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Let’s Chat: The Pinecones

March 5th, 2010 | By: Melody Lau

The Pinecones

The Singing Lamb: You’ve recently renamed your band to The Pinecones – why did you drop Brent Randall from the band name?

Brent Randall: It just happened.  We were playing as a band, writing as a band and we recorded our new album, SAGE, as a band.  Everyone contributed songs to the record.  It just became apparent we were THE Pinecones…it wasn’t me and them.  I never really wanted to be a solo guy anyway.  I’ve always liked bands best; it’s nice having the dynamic of all the different personalities.  I always felt cheesy as Brent Randall. “Hey everybody, it’s me! Listen to me.” I hate Brent Randall, screw that guy.  I mean I still plan to record albums as Brent Randall, because bands are pretty hard to keep together and I like doing my cheesy soft rock thing. But it’s fun to do the band thing too.  It’s fun to be a Pinecone.  I don’t really think of it as a renaming. More of an offshoot.

Describe the writing process that went behind your new album ‘Sage’ – how have you grown since your last album?

Quick and easy. Speaking for myself, most songs were literally written in two minutes and arranged just minutes before the recording.  The album actually started out as demos but then we just dug it too much so we kept on going. I’m a big fan of all those silly obscure sixties groups that are kind of b-grade knock-off Beatle groups – suburban American teens trying to be Beatles in their garages with crumby Japanese guitars. Almost parodies of the genre, but still really cool. So I just had that on my mind – just having fun writing the little ditties that I love. Trying not to be too precious about it. It’s just another bloody song.

I can’t really speak for the other guys. Brian, Joel and I lived together and we just wrote tonnes of songs. Just sitting ’round drinking tea ‘n that. I think we were romancing those days of the mid 60’s where bands released several albums and singles a year. There was always lots of filler. Or each new song was kind of a rip off of the one before. We were just trying to knock’em out. Making sure we covered all the bases. Song about tea..yep got it. Now a song about a girl with a flowery name..hmm..better write two of those. Etc.

Grown since last album? Not sure about that one — I think I’m a little less self conscious about the whole thing (just a little.)  I have more fun doing it.  I wear fancy underwear now.

On your MySpace, it says that The Pinecones sound like ‘Something Old, Something New, Something Borrowed, Something Blue’ – what about your sound do you think is old? new? borrowed? blue?

Well that was just an ‘off the cuff’ little bitty to type in the box just because there was a box that needed typing. But I think it works. (“Because we said it worked, and that’s how it appeared.”) But yes, something old? There’s definitely a lot of 60’s inspirations mixed in the pot.  Lyrical themes and a style of writing. Something new?  Paul who recorded it did a lot of nifty little recording tricks and methods and such that I thought gave it a modern sort diy/lofi/indie aesthetic maybe?  Borrowed? The cover art is sort of borrowed from a Turtles LP. Blue? Well Paul manages to use the phrase “Baby Blue” in his song “Jenny Fur.”  I really liked that mainly because there’s a great Badfinger song, “Baby Blue.” I always wanted to fit that phrase in somehwere. Good pop song phrase.

You guys are originally from Halifax but have relocated to Toronto – how different do you think the music communities are in Halifax and Toronto? Do you miss Halifax?

Well three of us relocated from Halifax, Paul was already here.  I’m from up here originally anyway.   Toronto is a bit bigger obviously and there are more venues. More people – harder to get onto people’s radars (who says that?)  It seems maybe there are more options for people to do other things besides see music.  In Halifax there aren’t any cool bars to hang out in, if you are going out – it’s probably to see a band at one of the few bars.  Here you can go here and there…just to hang.  I guess that’s more of a point about night life than the music community.

But both are pretty similar, really. The music community here seems just as tight knit and incestuous as Halifax.  I don’t really know – I don’t really feel a part of anything here – so I can’t comment.  I like Halifax, but I rarely if ever miss it.

You’ve probably heard numerous comparisons between your band’s music and The Beatles – what do you think about that? And if each member of the band had to be a Beatle, which one would each one be?

We obviously love The Beatles and think they’re tops.  They are a major inspiration, so I can definitely see why people would say that and we totally welcome it.  Though I feel we have more in common with The Rutles or The Monkees or something.  A scrappier version of The Beatles.  Which I can dig.

Hmm and if each band member had to be a Beatle I’d say Joel would be Ringo.  He’s got the one song on the album a la Ringo and he’s always probably having the best time (Ringo seemed to be always having fun in those early days – great at a party.) Oh! And the American girls like him best.
Brian, I suppose would be George. He has a handful of songs on the album, plays lead guitar, bops about, girls dig’em.  Paul would probably be Paul because he’s the most musically versatile on the album taking turns at playing every instrument on the album. Which leaves John to me, which I guess works in the sense that I “started” the group, I sing most of the songs on the album (if were talking early Beatles), I sing most of the leads with Paul harmonizing with me yadda yadda. And I’m most likely to go through a ‘fat elvis’ period.

That being said – none of us are really anything like those Beatles rascals, we’re the bloody Pinecones. Brent, Paul, Brian and Joel.

And finally, since our website is called The Singing Lamb, we must ask everyone – if you were a singing animal, what would you be and why?

A chipmunk, because I’d love to be able to hit those high notes. Or, I’d probably be more of a dopey turtle with a ukulele.  Floating belly up strumming and floatin’ down yonder river.

***

For more of the Pinecones,
MySpace:

Don’t forget to catch the Pinecones tonight at the Garrison, alongside Language-Arts and Allie Hughes! Tickets are available at the door for $6.00!

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Let’s Chat: Language-Arts

March 4th, 2010 | By: Melody Lau

Language-Arts

The Singing Lamb: Introduce yourselves!

Language-Arts: Kristen Cudmore (Classical Guitar and Vocals), Gregor Phillips (Drums), Marcus Abramzik (String Bass), Laura Smith (Keyboards and Vocals)

What is the story behind the band name?

Kristen Cudmore: The reason we choose Language-Arts is because it was my favorite class in elementary school. Sometime we got to go to the fire hall and watch magicians and puppeteers, because our gym wasn’t big enough!

How did you all originally meet? When did you first start playing music together?

Gregor and I met in Vancouver BC and promptly realized that we grew up five minutes apart from each other in Nova Scotia. Gregor started playing drums with Language-Arts on our first tour of Western Canada in September of 2007. I’d like to say that we met at a naked opera, but it’s just not true.

Describe your first band rehearsal and the first time you wrote a song together.

I believe our first rehearsal was after our day-old tour van caught on fire for the second time. This is true. I was in a panic because we had to leave in a few days but Gregor learned the songs quickly, and gave me a good pep talk about mechanics.

I write the songs on my own and then introduce them to Gregor. He’s the arranger, so most of the string parts on our album were arranged by him but inspired by ideas I built up on my looping petal.

How do you think you’ve grown from your first EP to your first full length to ‘Where Were You In The Wild?’?

I think we have each embraced our strengths in a collaborative way. I come from a classical background, Gregor comes from a jazzical background, and we both listen to a wide variety of music.  “Where Were You in the Wild?” is our attempt at a perfect balance of each of our efforts, as far as the overall sound is concerned.

And finally, since our site’s called the Singing Lamb, we must ask everyone – if you were a singing animal what would you be and why?

I would be a singing hamster in pajamas because hamsters are speedy and pajamas are comfortable.

***

For more Language-Arts,
MySpace:
http://www.myspace.com/languageartnet

Don’t forget to catch Language-Arts at the Garrison tomorrow night, alongside The Pinecones and Allie Hughes! Tickets will be available at the door for $6.00!

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Let’s Chat: Allie Hughes

March 4th, 2010 | By: Melody Lau

Allie Hughes

The Singing Lamb: Introduce yourself – how long have you been playing music, how would you describe the type of music you play, any previous or current musical projects, and are you musically tied to any other familiar musicians we know?

Allie Hughes: I guess I have been playing music since I was a little tyke. Is tyke the right word?  I had my own keyboard from when I was very small and I remember pressing the “DEMO” button and it was a Beethoven piece and you could change the tempo and speed it up and I used to pretend I was playing it.  Eventually I started taking lessons and actually learned how to play and I have been singing and wanted to be a singer for as long as I can remember back. It’s hard to describe your own music, but the genre I’ve come up to describe my music is alternative theatrical pop. And I sing in Steve McKay’s project and I briefly sang and played for Katie Stelmanis.

On your Facebook fan page, it says Thom Gill played guitar in your band – are you a fan of Owen Pallett’s latest album and musical partnership with Thom then? Also, it seems like everyone is always tied to someone else in the Toronto! What is it about the scene here in Toronto that lends to this close knit web of relationships?

Oh ya ha! The facebook fan page. I should take that down or update it, I have a facebook music group I use. Thom is a good friend and he played in my band from when it started (summer ‘07) till this past summer ‘09.  I cannot stress to you enough HOW MUCH I LOVE HEARTLAND.  I find it hard to listen to anything else right now.  It sounds like magic to me, and when Thom and Owen take the stage together it also looks like magic, MAGIQUE!  I totally feel like everyone who is an artist in Toronto is connected, and I really like it. For me, it’s the ESA connection. I went to Etobicoke School of the Arts for high school and it seems like everyone I meet is tied to that school somehow!

So I found this video of you on YouTube just now… a) what was that show and how did you get involved? b) have you covered any other songs before?

Oh man, most unflattering costume ever.  That is a song I performed on CBC’s How Do You Solve a Problem Like Maria.  A reality show (they called it a talent competition) spearheaded by Andrew Lloyd Webber to cast a young Canadian girl in the part of Maria Von Trapp in The Sound of Music.  I was in the top ten girls and then got kicked off.  haha.  We have a Regina Spektor song we are covering in our set at the Garrison.  I am not huge on covers, but I do have plans to do an awesome cover of Michael Bolton’s “How Am I Supposed to Live Without You”. Oh ya and also I was singing in “The Best” the cover band that played Loving in the Name Of every month.  That was so much fun, I never knew my lyrics though..

Explain your background in theatre and how that plays into your music. Do you feel that your music is any more theatrical because of your experience in theatre?

Theatre theatre theatre.  Yeah I do come from a theatre background and have been in some musicals and go on auditions and other stuff.  I think all the years of doing it and singing songs in that structure has definitely rubbed on me. Just like all music does. I find myself lately wanting to sound less “theatrical” because there is a certain connotation that comes along with it, but really it’s what makes my music and voice different and I just need to own it.

What does 2010 have in store for Allie Hughes?

A lot hopefully. I am recording my first album, to be released in the fall.  I have been working and co- writing it with a few different producers, Dave Newfeld, Leon Taheny and Adam King.  I am really excited about the songs and direction my music is taking.  I also have a new 6 piece band so a big focus is getting as tight us as tight as possible.  This Friday will only be our fourth show together!  Also expect a video out in the summer! I don’t know- I have so many ideas and plans but I don’t want to say them out loud because what if they don’t happen!?!

And finally, since our site’s called The Singing Lamb, we always end our interview with this question – if you were a singing animal what would you be and why?

I would have to say a guinea pig because I am one of the few people you’ll ever find in the world who can actually make a convincing guinea pig noise.  Seriously.

***

For more Allie Hughes,
MySpace:
http://www.myspace.com/alliehughes

Don’t forget to catch Allie Hughes tomorrow night at the Garrison, opening for Language-Arts and The Pinecones! Tickets will be available at the door for $6.00!

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Oh, Canada!

February 28th, 2010 | By: Melody Lau

Photo Credit: The Associated Press

Photo Credit: The Associated Press

I think this sums up Canada’s day.

But to make this a music-related post – download Jason Collett’s “Love Song To Canada” on iTunes for free now! No better song to celebrate our win with, y’know! Download here.

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Let’s Chat: Gentleman Reg

February 24th, 2010 | By: Melody Lau

Gentleman Reg

Gentleman Reg

It’s often rare to find bold and beautiful faces of the Toronto indie music scene on the east-end of the city. After all, it’s ridiculously far from all the music venues and hip bars; to most on the west-end, anything east of Yonge St. is irrelevant and almost a blur of obscurity. But on this warm Saturday afternoon, I am sitting at Jet Fuel Coffee on Parliament St. with one of the coolest people in Toronto – Reg Vermue. Or as folks call him, Gentleman Reg. This is his neighbourhood – well our neighbourhood, and as we sit down for a drink before Reg heads off to the gym and attempts to tackle some laundry, we chat about his recent residency at the Drake Hotel, playing encores and a new album in the works.

The Singing Lamb: So it’s the one year anniversary of your last album, Jet Black – have you recorded anything new since then?

Reg: Well we put out a digital EP – two songs are remixes but there were four songs we recorded. But besides that, I’ve been writing and doing a bunch of demos with Heather Kirby from Ohbijou and it’s been going really well. Part of doing this residency was trying new music so we’re playing about 4-5 new songs each week. It’s like the first time I’m writing with a label so it’s interesting, there are rules now!

Is having a label a good or bad thing?

Reg: It’s good because I want it to be a really good record; I don’t want a mediocre record.

Do you think any of your past records have been mediocre?

Reg: The very first one I did – it came out in 2000, which nobody knows – I would say that was mediocre.

Do you ever go back and listen to it?

Reg: I was listening to it a little while ago because this friend who was playing bass with us for a little bit wanted to play a song off of it. And just last week, someone at the residency wanted to buy the album which was so interesting to me because I forget that people even know it, so I brought them a copy. And I also forget it’s sort of not up to me to decide what people will like – if someone wants to buy it, its cool. I just can’t play anything off of it because it was ten years ago.

Do you even remember how to play any of those songs?

Reg: No, absolutely not!

Let’s talk about your February residency at the Drake Hotel – why that venue?

Reg: We were looking at the Tranzac, the Rivoli, and the Cameron house and then it was about who was available and that got narrowed down to the Tranzac and the Drake. Say what you will about the Drake, I like the basement; at least during the week. But honestly, they’ve been nothing but amazing to us and it’s going well for a Wednesday night; they should be nice to us! I like the aesthetic, I like to dress up for my shows and I like the Tranzac but it’s old and dirty. It’s a fine room, it’s just not my personal aesthetic; this feels right. I’ve had many people who said they couldn’t come see me because it was at the Drake and two friends broke their rule by coming to see me, but whatever! It’s fine, people are coming.

The bill each week is very diverse – what do you think it is about your music that’s so universal and comparable to all those bands?

Reg: Well I guess it says more about my taste in music because I chose all the bands and part of it was based on availability and who could play which weeks; some bands weren’t available at all but about half the bands, I’ve never seen so it was exciting for me because I was experiencing it for the first time. Of course I checked them out first and they’re all so good.

How does it feel to headline these shows?

Reg: We had no idea how this would turn out; part of this thing is that we’re the perpetual opener so these were the first headlining shows in a long time! We actually had no idea who would show up and obviously people are coming to see the other bands too but this has been a very interesting experiment so far.

And you can play encores too!

Reg: It’s great! That’s one of the coolest things is that we can play as long as we want, we can play encores and mess around and play new stuff – there have been some scrappy moments and we can get away with them because people know that there will be some new songs. The encore thing is great because there are definitely times on tour opening where in theory you could put on an encore or people would want it but you just aren’t allowed or its not the way it works.

So when should we expect a new album?

Reg: I don’t know! Hopefully by the end of May we’ll have a record worked out and ready to record.

And finally, if you were a singing animal, what would you be?

Reg: Some sort of albino animal because I’m always getting people telling me – like this past week, someone was at the zoo and they saw these albino reindeer and they said ‘Wow, we saw these albino reindeer and it reminded us of you!’ – anything white reminds people of me! So what would I be? Maybe an albino reindeer; they’re graceful, they probably have long eyelashes and are cute!

***

Don’t forget to catch the last instalment of Gentleman Reg’s February Heavy Head Residency at the Drake Hotel today! Doors are 9PM and tickets will be on sale for $7.00 at the venue! Opening for Reg will be Evening Hymns and Everything All The Time!

For more Gentleman Reg,
MySpace: http://www.myspace.com/gentlemanreg

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Wild Beasts, Still Life Still @ Horseshoe – Feb. 22, 2010

February 23rd, 2010 | By: Melody Lau

Photo Credit: Michael Fil

Photo Credit: Michael Fil

It was surprising to see the Horseshoe as packed as it was last night for the UK’s Wild Beasts because a) it’s a Monday night and b) shouldn’t we all be at home watching the Olympics instead? Needless to say, I defied both because days of the week don’t really apply anymore when you go to shows as often as I do, and I’ll admit it – I missed the end of the show because I went to the front room of the Horseshoe to watch figure skating. Come on, folks – figure skating!

Arts & Crafts newcomers Still Life Still opened the night to a venue that gradually filled up with each song. The Toronto indie rockers are always compared to label mates/boss Kevin Drew and Broken Social Scene, and for good reason. Though no where near the 15-piece super-group aesthetic of Social Scene, Still Life Still’s music is definitely a more simplistic, poppier take on the Toronto collective’s epic grandiose rock. But don’t jump the gun and proclaim these guys as the new generation of Brendan Cannings just yet, the band still has lots of work ahead of them. Musically, the band’s songs are generally a hit or miss but when it’s a hit, they really nail it – ridiculously catchy hooks, fun sing-along lyrics, and a heck of a melody. Though not the most interesting on record, Still Life Still knows how to bring it live. It’ll be very interesting to see this band grow in the upcoming years, whether they embrace their more pop-rock roots or gear towards an even more BSS-like sound. Either way, I see them doing well.

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

UK indie dream pop rockers Wild Beasts were up next and the second they stepped onstage, a wave of red light – an enemy of photographers – flooded the stage and a seriously addictive beat hit the crowd. Rhythmically heavy, Wild Beasts can make an audience dance, sway, head bob and pretty much everything in between. Lead singer/guitarist/bassist Hayden Thorpe’s voice is strange yet hypnotically compelling and when it contrasts with the lower register of bassist/guitarist Tom Fleming, it is oddly exquisite – voices like these don’t normally work but in this case it does. Songs like “All The Kings Men” and “We Still Got The Taste Dancing On Our Tongues” – both off their newest release Two Dancers – are prime examples of how great this band really is. Fantastic both on record and live, if you don’t have Wild Beasts in your musical library yet, do it now.

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

Sure, I missed the end of their set but I was able to listen to it from the front room just fine. The Canadians aren’t the only ones who did great last night. Gold medals all around!

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CONTEST: Language-Arts @ Garrison – March 5, 2010

February 23rd, 2010 | By: Melody Lau

Language-Arts

Language-Arts

You may not be familiar with them now but prepare to fall in love with Vancouver’s Language-Arts. This quirky indie duo’s blend of orchestral indie-pop is refreshingly inventive and catchy as hell. Wanna see for yourself? Well the Singing Lamb will be giving away a copy of their CD Where Were You In The Wild? and a pair of tickets to the band’s show at the Garrison on March 5th!

It’s simple – e-mail me (melody@singinglamb.ca – new e-mail address!) with your name and favourite Olympic sport (y’know – since the band’s from Vancouver…) and the winner will be notified on March 3rd! Enter now; March is a lot closer than you think!

* Language-Arts will be playing with The Pinecones (formerly Brent Randall & The Pinecones) and Allie Hughes!

For more Language-Arts,
MySpace:
http://www.myspace.com/languageartnet

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Laura Marling, Nathaniel and the Wheel, Pete Roe @ Lee’s – Feb. 9, 2010

February 10th, 2010 | By: Melody Lau

Photo Credit: Frank Yang (Chromewaves)

Photo Credit: Frank Yang (Chromewaves)

I’ve come to a consensus that for university students, the week before reading week – this week – is amongst the most stressful. The perfect musical remedy? Definitely a Tuesday night at Lee’s, listening to a trio of talented musicians play beautiful folk tunes. That, or actual rest and sleep but come on, who does that.

Arriving at the venue early, we were treated to a short opening set by Pete Roe, keyboardist for main act of the night Laura Marling. Roe, an acoustic folk – the common thread throughout the night – singer songwriter was very much your typical guitar-wielding, bearded introvert. Though charming, there weren’t many memorable moments in his set. In fact, most of his songs felt repetitive and long – and his set was only roughly twenty minutes.

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

Following Roe was Colorado’s Nathaniel Rateliff and the Wheel, a surprisingly delightful five-piece, indie folk band. Enlisting Roe in his first performance with the band as Rateliff jokingly but seriously said was due to the band’s van “blew up,” Pete Roe filled in on the keyboard. The band’s songs gradually grew stronger throughout the set, at times building grandeur melodies and harmonies through a full sound completed with double bass and drums and other times more intimate with just Rateliff, his acoustic guitar and the double bassist just on vocals. On the latter, an example would be the simplistic yet mesmerizing “Early Spring Till”. Many times, opening acts suffer through the chattering crowds crawling beneath the music but the moment the chorus of that song kicked in, there was a flash of silence that waved through the audience. Whether that was because of sheer awe or just a reaction to the sudden peak in volume, everyone’s attention turned to the stage. Nathaniel Rateliff and the Wheel’s simple yet beautifully written melodies are reminiscent of those of Dan Mangan’s; Rateliff even sounds a tad like Mangan, except Rateliff lacks the raspiness of Mangan’s signature voice. Regardless though, very comparable and if you enjoy Dan Mangan’s tunes, you should definitely give Rateliff a listen.

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

Just past 10PM (yes, this was quite the early show; it is a school night after all), British folk princess Laura Marling took the stage. Playing mostly off her new album I Speak Because I Can, Marling played a set split between performing with a full band, again with double bass in tow and Roe back on stage again on keys, and performing solo. Almost unrecognizable without her signature short bleach-blonde hair, the newly Brunette Marling’s music was still very much identifiable, thankfully.

With the band, Marling’s songs felt fuller and more true to the songs on her album, especially the gradual build-up of “Ghosts” and the strong instrumentation of new single “Devil’s Spoke”. Alone onstage, Marling was just equally as compelling. Her delicate vocals were soft-spoken yet unexpectedly strong and demanding at the same time.

Though some tuning silences were long and awkward to watch as Marling took her time perfectly tuning each string of her guitars, we were treated to a cute intermission where Marling threw banter duties to keyboardist Roe who in turn played “The Entertainer” for us instead of telling jokes or making small talk. Cute.

Marling also treated us to a “newer than the new album new” song of which she said was written for a movie but was rejected (she never mentioned what movie though, although an audience member was nice enough to guess Twilight) and a cover of Neil Young’s “The Needle and the Damage Done”. After playing, Marling noted her nervousness playing that song in front of a Canadian audience.

Marling seemed to carry a blank face throughout her set, rarely cracking a smile unless she was making a cute remark here and there but that composure was all lost of her “encore” (Marling doesn’t grasp the concept of running off stage and back on for an encore so she informed the audience instead and stayed onstage as the audience applauded) when she stopped mid-way through “Alas I Cannot Swim” bursting out in laughter. Finishing off the set, she was all smiles – and so was I as I left the show. Stress – temporarily lifted; thanks Laura Marling! Now back to the reality and stress of school in the morning…

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

***

For more photos, check out Chromewaves!

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Asobi Seksu @ Drake – Feb. 1, 2010

February 4th, 2010 | By: Melody Lau

Photo Credit: Michael Fil

Photo Credit: Michael Fil

It takes a lot to hold one’s attention live sometimes. Add on the fact that you’re playing an all-acoustic set and you may as well be Leno doing stand-up comedy in front of a room of Coco fans. Okay, maybe not to that extreme, but you get the point – it’s a tough feat.

Monday night’s Asobi Seksu show at the Drake was an acoustic affair, complete with audience members comfortably seated on the floor of the dark underground room. The resulting setting looked like a blend between a dim café hosting an acoustic open-mic night and a kindergarten where we’ve congregated for story time – perplexing but regardless, I was just happy to sit down and relax my tired legs.

Asobi Seksu’s bilingual (lead singer Yuki Chikudate sings in both English and Japanese) atmospheric indie-pop usually rely heavily on heavy drums with layered synth and guitar fuzz. Acoustically, we strip all that away to its bare melodies, primarily anchored by Chikudate’s captivatingly beautiful voice which was the best part of the performance.

Chikudate’s voice aside though, the set was – for lack of a better word – lacklustre. In an acoustic context, most of the band’s uniqueness is lost and replaced with fairly weak chord progressions. There’s not much there that grasps one’s attention which is unfortunate because I’m sure the band is capable of much more.

The “story time” portion – the banter – proved to be more interesting than the music itself, with Chikudate encouraging the crowd to “loosen up and laugh a little” whilst sharing stories of her first time taking mushrooms (and its direct result to a bird’s death by getting the vegetarian of the group, guitarist James Hanna, to run over it).

I’m sure if this performance was cut short and turned into an acoustic in-store tour, it would’ve been much more successful. Unfortunately though, for the band and for us, we were treated to a set that was about 30 minutes too long and lost my attention three songs in. Next time, bring the rock.

***

For more Asobi Seksu,
MySpace:
http://www.myspace.com/asobiseksu

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Everything All The Time, Lioness, Rich Aucoin @ Horseshoe – Jan. 30, 2010

February 1st, 2010 | By: Melody Lau

Photo Credit: Garry Tsaconas

Photo Credit: Garry Tsaconas

We all know that feeling – when you’re standing at a show and the thudding beat of the music hits you like an earthquake; you can’t help it but move, whether you’re just tapping your foot or full out busting a move. Good music does that; it grabs you by the hands and pulls you in for a twirl and a spin. To those on Saturday night at the Horseshoe who managed to not move at all – I will never understand you.

No Shame’s last show of January (Lauren Schreiber was one busy bee this month!) featured pop, glitter and an endless night of fun; a cohesively fantastic line-up of bands.

Halifax’s Rich Aucoin opened the night and all I can say is wow. I hadn’t listened to this electro-dance pop artist prior to the show so needless to say, I had no expectations. What I left with after Aucoin’s set though was the biggest smile ever and a lasting impression that I don’t think I’ve felt since I saw the Arcade Fire – only Rich Aucoin was only a three-piece. The stage, blanketed with a screen which projected lyrics to Aucoin’s songs for everyone to sing along to as well as snippets of Who The Grinch Stole Christmas didn’t prove to be as much of a distraction, rather than a charming complimentary to the music. Other theatrics included interactive sing-alongs, dancing, confetti-throwing and the electrifying finale completed with balloons and pure joy. This may come off as a lot of zaniness and absurdity but in Aucoin’s case, this all added to the spectacle of the show. Musically, Aucoin’s beat-heavy layered rhythms are glazed with a layer of sugary sweetness and often sounds bigger than its three-piece setting. Think The Arcade Fire meets Daft Punk – The Arcade Punk? A Rich Aucoin show is more than a simple set; it’s a musical experience that everyone must witness at least once. Definitely one of the most talented musicians I’ve seen in a while and have quite possibly single-handedly secured a place on my best shows of 2010 list.

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

Lioness followed, bringing their brand of dark disco-rock to the stage. To quickly get this out of the way – yes, they sound like Controller.Controller (two members of C.C are now in Lioness) – but Lioness has grown into its own musical entity in the past year. Bass thumping, electrifyingly distorted rock and goosebump-inducing vocals from lead singer Vanessa Fischer, Lioness continues to be a consistently a growing force in the Toronto music scene. For an added touch of jazz, Everything All the Time’s Joseph Shabason jumped on-stage to assist on the saxophone on a slowed-down version of “You’re My Heart” – strange hearing the tempo of the song taken down a notch but compelling and great nonetheless.

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

Headliners Everything All the Time ended the night, continuing where the previous bands left off. If you haven’t listened to EATT, I think many people put it this way – imagine Stars fronted by Diana Ross. Seriously. The band, led by dynamically mind-blowing vocalist Alanna Stuart (also one half of Bonjay), breathes new life to synth-pop with catchier-than-ever lyrics, uplifting and cheerful melodies and a beat you can dance to all night long, which I almost did. You can tell when you look at the group of musicians onstage that they’re perfectionists and if their live shows and latest EP are any indication, I’ll bet money that 2010 will be a great year for Everything All The Time. Big money.

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

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