desire”
Video: Hannah Georgas – “Somebody”
Noel Gallagher-approved, One Direction-baiting, Olympic-soundtracking, chart-topping English singer-songwriter Jake Bugg will make his Toronto debut at The Mod Club on August 3, tickets $15.
Video: Jake Bugg – “Lightning Bolt”
Monday, April 1st, 2013
Sigur Rós at The Air Canada Centre in Toronto
Frank YangEven though Sigur Rós’ show at the Air Canada Centre on Saturday night was announced back in November, I was on the fence about attending, rationalizing that I had seen them twice just last August, and as much as I enjoyed the atmospheric charms of last year’s Valtari, I didn’t know that I needed to see it live again. Then word came that not only would the staging of the show be different this time, thanks to the shift in venue from outdoor festival settings to indoor arenas, but rather than a second tour for Valtari it would be an advance tour for their next record Kveikur – out June 18 – well then, it was a no-brainer. And really, saying you’ve had too enough Sigur Rós is like saying you’ve had enough beauty or enough wonder. It’s nonsense.
As they did at Massey Hall way back in May 2006, the band began their show hidden behind a scrim, performing in front of the well-filled if not sold-out, theatre-configured arena as a set of silhouettes seemingly backlit by the aurora borealis. At the climax of “Ný Batterí”, the scrim fell away and the eleven-piece band, camped out in a forest of musical and lighting gear, was revealed. The elegantly simple incandescent light bulb stands were a holdover from the Valtari tour, but the screens which surrounded the band on four sides to create an artificial intimacy on the big outdoor stages was exchanged for a wide, parabolic screen stretching across the width of the stage, simulating a wide expanse in an enclosed room.
It was on that screen that the band’s always-inspired visuals played out, seemingly tuned to evoke the more visceral nature of the new material, balancing out the air-and-water atmospherics of Valtari with a more fire-and-earth elemental skew. That said, the only representative in the set from the last record – “Varúð” – was the most visually stunning, with the soft glow of the stage bulbs blending with the Will-o’-the-wisp images floating on screen to create a genuine sense of weightlessness – no mean feat in a hockey arena. And while the arena setting was not the best for intimacy – the days of the band playing Massey Hall will be fondly remembered but are clearly over – the sound was immaculate and the scale lent itself nicely towards enhancing the grandeur of Orri Páll Dýrason’s drums.
Other back catalog highlights were “Hoppípolla”, as always, with the crescendo including an invitation from the band to the audience to stand and clap along, and “Festival” which featured Jónsi holding a single high note for so long that, while it almost had to be electronically-assisted, you still wanted to believe was magic. The Kveikur material was well-highlighted, with new songs bookending the main set; “Yfirborð” opened and the appropriately-titled new single “Brennisteinn” (“brimstone” in Icelandic) closed things on an apocalyptic note, with “Hrafntinna” and “Kveikur” lurking amongst the old favourites like wolves in the fold, more than making good on their promise of a more “direct, aggressive” sound – if the sub-genre “orch-industrial” didn’t exist before, it may well now.
One wonders if this stylistic shift was related to the departure of keyboardist Kjartan Sveinsson and the remaining three embracing their new existence as a power trio, or if it was just the logical reaction to making Valtari. Ironically, though the official band was now the smallest its ever been, the touring lineup was operating as more of a grand ensemble than ever before, the horns and strings buoying the proceedings. That said, it wasn’t flawless; there were a few missed cues and off-beats – nothing major and hardly a black mark on the show, but surprising for a band that was always so impeccably tight on stage.
Following the ninety-minute main set, the band returned for a two-song encore and affirmed that, for all the dramatically show-stopping and breathtaking moments in their catalog, “Popplagið” from () remains the best and only way to conclude a show. I think they’ve gone to it every one of the seven times now I’ve seen them perform, and yet this reading may have been the post powerful one yet. Maybe it was because of the staging, the lighting, the headspace, or the simple fact that they’re still letting this decade-old composition evolve and grow. In any case it was still the perfect way to end the night and a not-so-gentle reminder that there’s no such thing as enough beauty or wonder.
NOW and The Globe & Mail talked to bassist Georg Hólm ahead of the show about the band’s new record.
Photos: Sigur Rós @ The Air Canada Centre – March 30, 2013
MP3: Sigur Rós – “Gobbledigook”
MP3: Sigur Rós – “Hoppípolla”
MP3: Sigur Rós – “Popplagið”
MP3: Sigur Rós – “Staralfur”
MP3: Sigur Rós – “Svefn-G-Englar”
MP3: Sigur Rós – “Nýja lagið”
Video: Sigur Rós – “Brennisteinn”
Video: Sigur Rós / Leaning Towards Solace
Video: Sigur Rós – “Varúð” (version three)
Video: Sigur Rós – “Valtari”
Video: Sigur Rós – “Varðeldur” (version two)
Video: Sigur Rós – “Fjögur Píanó” (version two)
Video: Sigur Rós – “Dauðalogn” (version two)
Video: Sigur Rós – “Ekki Múkk” (version two)
Video: Sigur Rós / Seraph
Video: Sigur Rós – “Dauðalogn” (version one)
Video: Sigur Rós – “Varðeldur” (version one)
Video: Sigur Rós – “Varúð” (version two)
Video: Sigur Rós – “Ég anda” (version two)
Video: Sigur Rós – “Rembihnútur”
Video: Sigur Rós – “Fjögur Píanó” (version one)
Video: Sigur Rós – “Varúð” (version one)
Video: Sigur Rós – “Ég anda” (version one)
Video: Sigur Rós – “Ekki Múkk” (moving art)
Video: Sigur Rós – “Við Spilum Endalaust “
Video: Sigur Rós – “Inní mér syngur vitleysingur”
Video: Sigur Rós – “Gobbledigook”
Video: Sigur Rós – “Sæglópur”
Video: Sigur Rós – “Hoppípolla”
Video: Sigur Rós – “Glósóli”
Video: Sigur Rós – “(Vaka)”
Video: Sigur Rós – “Viðrar vel til loftárása”
Video: Sigur Rós – “Svefn-G-Englar”
Filter has an interview with Ólafur Arnalds, whose For Now I Am Winter is out in North America tomorrow.
NPR has premiered the latest video from Efterklang’s Piramida, and Oregon Music News has an interview with frontman Casper Clausen. And while I’m glad for Clausen that his health has recovered, that Toronto was the one and only canceled date on their now-concluded North American tour elicits a big sigh over here.
Video: Efterklang – “The Ghost”
Interview talks to Iceage, in town for a couple shows at NXNE on June 15 and 16. That tour will be alongside fellow Danish punks Lower, and Exclaim reports that the side-project of the two bands – Vår – will release their debut album No One Dances Quite Like My Brothers on May 14.
Video: Vår – “In Your Arms”
Pitchfork has an interview with the Dreijer siblings of The Knife. Their new album Shaking The Habitual is out April 9.
Magnet interviews The Mary Onettes in advance of handing them the keys to their website for the week as guest editors.
Finally, Drowned In Sound talks to Johan Angergård about Labrador Records on the occasion of the Swede-pop label’s fifteenth anniversary with additional comments from Philip Ekström of The Mary Onettes and Johan Duncanson of The Radio Dept., the latter of which aren’t especially celebratory.
Saturday, March 30th, 2013
Jonathan BarnbrookWhile the surprise announcement in January that David Bowie would be releasing his first new album in a decade was largely met with equal parts shock and delight – though perhaps as much because he’d managed the impossible in keeping the existence of it a secret in hyper-connected 2013 as the actual prospect of new Bowie music. Most remarkably, though, was the fact that an artist who had successfully withdrawn from public life and transitioned into myth – and was alive and well enough to enjoy that status – had chosen to come come down from the mountain and possibly put that all at risk by reopening his legacy. Or maybe it’s not remarkable at all; after all, the man is an artist and artists create.
But strip away the remarkable narrative around The Next Day and you’ve still got a very good record that, while it doesn’t stand alongside his best epoch-defining records, still puts lie to the notion that he’s done nothing worthwhile since Scary Monsters. It is self-referential, but consciously so – the drum outro on “(You Will) Set the World on Fire” is not an accident – and the past is only used as a point of perspective; there’s no intent to try and recreate it or pretend he’s not every day of his sixty-six years.
He does intend, however, to prove that hexagenarians can rock. Fears that the first preview – “Where Are We Now?” – would set an elegiac, fragile tone for this album were wholly unfounded – The Next Day finds Bowie in full rock sophisticate mode, with “The Stars (Are Out Tonight)” and “Valentine’s Day” as good as anything he’s done in the past 30 years. And while those who had romanticized the story of Bowie – enabled over the past decade by his “retirement” – may be frustrated that it’s not a work of absolute majesty and proves he’s still very much human and capable of missteps, those of us with more realistic expectations should be more than pleasantly surprised.
Courtesy of With A Bullet, I’ve got two copies of The Next Day – one on LP, one on CD – to give away to some lucky Canadian. To enter, email me at contests@chromewaves.net with “I want Bowie’s The Next Day on CD” or “I want Bowie’s The Next Day on LP” in the subject line, as the case may be, and your full name and mailing address in the body and have that to me by midnight, April 13. And again, Canucks only. Sorry, non-Canucks.
Video: David Bowie – “Where Are We Now?”
Video: David Bowie – “The Stars (Are Out Tonight)”
Thursday, March 28th, 2013
Nick Cave & The Bad Seeds and Sharon Van Etten at Canadian Musicfest
Frank YangI had to think for quite a while about including this show under my Canadian Musicfest coverage. Although the festival would like you believe that Nick Cave & The Bad Seeds’ visit on Saturday night was as a festival headliner, everyone knew that this show had little to nothing to do with Canadian Musicfest and everything to do with the tour in support of their latest effort, Push The Sky Away; I don’t even know if any of the VIP wristbands promised access actually got in. However, as I’ve exempted shows from fest coverage in the past on account of their not being explicitly listed as performers, it seems only fair to have the inverse apply. Yes, these are the things I spend energy thinking about. Pity me. In any case, it was going to be a full house for The Bad Seeds’ first Toronto show since October 2008, and with this being the band’s first time at Massey Hall – arguably the most natural setting for them – it was bound to be a memorable one.
It’s been a joy watching Sharon Van Etten’s career trajectory over the past few years, from lightly-attended opening slots in Spring 2010 through graduating to headlining status a year later and then, last year on the back of Tramp, filling rooms like Lee’s Palace and The Phoenix. So while on paper, moving back to opener status might seem like a step back, when it’s at Massey Hall and opening for Nick Cave, it’s most certainly not. Performing as a guitar and drums two-piece, her compact five-song set – including a new one that was intended to be happy but still sounded mournful – was a fine introduction to her beautifully confessional songwriting for those unfamiliar with her and for those already won over, an affirmation that her gorgeous voice belonged in cavernous halls like this. Someday. Soon.
Photos: Sharon Van Etten @ Massey Hall – March 23, 2013
MP3: Sharon Van Etten – “Give Out”
MP3: Sharon Van Etten – “Kevin’s”
MP3: Sharon Van Etten – “Serpents”
MP3: Sharon Van Etten – “Love More”
MP3: Sharon Van Etten – “Don’t Do It”
MP3: Sharon Van Etten – “I Couldn’t Save You”
MP3: Sharon Van Etten – “For You”
MP3: Sharon Van Etten – “Consolation Prize”
Video: Sharon Van Etten – “Magic Chords”
Video: Sharon Van Etten – “Leonard”
Video: Sharon Van Etten – “For You”
Some have bemoaned the slow, stately pace of Push The Sky Away, wondering where the spit and fire that defined Dig!!! Lazarus Dig!!! and the two Grinderman records had gone. For my part, I think that that run of records – and you can probably include 2004’s Abbatoir Blues/Lyre Of Orpheus in there – as well as the departure of Mick Harvey following Lazarus and Cave’s work both writing and scoring films, pretty much guaranteed that Cave would get introspective next. And accepting that, it’s a gorgeous and immersive record, putting the focus on the content of Cave’s words – of which there are many – rather than the intensity of their delivery, and the Bad Seeds get to show off their atmospheric chops. Those fearing he’s gone soft would do well to remember that the band went ballad-heavy for a few records at the turn of the century before returning to the rock. Even if this current phase lasts beyond Sky, it almost certainly won’t be the last.
This show was also of significant contrast to the last Kool Haus performance; whereas that one was as lean and mean a rock machine as a seven-piece outfit could be, this one figured to be a more sophisticated affair, bolstered by a string section featuring members of Godspeed You! Black Emperor and Owen Pallett as well as the 19-piece Rose Avenue Junior Public School choir and backing singers Shilpa Ray and Sharon Van Etten. All were put to good use from the get-go as they opened with a smouldering five-song suite from Sky; slow, lush, and gorgeous but with the massive crescendo punctuating “Jubilee Street” offering a taste of what was to come. And indeed, when “Higgs Boson Blues” – arguably the centrepiece of Sky – faded out, Cave let out a snarling, “I wanna tell you ’bout a girl!” and the back catalog was open for business.
The menacing Nick Cave persona, heretofore kept in check with the slower material and informal chatter with the audience, was let off the leash and set to prowling the edge of the stage. A good portion of the floor seats had already rushed the front of the stage before the show began, and though security tried to stem the flow, Cave suggested they head to the bar and get a drink instead; after all, what’s a preacher without his congregation? The Bad Seeds played their part, as well, dressed like gentlemen assassins (the leopoard-skin lining of keyboardist Conway Savage’s suit jacket got a compliment from Cave) and Warren Ellis in the role of the loose cannon, whether abusing his violin or dancing/conducting the string section manically on “From Her To Eternity”. The children’s choir looked a touch unsettled by the intensity of the older material and were probably relieved to be sent off an hour into the show.
The remainder of the set was mostly obvious selections from throughout Cave’s repertoire, the sublime execution making up for the predictability of the selections, although the complete omission of Lazarus still rankles. The strings were used to beautiful effect on “Love Letter”, “The Mercy Seat” as harrowing an experience anyone could reasonably expect at a concert, and main set closer “Stagger Lee” an exercise in elegant mayhem. The choir returned to bolster an elegiac “Push The Sky Away” and a roaring “Tupelo” closed the night out. Having been at it with The Bad Seeds for almost 30 years, his reputation for incredible live shows is more than well-established, and yet he’s still able to send people into the night dazzled and dazed and not quite believing the show could be as good as it was. But it was. Oh, it was.
The National Post, Exclaim, BlogTO, and The Globe & Mail also have reviews of the show. The Toronto Star and NOW had feature interviews with Cave ahead of the show.
Photos: Nick Cave & The Bad Seeds @ Massey Hall – March 23, 2013
Video: Nick Cave & The Bad Seeds – “Jubilee Street”
Video: Nick Cave & The Bad Seeds – “We No Who U R”
Video: Nick Cave & The Bad Seeds – “Midnight Man”
Video: Nick Cave & The Bad Seeds – “More News From Nowhere”
Video: Nick Cave & The Bad Seeds – “Dig, Lazarus, Dig!!!”
Video: Nick Cave & The Bad Seeds – “Get Ready For Love”
Video: Nick Cave & The Bad Seeds – “Breathless”
Video: Nick Cave & The Bad Seeds – “Nature Boy”
Video: Nick Cave & The Bad Seeds – “Bring It On”
Video: Nick Cave & The Bad Seeds – “Love Letter”
Video: Nick Cave & The Bad Seeds – “Fifteen Feet Of Pure White Snow”
Video: Nick Cave & The Bad Seeds – “As I Sat Sadly By Her Side”
Video: Nick Cave & The Bad Seeds – “(Are You) The One That I’ve Been Waiting For”
Video: Nick Cave & The Bad Seeds with PJ Harvey – “Henry Lee”
Video: Nick Cave & The Bad Seeds with Kylie Minogue – “Where The Wild Roses Grow”
Video: Nick Cave & The Bad Seeds – “Red Right Hand”
Video: Nick Cave & The Bad Seeds – “Loverman”
Video: Nick Cave & The Bad Seeds – “Do You Love Me”
Video: Nick Cave & The Bad Seeds with Shane McGowan – “What A Wonderful World”
Video: Nick Cave & The Bad Seeds – “I Had A Dream, Joe”
Video: Nick Cave & The Bad Seeds – “Straight To You”
Video: Nick Cave & The Bad Seeds – “The Weeping Song”
Video: Nick Cave & The Bad Seeds – “The Ship Song”
Video: Nick Cave & The Bad Seeds – “Deanna”
Video: Nick Cave & The Bad Seeds – “The Mercy Seat”
Video: Nick Cave & The Bad Seeds – “The Singer”
Video: Nick Cave & The Bad Seeds – “Tupelo”
Video: Nick Cave & The Bad Seeds – “In The Ghetto”
And some album streams to take us into the long weekend – Pitchfork has got an advance stream of The Black Angels’ new record Indigo Meadow, out April 2, and Philadelphia Weekly an interview with frontman Alex Maas. They’ll be at The Danforth Music Hall on April 13.
Stream: The Black Angels / Indigo Meadow
Hype Machine is hosting a stream of For Now I Am Winter, the new record from Icelandic composer Ólafur Arnalds. It gets a North American release on April 2.
Stream: Ólafur Arnalds / For Now I Am Winter
The Guardian is streaming the new British Sea Power album Machineries Of Joy. It comes out on April 9.
Stream: British Sea Power / Machineries Of Joy
Yeah Yeah Yeahs have rolled out the first video from Mosquito, out April 16. It features a lot of face-sucking.
Video: Yeah Yeah Yeahs – “Sacrilege”
Spin points to a stream of the b-side from The Strokes’ 7″ contribution to Record Store Day this year. If you think it sounds a lot like one of the songs on Comedown Machine, you’re not wrong.
Stream: The Strokes – “Fast Animals”
Clash talks to Black Rebel Motorcycle Club, in town at the Kool Haus on May 9.
Wednesday, March 27th, 2013
Savages, Limblifter, and more at Canadian Musicfest
Frank YangIf you’re ever debating what to do on a given evening of either Canadian Musicfest or NXNE, you can always do far worse than to simply post up at either The Horseshoe or Lee’s Palace for the entire evening. These Toronto anchors always host a solid bill of bands, both local and international, buzzy and unheralded, covering a swath of genres that will surely have something to delight the ears. Granted, I was there with a more specific mandate than to just take in some music – I wanted to see Savages – but still opted to spend the whole night there and see some other acts I’d not seen before. Because isn’t that the point of these things?
Vancouver’s Zolas drew the opening slot and my immediate impression of their lanky, piano-heavy and slightly funky rock was that they sounded like Spoon, but those comparisons became less valid as the set progressed. The ingredients were similar, but their recipe drew more from laid-back, ’70s pop-rock than the tense, ’80s post-punk influences of the Austinites. This didn’t make their set any less enjoyable, but I can’t say I wasn’t a bit disappointed that they weren’t a more adventurous outfit. Still, their sound was a crowd-pleasing one and when frontman Zachary Gray left the stage to sing the final song from the audience, it felt like he had been invited rather than invaded.
Photos: The Zolas @ The Horseshoe – March 22, 2013
Video: The Zolas – “Escape Artist”
Video: The Zolas – “Cab Driver”
Video: The Zolas – “Knot In My Heart”
Video: The Zolas – “No Talking”
Video: The Zolas – “The Great Collapse”
There’s almost no chance I’d have ever seen Dustin Bentall & The Smokes perform if not for the inherent eclecticism of club festival lineups. Not because I’d have gone out of my to avoid them, but because their brand of unaffected roots-rock ceased being the sort of thing that piqued my curiosity some time ago. But that doesn’t mean it can’t be entertaining, because it absolutely was – Bentall has an easy charm and his songs a friendly familiarity that helps compensate for the rather pedestrian songwriting, to say nothing of the live show – Kendel Carson’s aggressively virtuosic lead fiddle playing could make anything sound amazing.
Photos: Dustin Bentall & The Smokes @ The Horseshoe – March 22, 2013
MP3: Dustin Bentall & The Smokes – “Railroad”
Video: Dustin Bentall & The Smokes – “Streets With No Name”
Hamilton’s Young Rival have been kicking around for a while now – six years and two albums, says Wikipedia – but our paths had yet to cross, or at least until last month when one of their clips was shortlisted for the Prism Prize. In any case, I was advised just before their set to expect something between garage rock and power pop, and while this was true, their set tilted much more towards the former. They offered great guitarwork and a solid rhythm section and songwriting which while not the most memorable, was more than serviceable for rock’n’roll. I would have expected more showmanship from a power trio as tight as they were, but while they weren’t disinterested, they also didn’t seem especially fussed about wowing the audience.
Photos: Young Rival @ The Horseshoe – March 22, 2013
Video: Young Rival – “Two Reasons”
Video: Young Rival – “Nothing You Know Well”
Video: Young Rival – “The Ocean”
Video: Young Rival – “Authentic”
Video: Young Rival – “Your Island”
It was good to see that each of the acts on the bill had their own fanbase turn out, based on the enthusiasm of varying percentages of the audience and the constant turnover of the folks gathered up front, but for me it was London four-piece Savages who were the reason for being here this night. Not because I’m a huge fan, but because I’m not. Or more accurately, I was curious to see if the hype around a band with hardly any recorded output and yet just signed to one of the most respected labels around was justified. And for the record, their “they’re amazing live” reputation actually counted as something of a strike in my books, since talking about the performance before establishing the songs are there raises flags with me.
In any case, Savages took the stage certainly looking as you’d expect – lights dimmed, faces stern, and dressed all in black save for frontwoman Jehny Beth, who in addition to looking an uncanny hybrid of Ian Curtis and Sinead O’Connor, also wore a pair of bright red heels. And for the next 40 minutes, it was all business – that business being a relentless, sonic pummeling of the post-punk variety, all hard edges and not so much interested in hooks as stabs. Each song had a distinct musical angle to distinguish it from the others without compromising their aesthetic consistency, but this wasn’t always enough to make them memorable, particularly measured against the standard of their two best songs and set closers, “She Will” – which was highlighted by drummer Fay Milton absolutely destroying her splash cymbal – and “Husbands”. No question Savages put on a good show, but I will still reserve judgement until the May 7 release of Silence Yourself when I can hear if they’ve got the songs to back up the performance.
Photos: Savages @ The Horseshoe – March 22, 2013
Stream: Savages – “She Will”
There’s probably a rule somewhere that you can’t call it a festival without some ’90s-vintage reunion act, and that’s where the night’s ostensible headliners Limblifter came in. I wouldn’t say I had any particular affection or enmity towards the Vancouver band, having liked some of their hits back in the day and been indifferent to others, but I could think of worse things than to hear “Vicious” live. It’s worth noting that just as frontman Ryan Dahle has aged remarkably well over the past 15 years, Limblifter’s sound has also held up pretty well. Their slightly strangled, angsty grunge-pop is still very much of an era – on hearing “Screwed Up” I half-expected a space-time wormhole to open up and drag me back to my sophomore year (this would not have been a good thing) – but enough of their repertoire is strong enough melodically to still impress so many years hence; to wit, “Tinfoil” still sounded great. And as evidence that Limblifter was still a going concern in 2013, they introduced some new material that didn’t feel out of place with the old. Whether the folks in attendance were actually interested in adding to their Limblifter collection rather than just hearing the old tunes remains to be seen, but for this night, at least, they were loving it.
The KW Record has an interview with Limblifter.
Photos: Limblifter @ The Horseshoe – March 22, 2013
Video: Limblifter – “Perfect Day To Disappear”
Video: Limblifter – “Wake Up To The Sun”
Video: Limblifter – “Cordova”
Video: Limblifter – “Vicious”
Video: Limblifter – “On The Moon”
Video: Limblifter – “Ariel Vs Lotus”
Video: Limblifter – “Tinfoil”
NOW and The Montreal Gazette talk to The Besnard Lakes about their new album Until In Excess, Imperceptible UFO, out April 2. And if you were thinking that it was about time an advance stream of the album surfaced, you would be correct – CBC Music has it (for Canadians).
Stream: The Besnard Lakes / Until In Excess, Imperceptible UFO
Beatroute, The Leader-Post, The Province, Metro, and The Times-Colonist chat with Born Ruffians about their new album Birthmarks, out April 16.
Exclaim has premiered the first video from Gentleman Reg’s latest album Leisure Life. He’ll play songs from it at an in-store at Sunrise Records on Yonge St on April 19.
Video: Gentleman Reg – “Waiting Around For Gold”
Consequence Of Sound reports that Caribou will celebrate Record Store Day with vinyl reissues of his first three albums. That’s April 20 for those not keeping track.
Portals talks to Stephen Ramsay of Young Galaxy about the story behind their new single “Pretty Boy”. Their new album Ultramarine is out April 23 and another track from it is available to stream:
Stream: Young Galaxy – “New Summer”
Exclaim talks to Rachel Zeffira, who is in town for a rare show at The Drake on May 2.
NPR has video of one of METZ’s performances at SXSW this year. They play Lee’s Palace on May 17 and then Downsview Park opening up for Weezer on July 12.
The Toronto Sun, Black Book, and amNY chat with Stars, BlogTO with The Darcys, and The Georgia Straight, Vue, Playback, and FFWD with Hayden – all of whom are part of the Field Trip festival at Garrison Common on June 8.
A Heart Is A Spade and Noisey grabbed interviews with Diamond Rings at SXSW; he opens up both of OMD’s shows at the Danforth Music Hall on July 11 and 19.
Exclaim rounds up some details on Shad’s next album, Flying Colours.
Kestrels have released a new video from A Ghost History.
Video: Kestrels – “Drowning Girl”
Suuns answers questions from Spinner, Noisey, The 405, All The Write Notes, and Ca Va Cool.
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