Montrealer’s Arcade Fire posted a cheeky postcard giving clues to a new song being released.  It states the following:

Howdy yall- Just finishing up pressing our new 12″. Should be in stores in the next couple weeks. God willing. Good luck with finals. See you this summer!”

It should be part of their upcoming release that’s scheduled to be coming out this year.

Broken Social Scene is giving back to their fans yet again.  In support of their new album, Forgiveness Rock Record, Toronto’s favourite indie mega-band returns with 4 in-store performances in the 4 top Toronto indie record stores tomorrow.

What a great way to recognize some of the best record stores in the city, and show the fans how a accessible such a behemoth-sized orchestral indie band can really be.

Sunday May 9th
2pm – Criminal Records (493 Queen Street West) - crimedoesntpay.ca
4pm – Rotate This (801 Queen Street West) - rotate.com
6pm – Soundscapes (572 College Street) - soundscapesmusic.com
8pm – Sonic Boom (512 Bloor Street West) - sonicboommusic.com

Band of Skulls and the Whigs
Mod Club |04.28.10
7.5/10

It was a nice warm night in the city to check out one of my latest faves, Band of Skulls at the Mod Club on Thursday night.  I’ve had a heart-on for this trio ever since hearing their catchy, head boppy track ,”I Know What I Am” last year.  I can’t get enough of guy/girl vocal combos these days (ala The XX and Stars), and the blend of Russell Marsden’s raspy rocker and Emma Richardson’s warm sound is no exception.

Montreal’s Silver Starling opened the night with a short set of indie pop to warm the crowd.  They were troubled with some sound issues; the bass overdrive and subwoofer was set to sloppy nightclub, and vocals were washed out.  I also found lead vocalist Marcus Paquin’s voice wasn’t strong enough to carry the band, but it could have been the mixing issues (did you do a soundcheck?), which is a shocker as the Mod Club typically has great sound.  The best songs of the night were “Closer” and “Something for Nothing” – the rolling drums and pulsing melodic sound was quite infectious, showing essences of the Stills/Arcade Fire.

The Whigs exploded onto the stage with a high octane set of garage rock. Lead vocals/guitarist Parker Gispert was a real showman with his Liu Kang karate kicks and speaker jumping antics.  I was personally enthralled by the shag bopping stylings of drummer Julian Dorio, reminding of the Muppets’ Animal.  He was the true key in driving their gritty power chord rock, with his smash-happy crash symbols and heart stomping bass drums.  Their hit, “Like a Vibration” had a much stronger attack and grit than their recorded version, pumping up the crowd.

Once the Whigs left the stage, I was saddened to see about a quarter of the crowd bail before the Band of Skulls came on stage.  I realize that the Whigs are more more established, and perhaps should’ve closed the night, but at least give them a chance!

Band of Skulls was smart to begin with a few of their known and heavier tunes “Light of the Morning” and “Diamands and Pearls”.  Lead Marsden’s vocals were bang on and drew me right into their sound, even if the rest of the crowd was ready for bed.  Emma Richardson wasn’t as strong as I would’ve liked, at times going a little over zealous at times with her vocals, likely to keep up with Marsen.

But overall I did find their stage presence a little lack lustre, with at times facing their backs to the crowd for a little too long and stiff banter with the crowd.  To their defense, the crowd was quite drowsy and still coming down from the Whigs’ set.

What also didn’t help was playing their 7-minute rendition of “Cold Flame”, which happens to be one of my favourite tracks from their title album, “Baby Doll Face Honey”.  I’ve always equated this track to be a cathartic finishing piece to cap off a hard party night.  Placing it right in the middle of their set of wasn’t best choice in keeping the drowsy crowd awake.

Once they kicked it back up a notch with “I know what I am” and crowd favourite “Blood”, the energy did rise, but it never peaked.  Was it a little too late?  Thankfully, their encores “Hollywood Bowl” and “Honest” (see clip below) left on a good note, showing potential of what could have been.

Video: “Honest” by Band of Skulls (Clip)

Despite being overshadowed by The Whigs, overall The Band of Skulls did put on a decent show.  With such a great breakout album, I’m still amazed that they haven’t caught on yet.  After their tour this summer, they’ll back in the studios to recorded their follow up album.  Perhaps then, they’ll get the attention they deserve.

Video: “Cold Fame”

-REVIEWED BY: ROBB ENG

Tallest Man on Earth
El Mocombo
04.17.10
9/10

Undivided.  That was the attention Kristian Matsson aka Tallest Man on Earth commanded from the well-dressed folk/indie crowd  this cold Saturday night.  It was a sold out show and highly anticipated return from this unassumingly sweet Swedish singer/songwriter.  His intense scrawl stopped even the peanut gallery from the back bar to have a listen.

It can be tough for any solo act to fill out a half drunk crowd on any night, not to mention at the Elmo.  Nurses opened the night with an unmemorable set of yowls, tambourines, singalongs and tings that I could have personally lived without.

TMOE ran though his repetoire effortlessly with a powerful voice distinctly familiar to Dylan, Gutherie, Bon Iver, among others.  As blatant a similarity to the similarities to the great folk songwriters from the past, TMOE still maintained his own unique European sound that make it his own.  Highlights included his passionate “The Gardner”, “Honey won’t you let me in”, “King of Spain” and “Where do my bluebird fly”.  Matsson has great energy and movement during his intricate fingerpicking interludes, bouncing back and forth around the stage and making mysterious eye contact with whatever random crowd-folk he’d come across.

What stunned me most was the silence throughout most of the the set. Granted, there were still a few balks and clinks from empties from the back bar, but overall the crowd was here to really listen to TMOE..and I mean listen. This included minimal use of flash photography and blurry cell phone snapshots, or even beer runs. The aggressive shushing and the odd “shut the fuck up” only further demonstrated the miliant attention the crowd demanded.  This undivided attention only amplified his music, lyrics and stage presence.

TMOE even ended with a quiet love song, rather than a Dylan-esque power strum finale for his encore.  It was a gutsy move, but it paid off in spades.  The crowd stayed with him until the very end, uncovering how tall this little man’s music really is.

-REVIEWED BY: ROBB ENG

Sweden’s latest folk singer/songwriter Kristian Matsson from Tallest Man on Earth comes to Toronto this Saturday.  Matsson has an immediately stark resemblance folk rasp of Bob Dylan but with intricate acoustic finger stylings that balance this scruffy voice.  Although his lyrics don’t match up to the D-man, he brings it all to life on stage.  With the show already sold out at the El mocombo, and a 8.3/10 Pitchfork rating on his “Shallow Grave” release, he’s doing something right.

Tallest Man on Earth w/Nurses
04.17.10
El Mocombo
SOLD OUT

VIDEO: The Tallest Man on Earth: Where Do My Bluebird Fly

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.

BY: JAMES O’SULLIVAN

Sunfields @Rancho Relaxo
01.29.10

I love those Friday nights after a long work week when plans suddenly come together on the fly.  It was one of those evenings when I came across the melodic country/folk sounds of Sunfields at Rancho Relaxo, despite the bone marrow chilling temperature that night. 

Sunfields is the brainchild of frontman and lead singer Jason Kent from the Dears. For a relatively new band, you could sense they’re experience and maturity as musicians. From their solid vocal harmonies, grassroots country guitars and a touch of pop, you couldn’t help but listen.  Late in their set Jason put on an incredible trio piano set of melodic ballads that had a lot of potential to be a crowd favourite.  You could sense Neil Young, Wilco and Joel Plaskett in their music and couldn’t help but want to hear more.

Keep your eye out for these guys when they release their first album.

Sunfields myspace: http://www.myspace.com/sunfields
Top Tracks: “If it Be” and “In the Sun”

5 BANDS. 5 NIGHTS. 5 BUCKS.

Starting yesterday (apologies for the delay – the onslaught of holiday turkey, stuffing and apple pies kept me weighed town), The Drake Hotel is holding their 4th annual What’s In the Box event, showcasing electronic/DJs the week before the new year.  Given that most artists are taking some time off before kicking off their 2010 tour, or spending time hibernating to record, it’s a great place to head for some great beats and company.

There are some great bands doing sets this year, with highlights that include Holy Fuck, Air France and OPOPO.  At $5 per night, how can you go wrong?

SATURDAY DECEMBER 26 / NIGHT ONE
myspace.com/thecarps
myspace.com/styrofoamones
myspace.com/the8485
myspace.com/youngflux
myspace.com/youngempires
skratchbastid.com

SUNDAY DECEMBER 27 / NIGHT TWO
holyfuckmusic.com/
handdrawndracula.com/hdd-bishopmorocco
handdrawndracula.com/hdd-bydivineright
myspace.com/holycobras
myspace.com/dougieboom

MONDAY DECEMBER 28 / NIGHT THREE
myspace.com/theairfrance
myspace.com/thedurbervilles
myspace.com/greatbloomers
myspace.com/spookeyruben
todor.ca

TUESDAY DECEMBER 29 / NIGHT FOUR
myspace.com/nosajthing
myspace.com/mymanhenri
myspace.com/opopotunes
myspace.com/organmood
myspace.com/pickapiper
todor.ca
jaime-sin.com

WEDNESDAY DECEMBER 30 / NIGHT FIVE
myspace.com/alexsmoke1
pheek.com
myspace.com/djstefny
noahpred.com
todor.ca/site
johnnyhockin.com

The 5th Annual Bob Marley Birthday Bash is here, raising vital funds for charity.  This year’s charity if choice is Yonge St. Mission and its food bank.  The legendary reggae icon’s birthday is officially Feb. 6th, the night of the event.   If you’ve ever been to Jamaica, you’ll know how colossal an event Marley’s birthday is.

Indie Reggae bands will be entertaining everyone throughout the evening, with raffles for prizes.  One other reason will be seeing some b/w photos of Bob Marley in the 70s, from the Analogue Gallery.

Bob Marley Birthday
The Great Hall (1087 Queen St. West)
Saturday, Feb 6th
Doors 9pm
Saturday, February 6th
$15 at the door w/non-perishable food item