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Independent, provocative, now! The CJLO Magazine is the resource for features, reviews, and interviews. Established in 2004, and run by dedicated CJLO volunteers, the magazine covers the latest and best in local and international music, art, theatre, film, festivals, and more!
Everything is Borrowed is the fourth album from Mike Skinner aka The Streets. I actually heard about The Streets last year through a guy I worked with. He gave me a copy of “The Hardest Way to Make an Easy Living”, The Street's third album released in 2006. I immediately became a fan of this UK rapper and producer. I was excited to get my hands on his new album. It is definitely different from the last one. “The Hardest Way to Make an Easy Living” had a Hip Hop sound.
So I'm sitting here with my headphones listening to what must be one of the most hyped projects of 2008/09. 5 years in the working, Sam Spiegel (related to Spike Jonze) and Ze Gonzalez (famous DJ) have rustled up the who's who of music, dead or alive: David Byrne, Seu Jorge, Karen O, ODB, Ghostface, Tom Waits, Kool Keith, Kanye, Lykke Li, Santogold, George Clinton, Z-Trip, etc. etc. etc. Basically, every conceivable niche represented by its respective master or artist-of-the-moment.
As I got to Metropolis around 7:15 p.m., I noticed that the place was already packed. I still managed to get a decent spot not too far from the star that hung to the right venue wall. Around 7:30 the show got started with Devon Anthony (John Legend’s little brother) opening up for him. Anthony sounds a little like his older brother but with a different style; he has more of a dub reggae vibe mixed with a typical neo-, Chris Brownish R&B style. His songs were focused on acts in the bedroom and the women loved it.
If anything, Megadeth mainman Dave Mustaine must be applauded for his workmanlike ethic. The rather eccentric frontman/guitarist lay down the 'deth moniker earlier on in the millenium, only to decide to reform with new members for a pair of highly satisfactory albums (2004's The System Has Failed and 2007's United Abominations). These albums found Mustaine abandoning his desire to come up with "monster anthems"/hyper-accessible songs and instead become a veritable Memorable Riff Machine (patent pending).
I'm sure at one point or another, everyone reading this has been swayed by an alluring sticker on the front of an album. It may be something simple like a highlight of the singles, or a description of what the band sounds like. In truth, I'm all for these stickers when they tell me what the band sounds like, because if I'm going to throw hard earned money at something, I want to know what I'm going to be getting.
A preface: This is why I love this city: after an hour of driving up and down unpopulated roads in the downtown core trying to find parking, I came to the conclusion that every road in Montreal I needed to use was blocked. It may have been an hour, it may have been half, all I knew is that I was late for The Creepshow. I mumbled to myself that I must’ve missed the first two opening bands: The Hypnophonics from Montreal and The Dreadnoughts from Vancouver as I slammed the door to my ’92 minivan and hiked up two blocks to the venue.
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