Category Archives: Reviews

Concert Review: Dinosaur Jr. @ Théatre Corona

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The grand Théatre Corona abounded with relics of the ‘90s on March 9. As I wandered into a sea of dads, I was engulfed in a wave of sounds and smells I valued most in my childhood, however putrid they seemed at the time. The crowd was kind and ruddy, allowing me to snake my way through hundreds of Dinosaur Jr. devotees standing transfixed by the musical stylings of a band that defined their dive bar days. I was happy to be allowed a glimpse into their tried rituals — they’d called up college friends, filled up on moderately-priced beer, and nodded along to the songs that marked their lives’ major milestones.

That night, I was made privy to the very peculiar process of reawakening. The herd bore signs of fatigue, content to tap their feet where a mosh pit would have been in order a few short decades ago. However, no matter where any given member fell in terms of life experience, all were transported to a timeless dreamworld of J Mascis, Lou Barlow, and Murph’s creation. In the wake of Give a Glimpse of What Yer Not, the band’s eleventh studio album, the crowd celebrated “Tiny” and “Goin Down” as wholeheartedly as they savored the familiar beats of “Feel the Pain.” The riffs were emblems of a youth never truly bygone. In essence, the show was not a testament to any time in particular, but rather a chance to integrate sounds of the past into our lives again.

The muted nostalgia persisted throughout, and the crowd itself was just as fascinating as the spectacle we came to witness. The spectators exuded comfort, as their passion for the band had only matured with time. Perhaps the rejuvenating power of a live show only grows, so I don’t fear a future of enjoying beers with friends while reveling in past shenanigans. For now, I have no qualms learning from the earlier generation who may never stop stumbling into musty concert halls just in time for the headliner to grace the stage.

Although I couldn’t partake in the general nostalgia for years I experienced in a stroller, I was grateful to my parents for keeping Dinosaur Jr. in constant rotation on our old stereo. When the first few notes of “Start Choppin’” filled the room, I danced with more violent fervor than ever before. Of course, this led to respectful thrashing among the crowd’s most spry as the band continued on through “Freak Scene” and an encore cover of The Cure’s “Just Like Heaven.” The band’s intrigue is intergenerational, and I’ve become aware of a visceral connection to my predecessors as I trace the musical history we venerated in my childhood apartment.

I appreciated the opportunity to see Dinosaur Jr. alone, as I could satisfy my own curiosities about a band so important to my family. Everyone at the venue that night was participating in an exploit that stretches back thirty years and content to see it live on into the future. We all danced to these records at varying stages of life, and in this way we were able to welcome a Montreal spring together. With a gentle salute to the past, Dinosaur Jr. is adapting to an era of uncertainty with time-honored composure. For one night, we were lucky to do so along with them.

– Review by Maddie Jennings

Feature: Supermoon Lunar Eclipse – The Painters + Carla Sagan

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Egg Paper Factory, darlings of Montreal’s independent record label scene, have released a new spring gem this week: a split-tape featuring The Painters and Carla Sagan, both local bands. Supermoon Lunar Eclipse spans just 7 tracks, so each will be detailed below for your listening pleasure. NB: Tracks by The Painters will be labeled (TP), and those by Carla Sagan will be labeled (CS). Bonne écoute!

The Painters embody a gentle folk band infused with a heavy dose of psychedelia; acoustic guitars ground the swirls of synth and lend a nice contrast to lead singer Alex Bourque’s vocals, which scratch along the tracks delivering raw, honest lyrics. Carla Sagan (yes, they seem to embody the female soul of renowned astroscientist Carl Sagan) is the ultimate funky rock-pop group who consistently produce an experimental and authentic sound.

1. Supermoon Lunar Eclipse (TP): jangling chords introduce the instrumental title track, and continue to mingle with the snarling electric guitars that rip along until the track fades out without much fanfare. The track is a good introduction to a unique split-tape that highlights a lot of what local Montreal bands have to offer.

2. Growing Pains (TP): In a personification of the title, this track features a drum line that is hesitant and faltering when keeping time with the acoustic guitars; however, the integration of electric guitar provides a warmer, more rounded coloring by the second stanza. The instrumental imagery evokes the defiant growth of a crocus in early spring.

3. Finish Line (TP): Bourque’s voice calls from a distance here before synth fades in, washing the track in a celestial glow; the effect provides a counterbalance for the low, grounded guitar work. The simple repeating vocal melody tethers the shifting instrumentals, pulling the track together as the different elements create an intricate three-part harmony.

4. When The Fog Lifts (TP): This track is easily The Painters’ tour de force, featuring simple, melodic vocals and beautifully abundant instrumentals. Bourque’s lyrics shine through here, and small, expertly-timed crescendos and decrescendos evoke the rolling ocean. A liquid electric guitar provides an overarching harmony to the vocals, and the two intertwine in an intricate duet over the constant thrumming background of guitars, synth, and drums.

5. Permanent (CS):  A duet of singing and spoken-word provides an air of candidness to this short track, while blunt, staccato drums and what sounds like a harpsichord add a playful aspect. The electric guitar solo in the last minute of the track is not to be underestimated.

6. Make Believer (CS): The track opens with a low, simmering burn accompanied by a recitation from Ellen Belshaw before drums and guitar kick in. “Hello’s” and little keyboard ditties play sporadically in the background before the track rights itself. Concrete melodies from the keyboard, guitar, and vocals begin to form before the track collapses again, with noise experimentation acting as punctuation.

7. White Noise (CS): Supermoon Lunar Eclipse ends with a brilliant track from Carla Sagan that highlights the push-pull relationship between instruments. A sharp beat is provided from a drum kit, acting as a foil for the flowing guitar and and synth. The track is a paradise of sound; soft duets intermingle with different musical effects, creating an air of experimentation and unbounded musical energy. Various phone recordings accompany a wild guitar and synth combination; the vocals slowly become more desperate as the track disintegrates into a wall of noise. The track never quite reaches a conclusion, but the build-up itself is intense and highly affirming.

Album released: March 21, 2017

review by Juliana Van Amsterdam 

 

Album Review: Century Palm – Meet You


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Toronto band Century Palm have just released their first LP Meet You, a nostalgic album that mixes garage punk with new wave influences. Simple yet catchy guitar riffs and fast paced, upbeat drum rhythms give the album a grungy feel, as if its sound was literally emerging from someone’s garage. These retro styles make Meet You a fun album, though not always an especially unique or distinct one.

Andrew Payne and Paul Lawton’s vocals are vital to the album’s sombre ambiance. The gloomy vocals, which sometimes veer closer to speaking than singing, are hypnotizing. In “Sick of It” the vocals even takes on a Lou Reed quality. Their deep morose voices combined with melancholic synths lend a distinctly new wave feel to the material. One of the most engaging parts of Meet You is the way those darker synths and the lighter guitar play off of each other. “King of John St.,” for example, begins with a high-pitched guitar riff that gives the song a playful quality while the lower synth provides the song’s depth. Halfway through, the synth and guitar switch roles, with the synth playing the high riff before ending on more sonorous sounds. This back-and-forth gestures towards one of the album’s recurring themes: something darker is always lingering below the surface.

While these individual songs are catchy, the album as a whole starts to feel somewhat repetitive. The upbeat guitar – one of the most enjoyable features in this album – tends to get a bit lost within the steady tempo and drum patterns. A saxophone in “Sick of It” is a welcome addition to the band’s instrumentation; the rest of the album could have benefitted from more of the sonic diversity it brings.

Almost hidden in the musical arrangements are the emotionally vulnerable lyrics. The album begins with a dark, horrifying description of anxiety and depression in “Reset Reaction,” a study that continues throughout the entire album. Of course, no such exploration by a Canadian band would be complete without a description of seasonal depression like the one found in the first verse of “King of John Street.” The use of the second person perspective throughout the lyrics makes it seem like the vocalist is addressing and questioning himself, a process similarly referenced by the album’s title. Payne explores the battle between who you think you are and who you might be, what you are and what you want to be, and what you feel yourself to be and how you present yourself on the outside. This duality of self is best displayed in “King of John Street,” where Payne sings, “Spending all my days in the east side / forgetting who I was on the other side / the Queen connects us, but I divide / don’t think I don’t think about it.” These geographic metaphors avoid heavy-handedness because of the nonchalant way in which Payne delivers them.

Meet You is an album steeped in interesting combinations: the driving garage punk rhythms mixed with the deep new wave synths and vocals, upbeat riffs paired with vulnerable lyrics. Though the garage punk and new wave influences help make for an engaging blend of styles, it’s not always enough; without much experimentation in tempo and instrumentation, Meet You at times feels a bit too safe.  

– Review by Ella Chatfield-Stiehler

Album Review: Bo Welland – S/T

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March 13th marked the release of Montreal/Kingston/Toronto band Bo Welland’s self-titled debut. Up to this point, the band has been touring around Ontario and Quebec, playing loud shows for enthusiastic, rowdy audiences. In doing so, they’ve definitely accumulated a loyal fanbase within local student populations. This five song EP is a slacker rock romp that definitely showcases what’s to love about the group.

I think the vibe of Bo Welland is best summed up in a video the band made to accompany the EP’s first single, “Rampage,” cut together from a variety of clips from the band’s January tour. One thing is easy to see: these four dudes are making fun music and having fun doing it. Drummer Alex Spears had similar things to say about the EP: “The vibe is goofy and fun. Something we pride ourselves on is not taking ourselves too seriously.”

The album has some strong similarities to The Fratellis and the Kooks, bands we all listened to many moons ago, with the same dance-worthy high energy post-punk vibes. Two songs specifically, “Honesty in Ecstasy” and “You’ve Got it Goin’ On,” follow in this tradition, right down to the party-boy lyrics. For me, the standout song on the album is “Wind in Greece.” Right off the bat, the guitar lays down a clean riff that solidly anchors the song. Another nice touch on this track is the addition of piano, filling out the lower end of the sound. The composition on “Wind in Greece” is amongst the strongest on the EP, and the driving drum beat that starts off the song kept me bobbing my head ‘til the end.

“Rampage” does a good job of capturing the rip-roaring spirit of the band’s live performances. For a debut release, it definitely stays very true to the band’s sound and lays the foundation for bigger and better things to come. When asked what’s next for the band, Spears says the plan is to release another set of recordings and keep refining their high-energy live show. The fact that band members live in different cities means that it takes longer to work on new material, but given the strength of their debut recordings, it seems like a very feasible plan. For those living in the Toronto/Montreal/Kingston area, these upcoming gigs will be something you won’t want to miss out on.

– Review by Nora Duffy

Album Review: Dragonchaser – Fog Lake

a0105283212_10As the ill-willed spirits of climate change deniers continue to punish us here in Montreal, I can think of nothing better to do than gaze out of a window at the snowy deluge from the comfort of my home, with Fog Lake’s Dragonchaser playing on loop in the background. Aaron Powell, the man behind the music, has been releasing albums of ambient angst for several years now, and has continued to develop his unique sound following a recent move to Montreal from his childhood home in Newfoundland. Dragonchaser is his fourth full-length release, following 2013’s well-received Victoria Park. 

Powell utilizes the DIY, low-fi approach to recording that has risen in popularity amongst “indie” bands, but unlike many other artists, Powell is not using this technique as a simple parlor trick. He began experimenting with ambient sampling as a teenager, and this homemade quality remains in his music today, even as he continues to develop his vocal acuity. Unlike previous albums, Dragonchaser features no completely instrumental tracks, but the atmosphere throughout the album remains laden with introspection and quiet solitude. Powell manages to create a lush, reverberating sound that permeates Dragonchaser; there is an echo effect that carries over from track to track, almost on loop. This style of production paints a vivid picture of being submerged underwater or driving past a familiar wood, with the trees blending into a congruous mass.

In all that he does, Powell delights in the intimacy of subtlety. His voice barely rises above a soft yell, and most lyrics are confessional whispers that are at times swallowed by the swelling instrumentals. His use of vocal and instrumental crescendos are rare enough that when they do occur, you are never quite prepared for the emotional wave that threatens to crash over your head. Powell creates an exquisitely delicate push-pull phenomenon between his vocals and the instrumentals; at one point, they are gently swaying to cradle his lyrics, and at another the faded, washed-out sound has disappeared in favor of blunt melodies.

Dragonchaser opens with the slow-burning “Novocaine,” a lovely, drifting track rife with haunting vocal harmonies and shifting, plodding guitars. “Rattlesnake” begins with a poignant, stripped electric guitar and Powell’s soft voice before drums crash onto the scene, accompanied by a change in his timbre. He now sings outright, unhindered by the steady layers of guitar and snare that swirl beneath him. “Breaking over Branches” enters with a muted, slightly out of tune piano backed by an acoustic guitar: music for a sepia-tinted world. When Powell’s voice cuts in, it is similarly muted, his words being swallowed almost as soon as he gets them out. There is a whimsical, nostalgic atmosphere resonating throughout the track, as if the listener were watching a home movie unfold, having been created solely from Powell’s lyrics.

“Strung Back Around” provides a nice contrast, provided by the bright, open strumming of an acoustic guitar. Powell’s voice is unimpeded and open, and the light echo of a piano melody provides a playful foil to the darker message behind the lyrics. “Roswell” is the most straightforward and tightly-produced track on Dragonchaser, and notes a departure from the loose, experimental style Powell usually embodies in his music. It adds a lighter folk energy to the album, with simple lyrics above a wistful but grounded guitar melody. “Spectrogram” signals the close of Dragonchaser, but Powell has cleverly made it into a kind of musical cliff-hanger. The track swirls with a restless, heady energy that leaves the listener on the edge of their seat, yearning for more. Hopefully, Powell is signaling to his listeners that his story is far from finished.

Album released: February 17, 2017

review by Juliana Van Amsterdam 

 

Concert Review: Carpenter Brut @ Theatre Berri

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Synthwave has a long history dating all the way back to the German Krautrock of the ’70s, but its newfound renaissance is definitively modern. Every since the 2011 neo-noir film Drive brought the heavily synthed-up sounds of Kavinsky to the mainstream, digital music has never been the same. Within the next two years, we’d see releases like Com Truise’s Galactic Melt and Perturbator’s We Are the Night become hugely successful, building upon the French electro explosion of the late 2000s to create a nostalgic analog sound that resonated with a largely digital audience — many of whom weren’t even alive to experience the era it emulates.

Years later this scene has exploded into an array of killer independent music and culture, all merging the best parts of our collective nostalgia with contemporary production. Carpenter Brut is a prime example of this phenomenon. With several appearances in breakthrough indie video games like Hotline Miami and Furi, a series of spectacular music videos, and even a film in the works, Franck Hueso’s music has quickly become synonymous with the entire genre. For an idea of his sound, check out the “Trilogy” compilation, which showcases what he does better than anyone else: aggressive heavy beats,  dreary atmospheric synths, and epic chord progressions. Continue reading

Concert Review: The Luyas album launch @ Bar Le Ritz P.D.B.

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Montreal has a long and storied heritage of indie rock that skews towards the lush and orchestral and as far as staples of this scene go, the Luyas are among the finest. The launch of their latest LP, Human Voicing, was a testament to this fact. The band, comprised of Jessie Stein, Stephen Schneider, Pietro Amato and Mike Feuerstack have spent a decade polishing their sprawling psych-pop aesthetic. The bill was rounded out by openers Opale and Fleece, both proving to be loyal disciples of the headliner’s refined sound.

The Luyas’s set began on an immediately tender note with the song “Fed To The Lions.” A plodding beat propped up gorgeous swells of harmony, highlighted by the delicate vocals skipping through. The crowd was rapt despite the fact that the set was almost exclusively new material; it was striking how these ambitious tracks, sonic monuments to mind and heart, still managed to feel warm and familiar to the ears of the audience. The band’s playful nature was evident: although their songs are dense and complex, they’re fun, too. Throughout the show, I couldn’t keep a wide grin off my face.

Midway through, the band reached a shimmering peak with the gorgeous “Dream Of Love,” dedicated to a friend in the audience. Horns, synth, and guitar coalesced atop a driving rhythm, but never in a way that felt too epic or overdone. This is a defining feature of the Luyas’s music:  no matter how the music towers, shifting layers piling up to the ceiling, Jessie’s voice always manages to keep it achingly intimate, close, urgent. Even as the keys burst out the gate and threatened to break loose on crowd-pleasing closer “Too Beautiful To Work,” the reins were held close and we were masterfully guided home.

School’s Out: Alexia Avina

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When the topic of McGill student musicians comes up, it’s rare that the name Alexia Avina isn’t mentioned. As both a prolific solo musician and part of the dreamy electro duo, Best Fern, she is pretty much the pinnacle of what a writer like me could hope to find in the student scene.

Earlier this week, Avina posted a track called ‘Cups’ on her Soundcloud page. For fans of her work, this song hits all the bases of what makes Avina’s music special. The whispery vocals so characteristic of her work are especially noteworthy, not only in the sweet, sad lyrics but also in the layered, dreamy back-up vocals that saturate the track. Rich guitar melodies drift in and out, softly fading into a warm hum at the end of the song.

In her Facebook post about the song, Avina expressed her nervousness about releasing the song and asked for kindness from listeners. ‘Cups’ is a soothing track to drift away to, and I hope that the calming vibes the song conjured for me are given back to Alexia Avina in return.

– Nora Duffy

Concert Review: Thundercat @ SAT

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An unseasonably warm and rainy winter night saw the ground floor of the SAT packed nearly to capacity to bear witness to the groove of Brainfeeder artist Thundercat. While touring on his latest release, the excellent Drunk, his Montreal stop did not disappoint the significant crowd that ventured out to catch the show.

Plowing through a slew of midtempo sluggers, Montreal’s Lexis opened the night on a setup combining DJ and live beat techniques. In keeping with the headliner’s home base, a good portion of the set was rooted LA’s brand of cosmic-jazz-bop, with the undeniable influence of Dilla and Flying Lotus (himself a frequent Thundercat collaborator) on display.

Armed with his signature six-string bass and clad in a fluorescent orange toque and long underwear bottoms, Stephen Bruner wasted no time between sets before ambling onstage and launching confidently into an onslaught of blistering, frantic jams. Working around his effortless falsetto, the band darted unceasingly between solid pop passages and meandering virtuosic detours, early standout “Tron Cat” being an example of this electrified dynamic.

Only midway into the set when the tempo dropped into the satisfying stomp of crowd-pleaser “Them Changes” did everything fully settle into place. From that point onwards it opened up, becoming a little looser and more relaxed. The project’s inherent playfulness bubbled up to the surface with increasing ease, as on a cheeky instrumental cover of Kendrick Lamar’s “If These Walls Could Talk” (Stephen having contributed to the original source material), among many other memorable moments.

The room was balmy, the audience dazzled, the funk undeniable. You should have been there.

 

Artist Profile: An Hour with Molly Drag

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I ventured up to Le Dépanneur Café in the Mile End a few weeks ago to chat with Molly Drag (née Michael Hansford) about his upcoming album, Whatever Reason. After settling down with our coffees, Hansford confided that he and his roommate, Aaron Powell (Fog Lake), actually live right around the corner from the café; it has been a long-term dream of his to eventually end up in this neighborhood, and he appeared very at home with the plants and locals populating the crowded joint.

Most of Whatever Reason was recorded in a basement studio in London, Ontario. Hansford moved to Montreal this summer with only a few close possessions, and conceded that at first, he felt quite isolated in his new home. The loneliness was compounded by the fact that he knew very few people, and would have to wake up in the early hours of the morning to get to his job at the time as a café cook. This solitude, though now only a memory, ended up inspiring one of the tracks on the new release; he has also begun to sprinkle Québecois into his latest songs to celebrate and acknowledge, in his words, “a culture that has been here for so long, and has fought to keep it.” 

Hansford has an exciting, frenetic energy about him at times, and it shows in his music. When he writes or records, it is done all at once; everything is done “on the record” without much forethought, and he will sit for hours in his apartment focused solely on his craft. On previous albums such as the sprawling Deeply Flawed release, Hansford acknowledges a lack of focus; every song is raw, intimate, and wandering.  Hansford praised the more focused energy of the Whatever Reason, describing the contrast between various tracks: “There’s a bit of anger on this record, but there’s also a lot of self-reflection.”

Whatever Reason is a very conceptual album, signaling “the end to a dark trilogy” of records that Molly Drag has produced so far. The contemplative attitude reflects an “addiction” to nostalgia, and the inevitable sense of separation that accompanies those feelings. He also described his inspiration for the album cover art: a painting he saw of a sick child surrounded by piles of things that they love, but that are just out of reach. Whatever Reason’s album cover depicts a young girl in a dark wood surrounded by rabbits, Hansford’s favorite animal.

For an important project such as this, Hansford said he was happy to have a solid, more permanent live lineup to support his vocals. Powell acts as his secondary guitarist, adding a professional aspect to their good personal relationship; in fact, all but one of the Molly Drag lineup also play in Fog Lake. The constancy and familiarity helps to make the live performances sound more like the recorded ones, a factor that Hansford holds in very high regard: “If people have been listening to your music and they go see you live expecting to hear what they love, and they don’t, you’re not doing your job properly. You’re there to entertain.” For Hansford, the most important issue at hand is the integrity of the project; he needs musicians who want the project to succeed as much as he does, instead of being there simply to play or just to support him.

After the official interview ended we lingered at Dépanneur a bit longer, chatting with ease about mutual friends and personal heroes – he regaled me with a story of his online conversations with local author Heather O’Neill – before Hansford looked sheepishly at his phone and said he had to duck out early; there apparently was no water in his apartment. We ushered ourselves out into the Mile End dusk and parted with handshakes and smiles before he hurried up Avenue du Parc, shoulders hunched against the wind and signature wool cap bobbing up and down: a true Montrealer out and about in his city.

Whatever Reason will be released April 21, 2017 and is available for pre-order now.

interview by Juliana Van Amsterdam