When Ondi Timoner’s explosive documentary Dig! came out in 2004, I was hooked. Everybody had heard of the Dandy Warhols, having been flung into mainstream success with the poppy anthem “Bohemian Like You”. If you weren’t listening to the radio anymore, any trip to your favourite watering hole with a relatively current juke-box selection and at least one or two inebriated patrons with too many coins in their pocket would ensure you didn’t survive the evening without hearing this little ditty. Probably more than twice. In short, this song was everywhere.
But who the hell were these other guys?
The documentary: drawing the line between genious and bat-shit insane
The critically acclaimed documentary follows the developing careers of two bands, the Dandy Warhols and The Brian Jonestown Massacre and the bands’ respective frontmen Courtney Taylor-Taylor and Anton Newcombe. On the one hand, the Dandys come across as a fairly vanilla outfit, interested in sealing a record deal and “making it big” in the way every suburban kid in a band dreams to come true. On the other, comes a portrait of Anton as an uncompromising and decidedly bat-shit insane musical genius who is notoriously hard to work with and takes no prisoners. While the Dandys concern themselves with navigating the record business and attempting to get a deal, the BJM seem more preoccupied with just keeping the whole damn thing together. With an ever revolving door of members (allegedly over 40 in a ten year span), the constant in-fighting, the drug fuelled jam sessions and chaotic live appearances, it was nothing short of a miracle that these characters could keep anything together let alone release three (!!) albums in one year. If the Dandy Warhols were making Rock ‘n Roll, the Brian Jonestown Massacre were living it.
Amidst all the insanity came some pretty cool neo-psychedelia and 60s garage punk revival—sounds from an era where the vibe matched the unhinged methods of the band. It became obvious that while Taylor-Taylor was noticeably more level-headed than his counterpart, he was, in fact, a dweeb. More interesting was the story of the BJM. While both came across as complete egomaniacs, Anton’s insanity gave him legitimacy while Courtney seemed just plain old pretentious. With sales representing the barometer of success, the Dandys, in the end “make it” while the BJM are left to toil in relative obscurity. The film concludes, without a hint of irony, that the Dandys “made it” as they are really Big In Japan. Or was it Greece? In other words, besides a few singles, it’s hard to really quantify what that level of success is. The BJM, with minimal radio play, garnered more of a cult status among fans.
Post show mortems
It became apparent from anyone who had seen the film, that it wasn’t enough to just hear BJM, at the time offering all their music free to download online. You needed to see these bastards live. And seeing them live cannot be described as a concert; it must be described as spectacle. With the BJM it was never just about the music, it was about the method, and at the live show the music takes a back seat to the madness. As an experience, the audience is integral to the process. It’s an exercise in sadomasochism. The audience hopes, given the reputation of the band, for the price of a ticket, they will witness the final collapse the Brian Jonestown Massacre. The audience hoots and hollars, hurling creative verbal missives such as “you suck” and “fuck you” at the band and Anton specifically. He is goaded, prodded and abused by the audience in the hopes of evoking a final and destructive reaction from the singer. In turn, the audience may be treated to an argument among band members, a refusal to continue playing, a nine-minute “solo” comprised only of the sound of a lonely kick-drum while the band goes outside for a cigarette. Anton takes his abuse and the audience delights in their respective punishment. The ultimate reward, one supposes, would include a John Lydonesque spitfest, a swift boot to the head from the legend himself, or at absolute best, an epic meltdown marking the band’s Final Show.
So what should we expect after all these years? Who cares.
Five years later, the band is returning to Toronto to play a show at the Phoenix on June 2. The once prolific band seems to have slowed down considerably. With only two major releases in 6 years, where has the band’s time and energy been directed? Perhaps uncomfortable with his portrayal in the film, something which has been well-documented elsewhere, Anton seems to have taken a less visible role in the band. As noted, the last two albums have featured several guest singers, putting less emphasis on Anton and placing more focus on the music itself. Anton has taken a Step Back, if you will. Is it for the better? With the return of founding member Matt Hollywood, and a new record that sounds more Thievery Corporation than it does Rock ‘n Roll, one question still haunts: Are the BJM dead, and if so, does anyone really care anymore? You decide.
Brian Jonestown Massacre returns to the Phoenix Concert Theatre on Wednesday June 2. Tickets $21.50 +Taxes and SC.
There’s always something special going on in Toronto… somewhere. And more often than not, for great music it’s a the Dakota Tavern (see clip below) near Ossington and Bloor. Yesterday was no exception, withGlen HansardfromSwell Season (from the movie “Once”) performing a secret show in prep for their performance November 2nd at Massey Hall.
Read the great cover article on this week’s Eye Weeklyfor more information. I was able to see them last year at the same venue, and was utterly blown away. They are promoting their new album, Strict Joyrelease this fall.
Along the wave of pop-synth came a brooklyn duo called Matt&Kim. I was lucky enough to squeeeeze into the Whippersnapper Gallery by College and Clinton during the 2009 North By North East Musical Festival. Due to technical issues at the start and a the runs from some bad Thai Food earlier in the day, the duo put on a shortened set, but still made it the best 25-minute dancy bang you could ask for.
Matt plays synth and sings. Kim bangs on the drums. It’s a simple yet super fun combo that had the crowd jumping and playfully singing along. M&K are starting to get some exposure with their hit single “Daylight” being featured on a Bacardi video, and were recently on Jimmy Kimmel live in August. Not bad for a little dynamic pop duo.
Be sure to check them out before someone like Apple gets a hold of them!
Dan Mangan from Vancouver has been recording a sophomore album to his first release, Post Cards and Daydreaming. He’s got a deep, raspy powerful voice accompanied by stripped down acoutic guitar that’ll make anyone stop to to listen.
Although he was a bit rusty being in the studio vs. relentessly on tour and playing folk festivals up the guitar hole, he put on a decent set at the Wreck Room on the corner of Bloor and Spadina. It was part of IndieCan Radio, a local indie music radio/podcast that puts on a free weekly show showcasing indie artists.
It’s days before the 14th annual North by Northeast Music & Film Festival (and Conference) hits Toronto. This Thursday June 12- Saturday 15, 2008 at over 50 venues in downtown Toronto will host over 300 bands from around the world. Sure, it’s no SXSE, the mecca for indie artists, but it’s still a great opportunity to see both local and international artists without slepping it out to Austin, TX.
Having been a delegate, volunteer and general concert goer in the past, NXNE will deliver some great music, helping launch local artists like Tokyo Police Club, Moneen and Pilate (whatever happened to Pilate anyway?). This year’s line up has a ton of international artists to discover, especially a bunch traveling all the way from down under.
Highlights: Sloan, My Morning Jacket, Ted Leo and the Pharmacists, the Besnard Lakes, Dan Mangan, Magenta Lane, People in Planes, Two Hours Traffic, Matt Mays and El Torpedo, We Are Wolves, Great Lake Swimmers, Hey Rosetta!, White Cowbell Oaklahoma, Julie Doiron, Swervedriver, Redd Kross, Sheek Louch, the High Dials, French Kicks, Black Diamond Bay (featuring the Dears’ Patrick Krief), the Diableros, Uncut, Young and Sexy, and Carina Round.
Similar to SXSW, there’s a film festival component to North by Northeast. Of particular note is the debut of the premiere episode of “The Side Street Project”, which gets Holy Fuck, Buck 65, and Emm Gryner jamming on Springsteen’s “State Trooper”, Gordon Lightfoot’s “The Wreck of the Edmund Fitzgerald”, and Def Leppard’s “Pour Some Sugar on Me”.
Click HERE for the full list of artists and films.
With North By North East Music festival fast approaching, tons of artists will be rummaging through the big smoke in the beginning of June. One such artist by the name of Dan Mangan, a Vancouver BC singer/songwriter has swept likes of CBC Radio 3 ala Podcast Host Grant Lawrence and his listeners with his all encompassing folk vocals that has stopped even the most rowdy and rambunctious crowds. The track, Unnatural Progression , stopped me in my tracks. His deep rooted, personal vocals and soft guitar backdrop will warm any evening – despite how sad and pensive they may be.
As part of his cross Canada tour, he’ll be playing a couple venues in June.
June 13 June 12 – Toronto – The Rivoli - "TMB Lawyers" Showcase for North-By-North-East (Time TBC)
June 14 – Toronto – The Savannah Room - North-By-North-East @10 PM. Savanaah room is a bit of a hole but will give a truely intimate vibe; guaranteed he’ll blow you away.
Dan Mangan – "A Passport Approved" Live on Indie 103.1
The rising electro-retro-rock duo from down under have come up to take over North America. The Presets have won over Australia with a #1 Aussie album selling out shows across the country.
The Syndey-based duo explodes with a blend of dirty house dance to get your heart pumpin’ along with psychedelic Depeche Mode inspired synthpop trance sounds to blast you to another dimension. Their pulse pounding ‘My People’ is a club staple.
The Presets perform this Saturday, May 31 @Kool Haus.
Doors @8PM
$16.50
There were many Hillside Festival goers who were largely pissed at the lack of weekend passes available for the 2008 Hillside Festival. Stores in Toronto had only a handful (literally) of ticket available, with passes selling out online/telephone in <20 mins. They’ve got a reason to be mad, since in previous years “early birds” went in 20 mins, but weekend passes were available at least for a couple of days.
What happened? Did popularity double vs. last year? Are they offering less $90 weekend passes this year, in favour of making more $$ selling regular tickets?
Given the calibre of the Guelph music and community arts festival each year, one can’t complain at the regular price tickets. Although you’d miss out on Friday night, full day saturday and sunday tix would cut a $120 hole in your pocket. Most weekend festivals usually start at $200, and at this festival you great locally produced food, water stations, minimal brand-invasion, recycling stations and dishwashing stations.
There is a blind faith Hillside concert goers have with this festival, given the panic to get weekend passes without knowing more than 5 (of >30) artists that will be performing. As a volunteer-enabled concert, Hillside is all about enjoying the music and community; not just to make a profit and a mass event for corporations to sell their brands.
This year’s preliminary line up is shaping up to be excellent:
Oh Justin Rutledge, an alt-country singer/songwriter taking the country by storm. He’s a well mannered, humble guy with a piercing stare and stark resemblance to a young Elvis that’ll make your hair stand on end. And that’s before he even hits the stage.
I was lucky enough to catch him a few times over the past few months, some here and some in nearby town. His mellow “sway” songs (as he likes to call him) cast a mellancholy spell on the crowd as he performs. When I saw him at the Horseshoe, he put on a 2+ hr set, going well past 2AM. Here I was thinking it’d be done by midnight like most acoustic shows. He has a devoted following of fans young and old, thanks to his timless country roots, but with a modern twist to keep him relevant.
His sophmore album, The Devil on the Bench in Stanley Park, pilots the listener into his world of love songs, yearning woes, haunting darkness, and drinking. One can’t mistake his token whiskey drinking sunday afternoon songs; it’s as if we’re sitting with Lucinda, Emmylou or Willie in Texas. Then I look out at the 6-foot snowbanks and remember where I am!
If you haven’t yet seen Justin Rutledge around in the city, do so before it’s too late. I reckon, it may already be.. he frequents the Horsehoe, Dakota Tavern.. if you’re lucky he may pop up at the Cameron House, where he paid he dues cutting through a weekly residency.
The critically acclaimed documentary follows the developing careers of two bands, the Dandy Warhols and The Brian Jonestown Massacre and the bands’ respective frontmen Courtney Taylor-Taylor and Anton Newcombe. On the one hand, the Dandys come across as a fairly vanilla outfit, interested in sealing a record deal and “making it big” in the way every suburban kid in a band dreams to come true. On the other, comes a portrait of Anton as an uncompromising and decidedly bat-shit insane musical genius who is notoriously hard to work with and takes no prisoners. While the Dandys concern themselves with navigating the record business and attempting to get a deal, the BJM seem more preoccupied with just keeping the whole damn thing together. With an ever revolving door of members (allegedly over 40 in a ten year span), the constant in-fighting, the drug fuelled jam sessions and chaotic live appearances, it was nothing short of a miracle that these characters could keep anything together let alone release three (!!) albums in one year. If the Dandy Warhols were making Rock ‘n Roll, the Brian Jonestown Massacre were living it.
Five years later, the band is returning to Toronto to play a show at the Phoenix on June 2. The once prolific band seems to have slowed down considerably. With only two major releases in 6 years, where has the band’s time and energy been directed? Perhaps uncomfortable with his portrayal in the film, something which has been well-documented elsewhere, Anton seems to have taken a less visible role in the band. As noted, the last two albums have featured several guest singers, putting less emphasis on Anton and placing more focus on the music itself. Anton has taken a Step Back, if you will. Is it for the better? With the return of founding member Matt Hollywood, and a new record that sounds more Thievery Corporation than it does Rock ‘n Roll, one question still haunts: Are the BJM dead, and if so, does anyone really care anymore? You decide.
