The concert for pure entertainment value was fautless. the band was tight and solid, Mraz’s vocal ability was incredible along with his showmanship. Mraz was the puppeeter with the crowd his puppeet, he cleavely intergrated “Toronto” into majority of his songs which the crowd would predictably erupt everytime.

In my time in Toronto I have generlly found Toronto crowds to be probably the least enthused crowds in the world. However last night was probably the first time the crowd came together as one and I once again felt like I was at a gig again. Mraz had to work hard to make this happen, and at times it felt like I was more at a motivational speaking convention then a gig but ultimately Mraz got the result he wanted.

If i’m guilty of something I’m somewhat of a snobbish and arogant critic when it comes to music. I’m guilty of being biased towards Australian artists and always comparing crowds here to there, along with artists from North America to Australia. Like all of my favourite artists do I look for music to tell me a story, to play with my emotions, to motivate and inspire me. I like music to make me think, make me calm and be the answer to the question sometimes I don’t have.

Critically speaking lyrically Mraz in my view is one dimensional, and one could argue if he never wrote “I’m Your’s” their would have been no chance he would have had the privillage of headlining a show in front of a big crowd.

Mraz and the Toronto fans last night changed my opinion on the meaning of music. That was he lesson I learnt. In a city that can often be filled with sombre faces, smiles beamed throughout the crowd.

Mraz did his job. He entertained. He brought joy to everyone in the crowd. For those two hours there was no police sirens, no violoence, no abuse and negativity was far from the Molson Amphitheatre.

As Mraz requested the crowd attempted to sing “I’m Yours” for the folks of Manitoba to hear, and laughter along with the chorus filled Molson Amphitheatre.

As I left the gig with my wife I thought how do I review this gig? In parts it was like being at a Wiggles concert and was far from the best performance I had ever witnessed. Did it matter though? No.

I take my hat off to a man who deserves to be on stage and his place in the music industry. His non offensive, non confrontational sunshine and lollipops directed music is sure to eventually win over any music enthsiast regardless of what your preconceptions of Mraz are.

The crowd was happy and a great night was had by all. I have learnt to get over myself and open up to music again. Even if it’s to enjoy a beat a melody or rhythm music no matter how you look at it essentially brings joy to our lives.

Mraz preaches peace, love and hapiness in all of his songs. It would take a warped person to critice that. Will Jason Mraz every reach the hights of a Jack Johnson or Ben Harper? Probably not. Will Jason Mraz every have a hit like “I’m Yours” again? Probably not. Will he fade away and be remebered as a one hit wonder? No.

Mraz doesn’t seek fame or glory, he truly doesn’t care if you like him or hate him. Mraz though realises he has the ability to entertain and take his crowd away to a better place be it for all of a couple of hours. Mraz will sure use this to motivate him throughout his career and I will be waiting to hear what he comes up with.

Montreal’s Osheaga Music and Arts Festival photographs

A selection of photographs taken by Natasha Davidson.

Photographs of The Ting Tings, Miike Snow, Lykke Li, Jason Mraz, Josh Ritter, K’Naan, Coldplay, The Yeah Yeah Yeahs, La Roux and more!

 

Hazards of Love

By Sam

I’m a little late in writing this review (the album came out 2 months ago), but I’m glad I waited. Upon my first, second and even third listen-though, I was less than enthralled with the latest effort from the sea-chanty-spouting indie darlings, The Decemberists. The album came across as a muddled mixture of frantic acoustic guitar picking and awkward lyrics about babies, magic and sex in the woods.

Hazards of Love is a concept album that (in a nutshell) tells the story of a woodland Fawn who falls in love, only to have a jealous magical Queen of the woods betray him and attempt to kill his lover. The story is rather complex, and without knowing at least a basic synopsis, listeners may be completely lost during the first few times through the album. With so many characters to voice, the record boasts some impressive guest singers (Ex: Becky Stark of Lavender Diamond voices Margaret, the object of the Fawn’s affection).

The overall impression that I was left with was that Hazards was nothing but the overblown masturbatory fantasy of lead singer/songwriter Colin Meloy and whatever special guests he could pay with his undoubtedly impressive Capitol Records budget.

Because as we all know, the Decemberists SUCK because they are signed to mega-evil Capitol Records, right? Right?!

Everybody who bought Hazards (….or downloaded it) and thought the same as me needs to take a deep breath, shut off all distractions and spin the record again. Forget about the label, the reputation, and everything you know about this band. Empty your head. Don’t think of anything but the music that you are hearing, and the story that is being expertly sketched in front of you. This is what I had to do, and when I did that something happened. Something incredible.

Not only did I come around to this album, but it also literally knocked me over. By the time it got around to the climactic scenes near the end, I was so deep into the story that every line seemed to pierce into me–particularly the sorrowful howling of Stark in “Margaret in Captivity”. The album takes its time, pacing itself at moments when Meloy wants to show time passing within the story line, represented by instrumental tracks like the gorgeous “An Interlude” which occurs about halfway through the record. This is not a record that you can easily toss in and skip around, listening only to your favourite tracks. That is the brilliant trick of this album, but its also what makes it so hard to absorb–to get the full impact, it must be listened to from start to finish.

Much in the same vein as an opera or a modern musical, motifs are presented, restated, then altered. Sometimes these motifs are purely musical. For example, the evil characters (The Rake, the Queen, Margaret’s Father) are always featured alongside thick electric guitar riffs, which are never heard when the Fawn is present. Thematic motifs– like waves, which play a large part in the story’s imagery–are also presented throughout. “Wanting Comes in Waves” is one of the disc’s stand-out tracks, and portions of it are reprised no less than three times over the course of the album.

If I have one major qualm with this album it’s that it is mixed exactly like a boring, big-budget studio album. Some of the moments which should sound gigantic, raw, and dramatic come across as flat. Moments of extreme tension or crescendo seem to be offset by the fact that, for the most part, the album sounds as though its being held at the same volume no matter what is occurring in the music. The drums in particular are mixed completely level with each other and everything else, which means that often times they are either too loud or too quiet depending on the mood of the song. But for this, more blame is to be laid on producer Tucker Martine than on the band.

Hazards of Love is a beautifully told story. If you invest the time to get to know it, you may find yourself truly captivated (and a little heartbroken) when it all comes to an end. The songs are written with a great deal of care and thought; it’s clear that Meloy and crew took their time and attempted to make a record that would slowly unveil itself to the listener. Although it is not perfect and will not likely go down in history as a revolution in operatic indie-rock, there is something gentle, deeply sorrowful, and stirring about this effort.

4/5

http://www.myspace.com/thedecemberists

www.decemberists.com

A selection of photos from Miike Snow’s performance at the Biltmore Cabaret in Vancouver on June 15th. The lighting was very poor, and I didn’t want to put off the group with consistent flashing. But their performance was subdued just right in order to make their material work.

The crowd which started small ended up huge, and though some were confused as to how to react to the music, everyone appeared engrossed. Definitely a group to watch for.

Miike Snow Myspace

Williams Fitzsimmons “After Afterall” Video:

Also you can download the Mp3 for “If You Would Come Back Home” here

williamfitzsimmons.com
myspace.com/williamsfitzsimmons

WILLIAM FITZSIMMONS ON TOUR:
04/14 -The Parlour @ Southgate House – Newport, KY
04/15 – Garfield Artworks – Pittsburgh, PA
04/16 – Tin Angel – Philadelphia, PA
04/17 – Canal Room – The Tripwire Presents – New York, NY
04/18 – Vintage Vinyl – In Store Performance – Fords, NJ
04/18 – Nightcat (formerly Coffee East) – Easton, MD
04/19 – Towne Crier Café – Pawling, NY
04/20 – Jammin’ Java – Vienna, VA
04/21 – The Square Room – Knoxville TN
04/22 – Smiths’ Old Bar – Atlanta, GA
04/23 – WorkPlay Theatre – Birmingham, AL
04/24 – Tasty World – Athens, GA
04/27 – Proud Larry’s – Oxford, MS
04/28 – Juanita’s – Little Rock, AR
04/29 – Biliken Club – St. Louis, MO

Indie troubadour William Fitzsimmons’ first studio CD, ‘The Sparrow And The Crow’, will be released April 7th by leading independent label Downtown Records’ newly launched imprint, Mercer Street.

Fitzsimmons has a haunting sound that evokes references to Iron & Wine, Bright Eyes and Elliott Smith. His forthright album tells the true story of two people who didn’t make it: William conceived ‘The Sparrow And The Crow’ as an apology and a confessional to his former wife…and then set those words to music. The result is a hushed and heartbreaking collection of songs that charts a path from regret to reconciliation.

In a recent ‘A-’ review, BOSTON HERALD critic Kevin Convey described ‘The Sparrow And The Crow’ as “A Near Masterpiece”: Powerfully heart-wrenching and yet so delicate you fear a breath might blow it right out of the CD player, singer-songwriter Fitzsimmons’ chronicle of his divorce is a near-masterpiece. Recalling both the cornhusker folk-rock of early Joe Henry and the doomed intimacy of Nick Drake, “The Sparrow and the Crow” makes art and beauty out of tragedy without
selling the tragedy short – as you’d expect from a licensed therapist. It’s tough stuff, marred only by repetitiveness. But that does nothing to diminish Fitzsimmons’ artistic achievement, which is a huge and lasting.

From an underground, digital-only release last Fall, ‘The Sparrow And The Crow’, debuted at Number Two on the iTunes Folk Chart. Rave coverage followed, as William toured in support of his indie gem, and by year’s end, ‘Sparrow’ had become the #1 Folk Album of 2008 iTunes.

Fitzsimmons’ story is unique: his initial home-studio albums were made while he was simultaneously finishing up a graduate program as a Mental health professional, and it was only upon securing his Maters degree and becoming a practicing therapist that William returned to his burgeoning music career. Paste Magazine (which presented William’s recent tour) has lauded heavy praise on him, as has Billboard, and a wide variety of other press outlets. He’s also found his songs in demand in Hollywood, with tracks appearing on Gray’s Anatomy, Army
Wives and more…

Raised in Pittsburgh by two blind parents, and now based in Illinois, William grew up listing to his father’s orchestral records and to his mother’s collection of James Taylor, Joni Mitchell, Bob Dylan and Simon & Garfunkel. The influences of these seminal artists are left throughout ‘The Sparrow And The Crow’ Listen to a five-song streaming sample here: http://www.brickwallmgmt.com/williamfitzsimmons/

Check out the video for the first single off The Sparrow And The Crow – If You Would Come Back Home video

Dragon in Stiilletos - Dragonette live

She: Singer Songwriter, He: Bassist/Producer for ‘The New Deal’. They, met at a music festival – slept together at some point, started making music together at some point, he broke up with his, then girlfriend at some point, and they got married… at some point.

Joined forces with drummer Joel Stouffer and guitar player Simon Craig to form electro pop band “Dragonette”.

Recently on tour, promoting their first album “Galore”, I caught Dragonette at the Plaza. After checking them out online (their photos are amazing by the way) and listening to a couple of their tracks, I was hopeful that they would be better live. I don’t, not like them, but they’re not great. Lead Singer, Martina Sorbara started as a ‘Singer Songwriter gal’ and it’s easy to hear why. I love the timber of her voice. It’s so smooth and strong, really enjoyable. Her voice reminds me of Emily Haines from ‘Metric’ (as does their music) and Nina Personn’s from ‘The Cardigans’ – not bad company. Unfortunately however, I’d rather listen to The Cardigans and Metric than I would to Dragonette. Their electro pop provides nothing new, aside from maybe the great thought they put into their visual presentation, which in the end doesn’t carry the day. Dragonette is a decent band, with a decent sound – they definitely give ‘er, live, and they are all very nice to look at, but simply don’t quite cut it. They are just ok. I wouldn’t write them off completely after one album though, I have a feeling this band has the ability to evolve (Dan Kurtz did produce ‘Monarch’ one of Feist’s early albums) and if they hope to keep playing together, they better do so. After low sales Dragonette was dropped from Mercury Records in 2007 but still retains a deal with Universal. Their next album will give us an idea which direction this band might be headed…the curb? Or back on tour?

Ultimately, I’d rather listen to Metric.

The Pipettes

The Pipettes are a British indie pop group consisting of 3 gals up front on vocals and backed by an all male band named ‘The Cassettes’. They were started by drummer and DJ, ‘Monster Bobby’, when he realized the reaction girl group songs got during his DJ sets. The most impressive thing about the band though, is their look. The girls are beautiful, they always wear polka dots and they have a sexy, innocence thing going on, sort of like half Betty, half Veronica.

They successfully execute the choreographed moves, the doe eyes and the doo-wops. The Pipettes are a throw back to the 60s girl group era and are often compared to the Shangri-Las. But the Shangri-Las could be considered ahead of their time combining an innocent charm with a darker side during a period when women were supposed to be all smiles and sunshine.

The Pipettes

Ultimately, The Pipettes are fun but forgettable and I think they pretty much accomplish their goal, they make “simple, practical, music” – but who wants that?

by Erin Hanson

The opening slots in a night of guaranteed heavy, quality rock cannot be an easy spot to fill, especially when the crowd is clearly there for someone else, and you know you’re only going to be followed by a group as enigmatic as the atmospheric yet heavy psychedelic Japanese rock act Mono. But the Panthers pulled through and delivered an energetic set which guaranteed some newly converted fans.

Coliseum got things going first off in the night, which could not have been an easy spot to fill for an audience who was clearly wanting to be impressed. The band played songs from their new album “No Salvation” to a largely empty dance floor, but kept the volume loud and the tempo up to set the pace for the night.

The Panthers hit the stage next, to a once again clear floor. Their set started off solidly with their not-so-unique brand of catchy 70’s-esque metal. Yet as they entered seamlessly into their second song, the floor was crowding up again with those intrigued by what they were hearing. The music was heavy on the guitar riffs and predictable yet enjoyable bass lines to keep their tunes speeding forward. Drummer Jeff Salane’s high energy and mini solos would steal the spotlight occasionally and keep their sound interesting.

At one point, singer Jayson Green surveyed the timid audience largely hanging out in the back and happily commented: “I think it’s full… Vancouver, you got it together! That’s good!” The Panthers, hailing from Brooklyn, were clearly excited that they were getting a relatively warm reception, showing that they really do come by their music honestly. It was when they launched into Goblin City, their first single off their new album “The Trick” which truly won the crowd over; something which the band was very thankful for after a two-day drive from Minneapolis.

The Panthers’ live show has the full sound and energy which their recordings lack. And although the band will no doubt be constantly cursed by comparisons to Black Sabbath and Woflmother– during “Panther Moderns” I half-expected him to break out into Wolfmother’s “Woman”– the Panthers’ high energy and familiar yet addictive riffs give the audience a quality rock show, plain and simple. It may not be the most original thing you’ll hear or see, but the band members are clearly giving it their all, and their passion is contagious.

Original Article

Nestled somewhere between a chicken slaughterhouse and the prostitution district, you will find “The Sweatshop”, a little indoor
skate park found in East Van. Maybe not the best neighborhood for a romantic stroll, or any kind of stroll really, but definitely a great neighborhood for live music, especially if that music is metal.

I walked into “The Sweatshop” (and indeed it is, dress lightly or bring a change of clothes) the first band already in full swing, boys
on skateboards already with their shirts off, and my friend handing me an ice cold beer, the night was off to a good start.

The bands were loud and entertaining. Playing their first show in over a year, Dove Hunter blessed us with some electrifying psychedelic rock. As good as they are instrumentally, they could use a singer, and of course some more live shows under their belt. The next band was Jakartah, named after a city in Indonesia with the most crime activity worldwide…however they are not criminals, they seem like pretty nice boys from nice homes who happen to play hardcore music. They didn’t rock my world but obviously they are rockin’ someone’s world…signed to Torque records after being together for only 10 months, set to release
their debut album in September and hit the road in October…they have been busy. Apparently they have quite the fan base as well, but you wouldn’t know it judging by the turn-out. I think Dove Hunter had the biggest draw and although the crowd was amped, it was meager. Promoting and drawing a crowd in Vancouver is a tricky thing, but that’s a whole other article. The last band was “A Thousand year Plan”, definitely the most hardcore of all the bands. The singer, donning a button up shirt and dirty blonde curls, looked more like a cherub than the lead singer of a metal band. That’s one thing I like best about this band. All three members are unassuming dudes but as soon as they hit the stage they rock-the-fuck-out! It was good to hear some serious heavy metal from a local group that is garnishing some serious respect from musicians and metal heads alike. If you’re into metal, keep an eye on “Dove Hunter” and definitely check out “A thousand year Plan”.

Come support your local bands & venues: Jakartah will be playing a few shows in Van, before they go on tour – check their myspace www.myspace.com/jakartah – A Thousand Year Plan www.myspace.com/athousandyearplan – and Dove Hunter www.myspace.com/therealdovehunter

For more info on “The Sweatshop”: www.myspace.com/144940844

The Aggrolites

I can recall in vivid detail, the moment I first heard The Aggrolites. We were pulling onto the Santa Monica freeway somewhere
around 11:00 P.M., claustrophobic from the San Francisco to L.A. drive. Though on the verge of being stir – crazy, we were pumped, just an hour drive from the old stomping grounds. Give ‘Em The Boot IV; the latest compilation from Hellcat Records was churning in the stereo, and what comes rippling through the speakers? Dirty Reggae. It was pure jubilation, the windows went down, the volume went up, and something started burning. It was summertime and we were on vacation.

This last week I was once again afforded those splendid emotions, and not by coincidence, The Aggrolites were a major factor.

Though the So-Cal quintets’ self – titled release is not exactly brand new by time standards, it is in fact brand new to a significant
audience. Released in May of 2006, The Aggrolites was typically an on-line purchase. You knew what you wanted and where to get it. You liked Reggae Hit L.A. or maybe you (like me) picked up G.E.T.B. IV simply because you like a lot of what Hellcat puts out. Regardless 2007 saw The Aggrolites backing Tim Armstrong (Op. Ivy/ Rancid) on his solo debut, opening themselves up to a whole new audience and semi-mainstream availability. They do not disappoint! Having backed reggae legends along the lines of Prince Buster, King Terror and so many others, the band has street cred, this is not Snow trying to pass off Informer as real roots rock.

The Aggrolites- a name honoring both the Aggrovators and The Crystalites- happened almost by chance. Brian Dixon put together two line-ups’ in support of Derrick Morgan, one for the ska sessions and one for reggae. Somewhere along the line, Dixon asked the members of both camps if they’d like to continue touring. Thus a band was born.

Funky Fire kicks things off it’s this crazy, groovy, revival tune that really showcases frontman Jesse Wagner’s vocal ability (intense
yet soulful) and Roger Rivas’s aptitude on the keys. The feel good jam is followed directly by Mr. Misery, a down-tempo ode to some mystical dark figure with the powers to transcend emotion and task. These two tracks are easily the most powerful one-two punch on the album.

Listeners will notice some formidable influences, the late 60’s early 70’s revival sound so prevalent with Toot’s and the Maytals and the Wailers. Some critics have had the audacity to say these influences are too heavy. Amateurs. The only thing heavy about this album is the sound, and that is just the way I like it.

At 19 tracks, the album is not light on content. Other notables in rotation include the country funky Countryman Fiddle, a twangy ditty about a boy and his grandfather sharing the joy of song. Introducing one another to new sounds and new generations. Lightning & Thunder clocks in a soulful salute to the impoverished of the world and at the same time, a scathing warning to those who have it all. Prisoner Song is a classic waiting to happen. Its’ deep organ groove, flows seamlessly with the punk lyrics and introspection.

Also included on the album are six instrumentals, again some critics have had the gumption to call it filler. I don’t see it that way. All you have to do is listen to tunes like Grave Digger or 5 Deadly Venoms to appreciate the melodic arrangement. The tracks are well placed and don’t drag, pairing perfectly with the overall sound.

Thoughtful and emotional, the album should sell well in several different circles. Reggae purists will respect it. Punks will buy it
(everyone needs some down time) and your girl will love it. It’s the perfect soundtrack for your soul summer.