Month: October 2012

Tiffy Thompson October 12, 2012
 
Sound 5/5

The Bloody Five are seasoned, pounding and sexy. Wailing harmonicas evoke Southern Blues a la Black Snake Moan, thrown into a morass of Tool, Jethro Tull, the Misfits and the Damned. The music is well structured and creepy, with the plodding menace of a horror movie and the driving drums to make you wanna do something bad.

Performance 5/5

Announcing, “You’ve got a new favorite band” at the onset of the performance proved to be a prophecy fulfilled. They are a mature band, confident and intuitive of each other on the stage. The crowd was pretty much going ballistic the whole time. Lots of smoke and lasers.

Professionalism 5/5

They’re consummate professionals.

Aesthetic 4.5/5

They dressed dark but not lurching into caricature, showy but not overwrought.

Authenticity 4/5

They have clearly been doing this for a while. Convincing and confident with their sound, they easily won over new converts.

Total 23.5/25

FINAL GRADE 94 %

Tiffy Thompson October 12, 2012
 
Sound 3/5

Reminiscent of Face to Face, Fugazi and NOFX. Curbside reminded me of dudes from my high school in the 90’s – a working class punk group with gritty hooks. Their youthful exuberance occasionally caused them to be less tight in places, but overall the original tunes were well composed, catchy and thoughtful.

Performance 3/5

Driving, chopper-esque bass lines, pitch-perfect vocals and high energy throughout, despite the sparse audience.

Professionalism 4/5

Their on-stage banter was guileless and fun. They easily won over the small audience. They were at a bit of a disadvantage being the first act before the crowds arrived.

Aesthetic 3.8 /5

Simple, stripped down and basic. Jocky-punk without pretension. Authenticity 5/5 They totally won me over, through sheer nostalgia.

Total 18.8/25

Tiffy Thompson October 12, 2012

 
Sound 4.5/5

If you threw David Byrne and James Murphy into a blender with Girl Talk, you’d have TJ Hollywood. With the zealot-like fervor of a Southern Baptist Tent Revival, the two-man act pummels through their half-hour set with the marching intensity of a battering ram. Mesmerizing lead singer TJ Hollywood delivers with swagger and hyperbolic gesticulation, his voice even more malleable and approachable than Byrne’s. Guitarist Luke Vegas’ work is precise, cheekily interspersing recognizable songs in a mash up of diverse influences.

Performance 4.5/5

The band leapt into the audience at one point, working the small dance floor into a miniature frenzy. They were pretty hard to ignore. Their energy levels were consistent throughout, rivaling the sweat levels of a bootcamp workout.

Professionalism 5/5

They interact like they’ve been playing together for decades. The audience is obviously comprised of a number of loyal fans, mouthing along with the words and dancing their asses off.

Aesthetic 4.8/5

Dirty glam-rock-meets-50’s film star.

Authenticity 4.8/5

They were convincing throughout, and you really got the sense that they were having a wicked time up there. They seamlessly melded together manual/electronic elements to produce a familiar sound that sounds refreshingly new.

Total 23.6/25

Matthew Allan, October 13, 2012

Sound 4/5

Nearly 10 years as a fixture in the Toronto indie music scene, not much has changed in Magneta Lane’s sound. The song riffs and structures are slightly more complicated than they may have once been, but remain as undeniably endearing as ever. Singer-guitarist Lexi Valentine’s voice is still equal parts beautiful and barbed.

Performance 5/5

The band ignored a lot of their better-known songs on Saturday, but included the still-awesome “Wild Gardens” and rarity “Cheap Linguistics” for anyone in attendance who knew them when, alongside a couple new tracks. They still don’t utilize much of the stage, but keep you transfixed with their unique brand of cool – zero pandering, zero posturing, a lot of awesome.

Professionalism 3/5

The band seemed to face issues with their stage sound and stopped mid-song on more than one occasion; yet, the frustration expressed on their faces somehow made it all forgivable. They soldiered on, and no one out front would have noticed had it not been pointed out – never once did they fall out of time from one another.

Aesthetic 5/5

Three attractive young ladies dressed head-to-toe in black with “fuck off” written in their expressions, instruments in hand, makes everyone in the bar look to the stage. Thankfully, their music makes you glad you did.

Authenticity 5/5

They’re cooler than you, and there’s really nothing you can do about it.

Overall 22/25

Matthew Allan, October 12, 2012

Sound 5/5

A little bit of country, a little bit of soul, some ol’ fashioned rock ‘n’ roll and a heaping of gospel thrown into a blender. The result is the instantly unforgettable Northern Ontario eight-piece, Pistol George Warren.

Performance 5/5

The band doesn’t rely on any sort of gimmick to help sell their music, despite that the small army on stage would make the idea almost too easy. Instead, the musicians simply play their instruments with exacting measure behind a wall pitch-perfect of vocalists. Nothing more is offered, or really necessary.

Professionalism 4/5

Getting this many people on stage and ready to play in a timely manner must be an absolutely trying feat. The band managed without issue, and enjoyed their time onstage watching the audience grow larger with each new tune.

Aesthetic 4/5

At the helm, a young man at a microphone; directly to his left, three young ladies completing a wall across the front of the stage; behind all this, four lads bashing their instruments wholeheartedly – nothing superfluous or extraneous, just all sorts of adorable hipster kids having a lot of fun together.

Authenticity 5/5

I’m not entirely certain what – beyond a collection of great songs – Pistol George Warren is trying sell; but whatever it is, everyone in attendance bought it.

Overall 23/25

Matthew Allan, October 12, 2012

Sound 5/5

Combining driving rhythms with catchy boy-girl melodies and Vampire Weekend-esque guitar lines, throwing in countless group sing-alongs and a few handclaps for good measure, Highs caught the continuously growing audience off-guard. The Toronto four-piece may be the beautiful love child of Library Voices and Modest Mouse. 

Performance 4/5

The band handed out sticks and tambourines towards the end of their set to help get the audience involved. The gesture was unnecessary, as mostly everyone was already clapping along.  

Professionalism 4/5

The members of Highs seemed a little green – slightly shocked by the positive response from the crowd. Beyond that, they kept the banter short and sweet, and let the music speak for itself, which was all that is required when the songs sound like this. 

Aesthetic 5/5

Anyone who haphazardly slaps on face paint, presumably five-minutes before they take the stage, gets full points for aesthetics. Otherwise, they just looked like four people who would have been out and about at the weekend’s festivities.

Authenticity 4/5

Highs is a perfect band name for these guys and gal. Their music is catchy indie-pop, and they look like they are genuinely having a good time performing it. You would be hard-pressed to not have enjoyed this band. 

Overall 22/25

Myles Herod October 13, 2012
 
Sound 3/5

It can’t be easy to summon a level of swollen grandiosity every time your mouth opens, but, then again, Montreal’s Casino dares to dream. With each song threaded by a pulsating bass line, high flying statements like “we can be victorious” and “surrender!” typified the band’s tendency for emulating Sam’s Town era Killers, or, more truthfully, simply ripping them off. Celebrating long, soaring solos that felt like a sunset drive down a long, barren highway, the band harnessed some skill, particularly with dueling harmonies and underlying swells from the shrouded synthesizer. Unfortunately, aside from their patchwork influences of Blink 182 and Springsteen-lite, their drumming was far too much – never nimble – merely berating when it should have whispered.

Performance 3/5

Basic stuff from the Montreal band – five guys on stage, playing their music well, but strangely faceless. If anything, their emotion conveyed a rehearsed ‘put-on’ aura. Nothing to the extent of embarrassing showmanship, but a subtler self-importance the proved more irking than truthful.

Professionalism 3/5

They came prepared, thanking the audience for a warm reception and even being a little playful at times, asking the Toronto crowd if there were any Montreal Canadiens fans present. Chatter soon subsided, though, as the set-list took over, invariably trying to steal our hearts away.

Aesthetic 2.5/5

Sporting Xavier Dolan haircuts (a popular trim made famous by rising Francophone filmmaker of the same name), the v-necks were deep and tattoos o’ plenty, branding Casino as cookie cutter denizens of today’s ‘indie’ flavour. Perhaps something crazy like an eye patch would’ve helped infringe the monotony on display.

Authenticity 2.5/4

Casino are a hard band to swallow. From quiet, pseudo-confessionals by the lead singer, the inevitable bass drum kicks in, building a steady heartbeat into a harmonious chants. It’s been done before, with greater success. Yes, one should not beat on a band like this for trying, but it should be said that sometimes it’s better not to take yourself so seriously.

Overall: 14/25

Photography by: Myles Herod

Myles Herod October 13, 2012
 
Sound 4/5

The Micronite Filters are a rock’n’roll troupe of the best and basic fundamentals: gritty, fun and fried like southern cooking. Yes, like soul food that will have you wetting your lips like a river after rainfall. Influenced by equal parts heavy rock and blues, the Oshawa, Ontario natives have created a thick and sweaty sound of horns, swampy drums, dirty riffs and groove-laden rhythms that weave into a wonderful texture.

Performance 4.5/5

Toe tapping and head swaying jams that make one lose themselves in the haze of on stage alchemy. Indeed, it was blues, sprinkled with a bit of psychedelic swirl. The whole set delivered, leading one to survey the Horseshoe tavern at anytime during 1am set and see everybody dancing.

Professionalism 4/5

A tell sign of a good band is when the crowd eats up every morsel of the performance. The Mirconite Filter was no exception. Little on banter, full-tilt boogie on everything else.

Aesthetic 4/5

With a rock formula that tweaked it’s influences ever so slightly, the hirsute band members sounded fresh, and were unabashed about their looks, sometimes grizzled, other times shirtless – the music was all that mattered.

Authenticity 4.5/5

Meaty guitar tactics, amazing rhythms, and everything in-between, the band set the Horseshoe ablaze. With a punctuating sound of many lapping styles, the Micronite Filters are punk for the folk crowd who want something electrifying.

Overall: 21/25

Matthew Allan, October 11, 2012

Sound 4/5

Toronto’s FIRExFIRE are an extremely tight indie-rock band that owes a lot to post-millennium success stories likes The Strokes and Franz Ferdinand. They cram numerous hooks into their well-written songs, and their Jimmy Gnecco-like vocalist never misses a note.

Performance 4/5           

The band seemed unimpressed long-before they got into their set. They refused to interact much with their very appreciative audience, and only their rhythm section ever seemed to get into the songs. To their credit, their songs do beg to be played at an incredibly loud volume in stadiums – maybe then we could hear the keys. 

Professionalism 2/5

Festivals like this are a true test of a band’s resolve – there’s no guarantee whether you will have two people or 200 people in the crowd, and no band is granted the proper time to set up. The challenge becomes remaining enthusiastic despite the difficulties and appearing like you’re having a blast regardless; here, FIRExFIRE failed.

Aesthetic 5/5           

No one could ever say FIRExFIRE doesn’t look like a band – perfectly disheveled hair, denim and leather jackets, scarves, and horn-rimmed glasses were all on display. Add to that the endless looks of indifference and these guys may as well already be selling out much larger venues.

Authenticity 3/5

FIRExFIRE performed their songs so faultlessly that one could almost overlook the apathy of their onstage performance. Almost.

 

Overall 18/25

Myles Herod October 12, 2012
 
Sound 4/5

You couldn’t help but think The Runaways when watching Mad June. Six girls spread across Cherry Cola’s tiny stage – two guitars, drums, bass, keys and singer. ‘Woo, woo’ harmonies and in-unison clapping were on hand, too. Together it concocted a rollicking dose of sound – not always coherent – but an abundance of girl power heroics, nonetheless. Tedium never tapered their air of energy, with every member firmly set in place, solidly delivering in every respect.

Performance 4/5

Always moving and grooving. Vanessa McLean has a pleasant voice (somewhat childlike) that slithers well against the grit. Throughout the set, her footwork would spontaneously lead off stage, belting her pipes amidst the crowd as the band kept the engine revving. While solos were plentiful, and the guitar interplay of rhythm and lead were gracious, the drums offered a nice crispness that evoked some disco flavour in instances.

Professionalism 4/5

Mad June was met with open arms, performing as Cherry Cola’s third act Friday night. A steady stream of people seemed to flow in from Bathurst St., all ages alike. Some patrons, well over 40, were visible, perhaps tickled by the sound emanating onto the outside sidewalk. Appreciation was conveyed by leader McLean, thanking everyone for coming out, with a little Quebecois hospitality sprinkled in, reiterating her gratitude in French as well.

Aesthetic 4/5

If you’re a member of Mad June, wearing black is obviously a prerequisite. Black boots, pants, hair, eye shadow and them some. Some flashes of bad teeth were also prevalent, but hey, no one said female rockers had to be glamourous. These ladies were tough and impassioned – with musicianship that was never indulgent.

Authenticity 4/5

Cranking the amps up to 12, Mad June know a thing or two about composition and harmonies. Their formula was simple: give you a little taste of sweetness with McLean’s voice, then kick it into high gear with clamouring choruses. A solid act that incite comparison to The Breeders and The Runaways. Just because they are an all girl group doesn’t mean they can’t bring intensity. When everything gelled, Mad June were a cut above the rest.

Total: 20/ 25

Photography by: Myles Herod