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MARTHA WAINWRIGHT @ Main Hall
By Mikaela - Lessons in Lo-Fi - 04/18/2005
Despite a “technical glitch” which prevented the venue from being open on time, causing a line to form along St. Laurent, the recent return of Montreal’s prodigal daughter, Martha Wainwright, went off without a hitch. Opting to perform without an opening band, Martha Wainwright took the stage a little after 9:30pm and entertained the sold-out crowd for just shy of two hours. The set began with the hair-rising “Bloody Mother Fucking Asshole”, an ambitious opener which could have easily had the show peaking too soon, but the singer/songwriter dutifully backed it up with equally mesmerizing ditties. The rest of the set included many of the tracks featured on her new self-titled album, released just last month on Zoë Records (some of you will recognize many of these tracks from previously released EPs and live shows). Highlights of the evening included “Ball & Chain,” an ode to, or rather an incrimination of, male genitalia and the always appreciated “The Factory.” However, despite the solo bill, a Wainwright show wouldn’t be complete without a little family love: Wainwright received beautiful backing vocals from her cousin Lily Lankin and piano accompaniment from family friend Tom. Later on, Wainwright was joined on stage by her mother and aunt, who together make up the McGarrigle Sisters. Playing the piano and accordion, the sisters provided musical backing while Wainwright performed one of the McGarrigles’ new songs. This was followed by an always crowd-pleasing French torch song -- the name of which escapes me at present -- which she performed with her mother on accompanying piano.
In addition to the soaring musicianship, it is worthwhile to note Wainwright’s charming bilingual between-song banter, directed mostly at the young men who accounted for much of the Main Hall’s audience. In between plugging her new CD and requests for Scotch on the rocks, the singer coyly commented on “les beaux hommes” in the crowd. This being said, my lady friends and I were not immune, and likewise fell under the slow spell of one of Montreal’s foremost singer/songwriters.
Martha Wainwright will be back in town with the rest of her band, performing June 10th at Cabaret La Tulipe.
[Tune in to Lessons In Lo-Fi Thursdays 10am-12pm]
Exclaim Tour: STARS + The Organ + guests @ Cabaret
By Alex - Losing My Edge - 04/16/2005
After a triumphant and well-received return to their fair city Montreal, the Exclaim Tour headliners Stars were faced with the task of going back out and re-create the magic that had the home crowd in rapture the night before. The band has managed to build a healthy reputation of being a great live band, a reputation no doubt enhanced since touring cross-country with the comatose-looking girls in The Organ. With word of their reportedly spectacular performance the night before fresh in our minds, it remained to be seen if they saved enough gas in the tank for what was sure to be another emotional night for the hometown boys and gal.
To be fair, The Organ's charmless demeanor has limited bearing on their ability to please Smiths fans with their repertoire of competent songs. Of course, personal enjoyment is conditional on whether one particularly enjoys Morrissey's vocal stylings. Granted, comparisons to existing artists can be tired and lazy, but when the band is being equally lazy in keeping its obvious influences in check, one doesn't really have choice. That being said, The Organ gave it a good run for four or five songs before their lack of presence -- though points to singer Katie Sketch for the occasional twirls -- caught up to them. Charisma aside, the songs did manage to carve an identity for the band in spite of the weight of their musical heroes. For that, the crowd gave them an enthusiastic ovation that prompted a rare encore for an opening band.
What is instantly apparent from Stars' live act is the celebratory atmosphere that they manage to create onstage, not unlike their Arts & Crafts labelmates Broken Social Scene. As soon as Mr.Douglas Campbell bellowed the Set Yourself On Fire introduction ("when there's nothing left to burn, you must set yourself on fire") in his thunderous God-like voice, his son Torquil and his bandmates tore into the title track, looking like they fully intended in making this night as special. The music itself was undeniably poptastic and it was hard to fend off the contagious joy. However, the wild card was Torquil Campbell. At times, his gushing banter was refreshingly sincere and at others, it was overly theatrical to the point of patronizing. Surely, one can forgive such affected outbursts given the context, but the problem was that it spilled into the songs themselves. The restraint shown on the album contributed to the creation of such a lush and magical record, with all the elements complementing each other. Here, he was threatening to overpower his own band with his exaggerated manners. Thankfully, Amy Millan was the sweet voice of reason -- and reason sounded a bit like Emma Pollack from the Delgados -- and held the monopoly on all of the show's highlights. Whether it was the set-closing "Calendar Girl" or the fantastic single "Ageless Beauty" (joined by Broken Social Scene's Kevin Drew, who also appeared for "Sleep Tonight"), Millan transmitted her band's emotions in an intense but subtle manner that shares them with you, instead of ordering you to feel them.
It is hard to rail against someone for being so passionate and obviously, it worked for major portions of the audience. However, the overbearingness of Campbell's act rendered his poignant lyrics empty, similar to the way a scenery-chewing acting performance can strangle the finest script. In the end, this seemed like a bit of nit-picking, for the crowd responded greatly to Stars' performance. It wouldn't be a stretch to qualify it as magical given the ovation, but somehow, one gets the feeling that it was planned out to be that way all along.
[Tune in to Losing My Edge Sundays 12pm-2pm and Tuesdays 8pm-10pm]
THE BRAVERY + ASH + Alaska @ Studio Juste Pour Rire
By Louis - Hooked On Sonics - 04/14/2005
Stop what you are doing. On second thought, read this review first, then stop whatever it is you have planned on doing and go out and buy all of Ash’s back catalogue. Start with 1995’s Trailer then 1996’s 1977, skip 1998’s Nu-Clear Sounds, and go straight to 2002’s Free All Angels and new album Meltdown. If you happen to find the singles and B-side collection Intergalactic Sonic 7s, then give me a call because it’s rare in North America. Then turn up the volume and just enjoy the magic that is Ireland’s million-copies-selling rock band Ash. That is what I have been doing the past couple of days while counting down the hours to the Montreal stop of the Ash and The Bravery co-headlining North American tour.
Ash were in fine form, performing classics like “Kung Fu”, “Walking Barefoot” and “A Life Less Ordinary”, along with “Clones” “Orpheus”, “Renegade Cavalcade” and “Detonator” (off their very good new album). Tim Wheeler and company really looked like they were enjoying themselves tonight and it showed in the way they enthusiastically bounced around on stage. Tim was all smiles and at times engaged the crowd with small talk and dedicating “Shining Light” to a fan in the crowd who dressed like Michael Jackson with the one sparkling glove. Later, Tim spotted a fan that wanted to present guitarist Charlotte Hatherley with a bouquet of flowers, and proceeded to tell her that she has an admirer. She graciously accepted the flowers and took a bow in recognition of her fan, as the crowd cheered loudly. Ash was able to mix their newer, harder, rockier songs with their pop-punk past and give us a show that was fun and energetic.
As for The Bravery, I was apprehensive about seeing this hyped-up New York band, as they seemed to come out of nowhere to be the Buzz Band of 2005. I read about their drunken sex parties they had while playing their month-long residency at a London club, I read the cover story on them in the NME, I saw their #5 chart position in the UK Charts and their Top 20 placing on last week’s Billboard Charts, so I went in with some reservations on whether the band was for real or just smoke and mirrors created by the media. I have not listened to the debut self-titled album yet, so this would be my first real introduction to the band. I have to say that I thought they were pretty good live: the songs were tight and they do the 80’s synth wave/new wave thing pretty well. They were very happy to be playing in Montreal and lead singer Sam Endicott mentioned how he thinks Montreal has one of the best music scenes around and thanked the crowd on numerous occasions and later spoke a few sentences in French. As a live band, The Bravery definitely delivered a good show. However, I found that towards the end, the songs did start to sound the same. As with all new hyped bands, only time will tell if they are for real.
[Tune in to HOOKED ON SONiCS Tuesdays 6pm – 8pm]
GHOULUNATICS - Blood Curdling Years (DVD)
By Johnny - Turn Down the Suck - 05/03/2005
Ghoulunatics’ Blood Curdling Years is the first DVD by a Quebec metal band and it sets the bar high. Containing one full show, half of another, bits of 60 others, two videos, lots of photos, and a slew of backstage/behind the scenes/making of/on the road/etc footage, this disc delivers both quantity and quality.
The main feature on the disc is Ghoulunatics’ performance at last year’s Trois-Rivieres MetalFest. It’s a solid show with a set list drawn mostly from Sabacthany and King of the Undead. The picture is clear and the sound is good. And just in case one concert isn’t enough, about half of their Halloween 2003 show is also included on the disc. For this show, the band gets all zombied up and plays in costume. Sure it’s a little cheesy, but it’s also pretty fun. The only problem with this show is that it was already used for last year’s It’s A Live! album. Seven of the songs from It’s A Live! are on this disc. This overlap takes away from both releases. It’s understandable that the band would want to put this show on the DVD, but then why make a live album out of it as well? Despite this questionable decision, the Halloween 2003 show is still quite good.
The other major part of the disc is the Band History section. It’s 50 minutes of miscellaneous footage from the bands career and there is a lot packed into it. It has clips of 60 some shows, studio sessions, the road, and more. The amount of stuff is almost overwhelming, and with so much, it could easily have turned into one giant mess of crap. Luckily, they did a pretty good job of putting everything together, making it easy to handle and enjoy. While not all the footage is great, most of it pretty good and all of it is watchable. In the Band History section you’ll find things like a discussion of their contribution to the Flashback compilation, appearances by various people in the Quebec metal scene (my favourite being Neuraxis’ Ian Campbell describing the Ghouls as Quebec’s Nashville Pussy), a cover of BARF’s "Estie De Sale", and maybe even yourself -- with clips from so many shows, you’re bound to be in there somewhere**...
The only thing that seems to be missing from the history section is a more in-depth discussion with the band members themselves; there is some, but not enough. Besides the part about the Flashback comp and a short piece for Bandeapart.com, there are only small scraps of the band talking here and there. I don’t even think that we hear Pat Gordon (guitar) or Brian Craig (drums) say more than a word or two on the whole disc. A stronger interview element would have been nice.
Besides the overlap with It’s A Live and the lack of band discussion, it is a very strong disc. While it is not as essential as their studio albums, I recommend Blood Curdling Years to anyone who considers themselves a Ghoulunatics fan -- it’s worth your $20.
**Yes, I’ll admit to watching some parts zoomed-in and in slow-mo in order to spot myself. And there I am, right around the 47.5 minute mark. There’s nothing wrong with being petty and self-centered...
Disc contents:
Trois-Rivieres MetalFest 2004: 11 songs, 40 mins.
Halloween 2003: 7 songs + backstage/behind the scenes footage, 30 mins.
Band History: 60+ shows, studio sessions, backstage, and lots more, 50 mins.
Videos: "Melodrame", "Grave Concern", and making of "Grave Concern"
[Tune into Turn Down The Suck Mondays 1:30-3:00pm]
THE WONDER STUFF @ Cabaret
By Louis - Hooked On Sonics - 04/08/2005
The excitement has been building in me for the past few weeks, ever since I found out that The Wonder Stuff were coming to Montreal for the first time since the early 90’s. I was there at that show way back then; they played to a packed club and I remember being blown away by the music and sounds that night and being so giddy as to see one of my favorite bands. In 1994, The Wonder Stuff were seemingly on top of the world: they were huge in their native England, where they were always on the cover of some music magazine and had ruled the UK Album and Singles charts since 1988. To think that tonight I would finally get to see them again.
Well, sometimes it is better to remember your heroes as heroes, and didn’t somebody once say it was better to burn out than to fade away? Sadly, The Wonder Stuff had burned out and packed it in 1994 in a boozed-out blaze of glory as it was meant to be. Sure, there were occasional Christmas gigs in London, but otherwise they had remained quiet until now. Maybe they should have left the memories intact and not reformed for a tour -- actually not all original members are here. The songs were there and they played many of their older stuff off 1988’s Eight Legged Groove Machine, 1989’s Hup and 1991’s Never Loved Elvis and a few from their recent album Escape From Rubbish Island. However, something was missing and the sparse crowd of about 50 people knew it too. Perhaps the magic was gone and shouldn’t have been messed with, perhaps after all these years, I was just expecting something that could never be attained -- but then again, The Pixies did not let me down with their comeback tour in 2004. Miles Hunt, singer and leader of the band, seemed out of it. Drinking a whole bottle of wine in a few swigs between songs can do that to a guy who is getting on in age. The sound was not that great, and the rest of the band did not seem interested in what they were doing, possibly disappointed with the turnout. It’s likely that as a result, they decided to turn off, but something was wrong from the beginning. I am sure that in England, The Wonder Stuff could still pack them in and deliver a show to be talked about for a long time. Unfortunately, tonight wasn’t one of those nights.
[Tune in to HOOKED ON SONiCS Tuesdays 6pm – 8pm]
THE KILLS + Scout Niblett @ Café Campus
By Alex - Losing My Edge - 04/08/2005
If there's anything harder for a gimmick band than releasing a sophomore effort, it's touring for it. While the Kills, to their credit, have managed to create a somewhat interesting sound from their post-White Stripes inception, the burden of proof that they still warrant further attention three years later lies squarely on their shoulders. Armed with generally positive response to their follow-up album No Wow and a drum machine, the confident blues-damaged London-based duo stepped up to the plate in front of a capacity crowd, aiming for the fences.
The show had been moved from Petit Campus upstairs to Café Campus just a week before. What had been gained in larger space was lost in rock n' roll scheduling, with an imposed 11pm curfew hovering over our heads. As a result, Scout Niblett's set was slated for the unenviable 9:00-9:30 slot, on a Friday night no less. For what little was caught, it seemed interesting conceptually. Her vocals veered into Cat Power territory and the riffs came in unexpected fragmented bursts, but quite frankly, the elements conspired against her having a more engaging and rewarding set.
The Kills started in a subdued matter with the title track of their new release No Wow, draped in black and red lighting and building until the climactic ending of the song. The stage was now set and they immediately launched into "Cat Claw", arguably one of the better songs off their debut full-length Keep On Your Mean Side. As dirty and sexy as that track sounds on the album, it was much more high-spirited here as Hotel's guitar came alive while VV swayed with effortless cool. As far as frontwomen go, she was closer to PJ Harvey than, say, Karen O. For what is purported -- perhaps cynically -- to be essentially a gimmick, it was a natural performance. Sure, it might have been calculated but the beauty with the Kills is that they make you believe that it isn't.
While they did look great, the sound didn't quite catch up to the stage performance. The guitar and backing tracks mostly drowned out VV's vocals and while that could be perceived as an unsurmountable negative in most contexts, it sort of clicked. Perhaps it was the stage lighting that conjured up images of Velvet Underground/Suicide performances, perhaps that Hotel's licks were so delightful that you didn't mind. Still, it was the fine difference between being pleasantly entertained and being fuckin' blown away. To be fair, they did make great use of the aforementioned drum machine, adding a kick to their more languishing songs. Possibly as a sign of things to come, that third member of the band featured more prominently in a new song they unveiled called "My Passion Is Accurate", bringing forth a more quasi-electronic aspect to the Kills sound.
As they settled into an encore -- notably featuring the anthemic "Black Rooster" -- at a time most shows would begin at, the audience had been won over. The Kills had a sexual chemistry that supplied the backbone to their performance and they rocked out a handful of good songs to boot. The kids were now ready to fuck and fight.
[Tune in to Losing My Edge Sundays 12pm-2pm and Tuesdays 8pm-10pm]
PUNGENT STENCH - Ampeauty
By Brendan O'Flaherty - Catatonia Shall Prevail - 02/22/2005
Over a decade ago, when death metal as a genre was in desperate need of something fresh and original, Pungent Stench provided something simultaneously brutal, fast, funny, sick, perverted and groovy to enthrall us with. Well, the perverted Austrians are at it again and they continue to excel at conceiving art that’s both sick and fetishistic with this new platter of sludgy death n’ roll, cleverly titled Ampeauty.
Death n’ roll it is alright! The production on this one is straight out of the Wolverine Blues playbook, but the songwriting is all vintage Stench. This ain’t no Been Caught Buttering or Club Mondo Bizarre, so the lurching undertow isn’t all there and the band has ditched the sudden impromptu disco & funk breaks they did on previous records. Instead, they are letting the lyrics and the cover art provide all the humor. Nevertheless, Pungent Stench still deliver some great heavy ditties like “Invisible Empire” and “The Amp Hymn” that are both technical and catchy. If you want something faster, then skip those tracks and check out “Same Shit – Different Asshole” and “Fear The Grand Inquisitor”.
Overall, Pungent Stench haven’t really changed much over a decade of existence and perhaps they aren’t as vital as they once were to the underground metal scene. Still, this is a good record and you should check it out. Or better yet, check out their previous records. You might catch yourself doin’ the klyster boogie.
THE WEAKERTHANS + The Constantines + guests @ Cabaret
By Mikaela - Lessons in Lo-Fi - 03/30/2005
I’ll begin by stating that due to unforeseen circumstances -- as in, I didn’t feel like going -- I missed the first two opening bands for the Constantines/Weakerthans show. I can only comment on their participation in the after-show sing-along, which I shall do later.
Moving along, this was my fourth time seeing the Guelph natives, the Constantines, and each live show surpasses the last one. With a new album slated for a post-summer release, the band pulled out a couple of new songs and then peppered the rest of the set with old favorites. Highlights included “Nighttime Anytime” and Shine A Light’s breakout track “On to You”, which they dedicated to touring mates, the Weakerthans. However, while listening to these classic rock gems, I took a look at the massive crowd around me and came to the conclusion that despite the band’s blue-collar leanings, the Constantines really are a band for lovers. I had to crane to see the stage as a large number of couples made out to “Young Offenders” -- Can I get a witness? What? -- Despite my sudden lack of a view, I still managed to catch a glimpse of leading Constantine Bry Webb as he climbed an amp and stood on the ledge of the second floor balcony, prompting a very hearty clap-along; he even played a little guitar up there. Always energetic and always ready to rock, the band made me rethink blue dress shirts all over again.
As for the evening’s main attraction, the Weakerthans continue to attract a large and varied crowd with each Montreal appearance. Certainly, the three fortysomething balding men in front of me playing the air guitar, air drums and what can only be construed as the air saxophone got their money’s worth. The band powered through material from their three full-lengths and also premiered material from their forthcoming album, which is "nowhere near to being ready". Where in the past I have suggested that John K. Samson might be better as a solo act, Wednesday night’s show demonstrated what the band is capable of when they’re on. That being said, the highlight of their set occurred during their encore, when a solo John K. sang Reconstruction Site’s “One Great City” with only his guitar as accompaniment. The band rounded off their encore by inviting members of the Constantines and the two opening bands on stage. In the midst of a cheering crowd, John K. said: “There are only two rules on this tour: 1) mumble, mumble -- something about mushrooms -- and 2) that no one laughs at this song”. They then proceeded to launch into a mighty fine rendition of the Traveling Wilburys’ “The End of the Line”. For those of us old enough to recognize this song, it was an apt finale for an otherwise flawless night.
[Tune in to http://www.cjlo.com/Shows/lessonsinlofi/ ">Lessons In Lo-Fi every Thursday 10pm-12pm]
SHARON JONES AND THE DAP-KINGS - Naturally
By Christopher Bussmann - Bop and Beyond - 01/25/2005
There is something decidedly vintage about Sharon Jones and The Dap-Kings, a sound out of synch with the times in which it has been produced. Maybe it is the cover-art, with it's saturated colors and stylized font size, or the fact that the chair, the lamp, even Sharon's hair is clearly throwback - a product of its immediate past. That is not to say that Sharon and co. are content to retread old ground or peddle a product mined from the ore of others. Oh no... they are too good and clever a band to do that. From the opening moments of "How Do You Let A Good Man Down," it is clear that although this is a record steeped in the funk and soul of the late 60's and early 70's, it also has a life of its own - one that is entirely modern and designed to catch the ears of those unversed in the lore of James Brown and Sly Stone.
Sharon Jones also has one hell of a voice, akin to that of Roberta Flack and Nina Simone. Those are some heavy hitters, and Sharon, even more so live than on record, deserves to stand among them. And what sets her apart from such modern contemporaries as Jill Scott and Erykah Badu is her dedication not just to her craft as a singer but to that of the band that's behind her.
Although the name reads Sharon Jones and The Dap-Kings, they - the Dap-Kings - are every bit as important as Sharon herself, effortlessly lending support to one of the greatest voices to be found on two sides of a vinyl lp or one side of a cd. This should come as no surprise when one considers that The Dap-Kings comprise of several (current and former) members of Antibalas Afrobeat Orchestra and The Sugarman 3 & Co. That is one hell of a pedigree.
With ten tracks of shimmering soul and blistering funk, Sharon Jones and The Dap-Kings' Naturally is not to be missed. Nor is the band itself (they'll be in town on April 28th at El Salon).
Naturally is an easy candidate for my jazz album of the year.
TOOTS AND THE MAYTALS + Cutti @ Club Soda
By Tim R - Scarboro Sessions - 03/23/2005
Credited with coining the term Reggae as well as helping to shape its sound during the 60's in Jamaica, Toots and the Maytals are one of the most recognizable names in music today. On this Wednesday night, they would take to the stage at Club Soda.
The opening act, Cutti, was a great showcase of roots music, along with some Somali-influenced tracks. Their short acoustic set opened with an acapella version of the reggae classic "Tay Lay Lay". The highlights were the songs in which one of the female backup singers sang in her native Somali. All in all, this was a great display of global Reggae music.
Of course, everyone wanted to see the main act, the legendary Toots and the Maytals. This former ska band, turned Reggae pioneers, really came out of the gates with a lot of energy and nice vibes. Right away, they wasted no time going to their hits, with "Pressure Drop" being the second song performed. When you have a catalogue as deep as theirs, it must be difficult to make a set list that will please everyone. Even so, the crowd certainly seemed pleased. Blazing through hits such as, "Sweet and Dandy", "Bam Bam" and "Funky Kingston", Toots showed the energy of a young dancehall DJ, constantly vibing with female audience members and even inviting a throng of people on stage just before their final number and first big hit "54-46, That's My Number".
This was a show I would have loved to have taken my father to, as it was a big mix of people, from young to old, and from black to white. The diversity of the crowd is a real testament to the power of their music, bringing all these people together and lifting their souls. I felt as though I was six years old again at a house party in my uncle's basement.
I recommend that you go out and pick up some of their music and then you might come very close to feeling the vibes we felt that night.
One Love,
[Tune in to Scarboro Sessions Tuesdays 4pm-6pm]
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