AWESOME!!! So i saw Camera Obscura a few years ago when they played at Opera House. And this time around they put on a equally awesome show. Tracyanne Campbell's voice is so incredibly clean, and in a venue like lee's it sounds incredible. They played mostly songs from their new album, My maudlin Career. But they did play Books written for girls <3 They don't put on much of a visual show, except for the Extremely cute dresses! But the thing Camera Obscura brings to a live performance is stage presence and talent. (They did mis-start one song near the end, not that anyone cared) They are incredible to watch, the way they play is a a happy thing to watch.
They ended with a three song encore. i didn't recognize the first song but the second song was Hey Llyod, I'm ready to be heartbroken. Which is one of my favorite songs! I was pleased.
4/5
Sunday, June 28, 2009
Wednesday, May 27, 2009
Mean Red Spiders
Sneaky Dee's
May 15, 2009
There are some Toronto bands (ahem... SIANspheric) that test your patience significantly more than others.
A long seven years have passed since the Mean Red Spiders released Still Life, Fast Moving, but it seems as though they're finally on the verge of a new album; their MySpace is unusually active and the frequency of their shows has increased (to two or three a year, up from none).
On this night at Sneaky Dee's, the layers of rust were evident. The Spiders are slowly getting back into game shape but a few of the new tracks they hauled out were performed dreadfully. It's likely the songs will improve with practice (and also that they'll sound much better on disc). There were a few instances of reclaimed glory, mostly during old tracks that were dominated by washes of guitar army feedback. They can still do loud as well as anyone.
Shoegaze in Toronto has been sorely lacking bands like this over the last few years. If they can get their shit together, they have a chance to resurrect alt.rock in this town.
(2.5/5)
A long seven years have passed since the Mean Red Spiders released Still Life, Fast Moving, but it seems as though they're finally on the verge of a new album; their MySpace is unusually active and the frequency of their shows has increased (to two or three a year, up from none).
On this night at Sneaky Dee's, the layers of rust were evident. The Spiders are slowly getting back into game shape but a few of the new tracks they hauled out were performed dreadfully. It's likely the songs will improve with practice (and also that they'll sound much better on disc). There were a few instances of reclaimed glory, mostly during old tracks that were dominated by washes of guitar army feedback. They can still do loud as well as anyone.
Shoegaze in Toronto has been sorely lacking bands like this over the last few years. If they can get their shit together, they have a chance to resurrect alt.rock in this town.
(2.5/5)
White Cowbell Oklahoma
Horseshoe Tavern
April 10, 2009
This was without a doubt the most disappointing White Cowbell Oklahoma show I've attended (and there have been many).
Their showmanship was at an all time low, thanks in no small part to the departure of frontman The Sergeant. Several other Cowbell ‘musts’ were noticeably absent; there were no strippers, no costumes and no chainsaw. Most of this band's transgressions can be forgiven, but when they don't even haul out the Husqvarna for their traditional mid-set saw-fest, it's like there's a completely different group on stage.
Of all the shows to half-ass, why your CD release party? The music was decent (though not up to their usual standards) but the bombastic spectacle was completely missing. Their one redeeming gesture, aside from crafting a pretty wicked new album (Bombardero) was to offer up free shots of Jagermeister to pretty much everyone in the audience.
(2/5)
Their showmanship was at an all time low, thanks in no small part to the departure of frontman The Sergeant. Several other Cowbell ‘musts’ were noticeably absent; there were no strippers, no costumes and no chainsaw. Most of this band's transgressions can be forgiven, but when they don't even haul out the Husqvarna for their traditional mid-set saw-fest, it's like there's a completely different group on stage.
Of all the shows to half-ass, why your CD release party? The music was decent (though not up to their usual standards) but the bombastic spectacle was completely missing. Their one redeeming gesture, aside from crafting a pretty wicked new album (Bombardero) was to offer up free shots of Jagermeister to pretty much everyone in the audience.
(2/5)
Akron/Family
Born Ruffians
Sneaky Dee's
March 24, 2009
It's a little out of the ordinary to see Born Ruffians opening a Toronto show. It's indicative of the level of respect that Pennsylvania trio Akron/Family have accumulated in the music community.
The realization that Akron/Family are one of the Born Ruffians' most noticeable influences came to me in a backwards sort of way, only after the two bands took to the same stage on the same night. Though I'd heard both groups' new albums, I hadn't realized until this evening that they had so much in common. While the majority of Akron/Family's tunes are blissed out space jams or thoughtful folk, they do have a few tracks in their repertoire that sound eerily Born Ruffians-like—bouncy and ebullient. More correctly, it should be said that the Born Ruffians have developed a sound that's eerily similar to the Akron/Family's.
Sonically, Born Ruffians were a little lackluster—possibly due to the Sneaky Dee's sound system (they're used to playing in places like the Opera House)—but they put forth an admirable effort, and for the majority of their set, had so many people dancing that the floor felt ready to give way.
Akron/Family caused some dancing of their own, but more often had audience members agape, staring in awe. On most songs, they vacillated between quiet-as-a-mouse strumming and deafening guitar assault. They frequently extended the ends of tracks into unknown territory; the first five songs of their set must have lasted a collective hour.
Their new disc, Set ’Em Wild, Set ’Em Free is a solid collection, but an Akron/Family live performance is something that will never be duplicable on disc. They are undoubtedly masters of their craft.
(4.5/5)
The realization that Akron/Family are one of the Born Ruffians' most noticeable influences came to me in a backwards sort of way, only after the two bands took to the same stage on the same night. Though I'd heard both groups' new albums, I hadn't realized until this evening that they had so much in common. While the majority of Akron/Family's tunes are blissed out space jams or thoughtful folk, they do have a few tracks in their repertoire that sound eerily Born Ruffians-like—bouncy and ebullient. More correctly, it should be said that the Born Ruffians have developed a sound that's eerily similar to the Akron/Family's.
Sonically, Born Ruffians were a little lackluster—possibly due to the Sneaky Dee's sound system (they're used to playing in places like the Opera House)—but they put forth an admirable effort, and for the majority of their set, had so many people dancing that the floor felt ready to give way.
Akron/Family caused some dancing of their own, but more often had audience members agape, staring in awe. On most songs, they vacillated between quiet-as-a-mouse strumming and deafening guitar assault. They frequently extended the ends of tracks into unknown territory; the first five songs of their set must have lasted a collective hour.
Their new disc, Set ’Em Wild, Set ’Em Free is a solid collection, but an Akron/Family live performance is something that will never be duplicable on disc. They are undoubtedly masters of their craft.
(4.5/5)
Tuesday, March 17, 2009
The Golden Dogs
Dakota Tavern
February 18, 2009
The Golden Dogs used to put on fun shows. It may have been the location, or perhaps they were a little rusty, but this performance—the third of a four-night residency at the Dakota—was more than a little depressing. Things started well, with "Birdsong" from their Everything In Three Parts disc (they start every show with that, or with "Dynamo"), but from that point forward, things went steadily downhill. At least half of the songs were new material and their quality was worrisome. Dave Azzolini has said there'll be significant tempo shifts on their new disc, and that was definitely evident in their stage show. The majority of the songs they played were excruciatingly plodding, and seemed at times to be moving in slow motion. They can do a whole lot better than this. Let's hope that the magic isn't gone for good. The only plus that emerged from the night, was opener Zeus. Their debut disc should be hotly anticipated.
(1.5/5)
(1.5/5)
Monday, March 16, 2009
Bishop Allen
El Mocambo
January 17, 2009
Bishop Allen have done some serious growing up since Charm School.
The duo's 2003 debut was about as saccharine as a bubble gum pop album can get, but things started to change as they embarked on an EP-a-month project, three years later. Some of that adventure's more austere tunes made it onto their Broken String album in 2007, and it was like a completely different band had showed up to record.
March's release of their third full-length, Grrr... took that solemnity to new heights. It was this plaintive new Bishop Allen that showed up for their show at the El Mo—date one of a two-day tour that landed the band in Toronto, then Montreal.
Their new material is definitely more suited for the stage than for disc. On first spin, Grrr... comes off as a little boring, but its live translation—with full band backing—taps into the same kind of power that made The Broken String great.
They rattled off several tracks from each of their last two albums (Charm School was noticeably ignored) and closed the night with their epic "Flight 180." "The Monitor" was a definite highlight as well.
They weren't mind-blowing, but they definitely weren't disappointing.
(3/5)
The duo's 2003 debut was about as saccharine as a bubble gum pop album can get, but things started to change as they embarked on an EP-a-month project, three years later. Some of that adventure's more austere tunes made it onto their Broken String album in 2007, and it was like a completely different band had showed up to record.
March's release of their third full-length, Grrr... took that solemnity to new heights. It was this plaintive new Bishop Allen that showed up for their show at the El Mo—date one of a two-day tour that landed the band in Toronto, then Montreal.
Their new material is definitely more suited for the stage than for disc. On first spin, Grrr... comes off as a little boring, but its live translation—with full band backing—taps into the same kind of power that made The Broken String great.
They rattled off several tracks from each of their last two albums (Charm School was noticeably ignored) and closed the night with their epic "Flight 180." "The Monitor" was a definite highlight as well.
They weren't mind-blowing, but they definitely weren't disappointing.
(3/5)
Wednesday, December 10, 2008
Mercury Rev
The Opera House
December 9, 2008
If you were there, you know why this was probably one of the best shows of the year. If you weren't there, do yourself a favour and pick up their 1998 disc Deserter's Songs, make sure you see them the next time they're in town, and then we'll talk.
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