Date: May 2, 2008
Venue: St. Stephen-in-the-Fields Church

I’ve got to admit, I wasn’t around in time to become a fan of The Inbreds before they called it quits (by “wasn’t around” I mean the band formed when I was 10 years old). That said, I’ve since grown very fond of their output–especially 1998’s Winning Hearts—so getting the chance to see the duos principle songwriter, Mike O’Neill, play live last week was an opportunity I jumped on.

In town as part of the largely unadvertised Over The Top Festival, the revered Halifax tunesmith was joined by Charles Austin on guitar—an indie stalwart in his own right—and drummer Hampton Kelly. Together they make up The Beginners, and this was their first Toronto appearance. Of course, they weren’t alone, as fellow East-coaster Laura Peek came along to start things off.

It’s obvious that Laura Peek’s also a big Inbreds fan, as her backing band is named The Winning Hearts (good choice, if you ask me…). Unfortunately however, she was alone at the keys last Friday, which was explained by joking that she could only afford one plane ticket from Halifax to Toronto. It was this sort of self-deprecating charm that won listeners over between melodic tunes on the keyboard.

Afterwards things went immediately from charming and low-key to spirited and bombastic, as Will Currie and the Country French took to the stage church. Gleefully blistering through one pop-tastic track after another, to rampant cheers from unseen faces in the balcony, these Toronto/Waterloo kids made an excellent case for their debut album, A Great Stage.

By the time The Beginners got going St. Stephens had filled up quite a bit. Playing mostly tunes off O’Neill’s two stellar solo albums, the trio displayed amicable chemistry—a trait that was hammered home when O’Neill proclaimed that Austin and Kelly were also his closest friends. All told, the entire affair was positive, upbeat and friendly from start to finish, with audience members yelling out terms of endearment and an obviously invigorated O’Neill seeming to enjoy every minute.

I suppose it was this jovial sense of familiarity that saved the encore, as it became clear that O’Neill was out of material. He floundered, plunking around on a guitar for about 10 minutes, repeating “I don’t know any more songs,” until Hayden (who wandered in at some point) suggested the band simply play the best one over again, which is exactly what they did. Any other musician at any other show would likely have been lambasted for such a display, but somehow O’Neill’s awkwardness was charming, and only served to endear him further to those in attendance.

Overall, the most refreshing thing about last Friday night was that there was nothing pretentious or exclusive about the show at all. Whether that was a testament to the bands involved, the unorthodox venue itself, or those in attendance is unclear, but I’m not going to analyze it to death—I’ll just hope for more like it instead!

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Here are some photos I took at the dimly light show as well as a couple of tracks from Mike O’Neill’s excellent solo album, The Owl:

Mike O’Neill - Mr. Carvery

Mike O’Neill - She Believes in Me

You can grab the whole album, along with the entire Inbreds discography, at Zunior.com. As for the Beginners, check out there Myspace page for more info and look forward to an album later this year on the Zunior Label.

As a song it’s melodic and lush with an unassuming drive, but as the figurehead for an album it’s irrefutable evidence as to why Sunshine At Night is currently a mainstay in my headphones.

The Violet Archers - Sunshine At Night

Hear more at the Violet Archers’ Myspace page, or buy the album here.

Date: May 1, 2008
Venue: The Phoenix

Don’t take your SLR camera to the Phoenix.

That was the first thing I learned upon showing up to check out The Constantines on Thursday night. Basically, I was told that a compact point-and-shoot would have been fine, but I couldn’t bring a “professional looking” camera into the venue. This is the same thing that happened to me at the Danforth Music Hall last year when I went to see Iron and Wine—my girlfriend was actually allowed through with a 7 megapixel compact Panasonic, but our Nikon D80 scared them. No one’s been able to adequately explain the reasons for this so far, as I think it’s a bit lame. In any case, I wasn’t getting in with a scary SLR, so I compromised by leaving the battery with security.

As it turns out, not having a working camera with me was a bit of a blessing. On the one hand, it means I’ve got no shots from the show to post, but on the other I didn’t have to worry about being front and centre snapping pics. I was able to just relax and enjoy the excellent live display that I paid good money to see.

Showing up in time for Attack in Black to do their thing, I was admittedly under-informed about the Welland, Ontario band. That said, it was easy to see right from the get go that their driven and spirited rock was a good match for the Constantines.

Attack in Black - Hunger of the Young

Of course, while Attack in Black evoked the things I like about the Constantines, it took mere seconds of watching the headliners to exemplify why I would be so eager to see them live in the first place. Raucous, confident and loud, the Cons delivered a solid set with some truly excellent moments. Not the least of which being an explosive rendition of “Seven A.M.” during the encore (all the more impressive seeing as I usually don’t care much for Steve Lambke’s vocals).

By the time everyone’s fists were pumping to AC/DC’s “Thunderstruck,” the final song of the evening, it was obvious that Bry Webb’s pipes were a little worse for wear. I suppose there’s only so much high-volume gritt one set of vocal chords can handle.

Given my inability to take any pictures during the show I was instead able to pay close attention to the set list. In retrospect it’s a bit of an odd collection if you consider the omission of certain Cons classics (like “Young Offenders” or “On to You”), not to mention an unfortunate disregard for Shine a Light in general (in fact, “Young Lions” was the only track played from that album). Here’s the set list as I heard it (feel free to offer corrections):

01. Hotline Operator
02. Working Full-Time
03. Lizaveta
04. Hard Feelings
05. Young Lions
06. Million Star Hotel
07. Little Instruments
08. Shower of Stones
09. Time Can Be Overcome
10. Thieves
11. Soon Enough
12. Trans Canada
13. Justice
14. Arizona
15. Do What You Can Do

Encore:

16. Hyacinth Blues
17. Seven A.M.
18. Thunderstruck

Chart posted an interestingly skewed synopsis of this show the other day titled “Constantines Don’t Experience Much Love For Kensington” (check it out for some more detail on Attack in Black). I have to wonder if we attended the same concert, as not only does the article’s title seem more than a bit embellished, but the author also went as far as to say:

“Another dinosaur band trait the headliners exhibited was to largely ignore their current album in favour of their more popular tracks.”

This seems a bit unfair to me, given that a quick glance at the above set list shows that their latest release, Kensington Heights, was well represented. In fact, the amount of tracks played from each of their 4 respective full-lengths was as follows: Kensington Heights - 6, Tournament of Hearts - 5, Constantines - 5, Shine a Light - 1. Go figure.

The Constantines - Seven A.M.

For those of you who have no idea what I’m going on about, revered Toronto musician Paul Linklater recently released a monster of a collection entitled Smooth Sailing and How. In its entirety the mammoth release clocks in at over 2 hours and 22 minutes partitioned into 2 discs and an EP. I don’t even know where to start.

Anyone who has read a couple of my reviews ought to know that I often bemoan when a band “crams” too many tracks on an album, and I usually prefer shorter releases. In that regard you’d think I’d be salivating at the thought of ripping into the length of Smooth Sailing and How. However, Linklater has just made me realize that anything gets a pass beyond a certain point.

Put it this way: you know when your friend makes a joke that they realize isn’t very funny, so they keep it going anyway until the sheer ridiculousness of their dedication to it becomes hilarious? That’s pretty much how I feel about this—at around 20 tracks I’d have probably expressed displeasure (with length, not quality in this case), but at 47 songs I think it’s great. What did we learn by this? Less is more, but ridiculously excessive is even more than less…or something.

Whatever the case, I’m happy I dropped the $7 to pick this up (buy it yourself from Jibcut Records), as, not only is that a great deal at around $0.15 a track (what can I say, I’m a sucker for a bulk discount), but there are some superb tunes to be heard. Personally, I’m stuck on “Virginia C” and “Hard Time of Year,” and would recommend the album based on those tracks alone, but I’m still digging. Hell, the sheer length of Smooth Sailing and How combined with the fact that I can’t help repeating the above standouts means that I haven’t even gotten through the whole thing yet!

Of course, Smooth Sailing and How isn’t for the idle listener—you’ve got to put in the effort—but those of you willing to get knee deep in Paul Linklater’s latest will definitely be rewarded…and how.

—

Check out a track from Smooth Sailing and How below:

Paul Linklater - Virginia C

Hear more at Paul Linklater’s Myspace page, as well as the dedicated pages for each disc (Disc 1, Disc 2, EP), and buy it direct from Jibcut Records right here.

Date: April 26, 2008
Venue: Lee’s Palace

Between the TTC strike (Toronto’s publc transit system, for those of you not in the area) and sheer laziness on my part, I almost didn’t go see Miracle Fortress and Born Ruffians on the weekend. Thankfully I came to my senses by early Saturday evening and hopped my lethargic butt on the ol’ bicycle. A quick bit of cross-town pedaling later and I arrived just in time for Miracle Fortress to set up and get going.

Upon arrival I was slightly puzzled to find that there weren’t nearly as many people there that a sold out show would suggest (a by-product of the transit strike, perhaps?). That’s not to say the place was empty, but seeing as how much press Miracle Fortress received last year for their excellent debut album, the Polaris Prize-nominated Five Roses, I was expecting more of a crowd. Turns out I was in the minority by assuming that the Montreal band would hold more of a draw than the Born Ruffians. That became very clear when Lee’s Palace quickly filled to the brim with rambunctious youngsters just in time for the much-hyped Toronto band.

As for the reason I’d bought the tickets in the first place, Miracle Fortress, they were all smiles throughout the fairly short set. Sure, the vocals were a bit muddy and the stage lights were set to supernova (two issues that were corrected during the Born Ruffians’ set), but it was every bit worth the $10 price of admission (and the cycle across town) to hear the band deliver the lush and colourful melodies so prevalent on Five Roses.

Accenting their performance with interesting percussion via the likes of woodblocks and small cymbals, not to mention graciously accepting a pitcher of water from audience members in the front row (who History Jen tells me were the members of Ruby Coast), Miracle Fortress seemed to be enjoying every note they played. In fact, amicable stage presence seemed to be the theme of the evening, as both bands repeatedly thanked the others on the bill (there were 3—I missed Slim Twig’s early set).

Miracle Fortress - Have You Seen in Your Dreams

Miracle Fortress - Next Train

To be honest, I wasn’t really holding my breath for Born Ruffians to get on stage, as their debut full-length, Red Yellow Blue, only had a handful of tracks that really got my attention. That said, a couple songs in to the young band’s set and I too was believing the hype. The sheer energy, chemistry and ability exhibited by these guys on stage Saturday night was both infectious and impressive.

Meeting standouts from Red Yellow Blue with raucous enthusiasm, the audience reciprocated the ferocious intensity with which the band delivered their entire set. The Born Ruffians have a clear choke-hold on upbeat and addictive indie pop, and I’ve got to admit that their tendency to include fierce gang vocals had me shouting along. What can I say? In this humble concert-goer’s opinion the Born Ruffians just plain ol’ rocked the house.

All told, I was able to take in a must-see band on my hit list, gain a newfound appreciation for an outfit heralded by hip city kids AND get some much-needed exercise to boot!

Born Ruffians - I Need a Life

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Hear more from both bands at each of their Myspace pages (here and here) or buy digital copies of both Five Roses and Red, Yellow Blue from Zunior.com.

From the brand new self-titled release by Toronto’s Culture Reject, this song is a clinic in hypnotic melody. Layered and lush, it doesn’t get much more serene than “Inside the Cinema.”

In fact, I’m urging everyone to check out the entire album, as I can’t get enough of it.

Culture Reject - Inside the Cinema

Hear more at the band’s Myspace page or grab a digital copy of the album here.

Spring has definitely sprung in Toronto and these past few days in particular have been gorgeous. Personally, I’ve just been letting my unsightly long-ish hair flutter a swan song in the wind before the summer heat forces me into a barber’s chair. In that regard, I can’t think of a better soundtrack to these lovely April afternoons than Spring, the latest aptly titled EP from The Great Outdoors.

The first in a series of quarterly EPs commemorating the various seasons, Spring is three breezy tracks fit for the pre-summer months. In fact, I was incensed the very first time I heard the lead track, “Spring Flower.” This isn’t light praise either, as I’m the guy who pretty much slept through the last two Great Outdoors full-lengths, which I might just have to go back and dig up.

Basically, given the assured drive of “So Long Old Man,” the somber persistence of “Suzy’s Song” or the shear uplifting prowess of the previously mentioned opener, I’ve got a new appreciate for Adam Nation (the main man behind The Great Outdoors) and company.

Spring has only just begun and I’m already looking forward to summer based solely on the fact that I know there’s another seasonal EP on the way.

—

Take a listen to my favourite track from the EP below:

The Great Outdoors - Spring Flower

Hear more at The Great Outdoors’ Myspace page or stay tuned to Zunior.com to grab a digital copy next week.

(Orange Music, 2008)

Every now and again I get emails from bands asking me if I’ll accept a copy of their album for review. The first thing I do in such cases is take a trip to their Myspace page for a quick listen, as I don’t want to commit to anything blindly (and I don’t like slagging people too much—I mean, who the hell am I anyway?). Usually, at least in the case of Canadian bands, I take the ol’ “what the hell” approach and opt to give it a go ’round with no promises by way of what I’ll end up writing. Thus far, this has resulted in some great stuff I hadn’t previously come across (Construction and Destruction, for instance) and some that just wasn’t really my thing (The Dress Whites). As for Plajia, I’d have to say that their debut (?), Beautiful Explosion, falls somewhere between the two in terms of my tastes.

The first thing that strikes me about Plajia is their overall polish. I mean, everything from the Montreal band’s website to the album’s production has a certain level of sheen beyond that of most bands I would usually feature (which isn’t necessarily a bad thing). That said, it’d be a bit pretentious of me to let that get in the way of the music in question, as there’s definitely some merit to Beautiful Explosion.

If I had to use one word to describe the album it would have to be pleasant. Of course, since it’s my blog and I can use as many words as I want, allow me to elaborate: Plajia have a good handle on creating lush and full tunes that always have a lot going on, while at the same time throwing down some sweeping melodies (“A Love Song for Everyone” comes to mind), but there’s not often anything that jumps out and grabs me for the long haul. That said, there’s an interesting interplay between ambient colour and epic, sprawling pop throughout the release.

To be perfectly honest, I find the more overtly upbeat moments on this album a bit derivative (ie, “Beautiful Explosion”). That said, there’s nothing here to make me want to turn it off, it just so happens that I’m not particular invested in listening either. As I said before, it’s pleasant—a comment that can just as easily be translated as not exactly gripping, but enjoyable nonetheless.

All told, Plajia seem to be at their best when juggling the colourful layers and interesting accompaniment that make Beautiful Explosion such a lush release.  At least, that’s what has made me keep listening, as it’s obvious that these guys know how to build a solid tune.  Of course, while I prefer the more ambient moments, it wouldn’t surprise me at all to hear a couple of these tracks in some big money commercials.

—

Check out a couple tunes from Beautiful Explosion below:

Plajia - Beautiful Explosion

Plajia - A Love Song for Everyone

Hear more at the band’s Myspace page and take a look at the many places where you can grab a copy of the album here.

Date: April 12, 2008
Venue: The Silver Dollar

Where were you guys last Saturday night?

Seriously, not nearly enough people came out to see the stellar pairing of The Burning Hell and Wax Mannequin at the Silver Dollar on the weekend.

Sure, I’ve already made my bias towards these two acts quite obvious over the past few months, but let me up the ante with the following: both The Burning Hell and Wax Mannequin are easily in my top 3 bands to see live at the moment, a shortlist completed by The Sunparlour Players.

To be honest, that’s pretty much all I need to say about the show last weekend, as it was simply more evidence of the fact that these are two excellent acts that more people ought to be checking out. Add to that the impassioned and raucous opening set delivered by the one-man sonic-army that is Kettle Black (whose set had all the performers captivated) and I can’t think of a better way to spend $8.

Actually, the Silver Dollar itself has made a great impression on me as well lately, as it’s an excellent place to see some live music. Not to mention that the brightly coloured stage makes it a very fun place for an amateur like myself to attempt some concert photography.

Celebrating the re-stocking of their debut release, Tick Tock, The Burning Hell were as amicable and amusing as ever. It would appear that their recent stint out west has only served to solidify the band’s already enviable chemistry, as these guys keep getting better and better.

The Burning Hell - Little Seagull

As for Wax Mannequin, this was my first opportunity to see him perform solo. Of course, taking to the stage alone is nothing new to the veteran songwriter. In fact, with his commanding stage presence the Hamiltonian phenom could probably have read greeting cards all night and kept me enthralled. I suppose it helps that intensity and conviction radiate from his demeanor as evidently as roses grow from his skin. All told it’s a treat to see Wax Mannequin perform in any capacity.

Wax Mannequin - Tell the Doctor

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Check out both The Burning Hell and Wax Mannequin’s Myspace pages to hear more, or support them by grabbing digital copies of their albums at Zunior.com.

Let me go on record as saying that any previous use of the term “energy” in reference to a song is now forsaken, as I’ll be damned if this tune doesn’t take it to whole new level. Anxious and frenetic with a down home charm, “Dancing With My Brother” is a down right hootenanny from an excellent album!

Entire Cities - Dancing With My Brother

Check out the band’s Myspace page to hear more or buy a digital copy of Deep River from Zunior.