Daily Archives: June 13, 2016


Johnny Suck’s Concert Diary – May 2016


I went to see some shows the past few weeks, here are my highly subjective thoughts & experiences from some of them:

Public Animal, Yardlets, Mountain Dust, Dead Ranch – Turbo Haus, May 14

This show didn’t seem that interesting until I heard this:  

It then became an absolute must. ‘The power of the riff compels me’ as they say. Dead Ranch was cool but Ian Blurton’s Public Animal stole the show. They were the perfect good time Saturday night rock’n’roll band.

Public Animal. Credit: Sandi M

Public Animal. Photo: Sandi M

It’s too bad the four-band bill only started at 10:30. The place was dead & deserted for Yardlets, who ended at 2:30am. Shows should pretty much always end with enough time for people to catch the last metro.

Chelsea Wolfe – Theatre Fairmont, May 16

Chelsea Wolfe. Photo: Sandi M

Chelsea Wolfe. Photo: Sandi M

Abyss is a pretty great album;  that Chelsea Wolfe came through Montreal a 2nd time since it’s release is lucky for anyone who hadn’t heard it in time for her show back in September (ie: me).

As hoped & expected, most of Abyss was played. And the crowd was super hot for it, pretty-much every song was cheered as soon as it started. The crowd’s energy was surprising given the chill gloominess of the music, but it served as a testament to how powerful the music actually is. The room was filled with a sense of personal connection and intimacy to what was being played, and so it came with the overwhelming appreciation to match.

For more in-depth coverage, check out Donovan’s reviews of the show and of Abyss. Continue reading


Album Review: The Strokes – Future Present Past


Future Present Past is the first release by New York City garage rock band The Strokes in three years. Now their second EP (the first being their 2001 debut The Modern Age), it is a huge milestone for the band. Since 2011, The Strokes have been toeing the line of audience’s favour once they regrouped post-hiatus to release their fourth album Angles. This marked the start of The Strokes’ later period, a clear deviation from their raw, gritty, calculated garage rock that fans fell for (and held onto with a vengeance). Their fifth album, Comedown Machine (2013), was an even larger step away from their early sound (i.e. Is This It), and while many diehard fans continued to follow the band’s artistic journey, others wondered whether The Strokes had lost their touch. Continue reading