Review: Horse Feathers w/ The Wilderness of Manitoba @ The Drake Hotel, 28 April.

This was one of those rare seated shows---as in, butts-on-floor---at the Drake Hotel's basement music venue, and, my, was it ever lovely. I'd heard of and sampled Portland, OR's Horse Feathers in the past few weeks and was seriously considering hitting up the show, but the announcement that the Wilderness of Manitoba would open sealed the deal for me.

The Wilderness of Manitoba---always Scott Bouwmeester, Will Whitwham, Stefan Banjevic, and Melissa Dalton---took to the stage just after 9pm, with their drummer, Sean Lancaric. The band doesn't always bring Sean along for gigs, and it was a nice treat for me to see them in full force in such a nice-sounding room. They started off with a couple songs from their 2009 debut EP, Hymns of Love and Spirits, namely, "The Great Hall" and "Bluebirds." The crowd was quiet and respectful to the point of being completely silent during many of the songs and little breaks between them. The first few rows were made up of people sitting on the hard floor. It made for a nice setting, with the Drake's good lighting and stage dressing. "Hermit," the first single from the WOM's first album, coming in June, was next.

The first two highlights of the set for me were "Dreamcatchers" and "Orono Park," performed next. The tribal, driving drum beat and harmonies were great on the former; the latter's banjo / guitar / ukele arrangement was beautiful, as were the Will and Melissa's harmonies and call-and-response vocal tradeoffs. And I gotta say: If audience members weren't completely sold on this band by this point, they have no souls. "Evening," a song originally penned and recorded by Will's mother, Wendy Blackburn, in the 1960s, was next, following by the newer "St. Petersburg." Both are gorgeous, and fan favourites. A couple more new songs ended the performance---"November" and "Summer Fires." The buildup at the beginning of "Summer Fires" was stunning. Just great.

Catch the WOM opening for Matthew Barber at the Mod Club on 12 May, and for Basia Bulat (and Julie Doiron) at the Phoenix on 4 June.

Download: The Wilderness of Manitoba, "Hermit" (When You Left the Fire, 2010).

Download:

Watch (below): The Wilderness of Manitoba, "Orono Park" (Southern Souls live performance, 2009).

Photo credit: WOM by Zuzana Hudackova.

After a healthy break to get things properly set up, during which we were treated to Owen Pallett's Heartland over the house system, Horse Feathers performed in the headlining spot. (Timber Timbre's self-titled album was the soundtrack before WOM's set.)

I'm not nearly as familiar with this band's output---and, indeed, it was their first time performing in Toronto---but others in the audience clearly were, showing keen appreciation during and after songs. Like Toronto's WOM, this band trades in lush 4-part harmonies and country- and folk-inspired arrangements. But there are classical elements in their ballads, too.

The band played a lovely 12-song set, plus an encore. To me, many of the songs sounded alike, but to my mind that was just fine. "Curs In the Weeds," performed two-thirds of the way through the set, seemed like their hit number; it was warmly received by those around me.

Horse Feathers will be back around this part of the world in July for the Hillside Festival in Guelph.

Download: Horse Feathers, "Belly of June" (Thistled Spring, 2010).

Download: Horse Feathers, "Curs in the Weeds" (House With No Home, 2008).

Review: Primary Colors party feat. These Are Powers, Javelin, Doldrums @ And And And Space.

Event promoter Alex from Primary Colors organized a memorable night Tuesday, 30 March. Bringing in Brooklyn bands These Are Powers and Javelin, with support from Toronto's Doldrums---a new project feat. Airick Woodhead (Spiral Beach), Alex Laurence (the Miles), Chris Lyons (Heartbeat Hotel), and Andy Smith (Heartbeat Hotel). But that wasn't all; this wasn't just a regular show. Put on in an unknown venue that included handmade decorations, a mood room, projections, and one bizarre performance art piece, the event was as much show as it was interactive art space for those into that kind of thing.

I'd seen These Are Powers once before: a 2am set at Silver Dollar during last year's NxNE music festival. They blew me away with their eccentric hyper electro grooves and sensual energy. Their performance demanded that I dance, no matter the hour or the state of my tired feet. It was a very unexpected surprise. This was their first time back in Toronto since then, and I was keen on going to see them.

A friend and I showed up just shy at 11pm, unsure of what we were getting ourselves into. Located on the top floor of a building in an alley off Queen St. West, And And And Space is a muti-room (yet open-concept) space with exposed wooden beams and original hardwood floors. We got ribbon around our wrists instead of handstamps; there was a DJ playing in the front room, but no one was dancing. The pillars were decorated with long, thin strands of silver, and most of the partiers looked, well, pretty hip. (I wore my hot pink skinny jeans, and felt rather more colourful than everyone else, but otherwise fit right in.) In one small room band members were selling merch, in another, cans of PBR were going for $4, and the third was some kind of well-lit chill-out room, with cut-out bits of pastel-coloured paper layed all over the floor, ready to be stuck to the wall. Most of the people were hanging out in the hallway and larger areas in the front and back. There were balloons and sheets covered the ceiling over the stage area.

And then it sounded like a band had started to play. According to a schedule I'd glanced at earlier that day, I had missed Doldrums, but here they were. No doubt the as-yet sparse attendance had pushed things back. Airick and co. hit drums, tapped electronic noise makers, turned dials, and vocalized into distorted mics. A few people feined dancing, but most of us looked on, listening. It was exciting for me to see this new band, with men I'd seen perform in other bands before. The convergence of sounds and experiences, thinking about how these things come together---I felt like a bit of an insider, even though I'm really not. As for the noise they were making, it was far from offensive, but it was not really to my taste. There were elements of tunefulness, but the emphasis was on creating bizarre soundscapes. And after maybe 15 minutes, they were done.

Between sets---and at this point I had no idea what was going to happen next---my friend and I people-watched, took in the decorations, and sat in the chill-out room while fellow-attendees made good use of the paper shapes. I was surprised the event was rather less than full, and got the sense it wasn't because the place was at capacity. To those who stayed home: you missed out! Suddenly, something was happening... video projections behind Laura McCoy, performing semi-silently and alone. She did some moving around, and some mumbling, but I could only half see for all the people in front of me.

Finally, a few minutes before 12:30am---thank goodness I didn't have to be anywhere Wednesday morning---Javelin came on. Their vibe was very different than what I'd just heard and seen. More accessible and dance-oriented, Javelin slowly got people moving. The duo's music wouldn't have been too out of place in a regular club, but the band members themselves were pretty much the opposite of slick-looking. Heart-shaped red balloon in hand, I danced at the front, alongside rather younger partiers. The set was fun; I will keep an eye out for these guys.

With it now approaching 1am, the venue was decently-populated if not full. There was a long waiting period, perhaps by design to give us all time to mill about, taking everything in. Sari and Romy from Ghost Bees had shown up, doning masks and clear plastic coverings. A few other people put masks on, too, and moved about amongst the skinny-jeaned crowd. (Like so.) I couldn't tell if anyone else was getting impatient, but despite the distractions, I was ready for things to get going. About 1:30am, These Are Powers started playing. I had high expectations. At first, I wasn't sure about them. But before long, I had made my way to the very front, less than a foot from front-woman Anna Barie's synth table. (I was reminded of that uber-packed Woodhands' show at Teranga in January 2008.) Dancing ensued. It was not the full-out frenetic experience it might have been---cramped quarters made this difficult---but being so close to the beats and personal energy of the trio had its effect. The band performed a great set, full of songs both new and familiar, intense and driving. Beside me, the men from Doldrums let loose, jumping up and down with abandon. Behind me, people danced, too. But no doubt the energy was somewhat lost on those toward the back.

Given the hour and the heat---promoter Alex had to close open windows during These Are Powers' set, presumably to keep the noise in and any complaints at bay---I didn't linger much after the set. As I put my coat on in the alley, a woman called out to me, "Hey, pink pant-her!" It made me smile. Great party, cool bands, awesome space, respectful and interesting crowd---success! I gotta get myself to more of these Primary Colors events. And so perhaps should you.

Review: The Schomberg Fair, the Diableros, Magic Hall of Mirrors, La Casa Muerte @ The Horsesehoe Tavern.

Last Saturday night, 21 February, the Horseshoe Tavern played host to some top-notch rock 'n' roll bands, including two of my favourite live acts, The Schomberg Fair and The Diableros. It was a fun night, and I was impressed with all the bands. More, please!

Up first was Windsor band The Magic Hall of Mirrors. Despite the early hour and small (so far) turnout, these guys brought some energy to their performance and impressed me with their rock 'n' roll range, from grunge to classic rock and soul. The band is the new project of Sean Barry from The Golden Hands Before God, so I shouldn't have been surprised—there's a lot of talent and experience in the group, and I'm glad to see some of the Golden Hands' guys back on a Toronto stage. Highlights included "Hang On St. Lucifer" and "National Boulevard," demo versions of which you can hear on the band's MySpace. (Sean later told me the band never plays songs the same way twice, and I can tell you the live renditions I heard were much louder and punchier than the ones on their website.) Sean's got a great voice and a been-places-and-lived-to-tell-the-tale vibe about him—very rock 'n' roll—and given a later start and larger crowd, I can see this band really tearing it up.

The Diableros followed. As with the other bands on the bill, the Deeb's brand of rock isn't usually what I'm in the mood for. I gravitate toward folk-pop, but there's just something about The Diableros that gets to me in ways most guitar-heavy rock bands don't. It's definitely the band's melodies, but it's more than that: Maybe it's the organ or Pete Carmichael's reaching vocals, or the serious drumming, or . . . I dunno. Guitarist Ian Jackson battled equipment trouble throughout the set, which was unfortunate, but it's the kind of thing that makes me root for a band even more. The band kicked off the set with "Nothing Down in Hogtown," the song off their 2007 album, Aren't Ready for the Country, which first got me hooked on them. They played some more tunes from that record, a couple new songs, and most of their new EP (Old Story, Fresh Road), including "Wandering Dry," "Heavy Hands" (download below), and "Old Story, Fresh Road," which was awesome! After their set I headed over to the merch table and bought myself a copy of their latest on 12" clear vinyl. A total concert faux-pas: I had to carry it around for the rest of the night. I just needed to have it, though. The band is preparing to record an album this year, and I for one am very much looking forward to hearing it.

The night's headliners, The Schomberg Fair, were up next. To my mind, they had a tough act to follow. But I was not worried. When people ask me about the band, the first thing I usually report is that they put on a great live show. The next things tend to be "sweaty" and "whiskey-fuelled." This trio—Matt Bahen (lead vocalist, guitar, banjo), bassist and vocalist Nate Sidon, and drummer Pete Garthside—describe their sound as speed gospel, and the term is a good one. They perform their own fast-paced country rock- and blues-inspired songs as well as traditional spirituals. Their attitude toward live shows—that their fans paid for an experience and not just a live performance—is obvious in their no-holds-barred delivery. The Horseshoe wasn't full, but there was a decent-sized crowd out to cheer on the Fair and get their stomp on. I was happy to hear the band sound great, and they seemed completely at ease on that stage, in matching black button-up shirts and black slacks. The band performed a great set including songs from their two albums. Great stuff, and good vibes all around.

The final band of the night, La Casa Muerte, had lots of friends in the audience, too. They put on a strong performance. Lead singer "Namico" was sporting a presumably self-made (of paper?) mini dress, and though I would have been shy in such a get-out, she let loose, owning the stage and sounding pretty great at the same time. My brain was fried, though: four bands is a lot to take in. So I left, trusting the few dozen dancing bodies on the dancefloor would keep the good vibes going.

Download: The Schomberg Fair, Trouble Will Soon Be Over (Gospel, 2009).
Download: The Diableros, "Heavy Hands" (Old Story, Fresh Road EP, 2009).
Download: La Casa Muerte, "All the Wrong Moves" (La Casa Muerte EP, 2009).

[Photo credit: E.S.Cheah Photography. Thanks!]

Review: Martha & the Muffins (reunion), Wilderness of Manitoba @ The Music Gallery.

Being a bit too young and certainly far out of the loop on such things, I'd never heard of Martha & the Muffins before this year. The Toronto new wave/pop-rock band formed in 1977, and never completely went away, though things had petered out in the early 1990s. Now, 18 years after their last release, original members Martha Johnson and Mark Gane are back with a new album, Delicate. On the weekend they, with help from Evelyne Datl, Brian Kobayakawa, and Hill Kourkoutis, put on two reunion shows at the Music Gallery, the daytime church turned nighttime concert venue. I went to the Friday show.

In the opening slot was the local vocal-heavy folk group The Wilderness of Manitoba, performing sans drummer. They were riveting. I'm a big fan of the band, and knew the church setting would have to work in their favour, but this was really something. The scene and appropriate sound system ensured there were no muddy vocals, annoying chatter, feedback, or the sound of breaking glass. Instead the band's harmonies were crystal-clear, and all the more impressive for it. The short, seven-song set included "Bluebirds," "Great Hall," "Evening," and "Dreamcatchers" from their 2009 Hymns of Love and Spirits EP, not-yet released St. Petersburg and the Fleet Foxes-esque Orono Park, and ended with a moving, beautiful cover of the great Crosby, Stills & Nash song "Helplessly Hoping," originally released in 1969. I suspect very few audience members had ever heard of the WOM, but my sense is that the foursome won new fans with both their music and their easy manner. What a treat. I don't think it a stretch to say that they've perhaps never sounded better.

The darkened church, already full, was peopled by audience members a good chunk of years older than me: couples, small groups of friends, and other people remembering their going-out years, all excited about seeing Martha & the Muffins. The band got started just after 9pm with "Black Stations/White Stations" from 1984's Mystery Walk---a "good year," explained Martha. Although the band's configuration didn't allow them to rock out (no drums, for one), their funky bass lines and guitar rhythms came through nicely in these "interpretive versions." Next up were a couple songs off their new album, "Drive" and "One In A Million." Martha struck me as a bit stiff, but not doubt that's due to her on-going battle with Parkinson's disease. She looked great, and nowhere near her true age, in black leggings, leather booties, a patterned mini-skirt, and black top. Martha sat down during "Swimming" (This is the Ice Age, 1981), sung by her husband, Mark, himself looking much younger than his years. "Danseparc (Every Day It's Tomorrow)" (Danseparc, 1983) was next. Martha attempted to solo on a small plastic saxophone, but the instrument made no sound come the appropriate time. (Later on during the show she had trouble with another instrument.) No matter, really. By now it was apparent to me that this show wasn't really about the music but about a celebration of music once-loved and fondly remembered, and the two people who were such an important part of Canadian music in the 1980s.

Reaching back to 1981, "One Day In Paris" was performed next, then the new "Life's Too Short To Long For Something Else," featuring Evelyne on grand piano. After the next tune, Mystery Walk's "Cooling the Medium," Martha told us she was pleased with how things were going. I can only imagine that the audience members felt the same. And newer songs like Delicate's "Crosswalk," up next, didn't feel out of place. After another oldie we got---finally, 11 songs in---"Echo Beach." This is the band's biggest hit, and received the most excited reaction from the crowd. (Subdued and quiet, the audience members were not shy about wooping when they heard the first notes to their favourite songs.) Up to now I'd been enjoying the show, but not so much because of what I was hearing. The last handful of songs impressed me, though, and I started to really get into things. Talk about a long-defunct, tiny venue called the Mud Club helped give me some context to the band, and it was nice to hear a story from their performing days.

The set ended with "Even In The Rain"---a lovely tune off the new record, "Mess," also new, and a satisfying, rousing rendition of the band's 1981 hit, "Women Around The World At Work." After a standing ovation which seemed more appropriate than most, we got an as-yet unrecorded duo between Martha and Mark titled "Remembrance Day," and one final song from Delicate. Well, that was fun!

Although the show was more "cute," "neat," and "nostalgia trip" than anything else, the band clearly put effort into arranging their older songs for this weekend's drummer-less lineup. And they were celebrating a new record, and performed many tracks off it. Toward the end I warmed up to what I was hearing, and now---after having listened to many of the original recordings so I could write this review---I find myself rather a fan.

* You can listen to some of the songs mentioned here at the band's CBC Radio 3 page.

[Photo credit: Martha and Mark, photographed by their daughter, Eve Gane.]

Review: Gentleman Reg Heavy Head Residency w/ Hooded Fang, Kite Hill @ The Drake Underground.

Every Wednesday this month "Gentleman" Reg Vermue & his band are in residency at the Drake Hotel. The occasion? To celebrate their recently-released digital EP (Heavy Head), the 1-year anniversary of the release of Jet Black, and to cap off a year of heavy touring. Last week's kick-off show featured two strong local acts, Kite Hill and Hooded Fang. I was there.

Kite Hill was up first, offering up orchestral pop, but of the tuneful rather than bizarre variety. The band is a project of keyboardist Ryan Carley (Ohbijou); his stellar backing band---Tyler Belluz (upright bass), Anissa Hart (cello), Steve Lappano (percussion), and Mika Posen (violin, backing vocals)---provided wonderful accompaniment. Carley's songs are pretty and a little melancholy, and with the string backing the effect is really quite lovely. This being my first time hearing anything from the band (other than a song that appears on the 2009 Friends in Bellwoods compilation), the songs tended to blend into one another. Another listen might help highlight differences. The band's debut album is in the works.

Next up was Hooded Fang. I've seen them a few different times since 2008, and consider them the city's top sunny, straightforward pop act. I was eager to see them perform, but a bit apprehensive: they don't always live up to my expectations. This night, they exceeded them. Yay! The band started off with "Land of Giants," the first track off their self-titled EP. Other than "Highway Steam," their contribution to the FiB project, the band performed all new songs. And they really looked and sounded like they were having a great time up there. The audience was a little shy of dancing, but I did my best to represent. What a fun set. A full-length should be out later this year. I'm looking forward to it.

Gentleman Reg have been busy over the past year, touring with A Camp, the Hidden Cameras, and here at home opening for the likes of Tegan & Sara, Zeus, Amy Millan, and Islands. I've seen this band a bunch of times, but, as Reg pointed out, they are usually the opener, and on reflection I'm not sure that I'd ever caught them in a headlining role. So it was about time!

The set started up with Reg performing a moving cover of Sam Phillips' "I Need Love" all by himself. Although the dancier tracks on Jet Black are my favourite ones, in his quieter moments, Reg can turn out moving performances, and this was one of those times. A good beginning to what would turn out to be a fantastic set. His backing band---these days only Jon Hynes (bass, not pictured) Kelly McMichael (keyboard, pictured left), and Dana Snell (drums, pictured right)---then joined him on stage. Over the next hour or so they offered up a good selection of tunes off the album, including all my faves: "Coastline," "To Some It Comes Easy," "You Can't Get It Back," "How We Exit," "We're In A Thunderstorm," and "Falling Back." The live versions seemed, in the moment at least, more spirited and fun than the recorded ones, though I missed the second guitar line. The band also performed "Wild Heart," the Stevie Nicks' cover off the Heavy Head EP, "For Trust" (from the FiB compilation, and Michael Stipe-approved, so Reg told us), plus a couple new original songs, including one that had never been performed before. Guests Shaun Brodie (trumpet) and Jessica Tollefsen (keyboard, tambourine, backing vocals) added extra layers to some of the songs. Everything sounded great, was performed with verve and, well, I was just thrilled to be there. *Gush*

Toward the end of the set, everyone around me was dancing. And so there was no way we'd let the band go without an encore, late on a Wednesday night though it was. Reg came out and sang a song he'd recently written "for a man I met in Winnipeg." As he introduced the song he told us he'd recorded a demo and emailed it to him, but hadn't yet heard back. "Story of my life." (Oh, Reg!) His band-mates then came back, too, and we were treated to an extended version of "The Boyfriend Song." Awesome!

Reg is one of my favourite pop artists, and I always enjoy seeing him perform. Wednesday's set was particularly great; I was practically giddy the whole time, and left with a big smile on my face. Reg is both charming and awkward, funny, likable on stage, always warmly acknowledging the inevitable friends in the crowd, and willing to be himself. It's all very endearing, and would work well even if the songs weren't as great as they are.

Download: Gentleman Reg, "We're In A Thunderstorm" (Jet Black, 2009).

The Wednesday-night "Regidency" continues throughout the month. This week's special guests are By Divine Right and the Balconies. On 17 February Gentleman Reg are joined by Sheezer (Weezer cover band including Laura Barrett, Robin Hatch, Alysha Haugen, Magali Meagher, and Dana Snell) and Dance Yourself to Death. The final show of the residency (24 Feb) includes Evening Hymns and other "special guests." Every night sounds like a winner. Tickets for each show are $10 in advance from Soundscapes or Rotate This, or $12 at the door. If you get your ticket online from GalleryAC ($12.50), you'll also get yourself a copy of the (digital-only) Heavy Head EP.

Hmm . . . I might have to go again (and again and again)!

Shout out / Review: Woodhands' Remorsecapade.

I've said it a few times already on this blog: Woodhands is my favourite live band. They are intense, unpretentious, in-your-face, and impossible not to dance to. And they've got a new record out.

To celebrate the release and help get the word out, the band hosted a secret, invite-only show Thursday night at the not-spacious Smiling Buddha bar. Slightly north and west of the usual hotspots, and often playing host to bands even I've never heard of, I admit to not having ventured there before. I got there early, and spent a quick hour and a quarter talking with an assortment of local press-types and friends of the band. At around 10:30pm, a smoke machine and two green lasers having created somewhat of a proper vibe, and with photographers assembled at the front, the band started to play. And then quickly stopped. Aw, Woodhands. The technical issues were almost instantly sorted out, and the show really got started. The band performed a few of the songs off Remorsecapade, brought Maylee Todd on to contribute her part to "Dissembler" and "Dancer" from 2008's Heart Attack, then seamlessly transitioned into "Coolchanize," the standout track from the new album. The performance wasn't quite the display of musical wizardry I've seen from this band, but that's hardly the point. Experiencing these songs---also "CP24," "Talk," and "I Should Have Gone With My Friends"---performed live makes me excited for everyone who'll get a chance to see this band on their upcoming tour. And, as a friend of mine told drummer Paul Banwatt after the set, it was just fun to see them play in a small venue just like the old days.

Back in late 2007 and into 2008, that same friend and I went to see Woodhands every time they played. We were both going through stuff---I was in search of a new social life, and he was trying to rescue a failing relationship. I eventually found my weekend salvation in the indie scene; him, in the electro-dance world. But as we drifted apart socially, we always met at Woodhands shows. The music was loud, fast, hard-hitting, with a clear beat and unstoppable energy. And still interesting. Dan Werb's pained screams and emotional turmoil, Paul's firy, surprising drumming, their choice to risk technical failure by putting all their synth lines together live . . . it all made Woodhands' music compellingly immediate. Here was something I'd rarely heard: intense electro-pop with brains and emotional baggage. When the band went on their first US tour in April 2008, my friend and I drove to his hometown of Pittsburgh to see them play. Woodhands was on first, unbilled on a four-band night, opening for Ra Ra Riot, who were still driving to the venue when our band went on. In front of a handful of local kids, my friend and I danced fearlessly, with abandon and conviction. It felt like the culmination of our respective transformations, establishing the success and rightness of the paths we'd taken over the past few months. Woodhands is an important part of my history and continues to have a place in my present.

Remorsecapade, out this past week, is the band's second full-length album. Like the first, it offers up eminently danceable tracks and much artistic interest. Electro isn't usually this smart and fully danceable. The best track, "Coolchazine," grabbed my attention right away. Some of the others took a few listens, but by now I'm quite taken with the record. (I'm listening to it on repeat as I write this, and keep find myself grooving in my chair. And I don't care if anyone's watching.)

The first track, "Pockets," sets the tone, and assures the listener that all the ingredients that made Heart Attack great are still present. Slow builds and quiet moments compete with pounding beats and aborted symbol crashes. The song's both groovy and meaningful. It's a love song, after all. "Talk," next up, is about a girl, too. It has dance hit written all over it, but the angst-ridden, yearning kind, not the bubble-gum version. "CP24" you've all heard (and seen). Here the angst gets aggressive and embittered. "Sluts"---which I just noticed begins with a technical glitch and Dan swearing "fuck this machine"---has a more dance club vibe. The girl problems continue, but there's a resolution. What begins aggressively ends with a much more healthy attitude. Awesome. And then comes "Coolchanize." As Dan himself might say, "Oh shit!" Screams! Grunts! This song takes me through the ringer. Dan---or the man he's singing about---has been done wrong. "Why are you fucking with my focus? Why do you have to be the closest thing to me?" and etc. The man can't get a break, though, deciding next that "I Should Have Gone With My Friends" instead of following his date around. This is another great dance track. After all this "Dissembler" comes as a welcome reprieve. Maylee Todd, whose smooth vocal performance on "Dancer" added so much to the first record, is back, performing a duet on this one with Dan. Much airier, this pop love song is really lovely. Everyone now feeling better about things, it's time to dance (and scream) again. "When the Party is Over," featuring fat synth beats, under-emphasized drumming, and great singing, is another solid Woodhands song. The final track ("I Want To Be Together," followed by the outro "How To Survive A Remorsecapade"), is radically different in sound. It's slower, contemplative, sad---"I want to be together" is the repeated refrain---but also a smart way to end a record that's full of anger and heartbreak and other emotional struggles. A "remorsecapade" indeed.

Woodhands are still at their best when Paul's beating the life out of his drum kit, and Dan's screaming his mind out. The heart-wrenching ups and downs make Remorsecapade an impressive contribution to the art of the album. Excellently crafted---with that touch of humour at the start of "Sluts"---the songs will certainly go over well with on the DJ circuit, get lots of play at home parties, but also have an intellectual appeal. But forget about all that. I'm still dancing in my chair.

Download: "Pockets" (Remorsecapade, 2010).
Download: "I Kissed A Girl (Katy Perry cover)" (unreleased, 2009).
Download: "Dancer" (Heart Attack, 2008).
Download: "I Wasn't Made For Fighting" (Heart Attack, 2008).



Remorsecapade is out now. Pick up a copy at your local record store, or order it through Paper Bag Records (or whatever other online retailer you like). The band is playing shows through Canada this winter. Their MySpace has all the details.

Frank has his review up, and so does Ricky.

Review: OOTS 3rd Anniversary w/ The D'Urbervilles, Forest City Lovers, Evening Hymns, Jenny Omnichord.

Toronto label Out of this Spark celebrated its third anniversary at the Garrison in Toronto Friday night. The party was a showcase for all four of the label's current bands: The D'Urbervilles, Forest City Lovers, Evening Hymns, and Jenny Omnichord. Three of the groups have new albums coming out this year, so we were treated to many new songs.

Jenny Omnichord is the solo project of Jenny Mitchell, a Guelph musician who also plays with other bands, including the Burning Hell. Mitchell is a great songwriter and lyricist. Her songs are often quirky, sometimes serious, but always earnestly delivered. It's also pretty neat to watch her manipulate her omnichords, an electronic instrument based on the autoharp that allows the performer to mix together a wide array of sounds using only her fingers.Friday night Mitchell performed some new songs off the album she's current working on---it'll include songs about "babies and skeletons." She entertained us with songs about a bout of bad luck in NYC, "Blankets & Bones," her young son, Elvis impersonators in London, ON ("The Kings of London"), her "baby daddy," skeletons in love ("Skeletal Love Song"), and a final one about "polyamorous skeletons," which included the singalong verse "How would anyone know whose are whose bones?" All in all, it was a nice, short set that afforded Mitchell enough time to show off her talents.

Download: Jenny Omnichord, "The Kings of London" (Cities of Gifts and Ghosts, 2008).

The slow jams Friday night were provided by Evening Hymns, a band featuring songwriter Jonas Bonnetta backed up on this occasion by the marvelous Sylvie Smith and Tim Bruton from the Magic, Shaun Brodie, and a drummer. The set started with an atmospheric buildup, perfectly setting the tone for what was to follow. I prefer my music a little more fast-paced, but there's no denying the appeal of Evening Hymns: pretty, meaningful songs with compositional complexity and interesting soundscapes. The set included several songs from Spirit Guides: "Lanterns," "Dead Deer" (my favourite), "Cedars," and "Mountain Song," among others. The band put on the night's best performance. Sylvie Smith has to be the perfect backing vocalist for this band. Her beautiful, clear voice is the ideal accompaniment to Jonas' vocals. Brodie's trumpet and accordion added much to the set, too. Though the chatty crowd kept to the back, this is a band best heard in a quieter environment, or listened to through good headphones.

Download: Evening Hymns, "Cedars" (Spirit Guides, 2009).

Forest City Lovers is the most prominent band on Out of This Spark's current roster. With two full albums already under their belt, and a another one coming this year, they've created a niche for themselves in the crowded Toronto folk-pop scene. I tend to prefer listening to their recordings than seeing them live, and Friday didn't change my mind. I don't know what it is, but it's true. It may be that I was standing too close, or the mix was off---the bass was more prominent than I would have liked. Still, Kat Burns was in fine form, and playing with her full band, including violinist Mika Posen, bassist Kyle Donnelly, drummer Christian Ingelevics, and extra guitarist Tim Bruton. They performed songs off Haunting Moon Sinking (2008) and The Sun & the Wind (2006)---I recognized "Don't Go," "Song for Morrie," "Watching The Streetlights Grow," "Sullen Seas," "Pirates (Can't All Sail the Indian Ocean)"---plus a couple new tunes, including "If I Were a Tree" off their recently-released 7". I eagerly await adding their next album to my list of favourites.

Download: Forest City Lovers, "Two Hearts" (Haunting Moon Sinking, 2008).

In the headlining spot were the D'Urbervilles. This is a great band, exuding cool and bursting with talent. Their 2008 debut full-length, We Are the Hunters, is still high-up on my list of favourite albums. The band's been recording on and off since the summer, and the new songs I heard Friday night bode well for their next album. What I like about this band's sound should still be there: funky bass lines, strong guitar melodies, top-notch vocals, and precise, interesting drum beats. Front-man John O'Regan is the stand-out performer here, but he's backed up a stellar team in guitarist Tim Bruton (The Magic, Forest City Lovers), bassist Kyle Donnelly (Forest City Lovers), and drummer Greg Santilly. John and the others tried to get the crowd revved up, but the audience was resistant. Too bad. Even spirited performances of "Spin the Bottle" and "The Receiver" weren't met with the enthusiasm I'd have predicted. With the right energy in the room the D'Urbervilles can deliver an explosive performance. Here's hoping that album of theirs comes out soon and I get another, proper chance to party with them.

Download: The D'Urbervilles, "Spin the Bottle" (We Are the Hunters, 2008).

As a special treat, at the end of the show, members of the D'Urbs and FCL got together with Jenny Omnichord to perform three more songs, one from each of their respective repertoires. Not quite the "family band" experience that we got in the summer, but hearing one of Jenny's songs played with a full band made it plain once again that she's far from a novelty act.

Happy birthday, OOTS. Here's looking forward to those new releases.

[Photo credits: Frank Yang. Awesome shots, eh? More here.]

Review: Basia Bulat, The Luyas @ Trinity-St. Paul's Church.

Basia Bulat played Trinity-St. Paul's United Church on Saturday night to celebrate the launch of her new album, Heart of My Own, due out on 26 January. She gave a stunning performance, moving, heartwarming, and well-received by members of the capacity crowd. This was my fifth time seeing her, and it was awesome to see this talented performer bring the house down in such a beautiful environment.

I was excited for the show, but didn't realize so many others were too until I got to the church at the advertised door time, 7pm. The lineup was already more than a block long. I took my place in line, in front of a group of people speaking Polish. I figured they were members of the Bulat extended family, and a minute later drummer (and brother) Bobby Bulat came over to greet them. Confirmed. The crowd was a mixed bag: many younger concert-goers, including a few familiar faces from the local music scene, but also older couples. We all stood still for at least 30 minutes until the doors were finally opened and we slowly made our way in.

Inside, a large stage took over the front of the deceptively-small church. The pews on the ground floor were divided into four sections, about a dozen or so deep. Upstairs, hundreds more people sat in tiered pews in the U-shaped balcony that wrapped around the entire room. A few minutes after 8pm, the lights dimmed and the first band started to play.

They were the Luyas, a Montreal 5-piece headed by singer-guitarist Jessie Stein. They were presumably excited to get a chance to play for a relatively large, captive audience. Stein appeared in a short red dress, black blazer, black knee-high leather boots, and sporting short, curly hair, a kind of female pompadour. She looked great. Musically, her backing band---drums, violin, keyboard, and French horn---impressed. Some of her musicians also play in those other Montreal bands, Arcade Fire and Bell Orchestre. But Stein doesn't sing well. Her breathy, child-like vocals had me cringing. There were spots during a couple songs when instrumental jam-outs caught my ear. Mostly, though, the Luyas' brand of bizarre orchestral pop with sub-par vocals did little for me. I can't imagine an audience there to hear Basia Bulat's wonderous singing and folk-pop rhythms felt much love for them either. At one point Stein implied she'd like us all to rebel by standing on our pews. If she'd performed much longer than her allotted 35 minutes, she might well have had a rebellion on her hands. In a more appropriate context she and her band might have gone over better with me.

But all was soon forgiven. From the first note of Basia Bulat's opening song, the familiar-but-newly-recorded "Heart of My Own," I was back to being excited. In a flattering crinkly brown dress, mauve tights, and calf-high cowboy boots, Bulat exuded warmth and charm. She seems to be great friends with her band-mates, and especially the lovely women who flank her on either side of the stage: Holly Coish (vocals, ukulele) and Allison Stewart (vocals, viola). The band---a 6-piece also including Bobby, Erik Arneson (banjo, guitar), and Bret Higgins (bass)---performed songs off 2007's Oh, My Darling and Heart of My Own. "In the Night" was second, then Bulat performed a couple songs (including "Snakes & Ladders") from the grand piano off stage right. She returned to centre stage for "Once More, For the Dollhouse."

After a moving rendition of "Little Waltz" Bulat's band-members left the stage, and she performed "If Only You" and "Sugar and Spice" on acoustic guitar, then "Sparrow" on the ukulele. Allison, Bret, Erik, and Holly returned to sing backup on "The Shore," featuring the gorgeous and strange hammered harp. (Not to be confused with the autoharp, pictured above, which Bulat also played.) The church was silent, audience members enraptured. The final four songs--- "Pilgriming Vine"; the "fun song," "Go On"; "If It Rains"; and "Walk You Down" were more rousing. Cue standing ovation. The first two encore songs called for audience participation: "Before I Knew" and "I Was A Daughter." The concert ended with a solo vocal performance of a traditional negro spiritual, unmiked. It was sensational. Cue second standing ovation.

Throughout the set Bulat thanked us all for coming, and expressed genuine happiness at being home, playing in this great venue. "A dream come true," she explained. During the encore, out of mic range, she exclaimed "this is so fun!" to her band-mates. They seemed thrilled too. And so was I. This concert was a rare treat. Though, Bulat told us, it had been a particularly bad day for the band prior to the show, her good humour and spirited personality seemingly know no bounds. The strength of her voice, and her and her band's impressive musicianship was awesome. "Hope to see you next time," she said, as always. Yes, you will.

Download: "Gold Rush" (Heart of My Own, 2010).
Download: "Go On" (Heart of My Own, 2010).
Download: "In the Night" (Oh, My Darling, 2007).
Download: "Home" (live at Criminal Records, Toronto, Dec 2007).

Photo credits: Frank Yang. More here.

Review: Constantines 10th Anniv. w/ Ladyhawk, Julie Doiron @ Lee's Palace.

To celebrate 10 years as a band, the Constantines put together a mini-tour, including 3 official shows and 1 secret one in Toronto. They brought along some of their favourite bands to play with them: John K. Sampson (from the Weakerthans), Attack in Black, Metz, Oneida, Tropics, and the ones I saw on Saturday, 19 December, at Lee's Palace, Julie Doiron and Ladyhawk. That was the last show of the tour, and it felt like an extra-special celebration.

Julie Doiron was first up. I'd last seen her sell out Lee's of her own accord in what turned out to be one of the best shows I saw all year. She was once again joined by the Baird brothers, Jesse on drums and Jay on bass, and occasionally Will Kidman from Constantines on extra guitar. (Shotgun Jimmie watched on from the audience.) Julie and her band were in fine form. I liked a new song they played, one that sounded like "The House of the Rising Sun" but with different lyrics. The most noteworthy part of their short set for me was the small group of female super-fans around me. "She's so cute," squealed one young woman to her companion. Later on, the blonde one whipped out a harmonica and played along. Julie noticed; it was weird. But the drunken duo disappeared once her set ended. I was glad for it: their dancing involved bumping into me rather more than I cared for.

In the middle spot was Ladyhawk, a band I'd yet to come across. I was worried I might not like their sound before they even got on stage when I suddenly I found myself surrounded by men who kept referring to each other as "bra." (It took me a moment to understand what on earth they were talking about.) And then the band appeared. The bassist had long blonde hair, the kind that looks best when its owner is rocking out. See? The lead was in a tie-dye shirt of sorts. An odd choice, but perhaps an homage to their sound. Their set showed off a musical range from classic rock to early and mid 90s grunge to alternative. Not exactly my cup of tea, and a smidge repetitive at times, but they certainly had their enthusiasts, including Julie, watching and taking photos just off-stage. Bry and Dallas from the Cons crashed the set, joining the band to sing backup "ooh oh ooohs" during the penultimate song. (My friend Rochelle got a picture of that.) So, you know, it was a fun time.

By the start of Ladyhawk's set, Lee's Palace had filled up nicely, and once they were done there was no moving for me, for fear of not being able to make my way back to the front row. I usually like to be right up front during concerts. That way, I can see what's happening on stage and have a much better sense of being part of the show than if I was standing way back, having to look over taller people's heads to catch a glimpse of the musicians. Since the shows I go to tend not to be feasts for the eyes, it's important for me to be able to see the players; otherwise, I'd probably get bored. For Constantines's set, I was standing in front of keyboardist Will, a good spot, I was told, to keep clear of the moshers. As it turned out, it was a brilliant vantage point to watch the goings-on on stage.

It was clear from the get-go that Constantines elicit the kind of response I rarely see at concerts. (I tend not to go to big-ticket ones, though.) By the time the band played "Young Offenders," with its shout-out refrain "Can I get a witness," the concert was feeling like a religious experience. All around me people were pumping their fists in the air and singing along. Soon enough there was moshing just to my right, and mostly by people who didn't look old enough to have known the band when they first started. When bassist Dallas Wehrle tossed his ski mask---he'd been wearing a full-face white balaclava---into the crowd, there was a bit of a scuffle. A few minutes later one crazed female fan, already drenched in sweat from dancing and ramming into people, had it, holding it tight.

The Constantines played for more than 2 hours, including a 4- or 5-song encore. Julie Doiron sang lead vocals on one tune, and Jennifer Castle sang and swayed to one, too. The first encore song featured Leslie Feist. (I admit to being impressed at having Feist performing a few feet away from me, even making eye contact a couple times!) Proving once again that this concert really was a celebration, before launching into "Nighttime / Anytime (It's Alright)" vocalist Bry Webb asked for his mother to make her way onto the stage. Mid-way through the song, there she was beside me, asking Rochelle how to get up there. We told her, but with the sea of excited people all around, she decided to plant herself on the dancefloor just beneath him. When the song ended and it was brought to his attention that she was there, he told us how it was his mom who'd shouted "turn it up" when he played the newly-recorded song for her. And so the recurring, shouted refrain was born. Neat. Not to be outdone by their fans, the band was really ripping it up that night. Will Kidman's keyboard stand looked oft-abused to me, but so too were his organ and synth. A couple times during their set the organ on top fell to the ground near my head as the entire setup crashed. Upon failing to get everything working after losing the organ a second time, Will gave up and threw the organ to the ground himself, leaving him unable to play one of the encore songs.

Man, being in a rock band looks like so much fun.

Not being familiar with very much of the Cons discography---shame on me, I know---I felt more like a spectator than a participator through much of the concert. But if that's gotta be the case, this was the show to be at: the energy of the enthusiastic people around me, the voyeuristic feeling I got out of seeing Julie Doiron (sitting on the floor just off stage) lose her shit to "Young Lions," being jerked back to reality when Will's organ crashed two feet from my head, and, well, finding myself really enjoying new-to-me songs recorded over the past decade was pretty great. Highlights for me included "Subdomestic" and "Soon Enough." Looks like I got me some record-buying to do.

Photo credits: mandrs has more shots of this show. Thanks!

Review: Two Hours Traffic, Sports: the Band, and the Darcys @ The Garrison.

A couple Saturday nights ago (21 Nov) I went to the Garrison to see one of my favourite bands, Two Hours Traffic, and a couple good local acts. The Garrison is the newest downtown venue for indie bands and DJ nights. Located in the Dundas & Ossington neighbourhood, it's just a stone's throw from the Dakota Tavern, and kitty-corner to a handful of trendy bars. I've been going there regularly since it opened in late October, usually because it is home to the Sunday-night series Wavelength. This particular show was all-ages, though it seemed like only a small handful of people were not wearing blue wristbands. I had missed THT when they played Lee's Palace last month during their proper cross-country tour, so was eager to see them, and at a smaller venue than they ought rightly to play. But so much the better for me.

First up were the always snappily dressed Darcys. I know I've seen this band at least once before, but it was so long ago that I really have no memory of it. Their recordings, though, I enjoy, even if they are a bit too rock for me. Knowing their songs didn't get me anywhere that night, though: the whole set list was, so we were told, comprised of new songs. How fun. Their record is done but no word yet on when it will be officially released.

Download: The Darcys, "I'm A Ship" (Endless Water, 2007).
Download: The Darcys, "The CN Tower Belongs to the Dead" (Final Fantasy cover, single, 2009).

The Darcys post-rock fuzz-gaze art pop (or whatever; I shouldn't even try) was followed by Sports: the Band, a more peppy / less preppy outfit. I've seen Sports a few times, and I quite like their spirited pop tunes. I've increasingly come to respect the fact that they are doing something a little different, even though their live performances aren't always as tight as they might be. What they lack in precision is more than made up for in stage presence . . . and here I especially mean the dorky/adorable Robin Hatch on keys and vocals. It was, unfortunately for me, her last show with the men, but it's all good. Here's to new musical projects and directions.

Download: Sports: the Band, "Cast Lots" (s/t EP, 2008).

Earlier this year PEI folk-pop quartet released their third full-length album, Territory. To my mind it's not as good as their second, Little Jabs. That record, though, is so so so good that I forgive them. A band can't be brilliant all the time. And so it was with their performance. Not quite as mesmerizing as they could be, but certainly strong enough to meet my high expectations. (It would have been hard to beat the last all-ages show they played in Toronto.) The set was about equally filled with songs off Territory and Little Jabs, including my favourites "Stuck for the Summer," "Jezebel," "Territory," "Stolen Earrings," "Backseat Sweetheart," and so many more! The bit at the end of "Lost Boys" was performed as a full song by Liam. Good stuff. The excited fans around me near the front---including CBC Radio 3 host Grant Lawrence, to whom the band dedicated their encore song---were singing along. Very quickly I found myself grinning and dancing. I really do love this band. They do folk-pop-rock pretty damn near perfectly.

Download: Two Hours Traffic, "Stuck for the Summer" (Little Jabs, 2007).
Download: Two Hours Traffic, "Territory" (Territory, 2009).

The Garrison, being a new venue, is still a challenge for sound techs, and this was apparent that night, especially during THT's set. The first song was rocky, sound-wise, and throughout the set I would have preferred a slightly better mix with louder acoustic guitar. No big deal, though. Improvements are being made, and the sound techs will work out the kinks. It's nice to have a new spot for good music, and so far I've had a great time hanging out there.

Tonight was no exception. Good bands, some variety, a healthy crowd, and I even bought myself a copy of Little Jabs on vinyl before I left. Now I just need a record player . . . .

Photo credit: Ming Wu, of the THT show in Ottawa earlier this month. He has his own music and photo blogs.

Review: The RAA, Bahamas, and Fox Jaws @ Lee's Palace.

On Friday night the RAA performed for a sold-out hometown crowd at Lee's Palace. It was a great show; I'll get to that. First, some background.

I've been following the Rural Alberta Advantage since the summer of '07, and first saw them perform back in May 2006 (with, apparently, Friday Morning's Regret, AKA the Wooden Sky, though I can't remember). About a year ago, I included the RAA in my personal list of the hottest Canadian bands of 2008. Listing them at no. 7, I noted that they'd gone on an east-coast tour, played to a capacity crowd during NxNE, and that their album had been

getting rave reviews from critics and regular folk across the continent. . . . Hampered in part by the success of Woodhands---drummer Paul Banwatt plays in both---the band has had to turn down show offers (to open for the Dodos, for one) and hasn't been able to tour as extensively as it otherwise might have. And yet. All this underground pressure must lead somewhere, and heck it has to be soon. I predict some lucky label will snatch up the RAA in late 2008 or early 2009, re-release Hometowns, and we'll see the band take itself out west and beyond.

(They made it to no. 19 on the actual hottest list.) A month later they opened for Ohbijou and the Acorn at Lee's Palace. I remember thinking that this was a pretty big deal for them, and the band thought so too. They were really excited to be playing that night. As part of my review, I commented, "here's to hoping for bigger things for this band soon!"

Well. I wasn't quite right about the details, but that's because I could never have imagined what actually did happen very shortly after I published my "hottest" list on 27 October. The story's been told well here, but the short version is that the good reviews got the word out a bit and in November their self-released disc, Hometowns, was named eMusic's album of the month. Soon enough bloggers all over the US (primarily) were writing about the album, giving it more rave reviews. I read a whole bunch of these, and got a huge kick when some random young woman in Ohio or wherever wrote that the RAA was her new favourite band. ("Hey!," I'd think, "that's my band!") Fast-forward to March, where at SxSW, thanks to eMusic, the RAA opened for Grizzly Bear in a church, to---you guessed it---rave reviews. Thrilling! Soon they were signed to Saddle Creek.

After that Paul Banwatt, Amy Cole, and Nils Edenloff started touring in the US---they'd played a couple NYC shows in early 2009 already---and then did make it out to western Canada and back. They've been on the road pretty steadily since then, and, if I'm not mistaken, have also been recording some new songs for their next album. Their 30 July CD release show at the Horseshoe was sold out (crazy, at $12-$15 dollars a ticket). Friday's Lee's Palace gig, their first in Toronto since then, was priced at $15 in advance, or $18 at the door, but tickets were long gone days before. The RAA is getting to be out of my price-range. How wonderful.

And Friday's show was indeed wonderful.

-----

Fox Jaws opened things up. This Barrie band, producers of finely-crafted indie rock, are always good, but Friday they were on top of their game. They sounded fantastic, and though I'm still not convinced guitarist Dan Allen should take over lead vocals from Carleigh Aikins on occasion, I was impressed. I'm starting to see what Bob sees in them, and though I think they are a little too rock for me, they looked right on that stage. One song fell a little flat---something about phone calls---but otherwise, great stuff.

Next up, the man responsible for one of my favourite albums of the year, Bahamas. I saw him---Afie Jurvanen---back in August (playing with the Weakerthans' drummer), and then again all by his lonesome when he opened for Amy Millan at the Mod Club. I really enjoyed both sets, but the Mod Club performance was something special. His banter was spot-on, really adding to his songs, and the heavily female crowd was pretty near silent. So I was looking forward to seeing him again, this time with his regular drummer.

Once they got on stage, they proceeded to sound-check---must'a not had a chance before---and that's fine, but it wasn't the best sign. Sound problems marked his set, but mostly sound problems the audience couldn't detect. Jurvanen got some laughs later by covering the song he said he could hear being played upstairs in the Dance Cave. The character I'd seen at the Mod Club was there in force, and I'm not sure I really like the extra attitude. All the talking between songs distracted somewhat from the music, and didn't end up having the hoped-for effect: to shush the audience. There were some good moments, including a song I'd never heard before, and a cover of Prince's "Purple Rain" to end things on a definite high note.* And he played some of my favourites off Pink Strat. I was happy, but not ecstatic.

Bahamas was less than magical, but the RAA really rose to the occasion. They came on stage to cheers from the audience, and the band members' grins gave away their delight. It had been quite a year, and though I suspect most people in the audience had no idea of just far the band has come, this did nothing to diminish the moment. Throughout the set I could hear people singing the words to songs they knew, and anticipating when it was time to clap along, or even when it was time to go "woo ooo" during "The Dethbridge in Lethbridge."

The set was heavy with songs off Hometowns, but we were treated to a few new songs, including one song I had never heard before. One of them, about life on the road, featured pounding beats. A real folk-dance number, it was awesome. Another, presumably titled "North Star," I've heard a few times, and it too I quite like. The one I'd never heard before started with an organ solo, and soon enough Banwatt came in with another pounding, primal drum beat. The chorus had Edenloff practically screaming. Brilliant. (Every time I see this band I'm struck by how amazing Banwatt is. Why do I always forget?) During the encore they played "Barnes' Yard," yet another new one. I'm looking forward to a new RAA record. Should be a stunner.

I've seen the RAA more than 15 times now, in a few different settings, and I always liked them. But, like I wrote about their July show, touring has made a difference. Not just in their stage set-up, which has Banwatt in-line with Cole and Edenloff, and not just in banter, which is much better, but in performance, too. They fill the stages they are playing with their presence and sound---Edenloff especially---and know how to perform to fans both new (mostly) and old (like me). Although I was most excited about hearing newer stuff, I was still thrilled with the ones I've been hearing live for years. And I still love their record. I'm listening to it right now.

Download: The RAA, "Don't Haunt this Place" (Hometowns, 2009).
Download: The RAA, "Frank, AB" (Hometowns, 2009).
Download: The RAA, "Barnes' Yard" (Daytrotter Session, 2009).

Great show. Oh, and that hottest Canadian bands list I referred to above? The RAA topped it in 2009. Of course.

Photo credit: I took the ones of each band member on Friday night from Chromewaves. Frank Yang has great photos of all the performers.

* I think I was the only person in the audience not to know this song. Everyone else was singing along.

Review: Amos the Transparent, The Love Machine @ Rancho Relaxo.

I was working steadily on Saturday night, and unsure whether I should even leave the house for some fun, but about 11:30pm I decided it was time for a break. I was at Rancho Relaxo by midnight, in time to catch the final two bands on the bill that night: Ottawa's the Love Machine and Amos the Transparent, also from the nation's capital.

The Love Machine played a full, happy set of exuberant, catchy songs. Mostly new ones, they said. I was impressed, and the crowd certainly was, too. Although I'd never seen the band before and hadn't a clue what to expect, I was definitely late to the party. Audience members were singing along to some songs, knew the right hand-claps, and etc. Their music wasn't the most cutting edge pop I've ever heard, but their energy and enthusiasm made it all the better. Great four-part harmonies and a little synth action didn't help either. Good stuff.

The last song was the show-stopper. It ended "This is the way that we scream our hearts out." It's not on the disc I got afterward (their 2007 EP, If You're a Bird, I'm a Bird), and a little internet searching revealed that's it's on their first (self-titled) EP, put out in 2005. I believe the band is currently putting together another album. Something to keep an ear out for.

It'd been several months since I last saw Amos, one of my favourite bands of 2008 that's only gotten stronger since then. By all rights they should be playing much larger venues---and they sometimes do---so I knew I was in for a treat. The first time I saw this band was at Rancho, they are always so much fun in that long, narrow room. Plus, a look at their new website earlier that day informed me that the band had new, red t-shirts! (Embarrassing admission: One time I went to Rancho to see Amos play wearing one of their band t-shirts.)

Things were running really late at Rancho, and if I'd been relying on the subway, I would have had to miss their set, seeing as it started at about quarter after 1am. (Thank you, bicycle.) The band had noticed the late start, too, taking the opportunity to drink perhaps a little more than usual in advance of playing. Lead-man Jonathan Chandler noted as much to us, paraphrasing local blogger Bob Battams. But, so much the better, I say! The band played rousing versions of songs off their albums, 2007's wonderful Everything I've Forgotten to Forget and the 2009 EP, My, What Big Teeth You Have . . . . (I was planning on stealing the set list after the show, but I got distracted [see below]). One of things that sets this band apart from others is that each time they perform, their songs sound just a little different. The changed instrumentation is on purpose, and helps keep things interesting. Although the crowd had thinned a little, there was still a good contingent out, dancing and singing along. The band expects their audiences to know the words to their songs when they play Toronto, and we didn't let them down.

Soon enough, Two Way Monologues' promoter Dan Wolovick and his wife, Terri Coles, were handing out shots of Jägermeister to the band members. But, somehow, there was one left over, and since I was right in front of him, Chandler told me to drink up. (That's him in white; also pictured is Daniel Hay.) Oh boy. So then the set got a little more fun and a bit more sloppy and I had to concentrate more on not losing my balance. Ahem. There were attempts at contests to give away EPs, a rendition (feat. audience participation) of "happy birthday" for Chandler's wife, much hooting and hollering and etc.

I had a blast. I bought a red t-shit---$10!---and tried to sober up a little before heading home. Note: One shot of Jager is apparently one too many.

Download: The Love Machine, "Green Tea and Honey" (If You're a Bird, I'm a Bird, 2007).
Download: The Love Machine, "We Are Squirrels and This Is Nuts (The Family Song)" (The Love Machine, 2005).
Download: Amos the Transparent, "Lemons, aka BigFishLittlePond" (My, What Big Teeth You Have..., 2009).
Download: Amos the Transparent, "Title Track" (Everything I've Forgotten to Forget, 2007).

Amos the Transparent are playing at Ottawa's Capital Music Hall on 27 November, competing for a $250,000 grand prize (the Big Money Shot). They've already won a tidy $25,000, and I, for one, would LOVE for them to take home the "big money." If you're in Ottawa that night, go see them!

Photo credit: Terri Coles.