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CD Review: Modernboys Moderngirls – I Might As Well Break It

February 4th, 2010 | By: Christine Morasse

Modernboys Moderngirls - I Might As Well Break It

The latest release from Toronto’s Modernboys Moderngirls features simple riffs and repetitive lyrics, the perfect combination to make a song stick in your head for days. I didn’t think much of the first two songs; too annoyingly ‘’boy trying to get the girl’’ for me. But once you get what the album is all about (making you dance and stop thinking), you start clapping your hands and busting some questionable dance moves. Happily Unsteady stands out as the most refined song of the bunch. Modernboys Moderngirls’ music is not unlike Britain’s generic pop-rock bands (Arctic Monkeys and the likes) but the trio does it with a touch of Talking Heads, a little vavavoom. Although it’s nearly impossible to even come close to Talking Heads genius, I Might As Well Break It is a fun album that will certainly suit your afternoon cleaning chores and pre-party drinking.

Modernboys Moderngirls are geniuses when it comes to live shows and while the album isn’t quite as polished as their dance moves, they deserve serious attention. Catch them live tomorrow in Peterborough or on Saturday in Ottawa. Details on their myspace page.

For more Modernboys Moderngirls visit their Myspace.

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The Wooden Sky, Great Bloomers, Laurent Bourque @ Il Motore, Montréal – Jan. 23, 2010

January 26th, 2010 | By: Christine Morasse

The Wooden Sky

The Wooden Sky

A walk through Jean-Talon Market is always worth the three metro line changes. The warmth of Il Motore is also a pretty good argument to go out into the cold winter night and take the dreaded blue metro line.

Ottawa native and Montreal resident Laurent Bourque bravely faced the crowded room and brought What We Talk About, his first LP, to the stage. The guitars are perfect, the voice is flawless but there’s something missing. It’s almost too perfect to be real, which to me is always suspicious. Bourque sang about his love life and tormented times, pausing occasionally to say a few words to the crowd. After the first four songs, hunger got the best of us and we sneaked out of the venue to get some salty food. Food should never be chosen over live music, but in that case I was under the impression that I wouldn’t miss much. I could always listen to the CD back at home.

We came back to a dancing crowd and far more enjoyable set by Great Bloomers. The Toronto rock/folk/country/fun times band put a smile on everyone’s face with songs from their latest release Speak of Trouble. Their irresistible musical wit and stage presence only enhanced the already incredible set. They performed as if they were the main act and put so much energy into it that I was already content with how the show turned out.

The evening wasn’t over however. Soon after, The Wooden Sky, fronted by plaid jacket wearing, beer sipping Gavin Gardiner, claimed the stage and brought folk music to a whole new level. What happened at Il Motore that night was pure musical magic. I’d never seen nor heard music performed with such fervour or conveying so many emotions at once before on Saturday night. If I Don’t Come Home You’ll Know I’m Gone is an amazing album, but multiply the energy emanating from it by a thousand and your heart might explode. I’m still not sure if mine started beating again. They played When Lost At Sea favourites but unfortunately the heartbreaking Oslo, off their latest release, was left out. Bassist Andrew Wyatt plays with a contagious energy, claiming melodica and bass playing at the same time on ‘’Angels’’. Gardiner’s voice is powerful, full of passion and never falters. The crowd was jumping, dancing and singing along. It was beautiful to watch, really.

The night made my heart and ears feel all warm and fuzzy and thanks to the great sound people at Il Motore, it wasn’t because my eardrums were hurt.

The Wooden Sky and Great Bloomers are going on tour together next month. So west coast people, get your tickets and enjoy the most beautiful night of music of your life.

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CD Review: Martha and the Muffins – Delicate

January 26th, 2010 | By: Christine Morasse

Martha and the Muffins, circa 1980

Martha and the Muffins, circa 1980

Martha and the Muffins are the Canadian Blondie, the overlooked 80’s pop geniuses, your new best friends. I first heard of them a few years back while living in a ridiculously expensive and cold apartment in the Rosemont ghetto. My roommate was a big 70-80’s indie post punk/alternative music fan and we’d spend some time in the living room eating ramen noodles and talking about all the music that was made way before we were even conceived and complaining about how shitty pop music was nowadays. That’s when Martha & the Muffins (also known as M + M, MatM) came along. They were the answer to this ache I had, the ache to find the perfect iconic Canadian indie pop band. Long story short, they released an incredible album called Metro Music back in 1980 and its first single, “Echo Beach”, made it to the top of charts in Canada, Australia and the UK. Core members Martha Johnson and Mark Gane remained while various band members gravitated around the eternal M + M ship. Rumours of a new album, now known as Delicate, had been circulating for several years before they officially announced its eminent release back in the summer of 2008. It’s the very first new material put out by the band since 1992’s Modern Lullaby. The forthcoming release of Delicate is the moment of truth; it’s time to see if the music matured wisely or if the sugary keyboards turned sour.

The album’s first track, “Drive”, brings back the good old “Echo Beach” breeze, trumpets resonating in the background mixed with Johnson’s particular voice and layers of guitar. The sound is familiar and in a way it’s reassuring, to know that after all these years they’ve still got it, that they’re still there.  Martha and the Muffins welcome you back with their arms wide open, like your parents on Christmas break minus the homemade food and with more spunk. “Mess”, Delicate’s first single, has been floating around Youtube since last December. Voices echo, feathered hair resurfaces, I’m in sudden need for shoulder pads on that dress please. “All I Know” and “Blue Bed” feature a more modern sound, bringing a novelty to the ears of new Martha listeners. It’s those tracks that will win over a whole new audience. The noteworthy “Even in the Rain” serves as the album’s acoustic guitar-ridden ballad. They stripped down the echoes and the keyboards and left the song brilliantly simple. If someone gave me Delicate and asked me to guess when it was recorded, I would’ve said sometimes in the glorious 80’s. It doesn’t have to be a bad thing, M&M’s latest release is extremely joyous and enjoyable, but I would suggest that if you want to know what they’re all about, you first get your hands on Metro Music or, even better, Far Away in Time (a compilation put out in the early 2000’s). On its own, Delicate will please old fans and satisfy young ears. Martha and the Muffins are like a great wine or a fine cheese, they only get better with age.

For more Martha and the Muffins, visit their official website.

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Nightwood, At the Break of Don, Modernboys Moderngirls @ Divan Orange, Montréal – Jan. 21, 2010

January 23rd, 2010 | By: Christine Morasse

Nightwood

Nightwood

We got to the Divan Orange right in the middle of At the Break of Don’s set, because of a little thing called university. We successfully sneaked out of discussions about repression and first wave feminism and dashed to Saint-Laurent Boulevard for an evening of liberating pop music where women drank beer from the bottle and played guitar furiously. A strange turn of events, noted my friend.

We were greeted by annoyingly happy piano playing and dirty lyrics by Montreal band At the Break of Don. The voices didn’t quite match the musical skills but they were an enjoyable bunch to sip beer to.  Modernboys Moderngirls claimed – and I mean they really went for it – the stage shortly after, waking up the tiny crowd and throwing insanely entertaining melodies at it. Despite the fact that most of the attendees were sitting at their table stoically watching the stage, the Toronto trio jumped around, screamed and seemed to be having a blast. The five people in front of the stage with us also. Modernboys Moderngirls are fun, say “baby” a lot and play very catchy songs. They reminded me of a mix between the Smith Westerns and a hot summer day (it might be the DARING cleavage worn by the lead singer?). Maybe it’s all the girl talk and boy band allure. I could still hear the choruses on top of the incessant buzzing of my eardrums when I went to sleep. They deserved a more receptive crowd willing to dance like crazy and sing along with them.

I already praised Nightwood in my review of Carta Marina, their first LP. Well, the band successfully took the record to the next level on that stage Thursday night. Sporting an amazing silver guitar that strangely suited her despite the obvious Metal Head feel of it, Erin Ross seemed to be at home in front of a crowd. Singer/guitarist Amber Goodwyn’s voice shocked and left me with my mouth gaping, as if I couldn’t believe such a powerful, angry and raw voice could come out of such a tiny ribcage. They began their set effectively with the first song on Carta Marina, “Heavy Magic Is Coming”. The steady guitar riff set the tone for the evening, all mysterious and heavy. The voice harmonies kicked in and I was left to wonder “where are the fog machines!” (yes, Glee reference, thank you very much). “Play the Dishes/Wash the Guitar” got the audience going with its sing along feeling and the beautiful “Bright Girls of Summer” sent us into a trance. They played all ten songs from their new LP and the show seemed too short. At the end of “Gretta At A Window” we were all ready for more, waiting, hoping. The whole vibe of the LP was multiplied live, so mix that with funny banter and stage presence and you got a pretty perfect show. They use the simple two guitars/drums combination wisely and effectively. It’s never redundant and Nightwood are a great novelty in the Montréal music scene. Why wasn’t this show sold out again?

Buy the LP, see them live; I’m very serious.

***

For more Nightwood,
MySpace: myspace.com/nightwoodband

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Review: The Wooden Sky – If I Don’t Come Home You’ll Know I’m Gone

January 18th, 2010 | By: Christine Morasse

Grab your whiskey bottles; it’s time to talk about The Wooden Sky. The band’s second LP, If I Don’t Come Home You’ll Know I’m Gone, picks up where When Lost At Sea left us, bringing back the folky guitars and frontman Gavin Gardiner’s gorgeous, intense voice.

On this album, Gardiner croons about feelings, breaks our hearts, picks up the pieces and converses with the late King Henry. The album is more complete than their first effort and uses voice harmonies judiciously, highlighting crucial parts of songs and sending shivers down our spines. Former Mother Mother member Debra Jean Creelman landed her flawless voice to what is probably the most heart wrenching and prettiest song of winter 2009, “Oslo”. “(Bit Part)” and”The Late King Henry” are more upbeat and cheerful hence balancing the rest of the album nicely. And because sometimes it can’t be all about mushiness and feelings, the band treats us with an epic, spectacular bridge on “My Old Ghosts”.

If I Don’t Come Home is the perfect album for winter cuddling, soup eating and most importantly for heart-to-heart talks around a camp fire (or your TV if you live in a crowded second floor apartment with no backyard in the city).

Make sure to catch them live in Kingston on the 22nd and in Montréal on the 23rd (with Great Bloomers). They are also playing a show for lucky Bishop University students on February 2nd. They have a bunch of other tour dates which you can check out at their MySpace.

Several songs from the album are available for your gentle ears on their MySpace. Grab some mint tea and do your ears some good; go listen!

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Review: Nightwood – Carta Marina

January 13th, 2010 | By: Christine Morasse

With a team made of some of the greatest artists on the Montreal local scene (Parlovr, Martin Horn, Double Negative)  Nightwood’s first LP was bound to be a nearly perfect album. Carta Marina is a collection of carefully arranged rock songs complimented by beautiful, powerful voices. The album is a 12” vinyl and digital release only and can be purchased at shows and on the interwebs at the band’s website. Carta Marina flows freely and swiftly allows the listener to adopt each and every song. The album fits an early morning jogging as well as an afternoon nap, like that snuggly hoodie you won’t let go of.  After the very first listen you’ll feel the irresistible urge to sing along and shake your hips to the catchy guitar riffs and steady drums. “Play the Dishes/Wash the Guitar” is a clear invitation to committing the oh so pleasurable felony of public sing-along so listeners, be warned! Despite the heavy, gloomy atmosphere emanating from the music, one can’t help but feel drawn towards it, like a fly caught in a lantern all smiley faced and “Oh! What’s this! Pretty!”. The vocals set the mood, similar to what Patti Smith did with Horses and her powerful lyrics. It grabs your guts in the same torturing way and twists something inside your heart. On Johnny (a wink at Patti’s Land, maybe?) the Patti Smith influence is fully displayed with the near whisper of the first few words and the firm guitars. Nightwood make me want to listen to Patti Smith, not in lieu of their own music, but because it compliments it rather nicely. To top off this stunning album, the cover art for the vinyl was made by Montreal’s own Rick Leong, painter extraordinaire and current Parisian Laundry favourite.

Nightwood are currently on the road with their “Recession Tour” co-headlining with Modernboys Moderngirls (they vowed to settle the Montréal-Toronto rivalry by out performing each other every night; promising!) . Nightwood will be on their own at the Horseshoe in Toronto on January 19th for a FREE show. I said free. I suggest you go. On the 21st the band will be back in their hometown of Montréal with Modernboys Moderngirls and At The Break Of Don at the cozy Divan Orange.

Listen: myspace.com/nightwoodband

For tour information, to buy the album and more: nightwoodband.com

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The Singing Lamb’s 12 Days of Lists – Day 11: Your guide to 2009′s finest franco artists

December 23rd, 2009 | By: Christine Morasse

Marie-Pierre Arthur

I strongly dislike categorizing things. Anglo/Franco. Yes/No. Chocolate/Vanilla. Most categories are too narrow (or too vague, it’s all the same) to really illustrate what it’s supposed to include. Long story short, it just makes me cringe. But sometimes it’s necessary. Like for the francophone and anglophone music scenes in Canada, for instance. They are still two very distinct scenes and rarely do we see those two mingle music wise. I would be happy to have a 5 hour conversation on the topic of Canada’s bilinguism, but let’s stick to the point. MUSIC! The francophone music scene is thriving, it’s wonderful and it wants to be your friend. We’re not going to let the language barrier win so easily are we? So here it is : your guide to the francophone crème de la crème of 2009.

Dumas - Traces

Dumas - Traces

1. Dumas – Rouge, Demain, Au bout du monde, Traces

Back in December 2008, Dumas released the enigmatic album Nord, the first album of a series of five due out for 2009. One would think that after more than a year of not having a home and constant moving around from France and back to the Belle Province Dumas would want to stop and sleep for a bit. Much to the contrary, going back in the studio and recording three new albums was just the way to recover for Dumas. The first part of the puzzle was Rouge, a limited edition album that featured 10 melancholic new songs. Demain also features 10 songs and was tinted with ambient and more refined sounds. Then again, like the aunt who refuses to leave your house after Sunday morning coffee time (in a good way, I think?), he released Au bout du monde in which he mixed classic French song with rock and pop. Does one ever get sick of Dumas? Yes. But it’s the “delicious cake” kind of sickness. The last piece of the eternal casse-tête of albums, Traces, landed on the shelves this December. Dumas is now out of the studio and back on the road. He’s doing a residency at Le National for the last week of December, catch him if you can.

2. Marie-Pierre Arthur – Self-Titled

Once Ariane Moffatt’s bassist, Marie-Pierre Arthur wandered out of other people’s bands to treat us with her wonderful first solo album, out on Montreal label Bonsound. She got help from fellow Québécois Louis-Jean Cormier, boyfriend François Lafontaine (Karkwa), Patrick Watson’s Robbie Kuster and Galaxie 500 alumni Olivier Langevin. Gaëlle wrote the beautiful lyrics to go with Arthur’s melodies. Her first album is heartfelt pop goodness with a hint of rebellion. You’ll love it if you like Karkwa or Land of Talk. Bonsound put three free songs on her official website.

3. Lac Estion – Affranchi

What began as a side project to get over a particularly painful heartbreak blossomed into this first album. After playing the Francofolies, being Coup de Coeur Franco and competing in last year’s Francouvertes they have become a band, an entity and they can’t hide behind the “it’s a side project” excuse. Affranchi is made of abusive relationships, sadness, sometimes stupidities and mostly girls. Although some songs should be avoided to truly enjoy the album, it shouldn’t overshadow the fact that it is, in fact, a great first record. We can hear the Galaxie 500 and the Yo La Tengo throughout the album, but it’s never because of a lack of originality. Lac Estions aren’t indie rock clones. Listen to the beautifully written Et moi and Compliquévident at Myspace. A new album will be out later in 2010.

4. Le roi poisson – Self Titled

Le roi poisson shares members with Lac Estion and Le Citoyen, hence the similarities in the sound of all three bands. Le roi poisson stand out with their ever so surprising ability to play with words as well as they play with guitar riffs and drum beats. Sample some tunes, love it and buy the album at their official website.

5. Yann Perreau – Un serpent sous les fleurs

Yann Perreau could be the lovechild of Serge Gainsbourg and Cyndi Lauper. Yep. He’d have his mother’s spunk and stage presence, his father’s genius song writing and undeniable charm.  Un serpent sous les fleurs goes beyond French chanson and ventures into a more daring mix of genres. It deserves your attention. (Psssst: clicketyclick) Evidence of said “spunk“.

6. Mara Tremblay – Tu m’intimides

(To me) she’s the Québécois Neko Case without the Russian poetry, the fun twangy voice you hear in your mother’s car, the weird nosy voice with the Chihuahua in her music video. Mara Tremblay introduced me to the joys of mandolin and alt-country. Tu m’intimides is her stunning fourth album, more pop, less twang. It suits all kinds of ears and it’s beautiful. Listen to Tu m’intimides here.

7. Jean Leloup – Mille excuses Milady

Jean Leloup, John the wolf, Jean Leclerc, dead wolf, Pablo Ruiz or whatever you want to call him is the Neil Young of french canada. Sometimes irreverent and disrespectful (I mean he did get boo’ed by his own fans a couple of times), Leloup has a love/hate relationship with his fans, his music and himself. Milles excuses Milady is a great album. It doesn’t deserve to be in any top something lists but I’m mentioning him because I think everyone should know him. He’s a music icon. You know, it’s truly frustrating when you really want to hate an artist for being such a douche but his music is too good for you to do so. Comme la vie est laide, laide… dammit! Figure him out here.

Hey did you hear about the new Malajube EP? They are not officially releasing it on Dare To Care and it’ll only be available at shows and on their website (although they are thinking about a possible digital release). It’s a limited edition 12’’ with pretty serigraphy printings by Alice Jarry from Sérigraphie 514. It’ll include “Malajube remixes by Malajube” and some new songs.

Zut alors lovelies,

Christine

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The Singing Lamb’s 12 Days of Lists – Day 5: Christine’s Top 10 Albums of 2009

December 17th, 2009 | By: Christine Morasse

anni rossi

Anni Rossi

I’m not a serious music critic and probably never will be. I think with my heart, so here’s what my heart liked this year:

1. Andrew Bird – Noble Beast

I once heard Andrew Bird mention how, for him, music is just another language to communicate in.  The notion is ever so present on Noble Beast; Bird successfully blends the music and the words together in a magical way, combines them to make your body and brain dive in complex sensations.  Noble Beast makes me want to live in Andrew Bird’s brain, among the giant rodents and whistled G chords.  Another masterpiece by Mr. Bird, nothing less.

2. Neko Case – Middle Cyclone

I spent so much time trying to find the right words to describe Middle Cyclone. All that comes to mind is “Wow”. Neko Case’s latest solo effort is every bit as passionate and brilliant as the critically acclaimed Fox Confessor Brings the Flood and does not disappoint. It’s a more layered album that carries you through a vast range of emotions, from the sweetness of the title track to the exhilarating feel of “This Tornado Loves You”.

3. St. Vincent – Actor

Annie Clark’s movie-like second LP is grandiose.  Grandiose in the proper, literal meaning of the word, of course.  If sometimes a bit over the top, Actor is an impressive collection of songs. The dramatic trumpets, the voice layering and the ever so violent guitars leaves you breathless with images of Victorian drama filled with blood, prince charmings and dark eyed nemeses.

4. Camera Obscura – My Maudlin Career

“No need to convince me that you’re a catch, I bought my ticket I’m sold at last” Obviously. My Maudlin Career is Camera Obscura at their best and Tracyanne Campbell’s lyrics at their wittiest. The arrangements on the album take their vintage pop to another level with the syrupy trumpets of “Honey in the Sun” and vividness of “French Navy”. What more can I say, this album makes me feel all fuzzy inside. (In the best way possible)

5. Language-Arts – Where were you in the wild?

They (“they” being the team of experts in my head) say that every year you should have one of those definite “wow” moments. Language-Arts were my “wow” moment of Oh-Nine. Every track sounds new and exciting. It was like a breath of fresh air in a gloomy month of October. The vocals are quirky and the music reminds of old Why? albums and Dylan at the same time. It’s stunning. The album was self-released by the Vancouver band and is their first full length. I can’t wait to hear more.

6. M Ward – Hold Time

In addition to Monsters of Folk’s wonderful first album, M Ward found some time to treat us to some of his blissful/gloomy guitar folk. With collaborations with Jason Lytle, Lucinda Williams and the “she” of She and Him Zooey Deschanel, Hold Time made me sway with a cheesy grin on my face. With songs like “Shangri-la” and “For Beginners” taking you back to 2006’s critic favourite Post-War and fully showcasing Ward’s deep vocals, Hold Time never gets old.

7. Anni Rossi – Rockwell

When the man who discovered Scout Niblett sends another of his protégé into the music world, you have to open your ears and take in the sounds. I saw Anni Rossi open for Camera Obscura and Noah and the Whale earlier this year and I was blown away.  Most of the songs on this album consist of voice and viola and the simplicity of it all gets you all hooked up (cue Broken Social Scene). Oh, and she covers Ace of Base’s “Living in Danger”. She’s quickly been labelled as the “next Regina”, but don’t let the people fool you, Anni Rossi is considerably different from everyone’s favourite Russian girl. See her Handheld Shows sessions here and here.

8. Iron and Wine – Around The Well (B-Sides and Rarities)

Sam Beam found his way to the very center of my heart this fall (so did Sarah Harmer but that’s another story and I couldn’t find a good enough reason to put her in my top something of 2009, everything seemed too far-fetched). This two disc collection of b-sides and rarities is perfect, if only for “Communion Cups and Someone’s Coat”.  It suits the hard-core Sam Beam fan and the Iron and Wine newbie.

9. Amy Millan – Masters of The Burial

Beautiful covers, simple melodies and great lyrics. What more can you ask for, really? Mandolin. But that’s also on there. “Ghosts weren’t meant for bleeding”; your honor, I rest my case.

10. The Rural Alberta Advantage – Hometowns

Technically this is allowed, right? The RAA’s formerly self-released debut album was re-released on Omaha, Nebraska label Saddle Creek and I’ll admit it, I was a bit late on the RAA ship. I blame it on teenage drinking and my reluctance toward everything Albertan. I don’t think I need to say how great and refreshing The RAA are, but I’ll mention it for good measure, The Rural Alberta Advantage are the next big thing.

***

Honorable mentions go to Jenn Grant for Echoes, Arts and Crafts newcomers Still Life Still with Girls Come Too (yes I really did like the album, and not only for the clever title), Dirty Projectors, Ohbijou with the beautiful Beacons and the always wonderful Julie Doiron with I Can Wonder What You Did With Your Day. There was also a great number of fantastic francophone albums this year, but that’s the subject of another post (hint hint). Be sure to watch out for The Luyas’ new album, due out some time in early 2010. Alright, bye bye 00’, hello 10’. I’m ready. (Someone please wake Fiona Apple up, I’ve been wishing for a new album since 2006, I’m about to move on with my life now.)

Zut Alors, 2009
Christine

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M for Montréal is here!

November 18th, 2009 | By: Christine Morasse

M for Montreal

M for Montreal

M for Montreal’s fourth edition showcases some of Montréal’s finest acts and still mix brilliantly the anglo and franco music scenes from all around Canada. That’s the beauty of this event, it brings everyone together! The other good thing about M is that you can actually attend all the shows. It’s made for you to see all these bands (unlike Pop Montreal, for instance). Even if on some nights the showcases are at different places, there’s enough time to bike or walk from the Cabaret Juste Pour Rire on Saint-Laurent down to the Metropolis on Sainte-Catherine or the Café Campus. You even have time to grab some Schwartz on the way or enjoy the greatest vegetarian food at Paradis Végétarien on Saint-Denis and Mont-Royal (or, you know, get some poutine at la banquise on Rachel). So I planned your weekend for you:

Tomorrow November 19th catch Final Flash, The Luyas, Miracle Fortress, The Rural Alberta Advantage, You Say Party! We Say Die! and Think About Life at Cabaret Juste Pour Rire, tickets are 17,75$ at the door. It all starts at 8 :30 and you can dance through the night with the Think About Life DJ set and « surprise guests » after the show. I can’t hide how freakin excited I am for this show. If you can only attend one showcase during M for Montréal, that’s the one.

On Friday November 20th, start the day right (if you have the three day pass, that is) with the M pour Martini cocktail with Mark Berube and The Few and Elisapie Isaac. The cocktail doubles as The Dears’ Valérie Jodoin Keaton’s Backstage book launch. Then head to the Cabaret for Two Hours Traffic, Silly Kissers, DD/MM/YYYY, Parlovr, Silver Starling and Le Matos. The M for Mystery afterparty will be a DJ set by Cadence Weapon and « very very special guests ».

On Saturday November 21st, it’s time to put these high school french classes to good use. The sélection franco showcase starts at 3 with Caracol followed by Québec’s Feist, Marie-Pierre Arthur. You can also catch Automelodi, latest hyped band and telus ad singers La Patère Rose, Géraldine (Don’t miss her! You won’t regret it. She’s the next Duchess Says of stage chaos, I swear) and pop duo Orange Orange. Later that night catch the M pour Metropolis show at the Metropolis (duh…) with Malajube, Melissa Auf der Maur, Champion and this year’s Polaris Music Prize winners Fucked Up. If you’re not tired from dancing around yet, there’s the M for Midnight afterparty at the SAT (don’t forget to RSVP to nightlife magazine beforehand).

The three day pass is insanely cheap (60$) and it gives you access to all the showcases, the M pour Martini cocktail, the panels, the afterparties AND M pour Metropolis. Careful though, there are only 150 available. Train and cheap bus tickets are still available for you Toronto people! I checked that for you because The Lamb always has your back. More information about ticket prices and schedules at http://mpourmontreal.com/EN/index.php.

Have a good weekend now!

Zut Alors,

Christine

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Review : Les Handclaps, You Say Party! We Say Die! & Think About Life @ Festival de musique indépendante Diapason – November 7, 2009

November 8th, 2009 | By: Christine Morasse

Think About Life

Think About Life

The festival de musique indépendante Diapason (lovingly called the FMID) is a brand new music festival daringly mixing french pop artists, hip-hop acts and indie rockers for four days of musical fun. It’s not everyday that Laval hosts an event that stimulating for the music scene, because, well, there’s no music scene in Laval, just a lot of shopping centers (don’t listen to me, there are also beautiful country roads and a nice bicycle path on the south-east part of the island). I have to explain though, when you live in Montréal going to Laval, all the way north on the orange line, seems like the end of the world (and you have to pay to get back on the metro after that? What?). So the few dozens of courageous Montréalers were rewarded by cheap beer and extreme proximity to the stage. Oh, and the show was only 3$.

The venue, called le TRAC, is in the Montmorency CÉGEP. It’s a tiny seated venue with a stage the size of your double bed. It felt like we were all back in high school, waiting for the cool music kids to play a few ska songs on lunch break. The venue seats not more than 150 people and due to the distance and the fact that both headliners are playing a show tonight in Montreal (at Il Motore, with Immaculate Machine), a few hundred people showed up.

Openers Les Handclaps, self described as an electro-pop-yéyé band,  warmed up the few attendees, which at this point were still sitting in their wooden chairs and not moving much (I have to admit we weren’t doing much moving either; too busy figuring out what the f was happening on that stage). I’ve been meaning to check them out for a while now, to see what all the hype was about, after hearing their single “Cacti are delicious fruit” (which does not make sense, by the way. Hear for yourself at MySpace) and I was a bit flabbergasted when the first song consisted of a drum beat and someone rapping.  The band seemed to counteract the fact that the crowd wasn’t into it at all by having fun as a band on stage. Kudos to the guitarist for his rock star moves. It wasn’t Brendan Canning moves but they were entertaining nonetheless. The singer, Lorraine Muller, did her very best to get people dancing. She made the three people who responded to her attempts sing with her, screamed and danced around. They seemed like they were having a blast on stage, it’s a shame that it just didn’t translate past the monitors. Verdict: Les Handclaps are just another generic pop-rock band that likes cheesy rhymes and French pop. But if you’re into Chocolat, Orange Orange or Creature, you’ll like Les Handclaps. Their music must be nice for easy listening on a summer afternoon; it’s just that I’m sick of generic franco-pop bands.

MySpace: http://www.myspace.com/leshandclaps

The crowd was still comfortably sat when Vancouver’s You Say Party! We Say Die! came on stage (the stage set up included four giant glowing X’s, really nice!).  They asked everyone to sit up and dance if they wanted to, which got very little reaction at first but after the first song everyone except the few straight faced hipsters started dancing. “Opportunity” from 2007’s Lose All Time finally got some kind of vibe going as the five members of the band tried dancing and jumping around without bumping in something/someone. Becky Ninkovic’s voice is stronger than before and it was very well displayed during XXXX’s new, slower, more heartfelt songs. They did a slower, more vocally focused version of “Monster” during which Ninkovic started walking through the crowd, looking at each of us in the eyes and smiling. At some point in the last song, she grabbed a drumstick and lightly tapped everyone on the head like it was her magic wand. Very endearing. Despite the horrible sound and awkwardness of the seating situation, the venue was great for actual contact with the bands. We could literally hear everyone breath and swallowed mouthfuls of cheap beer. YSP!’s set seemed too short and some of us started asking for “THE GAP! PLEASE PLAY THE GAP!” to which the singer’s reaction was “No! You guys! Think About life are coming, you should be glad!” Becky, you are adorable (but seriously I really wanted to scream my heart out and dance violently to “The Gap”).

MySpace: http://www.myspace.com/yousaypartywesaydie

Next up were Montréal’s own Think About Life. Do I even need to praise them for their entertainment abilities anymore? I think it’s a well known fact that a Think About Life show is guaranteed fun. Last night was no exception. Even with huge sound problems and not being able to hear themselves on stage, they turned the place into an all around dance floor. “Paul Cries” was interrupted when Von Pelt just couldn’t follow the beat because of the cacophony. The soundwoman came to the rescue and the song was played again. New drummer Greg successfully entertained the crowd while everyone was busy with monitors, wires and fancy technical words. The stage banter was the best as usual, Martin speaking french the entire time and making conversation with the front row. They performed the whole Family album and came back for one encore with the crowd chanting, in the true Think About Life show spirit, “Think About Life!” over and over. The stage unexpectedly doubled as a dance floor, leaving the band kind of confused. Bassist/Singer/Awesome dancer Caila Thompson-Hannant seemed pleasantly surprised when the bunch of 16-year-olds bumped into her bass to get on stage and dance their ass off. Speaking of Caila, I just want to acknowledge her killer dance move and all around awesomeness. That’s all.

So, Toronto, you definitely can’t miss them November 20th at the Phoenix (with Little Girls).

MySpace: http://www.myspace.com/thinkaboutlife

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