Tag: Review

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Arts

Players’ Theatre takes on exploration of existence

Player’s Theatre interpretation of Pirandello’s original play uses limited décor elements and creative shadow and light play.

Six Characters in Search of an Author balances the highly intellectual with the stylish

Luigi Pirandello’s Six Characters in Search of an Author is an extremely self-aware meta-theatrical drama whose success relies heavily upon the calibre of several key actors.

The complex cerebral drama, being staged at the McGill Players’ Theatre Nov. 12-15 and 19-22, explores the relationship between authors and art, players and characters.

Written in 1921, this pre-absurdist play uses the “play within a play” structure to blend the real with the imagined in a way that makes us question our own perception of reality.

Player’s Theatre interpretation of Pirandello’s original play uses limited décor elements and creative shadow and light play.

The rough plot involves actors and technicians at a theatre company who are interrupted in the middle of a rehearsal by the entrance of six strange people, claiming to be unfinished characters. The visitors insist on staging their own dramatic narrative and plead with the director to help them realize their story.

This blended family, lead by a patriarch who is filled with remorse and has a tendency to wax philosophical, is set apart from the others by their ‘20s-era fashion, commedia dell’arte-inspired masks and ghostly blue lips.

The Father, played by Nicholas LePage, alternates driving the action forward and going on seemingly endless tangents of existential thought. LePage shines bright in this role, doing a superb job of holding the play’s illogical and verbose fabric together.

Mal Cleary, as the character of the Director, in turn balances the Father’s preaching monologues with his energetic performance and practical, somewhat skeptical approach to the unusual situation.

As the six characters relive their dramatic tale onstage, the actors from the rehearsal become spectators, taking places in the audience and engaging in the action less and less.

While the leads are given plenty of opportunities to show off their acting chops, the script doesn’t allow for much development of the supporting cast who ultimately fade into the background.

The staging is simple and makes use of four large screens that are lit from behind with colourful LEDs to allow for innovative shadow play and easy change of scenery.

While this use of lighting is very creative, the overall design leaves something to be desired. Much of the action takes place in low lighting to the point where key exchanges happen in semi-darkness, while other areas of the stage are needlessly bright.

The play delves into several key questions concerning the creation of art and theatre, the role of actors and the ownership of performance. The intellectual nature of the show may not be suited to every audience’s tastes, but for fans of Pirandello or those interested in existential philosophy, Six Characters in Search of an Author makes for a truly thought-provoking presentation.

Six Characters in Search of an Author runs at the Players’ Theatre Nov. 19 to 22, at 8 p.m. Tickets for students are $6, and $10 for adults. For more information, visit playerstheatre.ca.

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Student Life

One Kind Word can make all the difference

Canadian book tells women’s stories.

“The support I would have appreciated: one kind word from anyone. When I counsel women at the clinic now… I do what I can to communicate to these women that making a choice is another step towards empowerment—that they are choosing for themselves.”

These are the words of Lori, one of the 32 women who contributed to One Kind Word, a collection of stories from all walks of Canadian women about the experience of having an abortion.

Martha Solomon and Kathryn Palmateer, the curators of the project, hope to help erase the stigma that still surrounds abortion today.

“We wanted to tell the stories of these women, and show their faces so that people could see that they’re just like you and me,” said Palmateer, who is also the photographer for the project. “They’re our moms, our neighbours, our friends, our sisters, our teachers.”

Each woman in the book has a two-page spread dedicated to her. One side of the page is for the written anecdote of her story, and the other side features a face-on, black-and-white portrait.

“An important piece of the aesthetic was that the women could be seen, and not hidden in the shadows, not shrouded in darkness, because their stories so often are,” said Palmateer.

Solomon and Palmateer embarked on the project of collecting women’s abortion stories in 2008, after Palmateer saw an article in The Ottawa Citizen that detailed wait times of upwards of five to six weeks for a woman to have an abortion in Ottawa.

Many people, and even those who already identify as pro-choice or as feminists, have moved on from the fight for pro-choice and accessible abortion. Thankfully, in Canada and increasingly worldwide, abortions are legal. People are under the impression that we’ve already won that fight, Palmateer said.

Yet, the fight is far from over. “Even now, women all over the world are not able to make that choice. Even a lot of women here in Canada, who live in the North or in rural communities have very limited access to abortion clinics,” she said.

Of course, the picture is brighter than it was a few decades ago. This is abundantly clear while reading the stories of the women in the book. For many of the younger ones, the decision was theirs and theirs alone to make, and they had easy access to a safe, specialized clinic for the procedure.

One thing that comes across very strongly through the stories of all these women is that there is no right or wrong when dealing with making this decision, or how you should feel after you’ve done so.

“Some people seem perturbed that I was not more ‘cut up’ by the whole experience, which frustrated me,” wrote Kitty.

One woman, Melanie, lifts up her shirt in the photograph to show a Hebrew-letter tattoo on her lower stomach. The tattoo reads, “I shall be with you in spirit,” Melanie wrote. “It’s a tribute to the spirit baby.”

“We were striving for a diverse range of stories—we wanted to make sure we had older women, younger women, pre-Morgentaler, post-Morgentaler…” said Palmateer.

For many of the women who had their abortions in the pre-Morgentaler days, the decision was not even theirs to make. Some had to go through referrals by three doctors in order to be deemed a candidate for abortion; some had to resort to hush-hush procedures by illegal providers.

“My grandmother told me the story of her abortion,” said Palmateer. “This was the ‘50s, and she went to her doctor, who was very pro-choice and he told her he thought this was the right decision for her. She lucked out because she had a pro-choice doctor, but ultimately it was his decision.”

Palmateer hopes to continue this project with an increasingly diverse array of women in the future. “We want to get it into the library system, we want to get it into course readers for women’s studies programs, we want to get it into clinics across the country.”

For the moment, One Kind Word is available for purchase through its publisher, 3 O’Clock Press, or at Amazon.com.ies to de-stigmatize abortion

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Arts

Merton of the Movies: singing and dancing for a place in your heart

A rollicking musical set in the silent movie era.

It was a packed house this Saturday at the Calixa-Lavallée Centre, for a performance of the musical comedy Merton of the Movies.

Within the crowd of eager musical theatre aficionados, there sat at least one person who could not accurately be called a fan of the art form: this very writer. But over the two-hour performance, that didn’t stop me from having one hell of a good time!

Merton of the Movies tells the story of Merton Gill, a general store clerk who moves to Hollywood with grand ambitions of becoming a silent movie star in the 1920s. The lovable character was played by Jerome Roy, whose sincere and innocent performance immediately endeared him to the crowd. From Gill’s first number about his dreams of silver screen success, Roy had the whole room smiling from ear to ear.

Jerome Roy’s performance immediately endeared him to the crowd. Photo by Danica Couture.

Gill eventually meets Flips Montague, a seasoned – and somewhat jaded – actress who instantly falls for his hopeless, wide-eyed naiveté. Actress Tina Mancini carried the role of Montague with an endless supply of spunk, providing a satisfying counter-balance to Gill’s underdog persona.

The two were joined by a stellar supporting cast, who took on multiple and varied roles, each with equal determination and enthusiasm. This was further bolstered by impressive vocal performances from all those involved – including a few harmonies that tapped directly into my spine for a fresh infusion of chills.

Much of the success of Merton of the Movies goes to the inspired script written by Doug Katsaros and Donald Brenner, and the focused direction of Stephen Pietrantoni. The sets and props may have been modest in nature, but this ultimately served to highlight the feel-good story and the infectious rhythm of the show.

The writers, actors and director also deserve credit for a mature experience overall. Merton of the Movies was sweet, but not saccharine; irreverent, not farcical; moving without being melodramatic.

Toward the end of the show, Gill’s inner voice (taking the form of an entertainment journalist) extols the pleasures of his chosen craft: “To touch [the audience] and, yes, to lift them up for a single moment, make them forget their troubles and…laugh!”

The show’s greatest achievement was living up to those words, even with a relative stranger to musical theatre such as me. Just as Gill ended up winning over Hollywood, I was quickly won over by Merton of the Movies.

More information about the show and The Next Wave: New Musical Theatre Festival can be found at cetm.ca.

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Arts

Burlesque Night School really makes you want to study

Night School: History of the Art of Burlesque. The one class you shouldn’t miss.

If asked to describe the perfect learning environment, a fully stocked bar, a sexy and hilarious teacher and an equally sexy teacher’s pet wearing outfits that leave little to the imagination is not what would come to most people’s minds.

Well, that was what was in store at The Wiggle Room’s Burlesque Night School: History of the Tease, hosted by Miss Education, better known as The Lady Josephine, and her A+ student Miss Lavender May.

Photo by Bashir Rifai.

The Lady Josephine ran a tight ship. Class starts with an introduction, followed by setting the rules of the classroom. Rule #1: “Do not have any nasty thoughts about the teacher.” Rule #2: “Do not enjoy the punishment.” Rule #3: “Never speak without putting your hand up.” Rule #4: “Answer my f***ing questions.” And Rule #5: “Don’t be late.”

Audience members who break the rules are punished by being brought up on stage and spanked, which leads to breaking the second rule, as it is tough not to enjoy the punishment. Those who follow the rules and answer questions correctly are rewarded with a gold star, one that The Lady Josephine “marinates in her own saliva” and places on your forehead — that, you are allowed to enjoy.

After that, the class consists of a “lesson” on the History of the Tease presented by the funny and talented The Lady Josephine, with several burlesque performances in between by her favorite student, Miss Lavender May. It is easy to understand why Miss Lavender May is an A+ student; her sexy yet tasteful performances leave the crowd “hooting and hollering,” something the audience is actively encouraged to do.

As for the venue, The Wiggle Room promises a great, intimate environment for a night out. While not easy to find, it is one of the hidden gems on Saint-Laurent Blvd. At the entrance, the hostess behind an old-fashioned ticket booth greets you. One look at the bar and you are immediately transported to a different era. Everything from the bar, to the stage, to the way the servers are dressed creates the perfect atmosphere to accompany the event of the evening. The staff was friendly and engaging, making audience members feel like they belonged to an exclusive club.

This intimate venue also boasted a mixed and vibrant crowd. Students, couples, groups of friends on a night out, a man wearing a three piece suit and a top hat and holding a skull staff–everyone is welcome at the place with the motto, “A Little Wiggle Goes a Long Way.”

After a great show, The Lady Josephine kindly agreed to meet me at the bar for a small chat. Her love of burlesque started when she attended a show in Vancouver six years ago. She fell in love with “the way the women on stage were owning their own sensuality,” as well as the ability to transport those involved to a different time. Clearly a passionate and talented student of burlesque, her lesson about its history, while light hearted and comical, stems from her own admiration of the political, social and artistic contributions of the women who started it all. When asked what her message be to the student community at Concordia would be, The Lady Josephine said: “ take a chance, go and see a burlesque show. I guarantee, it’s the best foreplay you’ve ever had.”

For more information about burlesque and variety events, visit wiggleroom.ca.

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Music

Top Ten: Up-and-coming POP Montreal bands

POP Montreal just wrapped-up, but continue to follow these up-and-coming artists

1. Luluc

This Australian indie duo have received critical acclaim for their subtle and refined folk tunes. Having signed to Sub Pop records within 48 hours of hearing the demo for their newest album Passerby, and sold out their show at POP Montreal, Luluc is sure to win your heart as well.

2. Esmerine

The ever expanding Montreal supergroup, comprising members of Godspeed You! Black Emperor and Thee Silver Mt. Zion, creates atmospheric, meditative post-rock. Already recognized with a JUNO for Instrumental Album of the Year in 2014, Esmerine deserve their rightful place in the indie pantheon.

3. How Sad

Juxtaposing wistful lyrics with hook-laden instrumentation, Montreal’s How Sad is a synth-pop phenomenon. Their upbeat live shows and energetic party vibe have made them a fan favourite at festivals like NXNE and M for Montreal. There’s nothing sad about this band’s upward trajectory!

4. Black Atlass

Frequent performer at Le Belmont under the stage name Black Atlass, 19-year-old Alex Fleming knows how to work a crowd. With a sensual mix of alternative R&B, hip hop and distorted electronic beats, Black Atlass’ sound is danceable yet sexy. This is definitely one to watch.

5. The Golden Tribe

Montreal’s The Golden Tribe certainly know how to put on a performance! The band combines psychedelic pop and funk with retro-futuristic imagery, to create an audio-visual experience with every show. A festival favourite, The Golden Tribe are definitely one of the most creative bands this city has to offer.

6. Mozart’s Sister

With layered upbeat dance pop, rivetingly powerful vocals and an undeniable charisma and confidence, Caila Thompson-Hannant (AKA Mozart’s Sister) is Montreal’s new diva. The fuzzy electro beats and quirky pop melodies from her new album, Being, are a fusion of ’80s synth-pop and ’90s R&B, and are sure turn Mozart’s Sister into a household name.

7. Ought

Combining high-energy ’90s college rock, underground politics and post-punk DIY, Montreal-based quartet Ought have drawn comparisons to Talking Heads and Television. Bursting with rage and joy, Ought transcends its influences creating a sound that is both evocative and refreshing. This is definitely a band to keep an eye on.

8. Dessa

Minneapolis-based rapper-songstress Dessa combines creative non-fiction, spoken-word and rap, to transcend genre and create a multi-platform voice for herself in hip hop music. Armed with a philosophy degree and her previous experience with rap collective Doomtree, this newcomer is sure to create waves in the scene with her original view and poeticism.

9. Pat Jordache

Pat Jordache has shed the garage pop sound of his debut for a textural new wave, funk and nu-disco meets post-punk vibe. Jordache’s newfound swagger has garnered the approval of Pitchfork, Brooklyn Vegan and the crowd at POP Montreal alike. Keep your ears open for his sophomore album, it’s sure to be a hit.

10. Jimmy Hunt

Jimmy Hunt has already gained quite a lot of critical praise in the Quebec French-language scene for his playful and eclectic folk pop sound. The francophone singer-songwriter will surely gain momentum in coming years and cross the language divide now that he has been longlisted for the 2014 Polaris Music Prize.

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Arts

Get swept away by Nabucco’s beauty

The production of Verdi’s opera is visually appealing and packed with talent

Jealousy, madness, a bloody battle, a desperate grab for power and a love triangle drive the action of Nabucco, one of Giuseppe Verdi’s most celebrated operas. There’s no shortage of drama, nor of talent, in the upcoming production to be staged at the Montreal Opera the last week of September.

Nabucco is an Italian opera based on biblical stories from the Book of Jeremiah and the Book of Daniel, and follows the struggle between warring Babylonians and Ancient Hebrews. The Babylonian king, Nabucco, begins the action by invading Hebrew territory to retrieve his daughter Fenema who is being held prisoner.

Over the course of the four acts, it becomes clear that Fenema has fallen for an Israelite named Ismaele and has converted to Judaism. Things are further complicated by the presence of Fenema’s sister, Abigaille, who is power hungry and jealous.

Director Leigh Holman has been involved with two previous productions of Nabucco, at the Opera Philadelphia and at the Florida Grand Opera in Miami. She explains that while she comes to this production as an old hand, that in no way lessens the excitement of the project.

“Even though some of the bones are the same, we always create a new show every time,” she says.

While the opera is technically set in biblical times, Holman explains that this production includes a second time period, and plays into historical elements from the time in which it was written, when Italy was under the control of Austrian forces.

“The concept of the show is that it’s the premiere of Nabucco at La Scala in 1842,” she says. “The show itself… is about Babylonians coming into Jerusalem and taking Hebrews back as slaves, so we can see the sort of parallel.”

The title role of the show is played by Italian baritone Paolo Gavanelli, who has incredible stage presence and does a beautiful job of anchoring the action onstage, which can sometimes appear chaotic.

Opposite him, Russian-born soprano Tatiana Melnychenko does an admirable job portraying the villainous and complex Abigaille.

The production, which runs two and a half hours, is visually appealing and features lavish costumes and intricately painted scenery.

While live surtitling is incorporated into the performance on screens above the stage, the action can get a little confusing so brushing up on the plot ahead of time is a safe bet.

Though opera may not be the most popular pastime among university-age students, Holman feels it has something very valuable to offer viewers. “I always say that if you can’t put something into words, or if the emotion is so big that you can’t express it in speech, you can do it with music,” she says. “In an opera like this where the drama is so intense, only music can make that drama rise to the surface.”

Nabucco will be playing at Place des Arts, Salle Wilfrid Pelletier Sept. 20, 23, 25 & 27 at 7:30 p.m. with tickets being priced as low as $20. For more information, visit operademontreal.com.

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Arts

Laugh along with Leonce+Lena

Les Grands Ballets Canadiens’ latest production will make you really love ballet

We all have a perception of what a night at the ballet should be like: fancy people drinking champagne before the show, and then, during the show, classical music filling your ears, graceful ballerinas in intricate tutus and pointe shoes gliding across the stage (albeit a little too slowly for your taste).

Well, apart from the drinking champagne before the show, Leonce+Lena, Les Grands Ballets Canadiens’ latest production, was nothing like your grandmother’s night at the ballet.

I was one of the lucky few that attended the show’s premiere. I was a little worried that I would not understand the story being told, since my last experience at the ballet had been one of confusion — I had gone to see Rodin/Claudel, not knowing what the story was.

Still, just by seeing the ad for Leonce+Lena, I had a feeling that this would be different. And it was, in the best way possible.

Leonce+Lena, a play written by Georg Büchner in 1838, is a comedic story of love that will keep you on your toes and get you to smile for hours.

In the first act, Prince Leonce learns that he must marry Princess Lena the very next day. After hearing the news, Leonce flees with Valerio, a newly-found friend.

Meanwhile, Lena does not want to marry a stranger either. In fact, she chooses to run away from her obligations with the help of her governess, not knowing that Leonce has done the same.

In the second act, the paths of the two strangers meet. The scene begins with Valerio and the governess courting each other. Leonce and Len’s paths cross, and, finding that they have so much in common, they fall in love — not knowing that they were meant to be married the following day.

During this time, preparations for the wedding at the Kingdom of Popo are underway, even though both the bride and groom are missing.  Both couples — Leonce, Lena, the governess, and Valerio — return to the kingdom, all dressed as automatons. Since the couple meant to be married is not present, the king orders Leonce and Lena, who he believes to be total strangers, to get married. Therefore, those who were meant to get married against their will somehow fell in love outside of the kingdom. Leonce becomes in charge of the affairs of the kingdom, just as he was meant to. All is well.

This ballet was simply incredible. The costumes were gorgeous — all taffeta and rich velvets in gem hues — and the sets simple but beautiful (my personal favourite touch was the chandeliers).

The live orchestra played magnificent, sometimes melancholic tunes throughout the play. Once in a while, the orchestra would stop playing, and well-known ballads would fill our ears — like the iconic song “Dream a Little Dream of Me.”

The choreography was beautiful, but also upbeat and fun. The choreographer, Christian Spuck, truly did an amazing job. The dancers really spoke with their movements, all the while keeping the audience entertained — my favourite moment was when the King danced the Macarena.

Overall, Leonce+Lena is a beautiful production that anyone (including your grandmother) can enjoy.

Leonce+Lena is playing at Théâtre Maissonneuve every night at 8 p.m. until Sept. 27. For more information, visit grandsballets.com.

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Music

We think Fink is fantastic

The band aims to top their previous albums with Hard Believer

Fink is a three-piece band from Brighton, United Kingdom, that formed in London in the ‘90s. The trio is composed of frontman Fin Greenall  ̶  a Bristol born singer-songwriter  ̶ accompanied by Guy Whittaker on bass and Tim Thornton on drums. The band’s genre is an ingenious blend of contemporary folk with a surge of blues and dub. Back in the early 2000s, Ninja Tune Records picked up the trio as the label’s first band in the folk category. Soon after their debut album, Biscuits for Breakfast (2006), they hit the ground running. Unlike most contemporary bands, Fink’s beginnings resembled a kicked-back jam-sesh turned into something truly special.

“I was a trip hop kinda electronica guy for many years,” Greenall said. “The boys were in a myriad of pop, metal and indie – our paths crossed when I changed direction and needed some mates for the ride. Five studio albums, two live albums later, world tours, and a lot of bus time….happy days.”

After collaborating with the likes of John Legend, Amy Winehouse and Phillip Phillips, and over 300 live shows, it’s a wonder that Fink has stayed under the radar. Greenall told The Concordian about their collaborations in the past couple of years, and about how exciting it is for the songwriters to come together despite their backgrounds.

“John [Legend] is awesome. Our work on the ‘12 Years a Slave’ soundtrack was extremely epic. It’s a pleasure to work with pure talent of any genre. For example, I really also loved working with Phillip Phillips for his record too. Amy was sensational, but totally raw,” he explained.

They’ve built an incredible presence, which has been paying off in the past couple of years.They’ve entered British charts with recent albums Perfect Darkness (2011) and Hard Believer (2014).

When asked what their vision was for Fink before all the touring, Greenall replied: “pretty much what we’re doing now. Writing music we like, recording in fancy studios and living the dream, then touring the world and living the nightmare.” Touring has become part of the band’s repertoire but they are still “in it for the music,” Greenall added, and rejoice every time they release something new.

That’s exactly what you will find on their new album released this summer — it’s a breath of fresh air. Stylistically, Hard Believer is different from previous records as it features a more mature ensemble.

“The new record is bigger, more ambitious, maybe more international,” Greenall explained. The record was made “in response to the live shows and the tours,” and was meant to show the aptitudes of each of the members, and to demonstrate their new confidence. We can hear it, loud and clear.

Greenall started off as a DJ in the club scene in London, putting on a strictly electronic show. After ten years of “shopping for records, hangovers, and synthesizers,” Greenall finally had enough and wanted something new. “It took a few lost albums, and a lot of artistic soul searching to turn into the very thing I was antithesis [of] for so many years,” he explains. The current sound of the band resonates well with the indie crowd, but is interesting in comparison to the previous discography of the group.

Hard Believer is an interesting name, just like the music it holds. It represents the challenge to their faith that the band members faced in the past years. Greenall said that “it’s talking about not needing proof.” That you have to “just do it, just believe in yourself and get it done.” Despite the difficulty of tackling new ground, the aim of the record was “to make a better record than the last one.” Greenall clarified: “It’s the focus of every record, track, song and gig.”

The recording process for the new album began backstage in London, Brighton and Amsterdam, in “too many places to remember.” Once they had the demo down, they took to LA for 17 days of intense recording.

Fink will start their North American tour at the end of this month. The band loves that people want to see them live and are filled with joy when they see their music cross seas. “The live thing is just how you do it. If you don’t gig, you don’t grow artistically or professionally.”

Fink performed in Montreal two years ago to promote their last album, Perfect Darkness, to a small and intimate crowd at La Sala Rossa. This year, the venue has been upscaled a couple clicks. Fink explains that the band has no idea what they’re going to play when they go onstage for a show. “Every night is different for us and [the audience], so hopefully it will be Hard Believer heavy with a few of the oldies that we’ve just toured in the festival set,” Greenall said.

Greenall ends the interview by adding jubilantly, “that and a shit load of lights that we’re shipping over!”

If rare displays of seasoned talent interest you or you are looking for something new, head over to Café Campus on Sept. 29 for a little perspective.

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Music

The Drums drum-up a brand new album

The Drums reflect on Russia, Elizabeth Taylor, and discovering the joys of a US National Parks Pass

“Russia is a funny little animal right now, doing all sorts of things that aren’t good… this is going to sound strange, but to be perfectly honest, what’s been going on in Russia has really influenced a lot of this album…” says Jonny Pierce, lead vocalist of The Drums. So, most fittingly, The Drums played a kick-off show for their new album, Encyclopedia, in Moscow, Russia.

Encyclopedia has an incredibly dark, dreamy, hallucinogenic sound. Then, there are layers of deeply emotional lyrics, weighted in anxieties and feelings of “loneliness and desire and fear of losing [but also] fear of never getting,” Pierce explained. Feelings that, essentially, relate to the political complexities and emotional hardships, linked to the desire for personal freedom in a country such as Russia. Pierce adds that this opening show felt so relevant and important, and actually made him feel emotional on stage for the first time in years because “the album is really meant to be a letter of comfort to the outsider or to someone who’s being abused and hurt.”

This idea of an ode to the outsider is referenced in the music video for the first single and opening track on the album, entitled “Magic Mountain.” At the end of the beautifully cinematic piece (directed by Pierce alongside long-time collaborator and the Drums’ other half, Jacob Graham), is a dedication. The music video is dedicated to the late actress Elizabeth Taylor. She appears in one brief glimpse during the final few seconds of the video. When asked about her importance to the band, Pierce says he and Graham had always been fans of hers. “She identified with the freaks and outsiders in the world. She’s just always been  a really beautiful symbol of acceptance and celebrating differences,” Pierce says. His explanation means a lot because it solidifies the overall message that these songs are really about acceptance. For example, Pierce describes the track, “Let Me In,” as “a song about just being exactly who you are, nothing more, nothing less”. He also describes the meaning behind “Magic Mountain”: “[it’s] finally finding what’s good and pushing out what’s bad and fighting to the death to protect what you’ve finally found.”

Though the songs all have a dark quality to them, as Pierce says, “the future is uncertain always…if you crack these songs open and you really sit with them, you can find a sliver of hope in all of them.” So perhaps the harsher songs exists on the surface and it takes a few listens to seek out the hopefulness the band suggests is still there.

Another theme that boldly resonates throughout the album is the presence of nature. Pierce excitedly recalls his exploration into the wilderness, just prior to writing the album.

“I’m a big US National Parks junkie! I have a pass to any American national park, and I would encourage anyone to do it. It’s eighty bucks and you can get a whole carload of people and you can do it for a year and there are just places you can’t imagine!” Songs like “US National Park” and “Wild Geese” represent a totally different locale of forests and fields, whereas in the past, songs like “Let’s Go Surfing” and “Down by the Water” clearly evoke sun, sand, and beaches.

Encyclopedia reflects the tumultuous time in which it was written and recorded. After a year of touring, press and promo for 2012’s Portamento, the Drums needed a break. Pierce and Graham began working on solo material. The temporary split was evidently short-lived as they regrouped, realizing that The Drums’ loss of band members was an opportunity to create the album Pierce and Graham had been dreaming of for years. Encyclopedia was a product of many changes, some good and some bad in the lives of these two musicians. It was a result of anger and frustration at first, but then also a result of letting go of anxieties and simplifying the creative process by working with only each other. Pierce says he felt he and Graham were “very much on the same wavelength – sometimes we feel like we’re sharing a brain when it comes to music.”

It was during the creation of Encyclopedia that Pierce got married in the beautiful New York countryside, while at the same time he was finally able to shut out the people in his family who weren’t supportive. He also embraced his atheistic point of view and has a new outlook on life, “because that fear is gone for me and I’m not worried about being punished in hell forever for loving someone. A flower smells twice as sweet and a tree looks twice as beautiful than it did before,” he says. All of these discoveries and experiences clearly gave him inspiration for the album, so it was incredibly difficult for the pair to amalgamate the final material. “You know, I probably could have written an Encyclopedia of Encyclopedias,” laughs Pierce.

The Drums will continue their tour for Encyclopedia, and, as promised by Pierce, they will “always be going where people want to hear [them]–  that’s a policy we have.” So, to all you outsiders… the Drums have your back.

The Drums play Le Cabaret du Mile End Sept. 24.

Categories
Arts

A look into what it takes to make a delicious burger

Cowspiracy delivers the often silenced effects of animal agriculture

God knows documentaries can be patronizing. Sometimes it is the almighty narrator who knows all, other times it is the gruesome images that try to guilt you into becoming something you are not. Well, that is not the case of Cowspiracy, the first film by director duo Kip Andersen and Keegan Kuhn. In many ways, this documentary about the unsustainability of the current agricultural industry is very different from those said condescending documentaries seemingly made to make you feel stupid.

One of those key differences is the way the documentary feels personal and subjective in a positive way. The movie follows the thinking evolution of one of the directors, Kim Andersen. This shows his transformation into what we could call a “true” environmentalist. This is not as drastic as you may think. We are talking here of someone simply starting to change little habits, like taking shorter showers and using a bike instead of a car, to lower his carbon footprint. Then, he gets more and more interested in deeper environmental issues such as the effect of agriculture on the planet, and the odd fact that this problem is rarely addressed by any major environmentalist organization.

From there, he starts to investigate this incongruity by going up to worldwide organizations such as Greenpeace and Oceana, just to name a few. With him, you rapidly realize that there is something fishy about the fact that experts and huge pro-environment groups are simply looking the other way when questioned about the effect that animal agriculture has on the planet. It seemed much easier for them to pin Mother Earth’s health problems on cars and plastic bags than talking about one of the most unsustainable industries in humankind history. Just to give you an idea, a UN report cited in the movie states that animal agriculture causes about 18 per cent of greenhouse gas emissions, while all transportation only account for 13 per cent. From there, the narrator and main protagonist of the documentary go on to interview an array of interesting people connected to the issue.

Cowspiracy is not only talking about a major environmental problem, but also critiques the forefront organizations that are supposed to help spread awareness. It denounces the rarely mentioned reality of environmental organizations choosing which issues to address in relation with the risk it involves. In this case, the agriculture industry is described as a very aggressive group, to say the least. It gives to the documentary a more nuanced point of view of the situation. It is not only about the good guys fighting the bad guys. Everyone is in a greyish moral zone. The movie also uses comprehensive graphics and animations to demonstrate the numbers that the narrator is often sharing with the audience.

The movie also has its weaknesses. Obviously set up scenes with Kim Andersen bringing his Al Gore poster down to show that he has lost the respect that he had for what was his inspiration to become an environmentalist shows a certain immaturity on the part of the filmmakers. It also uses a few cheap cinematographic techniques to put a sense of tension not necessary to the movie. Still, the way Cowspiracy is looking at the importance of sustainability and one of its worst enemies makes this film different than most other documentaries of this kind.

More importantly, this is the only movie that sincerely makes me think about becoming vegan. I am a carnivore, but since Cowspiracy, I have become a very confused bacon lover. Watch this documentary, and you will understand. Cowspiracy will be shown during a Cinema Politica screening on Sept. 15 at 7 p.m. in the D.B. Clarke Theatre. For more information about the movie and future screenings, you can visit the movie’s official website: cowspiracy.com

Categories
Arts

Live Show – Art for the People, by the People

Photo courtesy of ARTPROV

Aquil Virani is on a quest to make art interactive and find a Canadian identity

“Live art” is a term that Montreal artist Aquil Virani not only promises to create, but can be seen as part of his whole philosophy. Saturday night, Virani put on an intimate show at the Montreal Improv space on Boul. St Laurent, combining theatrical improv with live painting and a small showcase of his work.

As an artist, Virani aims to bring what would traditionally be seen as high art, down to the level of the masses, involving other artists as well as civilians in his pieces.

“In an article I was once called ‘The People’s artist,” Virani said, “it’s kind of a grandiose, almost profound, yet kind of cheezy title, but I think it’s also kind of true.”

Virani’s personal mandate is to make art accessible to the everyman, and it has been since high school. “My high school experience involved doing a lot of extra curricular activities, and I didn’t like that some of my non-arts friends, who did rugby or choir or science or whatever – they thought that art was stupid because they only saw the avant-garde stuff,” said Virani. “They felt like art wasn’t for them and that frustrated me. I don’t think art is like taxidermy, it isn’t like a niche thing that a few people like. Part of my personal mission is to spread art to the people.”

In his mission to do so, Virani makes it a point to attach a description to every piece he exhibits, explaining how and why that piece is significant to him. One such example is a set of photographs, one of his mother and one of his girlfriend, hanging side-by-side at Saturday’s exhibit. At the bottom of each is a short poem that fills out the headline on the respective pictures which says, “This is my [mother/gf]. She is my crutch.” The fact that each of the poems were identical made the sentiment seem slightly Freudian, though sweet nonetheless, offering two portraits that describe the kind of love and support that everybody should be lucky enough to have.

Photo courtesy of ARTPROV

Virani’s next initiative for bringing art to the people and the people to the art, involves a lengthy quest across Canada to collect drawing submissions that exemplify Canadian identity. This project, entitled “Canada’s self portrait” is all about encouraging people across Canada to “think about who we are as Canadians, and then celebrate that identity.”

Canadian identity in and of itself has always been a vague concept. Marshall McLuhan famously said that “Canada is the only country in the world that knows how to live without an identity.” Virani, however, is single-handedly disproving that theory. By amassing these drawings that individually are snapshots of one person’s experience in one province, collectively they will represent what it means to be quintessentially Canadian.

Virani’s first stop on his cross-Canada tour is Halifax, and he will be travelling throughout the country over the course of the next few months to collect the submissions that will become this tapestry of Canadian life. His tour will end up back in Montreal, though a specific timeframe is not yet established.

Saturday’s exhibit offered a snapshot of the kind of interactive and inclusive show that we can expect from Virani.

“I wanted to explore what [art and improv] could learn from each other,” said Virani. “A painting is a very polished work of art, and improv is as unpolished as you can get, but in the end they combine in very cool ways.”

The first, and dominant, half of Saturday’s exhibit was about an hour of your typical college-level improv show, glorified by Virani’s live painting in the corner. Audience members were engaged as they offered up one-word suggestions that the actors and Virani would each interpret through an improv sketch or painting, respectively.

Photo courtesy of ARTPROV

“The idea is for the art and the improv to feed off of each other, to influence each other,” said Virani.

The two tableaus that he painted on stage came out as beautifully textural and colourful abstract landscapes, unfortunately overpowered by what was at best knee-slapping, drama class antics.

Following the show, audience members were invited to check out some of Virani’s artwork, including the two live paintings done onstage, on display in the next room. The works were a medley of portrait photography, abstract painting, and vibrant graphic design art. His use of colours and shadow was particularly captivating, making each piece pop. Virani works as a graphic designer as well as an independent artist. Of course, each piece was accompanied by a plaque that explained the meaning behind it.

You can keep track of Virani’s work through his website, www.aquil.ca. 

 

Categories
Music

Yeezus gives us what we need

Photo by Keith Race

After denying Montreal fans a visit in October due to routing logistics (that somehow didn’t stop Toronto from getting two shows), megastar Kanye West finally brought his YEEZUS tour to the Bell Centre this past Monday night.

Kanye went back and forth between old and new songs from his catalogue, all while providing fans with outstanding and wild set changes, pyrotechnics, and a 25-minute sermon that was short of being considered one of Yeezy’s famous “rants.”

The Louis Vuitton Don divided his YEEZUS set into five sections: “fighting,” “rising,” “falling,” “searching,” and “finding.” It wasn’t totally clear if any of his song choices for each section were appropriate or purposefully selected for its respective section, but it did not seem to affect concert-goers’ enjoyment in the least.

Alas, the most disappointing facet of the concert was Ye’s energy level for the first few sections. West relied on the material of the opening sections to be the “espresso” of the faithful in attendance, all while wearing various lavish masks. It doesn’t take much to get people going when you’re playing songs like “Black Skinhead,” “On Sight,” “Power,” “I Don’t Like” and “Can’t Tell Me Nothing” as your opening songs.

Among the first few highlights of the show was a heart-wrenching performance of “Coldest Winter,” a song written in memoriam of his late mother, Donda West. West laid down on the stage, which had risen a couple metres into the air, and crooned with Auto-Tune as fake snow and a spotlight adorned him.

Later on in the show, Kanye played another showstopper, “Blood On The Leaves,” whose first beat drop brought the first use of pyrotechnics in the show.

After playing “Lost In The World” and “Runaway,” Yeezus began addressing the crowd about the quality of life, the importance of treating people right, his ideas outside of the musical realm, and even mentioned why “Blood On The Leaves” wasn’t the opening track of YEEZUS, all the while singing opening tracks from his previous albums to the tune of “Runaway.” Kanye continued to address the crowd with a mask on, complimenting the Montreal crowd for not asking him to remove it.

In the show’s homestretch, Kanye unearthed classics from College Dropout, Late Registration, Graduation and My Beautiful Dark Twisted Fantasy, and brought the house down, playing old favourites like “Stronger,” “Diamonds From Sierra Leone,” “All Falls Down” and even “Get ‘Em High,” a cut from Ye’s debut album, The College Dropout, a song that few expected would appear on the setlist.

In addition, a very special guest paid a special visit to Kanye just before West’s performance of “Jesus Walks” — a Jesus Christ-like figure himself. A surreal experience for all involved.

Kanye, fittingly, ended the show with “Bound 2,” minus the underwhelming visuals with Kim Kardashian, sending a crowd of Yeezus fans home happy. Yeezus gave the crowd what it needed, perhaps not when we wanted it.

 

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