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Music

Random Recipe cook up a unique musical infusion

For Random Recipe, the ‘90s represented a time where the love of vinyls and the appreciation for physically and culturally diverse music reigned supreme in Quebec. It was also a period where the standards and qualifications to be considered a Quebecois artist were not as important as the spirit of the music itself. Musicians have always felt a certain attraction to the city of Montreal, a city that prides itself on being a colourful tapestry woven together by innumerable cultural heritages. As of late, questions of cultural identity have caused tension, and in some cases, full-blown outrage not only in minority communities, but in the artistic community as well. For Random Recipe, the matter—literally—hits close to home.

Montreal-based quartet Random Recipe launch their new album Kill The Hook on Oct.8. Photo Jerome Nadeau

“For most people I know 2012 was shit, you know, it was horrible,” said Frannie Holder, one of the vocalists and guitarists for the Montreal band, “The Mayans had predicted the end of the world but it was actually an end of a cycle.”

After doing close to 200 shows to promote their first album, the band was unsure of the direction in which they were headed.

“We just kind of wondered if we would do another album or not just because we’re so, so, so different. [We] have different personalities, characters and ambitions and influences and writing this album was so difficult and there was a big ball of tension in the air and in society in general,”said Holder.

In order to proceed as a group, Random Recipe allowed themselves a brief period of personal, and social reflection before heading to the studio to produce their latest work Kill The Hook, out Oct. 8. “It’s more grounded and focused and just more bold […] we knew what we were doing this time around compared to last time,” said Holder.

With a sound that is nearly impossible to classify, Random Recipe drew inspiration from almost every genre under the sun. Influences for the album ranged from The Flaming Lips to Santigold, to create a unique sound.

“It’s a mix of everything that we like at the moment. Definitely a little bit of hip-hop, a lot of pop with indie in it, indie sound, a lot of references to the ‘90s from the grunge aspect of it to the boy band aspect of it,” she said. “I’d like to say it’s like CocoRosie meets the Beastie Boys or Santigold and I don’t know, SBTRKT [pronounced Subtract].”

A self-proclaimed fan of Swedish ‘90s band Ace of Base, Holder claims that the band “was a huge influence throughout this album.”

All four members of the band have such distinct styles and personalities that it was difficult for them to reach collective decisions at times. Despite any artistic differences, the band agree on the fact that their style will never be stagnant allowing their sound to be an amalgamation of multiple genres.

Being based out of Montreal since the band’s inception back in 2007, the city has had an enormous influence on Random Recipe. “Montreal is just such an interesting city,” said Holder.

After indulging her wanderlust by venturing off to South America and Asia, travelling “really puts into perspective where Montreal fits in the whole world in a way,” she said.

“I think Montreal is just one of the most interesting, and flamboyant and effervescent cities in the world for its art and its attitude, its music scene, its restaurants, whatever, at the same time we’re just so stuck in this stupid identity discourse and we’re lost in it.”

For the past year, Montreal and Quebec as a province have been struggling with what it means to be a Quebecois. And for Holder, a Quebecois musician, feels that instead of wasting time and money trying to get rid of individual identity and culture, Holder believes we should be investing it in the education of cultural and religious tolerance and acceptance.

Since the band does not have strictly French lyrics in their songs, they are not technically eligible to receive specific government grants and funding for their art.

“It’s not Anglos versus Francos, that’s just so, so, so sad,” said Holder.

Despite recent attempts by the government to improve funding for the arts in Canada, many limitations still exist.

“It’s beautiful that they want to focus on arts, that they want to put arts ahead, they want to put culture ahead. That’s how you feel a culture, through its music, its arts, its literature, its how you feel what the province or a nation is,” said Holder.

Instead of just throwing money at the arts, the government should be finding ways to put long term plans into action.

“I’m a true believer of long time change; you can’t do anything short term.”

Having toured countless countries with the band, Holder has noticed just how universal music really can be. A performance in Iceland sticks out in the Montrealer’s mind: “You literally felt like you were on another planet,” she said. “It’s just a very intriguing and beautiful culture.”

Being a Louisiana native, Holder enjoys going back down to the U.S. to perform. Recently, Random Recipe played the South by Southwest Music Festival in Austin, Texas and were completely blown away by the city. For Holder, the festival and the city were like another world of cultural and musical freedom within the more traditional, conservative Texas state lines.

Whenever she feels it will be time to hang up her guitar, Holder would love to take all of her musical knowledge and impart it on younger generations by being a high school teacher. “I really want to teach in high school one day when I’m sick of touring and being an asshole on stage,” she laughs.

Technology has allowed consumers to get their latest musical fix instantaneously with the Internet.

“Everyone has such small attention spans,” said Holder. Because of this, “music doesn’t get to live as long as it should because we are so distracted.”

With this in mind, Random Recipe will be offering their latest release Kill The Hook on vinyl as well as through electronic purchasing.

“There’s depth in it […] you’re closer to the feeling that the band really wanted to give, and you spent so much time trying to choose what sound and what EQ and what distortion and what reverb, then it just gets lost in your speakers of your stupid iMac and it has no bass and no this and no that,” she said.

Vinyl records “are an art object for a lot of people,” said Holder. “Music, for a lot of people is entertainment, it’s a distraction.” The physicality of listening to music is disappearing because of the Internet, according to Holder. Now, with the resurgence in vinyl popularity, people are starting to appreciate it again for the act, and not making it just a background sound. For Holder, “the action and the ritual of taking out a vinyl and putting it on the turn table and sitting down,” should be the action or event all on its own.

“Try to go back to when you were teens or you were kids and you loved an album. And whatever the album is, try to listen to whatever you’re listening to these days and try listening to that, in that way, with that love.”

Random Recipe will be performing Oct. 8 at Cabaret la Tulipe.

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Music

Sampling the psychedelic 70s

Don’t let the charming decadence of the name Lilacs & Champagne seduce you into thinking that tuning in will be an easy listening experience – on the contrary, indulging in the sample-heavy duo’s product provides the listener with some of the dankest, impurest stuff on the market today.

Lilacs & Champagne play Il Motore on Sept. 17. Photo by Eliza Sohn.

“The friendliness of the name helped sell us on it, because that’s kind of what its not,” said Emil Amos, partner in crime of Alex Hall, who comprise the duo. “It’s trying to slip a pill into your drink – you’re drinking this saccharine thing, but there’s an insidious drug waiting behind it.”

Sure as shooting, Lilacs & Champagne tries – and succeeds – to crawl under your skin and stay there. Both their self-titled debut album as well as Danish & Blue, which dropped this past April, serve up the unlikely atmospheric mix of the sinister and the playful, which manage to coexist perfectly under the umbrella of influence that is ‘70s rock and psychedelica.

Harking back to the past and paying homage to its vibe, whether it be via their samples dating back decades or the availability of their albums as LP’s, is the group’s joie de vivre.

“You could say it’s almost a device,” said Amos. “Unfortunately, in the end of the ‘70s, when analog equipment was at its very height and records had never sounded as beautiful as they did, digital technology came in and destroyed this incredible language – this totally amazing, intricate, mysterious language that human beings had written and sculpted.”

In order to artfully resurrect what Lilacs & Champagne regard as a period of auditory mastery, Amos and Hall regularly make a sport of digging through record shop stock, looking for “the most embarrassing pieces of music that people have made in the last century, where they accidentally show a piece of their soul that they didn’t even understand they were revealing.”

These hand-picked samples then become both the sculptor and the sculpture itself as they are delicately worked into each and every track. Much like the limitations imposed by preconceived notions of what sounds good on piano, guitar, and drums in a regular recording environment, sample-based records dictate an entirely new cocktail of limitations that an artist must accommodate.

 “A lot of people assume it’s easier working with samples, but it’s that much harder to defy the initial purpose of what the sample was trying to do,” said Amos. “Trying to build smaller clips into a new tapestry and iron them out into a cohesive composition could very well take you more time than writing something on guitar and bashing it out.”

The resulting content is as impure as it is soothing, and as eerie as it is rewarding to figure out for yourself. From the unfamiliar sounds of obscure Scandinavian pornography, underground films from their preferred era, and the twangy, seductive remains of what may have once been a Bollywood track, samples make up the skeletal structure of Lilacs & Champagne.

 “It’s an attempt to recapture the spookiness that music can convey, the particular kinds of experiences that you’ve had in the past,” said Amos. “That music that you heard wafting out of your uncle’s porn den when you were a kid that was so soft and so cheesy, or the music that your neighbour was ODing to next door. We’re trying to reclaim these things you thought were scarring, strange, and slightly insidious. You have to go to the ‘70s for that feeling.”

 Revisiting fuzzy, dreamy memories of yore and throwing them back in everyone’s face decades later is Lilacs & Champagne’s way of gently nudging the modern music world towards a curiously surreal, oddly dreamlike time – and jogging willing listeners’ minds while they’re at it.

“We’re trying to create a discomfort in that little area where darkness and sense of humour meet in the middle,” said Amos, “and make it weirdly fun to listen to so that you want to hear it again and again.”

Lilacs & Champagne play Il Motore on Sept. 17.

 

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Music

Pumpkins Rock the Bell Center + Photo gallery

The Smashing Pumpkins brought Oceania to Montrealers of all generations at their Bell Centre show on Sunday night. The Pumpkins’ last Montreal appearance was at the Osheaga music festival in 2007.

The Pumpkins started their performance with “Quasar”, the first track off their newest album, Oceania. The first half of the concert was dedicated to performing Oceania in its entirety, playing songs like “The Chimera” and “Pinwheels”, which are reminiscent of the band’s earlier work. The band finished their performance of Oceania with the melancholic, yet beautiful “Wildflower”.  Throughout the performance, surrealist images were projected on a large sphere behind the band and blue and red lights flickered on the stage.

The second part of the concert kicked off with The Pumpkin’s cover of David Bowie’s “Space Oddity”. Lead singer Billy Corgan conversationally interacted with the crowd, confessing:  “I’m known for my honesty”, telling the crowd that Montreal was the best crowd on their tour.

Songs like “Today” and “Disarm” charmed fans and had them hollering Corgan’s signature poetic lyrics at the top of their lungs. The Pumpkins merged their pre-2000 hits into a string of musical bliss, keeping fans in anticipation of which song was next.

The band initially finished their set with “Stand Inside Your Love” and “Muzzle”, but soon returned on stage due to the crowd’s loud insistence. Their encore featured “Ava Adore” and the signature rock songs “Cherub Rock”and “Zero”, which had the crowd jumping and singing.

Photos by Natasha Taggart.

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Music

Dragonette does no less than impress

Dragonette visited Montreal on Oct. 19. Press photo.

 

I first saw Dragonette on their fall 2010 tour at the Cabaret Mile End. I remember walking up the stairs to the club’s ticket booth with a friend and tugging at the sleeves of my blazer in anticipation of the show. It ended up being one of the best concert experiences of my life.

When Dragonette performed at the Corona Theatre last Friday night, standing next to that same friend two years later, I was reminded of how much fun can be had at a live show. The band opened with “I Get Around” from their debut album Galore and kept the tempo up for their one hour and 15 minute set. They could’ve played every song they’ve ever written and the crowd would have still have sung along to every word.

The band’s third album Bodyparts was released three weeks ago and songs like “Riot”, “Live in the City”, and “Let It Go” were performed, along with their Kaskade collaboration “Fire in Your New Shoes” and Martin Solveig’s “Hello”.

Lead singer Martina Sorbara’s energy was contagious as she moved across the stage, and the lighting was perfect for a crazy dance party. Before the night was over, Sorbara performed the Bodyparts bonus track “Cuckoo” a cappella, showing off her vocals and proving that Dragonette isn’t just some average dance-pop band.

Photo by Michelle Pucci.
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Music

Wintersleep, from small-town Canada to big-stage fame

Wintersleep. Photo by Scott Munn

The year was 2001. Four Nova Scotia natives frequently gathered to jam on the fifteenth floor of a decrepit and somewhat forbidding high-rise apartment building. “The architect actually jumped off the top,” recalled Loel Campbell, who mans the drums. “He put a pool on top of the building that couldn’t actually hold water. If you put water in it, it would compromise the entire structure.” It was this underwhelming fixer-upper was to be the birthplace of arguably one of the most successful musical groups to hail from the Maritimes: Wintersleep.

Wintersleep, which also consists of Michael Bigelow, Tim D’Eon, Jon Samuel, and Paul Murphy, is recognized as an indie-rock band — however, Campbell disagrees with the notion of limiting their musical spectrum to one category.

“I think we definitely drift around in terms of style,” Campbell said, recalling one instance in which the band was pegged as Celtic post-rock. Their Myspace page brands their genre, equally obscurely, as German pop/soul. “I just call us a rock band, simple,” said Campbell.

The group’s name stems from the German translation of ‘hibernation.’ “The band started as a side project, so we thought that it was an apt title, because [Wintersleep] was something that we were doing on the side,” Campbell said. Originally, the moniker was meant to be a metaphor; however, while their sound has evolved since the band’s inception, Campbell claims “it still feels like a proper image to attach to the music.”

From emotion-heavy slow jams to dynamic up-tempo tunes, Wintersleep has touched on countless areas of the rock scene. The band’s self-titled first record is “very stripped down” and raw, according to Campbell— a reflection of each member’s progressive-rock background and the first step towards finding a collective voice. On Untitled, the band’s second album, the same heavy sound resonates, this time interspersed with “longer, punchier rock songs.”

Welcome to the Night Sky saw the addition of producer Tony Doogan — known for creating rock-heavy material — as well as a resulting sense of balance, power, and consistency in Wintersleep’s sound. Their fourth record, New Inheritors, is “definitely a rock band kind of record,” Campbell said. Written quickly on the road in the confines of a dingy rehearsal space, the limited resources set the tone for the resulting sound.

Hello Hum, released in June 2012, is the most vibrant and energetic album yet, thanks to the hiring on of co-producer Dave Fridmann of MGMT and Flaming Lips fame. “He was always the one who said, ‘play it faster,’” Campbell recalled. “I’m very happy with the result. It’s been this natural progression. We’ve become better musicians over time.”

As a band rooted in Canada’s East coast, Wintersleep effortlessly puts forth a human edge. “We were making music because we didn’t want to play sports,” Campbell said, compared to groups originating in the big city with “the industry side of music in mind.” Not having grown up in an atmosphere where bright lights and loud sounds are paramount, Wintersleep exudes a band-next-door feel. You can take Campbell’s word for it — they’ll never have pyrotechnics onstage.

 

Channeling Wintersleep’s humble nature, he asserts that there is no pivotal moment during which the band felt it safe to declare itself wholly successful.

“It’s always a struggle,” said Campbell. “Every night that we play a show, I think, ‘This is where I should be.’ But I constantly self-doubt and worry. I don’t think that, in today’s climate, you can make it to some sort of [invincible] place. I don’t even want that.” If anything, the release of Welcome to the Night Sky, the band’s third studio album, marked a monumental time in Wintersleep’s career. Ever since the album came out in 2007, touring has become a full-time commitment, and the performers haven’t looked back.

The 2008 Juno Awards saw a win for the band in the “New Group of the Year” category, placing them among the ranks of past winners likes of Bedouin Soundclash and Alexisonfire. While having a Juno under their belt allowed Wintersleep to gain publicity, “the main thing was that it validated what we were all doing for our parents,” said Campbell. “They were really proud of us.”

Despite its deceiving facade, Wintersleep has since opened for many household names, such as Paul McCartney and Pearl Jam.

What does Wintersleep have in mind for its listeners? “I hope people can relate to [the music],” said Campbell. “We try to keep things ambiguous when it comes to explaining meanings behind songs, because it’s always awesome when people take away their own interpretation. It can instantly change my day, always for the better. I hope that people can have similar experiences with some of our music. And hopefully they can dance to it sometimes,” he said with a laugh. “Dancing is good.”

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Music

Jack White; a diva no more

“Jesus Christ, is this an NPR convention?” asked White before cutting his set short last Saturday in New York City, three days before he appeared at Montreal’s L’Olympia. Despite technical problems and the negative press detailing White’s ‘diva-tude’ behaviour, he didn’t fail to impress the Montreal crowd.

Eager to see whether White would enter the stage with Los Buzzardos, the all-male band, or The Peacocks, his all-female band, the lights dimmed and the crowd erupted in cheers. White and Los Buzzardos began playing The White Stripes’ song “Dead Leaves and the Dirty Ground.”

The sound immediately electrified fans, but as soon as White walked up to the mic, it became obvious that something was off. The music level was much higher than the vocals, making it virtually impossible to hear White sing.

Press photo.

Throughout the ninety-minute show, White played songs from his entire repertoire. He performed tracks that he wrote with The Raconteurs, The Dead Weather, a few songs from his solo debut Blunderbuss, and a song he wrote with Hank Williams, “You Know That I Know.”

But his White Stripe hits proved to be the most memorable. The closing song “Seven Nation Army” was both electric and delicate, causing the most powerful reaction from fans.

It’s no surprise that the crowd was so enthusiastic about White, for he lived up to his reputation and shied away from gimmicks to produce an honest-to-God rock show. This concert was, without a doubt, a riveting musical experience.

 

 

 

Top five Jack White tracks

 

1. “Seven Nation Army” – White Stripes – Elephant

It is near impossible to have lived through the 2000s and not recognize the signature “Seven Nation Army” guitar riff. It sounds like a bass, but was the sound was actually created by running White’s semi-acoustic guitar through a DigiTech Whammy pedal set down an octave.

It was adopted as the unofficial anthem of A.S. Roma, an Italian football club based in Rome, during the 2006 World Cup. Nowadays crowds chant the lyrics to “Seven Nation Army” instead of the traditional Olé, Olé, Olé. “I’m gonna fight ’em off/A seven nation army couldn’t hold me back/They’re gonna rip it off/Taking their time right behind my back.”

 

2. “Portland, Oregon” – Loretta Lynn & Jack White – Van Lear Rose

After being M.I.A. for about ten years, country pioneer Loretta Lynn returned to the studio with White to release 2004’s Van Lear Rose. White lent vocals, guitar and produced the record — which later won the Grammy Award for Best Country Album.  “Portland, Oregon” is the album’s only duet and serves as their ode to the city that bewitched them as touring musicians. Its music video juxtaposes footage of America’s ‘weirdest’ city with White and Lynn performing in a dive bar, and lets you to peer into the relationship the two developed working closely together. “Well I lost my heart it didn’t take no time/But that ain’t all/ I lost my mind in Oregon.”

 

3. “Icky Thump” – The White Stripes – Icky Thump

“Icky Thump” is the title track of The White Stripes’ sixth and final album. Though it was released in 2007, the pair didn’t announce their separation until 2011. After 13 years together, they called it quits for a “myriad of reasons, but mostly to preserve what is beautiful and special about the band.” The album returned to the heavy, snarky rock found in their earlier releases. The title track, “Icky Thump”, features one of White’s only political references. It deals with immigration to the United States, with both the song’s lyrics and music video detailing how easy it is for someone to cross the border into Mexico, yet near impossible to get back into the US. “White Americans/What? Nothin’ better to do?/Why don’t you kick yourself out/You’re an immigrant too.”

 

4. “Blunderbuss” – Jack White – Blunderbuss

Though White had been bouncing from one project to the next for a decade, he didn’t release solo material until 2012. And that’s because Blunderbuss was a record that he couldn’t release until now. He told Rolling Stone, “I’ve put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas.” The title track is a country-rock piano ballad, and appears to address his former bandmate and ex-wife, Meg White. “And you’ll be watching me, girl/Taking over the world/Let the stripes unfurl/Gettin’ rich singin’ poor boy/Poor boy.”

 

5. “Steady As She Goes” – The Raconteurs – Broken Boy Soldiers

The Raconteurs formed after White bonded with an old friend, Brendan Benson, in an attic on a hot summer’s day. Cooped up, the pair wrote “Steady As She Goes” and were inspired to make things official. With the addition of Jack Lawrence and Patrick Keeler of The Greenhornes, The Raconteurs called themselves “a new band made up of old friends.” This track is White’s most mainstream effort and the closest he has ever gotten to pop. The song has been covered by Adele, Corinne Bailey Rae, Fitz and The Tantrums and was nominated for the Best Rock Performance Grammy in 2007. “Settle for a girl neither up or down/sell it to the crowd that’s gathered round/so steady as she goes.”

 

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Music

Ben Howard melts hearts in Montreal

Photo courtesy of Victoria McInnis.

Ben Howard, the UK’s as-of-yet hidden gem, played a soul-shattering concert at Metropolis Sunday night. Before Ben Howard took the stage, Louisiana native Gill Landry warmed up the crowd with his sweet melodies and charming southern drawl.

Cheers echoed throughout the venue as Howard and his band took to the stage. A lone yellow spotlight graced the background and mist obscured most of the stage. Howard opened up the show with a new song and followed it with one of my personal favorites, “Black Flies.” He played songs from his debut album Every Kingdom, delivering unforgettable performances of hits like “Only Love” and “Old Pine.” Songs like “Wolves” and “Diamonds” incited heavy audience participation.

The show felt like a private, intense jam session; almost giving the audience an all-access pass to raw, uncut musical brilliance. Howard attempted to converse with the audience in French, but he confessed that his French was quite “abysmal.”

As the band left the stage, an explosive demand for an encore erupted. Shrieks and stubborn foot-stomping called them back to the stage, delivering what was the best performance of the night. Howard started playing “Depth Over Distance,” and soulfully crooning “darling, I’d go blind for you” as he played his guitar, wowing the audience with clawhammer technique. He concluded the evening with “The Fear,” leaving the crowd satisfied and anticipating his next visit to Montreal.

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News

When it rains, it pours

The concert to wrap up the Concordia Student Union’s two-week long Orientation ended early due to thunderstorms Friday evening, Sept. 14.

The concert for accessible education featured BadBadNotGood, KRNFX and Azari and Ill in the Loyola Quad. The CSU sold bracelets for a dollar donation to contribute to the bursaries.

Azari and Ill never took the stage because of a windy, torrential downpour that forced undergraduate students to take cover underneath the tents that sold food and beer around 9 p.m. The CSU decided to end the concert early and told students to go to The Hive or board the shuttle busses waiting outside the Quad.

CSU President Schubert Laforest confirmed that approximately 810 students came to the concert, which is significantly smaller than previous concerts organized by the CSU. In 2011, approximately 1,500 to 2,000 students gathered for the free show featuring Stars and Mother Mother. In 2010, more than 2,500 students showed up to see K’naan perform at the Quad despite the rain.

“Our main concern was the weather,” said Laforest.

Nicolas Abou, a Concordia undergraduate student at the John Molson School of Business, felt the music was good but the closing event could have offered more.

“I like that it’s outdoors and that the music is not bad,” said Abou, “but I expected to get more.”
“Overall though, it was cool,” added Abou.

Riikka Aspergen, an international student from Finland, attended the concert but left when it started to rain. Aspergen expected a larger crowd but thought the reason for the small turnout was due to the weather or the musical artists headlining the event.

“I thought there would be more people,” said Aspergen. “I don’t know if it was because of the rain or the bands.”

“The atmosphere was okay at first but the rain pretty much ruined the evening,” explained Aspergen.

CSU VP external Simon-Pierre Lauzon, who sold tickets for food and refreshments, was pleased with the number of undergraduates that came to the Loyola Campus on a Friday night. Lauzon echoed Laforest’s sentiments, looking on the bright side, despite the rain.

“I had low expectations,” said Lauzon. “So I’m happy with how this turned out.”

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Music

The Concordian’s Picks of POP!

Photo courtesy of POP Montreal

POP Montreal is much more than a music festival, it is pure extravaganza.

For five days, Montrealers take their pick of (free!) vintage, art and craft fairs, film screenings, fashion shows, industry panel discussions and live music galore. The number of events POP has managed to pack in this year is overwhelming.

You can examine the entire lineup and build your own festival at POPMontreal.com. But if you want to make the most out of it all, here is what we recommend:

 

Wednesday, Sept. 19

POP Symposium, the festival’s discussion/educational branch, kicks off with ‘A Radical Re-Imagination of Music In Canada.’ Head to Quartiers POP (3450 St. Urbain) at 4:35 p.m. to listen to Caila Thompson-Hannant (Mozart’s Sister), Tim Hecker and others discuss the immense impact Canadian artists have had on the music industry in the 20th and 21st centuries, and why.

If your wallet is looking limp, go to La Tulipe at 8 p.m. to see Stars, Eight & A Half and Diamond Rings, free of charge. Those with the POP festival wristband or cash to spend should really be at Il Motore by 10 p.m. for Wild Nothing and DIVV. Both bands released two of the most critically acclaimed albums of the year. If you’re doing it all, make sure to check out up-and-coming songstress Kandle at La Sala Rossa at 9 p.m.

 

Thursday, Sept. 20

The real industry dweebs can get an early start at 12:15 p.m. with the ‘Music (Sync) Replacement’ discussion at Quartiers POP. Tony Scudellari, the V.P. of Sony Pictures’ TV Music Creative Group, and other members of the music industry elite will discuss the everyday importance of sync and licensing in their work.

Believe it or not, another free POP show, this time featuring Mozart’s Sister, Born Ruffians, Yacht Club, and a bbq, starts at 1 p.m. at Parc De La Petite-Italie. Those of you with tickets to Grimes and Elite Gymnastics should head to Club Soda by 8 p.m., if not (it is SOLD OUT) make your way to Parlovr and PS I Love You at Le Divan Orange. If you’d rather support some new talent, head to Quai des Brumes at 9:30 p.m. for The Belle Comedians.

If you want to end your night in sweat, head to the Austra and Doldrums DJ set at Balattou at midnight or to Peaches at Salle Little Burgundy.

 

Friday, Sept. 21

Insomniacs and those who played POP hookey the previous night should be able to get up and take advantage of the POP discussions monopolizing most of Friday’s daylight. At 11:30 a.m. check out ‘Grants and How to Get Them’ at Quartiers POP, at 2 p.m. there is a CKUT Circuit Workshop at Espace POP, and at 5:30 p.m. witness Rolly Pemberton (Cadence Weapon) and Jimmy ‘Bo’ Horne discuss the disco movement, again at Quartiers POP.

Things don’t really get complicated until the sun sets. At 8 p.m. you will have to choose between the heavily buzzed Evening with David Byrne and St. Vincent at Eglise St. Jean Baptiste or Gonjasufi at Foufounes Electriques. To spend a little less, try the Sappy Fest showcase with Adam & The Amethysts at Le Divan Orange, or if you want something a little more fast paced (and expensive) head to Club Soda at 9 p.m. for Lil B, Lunice and Cadence Weapon’s DJ set or Theatre Rialto to hear Yamantaka//Sonic Titan’s Polaris shortlisted release live.

 

Saturday, Sept. 22

With POP spirit running full steam, get out to the POP Montreal Record Fair at the Ukrainian Federation and the Puces POP Craft and DIY Fair at St. Michael Church, both running from 11 a.m. – 6 p.m. Again, POP Symposium continues with ‘How To Get The Recording You Want’ at Quartiers POP at 11:45 a.m. and ‘How Music Works’ with David Byrne and Arcade Fire’s Win Butler at the Ukrainian Federation at 8 p.m.

At 6 p.m., free of charge, see Montreal’s Elephant Stone at Parc de la Petite-Italie. Witness world known pianist Chilly Gonzales with Kyrie Kristmanson at L’Olympia at 8 p.m., and then it’s time to really get your groove on. Once midnight rolls around, choose between a hypnotizing Rich Aucoin dance party at Le Divan Orange or Mozart’s Sister and Jimmie ‘Bo’ Horne at Salle Little Burgundy.

 

 

Sunday, Sept. 23

And it ain’t over yet. Sunday is the final day of POP, but the decisions don’t get any less difficult. If you didn’t check out the Puces POP fair yesterday, today is your last chance, it runs again from 11 a.m. – 6 p.m. If you’d like to get in on POP discussions, there is ‘Managing in 2012’ at 12 p.m. and ‘New Media and the Production and Consumption of Music’ at 3 p.m., both at Quartiers POP.

This time around, at 8 p.m., choose between Grizzly Bear and Unknown Mortal Orchestra at L’Olympia, Ben Howard at Metropolis and Purity Ring at La Tulipe.

And to cap off the whole shebang, Nicky Da B and ShayDaKiss, courtesy CJLO, will pump up Salle Little Burgundy at 11 p.m.

 

Bring on the POP!

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Music

POP Montreal Festival preview: Explore the unknown

Fortunately, just as that wretched, summer’s-end sickness trickles over campus, Montreal’s fastest growing festival has come to lift our hearts. POP Montreal is perfectly timed to remind us of our vibrant culture, top-notch venues and seemingly endless repertoire of diverse musical talent, before Jack Frost creeps in to dampen our spirits . . . or lawn chairs.

Yes, there will be names, big and small. David Byrne & St. Vincent, Born Ruffians, Gotye and our own Grimes, Stars and Cadence Weapon to name a few. But you’ve gotta’ dip your toes in unfamiliar waters to fully grasp what POP is all about. Over 400 artists will be settling in our city from Sept. 19-23. Now is your chance to try something different.

Let this mixtape serve as your POP sampler; Side A features the homegrown on their way up while Side B welcomes rising stars from afar.

Side A: Export

1. “Don’t Leave It To Me” – Mozart’s Sister – Dear Fear

2. “Cover Your Tracks” – Young Galaxy – Shapeshifting

3. “Queens” – Yamantaka//Sonic Titan – YT//ST

4. “Knight Moves” – Chilly Gonzales – Ivory Tower

5. “Arena” – SUUNS – Zeroes QC

6. “Don’t Go To Klaksvik” – Leif Vollebekk – Inland

7. “Holding on to Something” – Parlovr – Kook Soul

8. “High Twilight” – Daniel Isaiah – High Twilight

9. “Rings of Saturn” – TOPS – Tender Opposites

10. “Prophecy” – Adam & The Amethysts – Flickering Flashlight

 

Side B: Import

11. “The Blame” – Gonjasufi – MU.ZZ.LE

12. “Now You Like Me How” – Woodpigeon – Treasury Library Canada

13. “Omamori” – Elite Gymnastics – Ruin

14. “Beat And The Pulse” – Austra – Feel It Break

15. “The Weight You Hold” – The Belle Comedians – Autumn Ought To…

16. “I Hate The Kids” – Hot Snakes – Automatic Midnight

17. “Another Year Again” – The Sadies – Darker Circles

18. “Lick the Palm of the Burning Handshake” – Zola Jesus – Conatus

19. “Ashes In” – Railbird – No One

20. “Ambergris” – Snowblink – Long Live

 

Categories
Music

90’s Rockers The Offspring still “Pretty Fly” decades later

Pop-punk veterans The Offspring filled the Metropolis to capacity on Sept. 4, playing the first of a pair of concerts in Montreal. After openers The BCASA’S and Dead Sara got the crowd fired up, the California Quad opened with “Hurting as One,” the first of 21 songs in their set. Playing for just under an hour-and-a-half, the band downplayed interaction with the crowd and focused on the music, playing a mix of old and new, including six songs of their latest album Days Go By.

Photo by writer.

23 years after their initial release, the band showed that their popularity transcends age, with fans of all generations flocking to the mosh pit. With the booze flowing and every sense of the term “personal space” gone, the crowd got rowdy at times with beer and sweat flying left, right and center.
While most of the show was a fast-paced burst of energy, the band also took it down a notch playing “Kristy, Are You Doing Okay?,” a song that frontman Dexter Holland wrote as an apology to a girl from his childhood.
Notable hits such as “Come out and Play” and “Dividing by Zero” were definite crowd-pleasers while newer songs, surprisingly, seemed to garner equal enthusiasm.
Ending the main set with “Pretty Fly (for a White Guy)” and “The Kids Aren’t Alright” from 1998’s Americana, the band came back on stage for a three-song encore finishing the night off with the ever-popular “Self Esteem.”

 

Edit: The Offspring had originally scheduled their second show at the Metropolis but due to unforeseen events, it was moved to The Olympia.

Categories
Music

Black Dice: Cheap and Cheerful

Black Dice from left to right: Aaron Warren, Bjorn Copeland and Eric Copeland
For ten bucks, dozens witnessed Black Dice, true pioneers of the noise scene, put on a pretty good show at Il Motore on May 4. Though some music aficionados may say the band is past its musical prime, Black Dice definitely brought it.

Most of the set was comprised of material found on their latest release, Mr. Impossible, and the album that came prior to that one, Repo. Their newer material is more upbeat and dance-driven than their previous work, but still full of experimental improvisation.

There were definitely die-hard Black Dice fans present, but the venue capacity and the cheap ticket price could explain why the audience seemed full of kids who may have strolled in on impulse. The crowd appeared bored; a handful of girls were grinding in front of the stage like it was a Sean Paul concert, but most others were head-banging softly, dancing with minimal movement, or standing far apart from each other. It seemed as if the obsessive fans may have stayed home, for not much passion radiated from the crowd.

Local act Strong Boss served as a fitting warm-up for the headliner. Boasting a lineup of seven members, including three drummers, their heavy sound pulsated through the venue and provided much needed energy to a crowd that showed up late to a show that was delayed a few hours.

Black Dice certainly isn’t dull live; the musicians didn’t appear extremely excited, but they put on an energetic show complete with members jumping around and actively moving most of the time, giving them a high grade for stage presence. The bass was explosive and their high-pitched frequencies were bouncing off the walls of the tiny but cozy Il Motore. They did not stop in between songs for a breather or even to speak to their audience–they simply played.

The set was not really filled with the earlier noise-driven Black Dice signature sound, for it seems they have turned to dance-rock. They may find difficulty holding on to their older fans with the change, but attracting new fans is never a bad thing. For ten dollars, both new and old fans got much more than what they paid for.

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