The Raveonettes @ The Phoenix – April 2, 2011

April 9th, 2011 | By: Wini Lo

raveonettes

Raveonettes -Photo by Wini Lo

Having begun their tour on March 30 in Philadelphia, PA, The Raveonettes’ stop in Toronto was only the fourth show in.  With five full-length albums under their belt (their latest album, Raven in the Grave, comes out April 5), along with numerous EPs and dozens of b-sides to boot (a b-sides album is in the works!), the Raveonettes have proven their salt with a reliable and crowd-pleasing catalogue of retro-tinged noise-pop.

Judging from the enthusiastic crowd that filled the Phoenix, if the audience was unfamiliar or bored with the new songs, they definitely didn’t show it.  Raveonettes fans can always count on their band to give them reverb-drenched danceable pop tunes with dark lyrics.

Sparkling in a sequined black polka dot dress, vocalist/bassist Sharin Foo was the first to step on stage to loud cheers and applause.  The band launched into “Recharge & Revolt,” the first single off of Raven in the Grave.  A moment later, vocalist/guitarist Sune Rose Wagner, wearing a white t-shirt, black skinny jeans and leopard-print hi-top sneakers, appeared on stage to deliver his vocals. It was evident that the band was in fine form.

Two drummers and a second guitarist rounded out the band and like a well-oiled machine; they delivered new songs and older songs with minimal banter in between. Older favourites included “Noisy Summer,” “The Love Gang,” “Dead Sound,” “Love in a Trashcan” and “Attack of the Ghost Riders.” Re-emerging for a two-song encore, the Raveonettes concluded their set with the hypnotic and bass-driven, “Aly, Walk With Me” from third album Lust Lust Lust.

The magic of Sune’s guitar playing, paired with the sweet boy-girl harmonies between Sharin and Sune, is truly what makes The Raveonettes’ live show so entertaining and magnetic.

More Raveonettes photos HERE!

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Austra @ Wrongbar, March 10, 2011

April 5th, 2011 | By: Max Mertens

Austra

Austra

After sold out shows in Los Angeles and New York City, plenty of love from music blogs and websites (including “Beat and the Pulse” being named “Best New Music” by Pitchfork), Austra returned home for one of Canadian Music Week’s most buzzed-about sets. Technical problems kept the band from hitting the stage on-time, but if that bothered the near-capacity crowd at Wrongbar,  they certainly weren’t showing it. Austra is the new electronic project of singer-songwriter Katie Stelmanis, a name that should be familiar to many Toronto music fans. She has previously released solo music through Blocks Recording Club, worked with the likes of  Fucked Up and Owen Pallett, and dedicated Austra’s most recent EP in memory of Toronto queer rights activist Will Munro.

The quartet was rounded out with the addition of raven-haired twin sisters Romy and Sari Lightman (also known as Tasseomancy), who provided back-up harmonies and danced around in shiny, belly dancer tops. For the most part though, all eyes were fixed on Stelmanis, who with her long blonde hair, green dress, and haunting vocals, looked and sounded completely in charge. She didn’t so much sing to the crowd as she sung through the crowd, cutting through the band’s icy synths, keyboards, and pulsating drum beats.

The band played a selection of songs from their EP and their upcoming debut album Feel It Break (due out May 17 on Paper Bag Records). Predictably, they saved the six-minute “Beat and the Pulse” until the end of their set, and it was every bit as anthemic live as it is on record. If this performance was any indication, we’ll be hearing a lot more from Stelmanis & Co. in the near future.

Photos of Metz opening HERE!

More photos of Austra HERE!

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An Interview with: Dan Smith of Listener

April 2nd, 2011 | By: Stephanie Taylor

Listener - Photo by Riley Taylor

Those who are familiar with Listener will likely confirm Dan Smith’s ability to captivate an audience based on the raw and honest emotion that plays off of his words. Yet it is the incredible passion he conveys on stage that emits an overwhelming power that ties it all together. This power was felt at Listener’s performance on Friday March 11 in The Shop under Parts and Labour. While currently promoting their forth album Wooden Heart, vocalist Dan Smith of Listener came to take part in Toronto’s CMW line-up, continuing his quest to inspire and grow from the lessons life continues to teach him.

Most commonly described as ‘talk music’ or spoken word, Listener’s unique style of music consists of a poetic interpretation of Smith’s thoughts and experiences accompanied by a varied mixture of instruments.

“When I write I try to be faithful to the moments that I have and experience that are inspirational. When things come to my heart that I need to learn from in life, I try to just write those things down,” says Smith.

Once he finishes a poem there is another process of piecing his heartfelt words to music. That’s where Christin Nelson comes in.

“Chris makes all the music for Listener. So him and I just sit and hash it out by asking each other ‘Okay, what is this song about, what are these words, what are these movements in the music and how are we going to make them?’” he explains.

But this was not always the case. For years Smith had pursued his passion of hip-hop, which continued on the first couple Listener albums, but eventually his creative ideas and personal changes led him in another direction.

“I was writing all kinds of things from my heart. Writing things about this world, my thoughts and feelings and life lessons but I think it was being lost in that genre. I sometimes felt at shows that some people just didn’t really want to hear it,” he explains.

After awhile the decision to take on a different style was something that he needed to do in order to stay true to himself.

“I would rather say the things that come to my heart and are in my mind and try say the things I’m suppose to say to just people in general,” says Smith. “I don’t just want to focus on being as hip-hop or as punk as possible and attach our ideas to that pipeline.”

But his last hip-hop tour did help inspire Listener’s sort of ‘grassroots’ touring style. Travelling with various bands playing mostly “potluck dinner house shows,” people started to catch word and invited Smith to play house shows all over the U.S., Canada, and Europe.

“It was a beautiful time. It really changed me musically as far as just being in a room of people that I didn’t know for the most part,” he says. “Some people were stoked on what I was doing and they were telling their friends, ‘Hey you have to check this guy out, oh, and bring a casserole.’”

While house shows are still a large part of their touring routine, April 1 will mark the start of their upcoming European tour. Coincidentally, their tour will overlap with that of good friends The Chariot where Smith will be opening for a few of their shows.

Despite touring and performing on a regular basis, it is still hard to imagine how he deals with the vulnerability of his thoughts and emotions as he opens himself up to an audience.

“It’s very worshipful for me, kind of like an out of mind and out of body experience. I just go to that place and I don’t think about the words or about the heart or emotion,” he admits.

And while the spiritual journey is satisfying to Smith, the desire to share his words really comes down to the hope of a positive impact on others.

“I hope that every now and then there’s a line or a truth or something that someone can latch onto,” says Smith. “I know we are all trying to figure out our own lives but if we can parallel each other as I say these words, then maybe light bulbs can go off in the same way that light bulbs went off when I learned some things about my life.”

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Salem @ Wrongbar, March 17, 2011

March 28th, 2011 | By: Erin Pea

Salem 1

Salem

I liked the band Salem, until I saw them live.

The zoned out trio from suburban Michigan made an appearance at Wrongbar this past St. Patrick’s Day. Salem lives up to the “screwgaze” genre, a sound that incorporates shoegaze and Dirty South down-tempo rap in a fuzzy, low-quality style. This sound comes with spacey, Pagan, VHS-inspired imagery. Think tasteless acid wash Cheap Monday jeans, Christopher Kane graphic tees, and Japanese avant-garde in a graveyard. Maybe what’s so great about Salem is that they bring all sorts of people together under the guise of nostalgic weirdness.

The opening band Silk Flowers was strictly an embarrassment to music. I thought the days of trying to sound like Ian Curtis were over. There’s only one Joy Division, and nobody can replicate them. Nice try, Silk Flowers.

Finally, Salem painfully hit the stage at 12:20 a.m. Their ominous “witch house” sound was complimented by a fog machine that went off approximately five times within the first 30 minutes of the set.  The band opened with their hip-hop-influenced tunes and slowed down with Heather Marlatt’s vocals. I felt like a jaundiced prostitute melting into a puddle of repetitious noise the entire time.

I’ll give kudos to Salem for performing the title track from their full-length record, King Night, but other songs such as “Asia” sounded like a mess, and any songs with rapping in them like “Sick” and “Trapdoor” felt off-beat, with inauthentic and boring lyrics muddled amidst the smoky synth and heavy drum machine.

The awful smell of the fog machine was enough to make me leave early, but the coked out, moshing crowd pushed me over the edge. Regardless of feeling nauseous and irritated, Salem was a major letdown, a total disappointment in the face of a fascinating and pioneering genre.

The show killed any further curiosity of mine for Salem’s music.  I am reminded of an experience I had at a Presets show at the Mod Club in 2009: the pushy, bewildered crowd was bad enough to turn me away from the Presets’ music forever. On the way home, I listened to real hip hop – Jurassic 5. I had to cleanse my palette somehow, and forget about “King Night.”

More photos of Salem here!

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Deer Tick @ The Opera House, March 12, 2011

March 23rd, 2011 | By: Stephanie Taylor

Deer Tick

With the madness that we Torontonian’s call Canadian Music Week behind us, it’s nice to reflect back on the events that took place over those chaotic four days. Though our fair city’s venues were filled with some of the best musicians from around the world, the triple bill at The Opera House on Friday March 12 featuring Deer Tick and Middle Brother was not one many opted to miss.

Given the nature of the line up that night, it was often hard to keep up with what was happening on stage. The contribution of overlapping band members and mutual touring companions made for some confusion as to who was actually performing. Confused or not though, it sure made for one hell of a party and a bit of confusion in determining who the headliner was; all of them are worthy of the title.

Taylor Goldsmith, of opening band Dawes, took to the stage to start the night off with a solo performance of “My Girl to Me.” He continued to play a number of their country-folk love songs such as “Love Is All I Am” and “Take Me Out of the City,” without the help of the rest of the band. This was surprisingly effective as the combination of  his single electric guitar and lonely words of love lost seemed more heartfelt and genuine without full instruments. Eventually joined by fellow band members and Deer Tick‘s keyboardist, they played an electrified version of “Piece in the Valley.” Jonny Corndawg was the last to join the rest on stage to wrap up the set with a few of his original, and often comedic, all-American ditties. Between the man’s style and dance moves, he had the crowd eating out of the palm of his hand. Corndawg’s ironic and authentic country-rock style was undoubtedly the perfect addition to the night.

A brief interlude separated the sets before Deer Tick opened with “Easy” off of their sophomore album Born on Flag Day. People were trying to sing over McCauley’s rasp while feeding off of the excitement in the packed house. Deer Tick played a wide variety of songs off all three of their albums including “Choir of Angels,” “Smith Hill,” and “Baltimore Blues No. 1,” offering fans a chance to hear the songs that drew them to their raw country-alt sound. The performance of “Ashamed” was particularly memorable as they incorporated extended instrumental breaks, adding multiple electrics and a surprisingly appropriate saxophone solo. With the help of Matt Vasquez of Middle Brother on vocals, it was definitely one of the best and most energetic song performances of the night. While only stopping to take swigs of beer and express their excitement to be there, Deer Tick was thankfully able to squeeze as many songs in as they could given the short sets.

To wrap up the night “super group” Middle Brother began with the catchy “Blue Eyes.” The collaborative efforts of Goldsmith, McCauley, and Vasquez on vocals made this track a perfect example of what makes this band so charming. Each of the members offer a unique style which fit together effortlessly given their common country roots . After bouncing from emotional to more up-beat rock songs, “When my Time Comes” by far had the greatest crowd reaction of the set. Closing with a cover of Replacement’s “Portland,” their overall live show makes one hope that this self-proclaimed “temporary side project” will last a little longer than originally planned.

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Album Review: Eliza Doolittle – Eliza Doolittle

March 1st, 2011 | By: Cosette Schulz

Eliza Doolittle - Eliza Doolittle

“I am Doolittle, but I do a lot.” No exaggerations there. Ms. Eliza Doolittle, another melodic British export, writes her own songs and cheerily sings, whistles and la-la-la’s her way through her 13-track feel-good self-titled debut. The 22-year-old has musical tastes that date back to the golden days of Ella Fitzgerald and Stevie Wonder, and those roots are hard to miss when giving a listen to the record.

One of the singles, “Pack Up,” is a bouncy and undeniably catchy little ditty. It is pure auditory sugar, especially when Doolittle breaks into a “tweet tweet” solo about halfway through, in which one can’t help but surrender and break into a smile. The track has a jazzy, upbeat tempo, and sets an atmosphere of being wholeheartedly carefree (hence the hook, sung by Lloyd Wade, “Pack up your troubles it your old kit bag and bury them beneath the sea”).

“Skinny Genes,” the first single released from the album, is an absolute encapsulation of charm. One can’t help but be reminded of Nancy Sinatra’s “These Boots Are Made for Walkin’” by the plucked bass intro; intentional or not, it proves that Doolittle is inspired by musical gems of the past. It’s also a rather cheeky number, as the juxtaposition of the sweet keyboard melodies and whistles with lyrics like “I really don’t like your skinny jeans, so take them off for me, show me what you’ve got underneath, so we can do this properly” shows.

Fans of Corinne Bailey Rae, Adele, and primarily Lilly Allen will certainly find it hard to resist Doolittle’s record. The similarity to Lilly Allen is rather uncanny, however Doolittle is not nearly as snarky or sarcastic as far as lyrics are concerned. But, as Doolittle sweetly states in “Pack Up,” she “doesn’t care what the people might say, what the people might say about me.”

And if music that instantly conjures up the sights and sounds of summer is something that tickles your fancy, then you are bound to fall for Eliza Doolittle.

Find out how you can win a copy of Eliza’s new record HERE.

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Make Your Exit @ Horseshoe Tavern, February 18, 2011

February 19th, 2011 | By: Amanda Macchia

Jeff Buckley and Oliver Pauk - Photo by Amanda Macchia

Out of all the folk-rock acts that have graced the stage of the Horseshoe Tavern in its decades of existence, there is obviously a special place on that worn-out carpet for Make Your Exit. Though it’s impossible to have seen and judged every act in that time, one can assume from the magnitude of their performance on Friday night that Make Your Exit are one of the finest.

Every word uttered and chord strummed by the Toronto five-piece contained enough passion to fill the entire bar. Make Your Exit established their energy and craftsmanship at the very beginning of their set, covering fellow hometowners Zeus’s “River By The Garden” as an a cappella arrangement featuring Carleigh Aikins (Fox Jaws) on backing vocals.

The band proceeded as usual, performing their ambient folky tracks in their typical earthy manner, retaining the attention of the audience who appeared to be hooked on every note strung from lead vocalist Jeff Buckley’s vocals and the rich harmonies formed by the rest of the band. The legato phrasing of “Kids” combined with the intricate rhythms and ongoing jamming of the track made it climatic and bursting at the seems with the same passion of which the night began.

The set wrapped with “Leave This Town,” its subtle guitar chords paired with the bright piano progressions that perfectly compliment the chanting of “but I didn’t drink it” and the many harmonic phrases that follow. The piano runs eventually descended into a moving onstage jam, creating a demand for an encore, which was satisfied with one last track, and no one wanting to leave.

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Chromeo @ Operahouse, Saturday, January 22/11

February 8th, 2011 | By: Daniel Koren

Chromeo 10

Chromeo - Photo by Brian Vendiola

Our fair city of Toronto has been home to a wide range of musical performances, a landmark in Canada’s rapidly growing music scene. However, we Torontonians have earned a bad rap at concerts and live shows, due to an unwelcome lack of energy and absence of dancing, standing like stiffs as our favourite artists pour their hearts out on stage. However, it seems the crowd at the Operahouse, on Saturday January 22, had an agenda to change that.

From the moment local electronica heroes Young Empires made their way onto the stage close to 9 p.m., the crowd was already rowdy, not to mention lively, giving these guys the enthusiasm they deserve as they played synth-pop gems “Glory Of The Night” and “Against The Wall.” This vehement trio was hell bent on dance destruction; it was during their set that the first chants of “Chromeo ooooohhhhhhh” could be heard. Following Young Empires, more electro madness ensued with rising popstars MNDR (producer Peter Wade and Amanda Palmer, who co-wrote and sang on Mark Ronson’s terrific “Bang Bang Bang”), Palmer wearing her signature white glasses, playing cuts off their debut E.P. and the recently released “Cut Me Out.” More chants of “Chromeo oooohhhhhhhh” emerged as the Operahouse filled to its capacity, fans restlessly awaiting the Montreal duo that has brought the ’80′s synth sound back to the limelight.

Then, darkness enveloped the audience, girls screamed, supporters cheered, and the sound of “Don’t Turn The Lights On” began to materialize as David Macklovitch (Dave-1) and Patrick Gemayel (P-Thugg) made their way onto the stage. What would follow was the livest dance-frenzied concert since Hot Chip played Koolhaus, touring in support of Made In The Dark. Dave-1 and P-Thugg are startlingly multi-talented, Thugg moving from keyboards to the fully-stacked electronic drum set, to his synthesizer piece that he sings with, and back again. Dave-1 was smiling throughout the entire set, keeping the audience entertained, dancing habitually, and throwing drumsticks into the crowd. Dave involved the crowd at every chance he got as the audience drunkenly sang along to favourites like “Hot Mess” and “Night by Night” from the band’s sultry sophomore effort, Business Casual. It truly was an unforgettable and authentic concert experience.

Perhaps P-Thugg and Dave-1 made it easy on us, but their live performance definitely inspired body movement and showed this concert goer that a Toronto crowd can indeed go bonkers, given the right soundtrack. Near the end, girls were sitting atop their boyfriends’ shoulders, dancing along as the words “two step, two step, two step” began to resonate, and Chromeo ended the first set with the song that made them huge, “Fancy Footwork.” They returned to the stage with their sole ballad in Montreal French, “J’ai Claque La Porte,” a slower, sensual number, similarly to when Hot Chip ended their fevered performance with their cover of Sinead O’Conner’s “Nothing Compares 2 U.” Perhaps they are following the formula of the decade’s most successful electro-pop outfits, or perhaps great minds just think alike. Nonetheless, when anyone tells you Torontonians don’t dance, just wait till Chromeo plays a gig, and they’ll be in store for a pleasant surprise.

Check out photos of Chromeo by clicking HERE.

Check out photos of MNDR by clicking HERE.

Check out photos of Young Empires by clicking HERE.

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An Interview with: Rob Moir

January 31st, 2011 | By: Stephanie Taylor

Rob Moir - Photo by Victoria Fernandez-Gabica

While the transition from punk front-man to folk-alternative artist seemed somewhat surprising for some, Rob Moir has reassured us that very little has changed. Judging from his performance at The Boat on January 20, kicking off his seven-week North American tour to promote his album This Is The Lie, everything from Moir’s stage presence to his mode of travel has maintained its edge.

As former vocalist/guitarist of Toronto punk outfit Dead Letter Dept., Rob Moir is no stranger to the music scene. Following the band’s decision to diverge on separate paths, he decided to pursue his current solo project with the help of his new band The Great Lates. Although some adjustment was necessary, it seems as if the change was just a matter of time.

“I always wrote those songs,” said Moir. “Finally I had good enough songs to put out. The timing was right and I had a batch I could release.”

An extended trip to Europe this past year further solidified the decision. He describes the experience as one in which he learned about himself and what he wanted to do in the future.

“I had a bike, a tent, and rode around Europe by myself,” said Moir. Playing music in the street with fellow musicians he came across, he explains, “I realized I wanted to move beyond just a rock band.”

Regardless of how the shift into the folk genre took place, he confirms that the struggles still remain the same.

“It’s still the same challenge. It’s like, how can I get 40 people that see dudes all the time to just shut up?” he said. “If you can’t make them shut up, it’s your problem.”

But it’s a challenge he’s excited to take on. As he gets ready to embark on an ambitious 40 days on the road, Moir considers the rewards that will come of the journey.

“I love playing every night, having a new chance every night to get better,” he said.

The tour will undoubtedly be a learning experience for Moir. His first tour as a solo artist will take him coast to coast between Canada and the U.S. However, it’s not as typical as it sounds.

“We’re doing the tour via Greyhound and VIA Rail,” said Moir. “VIA has this thing where you can even play on the train.”

Excited to meet new people and make some friends along the way, he’s prepared for whatever adventures take place in the weeks to come.

“It’s cool cause there’s no doubt in my mind I’m going to have to hitchhike at some point,” he said with a giggle. “That will be the exciting part of touring.”

His enthusiasm about everything is honest and refreshing. While changing his sound it is clear Moir did not lose his ambition. Softer melodies and romantic ballads can still go along with the rock and roll mentality.

“I want to think there’s still a bit of an edge too,” he jokes.

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Twin Shadow @ Horseshoe Tavern, Jan 12, 2011

January 31st, 2011 | By: Daniel Koren

Twin Shadow - Photo by Brian Vendiola

As the speakers at The Legendary Horseshoe Tavern were blasting obnoxious hard rock tunes, George Lewis Jr. and his accompanying band stood patiently, Lewis smiling as he spoke into the microphone, over the music. “This will be your show tonight, ladies and gentlemen,” he said. “But damn, I wish they play some Twin Shadow.”

We all did.

After an ambient opening set from Toronto locals Foxes In Fiction, Lewis and co. came on to perform pretty much every song from Twin Shadow’s stellar (for lack of a better word) debut, Forget. Many bands come on stage and perform songs precisely the same way they sound on the record, which for some might be enjoyable, but to most can seem tedious, and a tad redundant. George Lewis Jr., dressed in his retro, multi-coloured dashiki, and sporting a fro even Ludacris couldn’t pull off, did no such thing.

Opening with the proverbial “Shooting Holes At The Moon,” Lewis displayed his smooth vocal abilities off the bat, over a slightly louder instrumental accompaniment which was by no means deafening, but assuredly more aggressive than its studio counterpart. As he moved on to the love ballad, “Tyrant Destroyed,” his voice grew gradually and passionately as synths boomed, cymbals glistened, and bass riffs destroyed. Lewis played the role of relentless performer, and he played it well. He offered guitar solos that had been prior nonexistent, yelled over the obstreperous percussionist, whispered over surging melodies.

He gave the songs on Forget a new meaning, transforming the electro-dance “Castles In The Snow” into a hard rock phenomenon, adding vigour and bass to the disco friendly “When We’re Dancing.” We all sang along with him, absorbing the waves of nostalgia his music perpetuated, remembering the ’80s as if we had lived through it ourselves (as most fans present were assuredly of a later generation). The crowd was immersed in this whirlwind of energy that they were feeding off his music, and Lewis announced the last song, it seemed, before the concert even began. With “Forget,” he chose an admirable way to end the first set, with one of the slower, more loving ballads that he sang with earnest and aplomb.

It didn’t take long for him to return to the stage with his bandmates, and encored with the disco/new wave treat that is “At My Heels.” As Forget is a tribute to the ’80s, it focuses on the era’s upbeat, dance aesthetic but also on its dreamier, passive side. Lewis made sure we did not ‘forget’ this as he ended the show with the ethereal synths and bass lines of “Tether Beat.” “Has your heart skipped a beat?” Thanks to you George Lewis Jr., it sure has.

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