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 Skullsat 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.
Thunderheist w/Everything All the Time
Mod Club
12.03.09
It’s been quite an electric 3 years for Thunderheist’s power duo, Isus and DJ/producer Grahm Zilla. This was their final show before they take some time to pursue their own solo projects. It comes at a good time for them, riding the heels of their wildly successful self titled release in March 2009.
Up-and-coming electro-pop band Everything All the Timebegan the night. They’re quite a peculiar bunch, with some members looking more like they were heading straight from the set of the O.C. to a rock show.
Lead singer Alanna Stuart sported a sharp business casual look as she sauntered onto the stage, looking a little reserved in her mannerisms; perhaps it was the nerves, or perhaps it was the fact that she could be roasting in her multi-layered “you aint seeing any of my skin” look.
Wardrobes aside, Everything All The Time executed their job well: getting the crowd moving and warmed up. Stuart has a sharp soulful voice with some attitude, surprising us with her vocal range and use of dynamics. I can see her voice only getting stronger as they grow. Stuart executed her job was lead vocalist onstage to promote the band, by naturally slipping their name into banter between songs. No one in the crowd would leave without thinking “that opener was great. What was their name again?”
Standout winners in their set were “Getting Higher,” a warm and uplifting indie-pop tune, and “Start. Stop,” an explosive closer that showcased Stuart’s vocal range and the bands’ ability to drive a solid beat. Their losing song turned the crowd into Thundergear – the barely 19 year-olds at the front of the stage were ready party, with or without the band.
Isus rocked onthe stage with an incredible outfit made from seat belts, with her tiny body all wrapped in a corset. As their final performance asThunderheist before pursuing solo projects, it was clear the band was ready to go out with a bang.
Boy, did they deliver. They played a great blend of old and new tracks, and worked the crowd like no other. Isus even had the crowd waving to her parents, watching safely in the balcony. The show felt more like a farewell party for friends, rather than a performance. A few times during the show Isus would stop midway and yell cheekily, “ah fuck it. I fucked up. We need to do it RIGHT so let’s do THAT one again!”
They played all the crowd favourites including “Bubblegum,” “Suenos Dulces,” and the infamous “Jerk it”. Mom was proud.
Although they were having a great time, there was a sense of passing for this project that started as an exchange of .mp3’s over myspace. Rather than riding the wave to a faded wash on the beach, this band has decided to take a bow while the wave is crashing into the shore. As much as I do appreciate their explosive electro-rap get your ass moving deal, this was a limited wave couldn’t sustain its tsunami dance level for too much longer. Look out for what Isus and Zilla come out with in their own projects in the near future.
DJ Champion w/Madrid
Mod Club
11.27.09
Doors @7pm | $15
DJ Champion and his G-strings (guitar strings) from Montreal are making a triumphant return to the Mod Club on Friday. Their highly entertaining blend of electro-beats and guitars, all orchestrated by master DJ Maxine Morin. They hit the electronic dance scene when they released Chill ‘Em All in 2004, and a follow up remix in 2006.
So it’s really been 5 years since Morin has come up with a sophmore album – and you can definitely hear the evolution, most discernibly recruiting the talents of montreal raw-power singer Pilou Côté, in replace of the signature soulful female vocals Betty Bonifassi that electrified their live show. Let’s see how they do!
Jill Barber w/the Hyzoloists
Mod Club
12.21.09
8.5/10
Jill Barber swooped through Toronto on a frigid Saturday in February, promoting her new album, Chances. Using this night as her “official” launch party for this album, I couldn’t think of a better venue than the Mod Club to host. With a hybrid of seats, cocktail tables and a giant mirrorball set, the venue was as classy and chic as our the beloved East Coast singer/songwriter who graced the stage.
CBC Radio3 host Grant Lawrence was the MC of the evening, kicking off the night with a heavily layered and resonant instrumental set from Toronto’s own Hyzoloists. There aren’t many times you get a chance to hear the xylophone (or is it a Marimba?) as the lead instrument in an indie band without it sounding like dissonant off-the-rails random indie band that Pitchfork somehow rated 9.2/10. The Hyzolists were in actual fact very talented and experienced, knowing how to construct a composition with enough variation, layering and movement to keep audiences engaged and from leaving to grab a drink.
Jill Barber bounced onto the stage with a 50’s inspired skirt that fit the theme of her new album, Chances. The bright and bouncy dress matched Barber’s beaming smile and enthusiasm, infectious to everyone watching and the music she performed. Her signature seductive smoky alto voice worked in harmony with her 50s jazz/folk inspired music, staying true to the sound but still relevant to today.
Barber’s performance appeared effortless, captivating the audience though great storytelling and intros to the inspiration to her songs. The highlight of the night was her performance of “Oh My My,” a song which could easily be mistaken as a classic Mississippi bluegrass folk tune sung in the Great Depression. With hand clapping, toe stomping call and answers with the band/crowd, Jill had everyone moving and singing to the beat.
Jill Barber’s set also included some of her classic love/lust songs such as “For All Time,” “Two Brown Eyes” and “When I’m Making Love To You”, reminding us why we fell in love with her in the first place. Overall it was a great show and one leaving everyone with a big smile on their face and little pride in finding a Canadian talent so genuine that can connect with listeners from all ages and backgrounds.
