Month: June 2013

By: Adrian J. Miller June 26th, 2013

The best part about the Braids performance at Comfort Zone was the stimulated conversations overheard on the fringes of the crowd.  

It was there where I was restricted for most of the show.  From the soundboard onward was an impressive gathering of unmoving people, an impenetrable mass that had been summoned to merely chill. In the black light alcove were discussions on the nature vs. nurture of man’s personality, the implications of the news of NSA wiretappings and a curious lamenting of the change in the band’s sound. 

“They’re usually more psychedelic,” said Jeff – an NXNE concert hopper, “I was excited to see them most, but I think they’re missing something.”  His friends nodded in agreement, and took possession of the Comfort Zone’s pool table.

To those outsiders, Taylor Smith, Austin Tufts and Raphaelle Standell-Preston put on a bland and uninspired presentation. 

A ceiling mounted projector-displaying colour and animated polygonal patterns lit the stage. But it wasn’t enough to make up for the unintelligible vocals and repetitive techno-tribal beats that droned on and on. Each song was dull and unremarkable, a surprising contrast considering the interesting ambience and range they’ve captured in their acclaimed studio works. 

Ultimately, Braids’ live show failed to penetrate the stoic wall that was the Toronto crowd.  Their set couldn’t induce the trances their persona is known for. 

In the end I left the show feeling disenchanted with the band, harbouring a sense of regret for not joining that pool game when I had the chance. 

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Adrian J. Miller @AdrianJNMiller

By: Myles Herod June 24th, 2013 

The stage was set for Heaven, a Brooklyn-based, psychedelic dream pop troupe with a wisp of hype. They never showed. 

Toronto pop-sters, Alright Alright, in turn took their 9pm slot, with no indication given that they were last minute substitutes. Nice one, Rivoli. 

With my mind still fixed on seeing the aforementioned New York based shoegazers, I was understandably letdown upon my discovery. Well, if only momentarily.   

Balancing catchy, high-flying pop hooks with greasy haircuts and denim jackets, my immediate impression was one of surprise. The four-piece were cheerful, playing for the inebriated crowd to full effect.

Their arsenal of punchy riffs and serviceable ‘Ah-ah-ah’ choruses recalled an inflection of The Arctic Monkeys and, to a lesser degree, Vampire Weekend. As the bass guitar rolled and thumped, the lead singer conveyed a raspy conviction when he sang and shouted, sometimes at odds with angular guitar licks that soaked the venue.

The Rivoli, with no barriers between the stage and the crowd, offered optimum simplicity in the best sense. The sound was clean and the sparse stage lights glowed. As 11th hour replacements, Alright Alright played liked it was their last gig, with a fervent energy to burn. 

The instruments got louder as the songs grooved and swung; they could be quiet during moments and loud and proud during others. Truthfully, the more I listened, the wider my smile grew. ‘Who are they guys?’ I recall muttering. 

For a band to enter on stage without fanfare, or for their sake, false pretense, they hit running, coming off remarkably fresh.

In the words of Matthew McConaughey: ‘Alright, alright.’

(Photos by: Myles Herod)

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Myles Herod @MylesHerod

By: Adrian J. Miller June 21st, 2013

The schedule stated their home base as Hamilton, but truthfully, they’re from Dundas, a one-time town that was annexed by the steel city years ago (wholesomeness still in tact).

You got none of that from The Dirty Nil on stage at The Silver Dollar Room last Thursday, though.

They are raunchy and loud and sweaty.

Kyle Fisher (Starfish) came out swinging and shirtless on the drums right from the top.  Luke Bentham and Dave Nardi blazed through their slacker rock set with a maddened frenzy, and the room was on fire.

The whole of the audience was rocking along to this angry trio whose set list needs to be longer.

The Silver Dollar Room is a small and unassuming venue. There’s nothing on the walls, and the front length of the stage is just over two meters from the bar.

They sipped their beers; toasted the audience, and reached out to touch glasses with the mass. Luke proceeded to let an audience member strum his guitar wildly at the end of one of their rollicking anthems, branding The Silver Dollar as the best venue for a band that takes rock and roll personally.

Outside their own tunes, the Dirty Nil covered the Misfits’ “Last Caress”, as people shouted and screamed in alliance.  A core group of fans were present, belting out lyrics to most of their catalogue, occasionally fist pumping. Their love was palpable.

It’s easy to see why.  The Dirty Nil guys are just as charged at the end of the show as they are tearing through their opening riffs.

I believed Luke when he declared that they were playing again later that evening. 

“At a place called Grossman’s?” He says unsure, “its on Spadina? I don’t know where.  I don’t know Toronto.”

What does he like about playing in the big city?

“The people,” he says.

The Dirty Nil are a big sound from a small town, and worthy of a shot at growing a substantial fan base. 

Their grungy take on garage rock is sure to get you at least nodding along with their angst. Rock on, boys.

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Adrian J. Miller @AdrianJNMiller

By: Adrian J. Miller June 20th, 2013

The chattering crowd at the Moon King show was startled just as the band appeared.

There were no lights on the stage – just a shocking bang as the drummer struck the snare. With the volume on a particular mic set incredibly high, it was then that they proceeded with their sound check.

Moon King began with a song delivering a great rhythm. Whether it was the powerful bass drum kicking in my chest, I was compelled to groove along to the unintelligible melody.

On stage, Daniel Benjamin was eccentric and energized. Right off the top he thrashed a set of maracas with un-caged fury. Tossing them haphazardly behind and slyly saying, “Hello” at the abrupt end of the tune.

Maddy Wilde has a voice that drives the band’s charm – but the real gusto stems from Benjamin.  He loves the stage, parading about in the little space he had. Twirling, caressing and cowering around with the mic stand, he stole his own show.

The group charged through a grungy-guitar driven new song that was untitled and without lyrics.  During which, their second guitarist broke a string but seamlessly rejoined the set when it was replaced.

During “Crucified,” it was apparent a large portion of the audience was charged by the spectacle that is Moon King.

As the set neared a close, a real moshpit opened up, enticing Benjamin to crowd surf.  He jumped off the stage – but was propped and pushed right back. In the hustle, he dramatically stepped on the connection box and kicked around one of the work lights that illuminated the stage before stumbling to the ground. 

And as the song went on, the work light started to smoke. In what must have been an effort to stop it, Daniel Benjamin proceeded to smash it with the mic stand.

When asked why he did it later in the evening, he says to me, “Sometimes you just have let the set catch fire.” Certainly Moon King did just that. 

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Adrian J. Miller @AdrianJNMiller

By: Adrian J. Miller June 19th, 2013

Inlet Sound was set to play just after eight o’clock. 

By then the rain had almost stopped, but those coming into Cameron House were damp and chilled. “Don’t worry,” assures the singer, “we’ll try to make it warm in here.”

Typically a five-piece band – Michael Wexler (vocals), Sean Hardy (pianos/keys) and Steven Gore (fiddle/mandolin) were without their rhythm members and played a revised acoustic set for the first time in a year.

Beginning with “Thanks Sally” their wholesome, modern-folk sound is as authentic as it is infectious. You’re hooked from the start. Gore’s fiddle weaves through Wexler’s pounding acoustics and Hardy was on an upright piano in the back for added flavour.

Cameron House provided the perfect space. A second stage through a curtain to a back room, where the walls are covered with artificial lily vines and flowers that are up and entwined across the lighting grid above. With their songs like “Canadian National” and “Amber” evoking a feeling of anticipation and summer bliss – it felt like a personal performance in a neighbour’s garden.

It is unfortunate they played so early in the evening and in such a tucked away venue. 

The audience grew steadily and felt the emotion displayed by Wexler as he bounced in his chair, eyes closed – belting their heartfelt tunes. Flanked on either side by his band mates in matching plaid, who displayed an equally inspiring conviction.

Perhaps they did feel a little restrained sitting down.

Towards the end, their cover of Windersleep’s “Weighty Ghost” included the classic participation of the audience. And during their closing numbers, you’d be convinced that the group would fit well along side big radio acts to which it’s easy to draw comparisons with their sound.

You’ll hear the Lumineers, recognize a Barenaked Ladies’ melody – but you are listening to Inlet Sound. 

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Adrian J. Miller @AdrianJNMiller

By: Myles Herod June 14th, 2013 

Despite the ominous clouds and a beer-dry evening, Arts & Crafts ‘Field Trip’ was not merely a decade-long celebration of music, but a glorious melding of Toronto culture. Food trucks, art, literature, and loads of porta-potties; unlike so many over-packed festivals, Fort York proved an idyllic landscape for the cavalcade of indie idols who graced the two stages on June 8th. 

The Music

Bloc Party

Revisiting gems from their Silent Alarm LP, the London lads also mixed things up with some newer cuts. The bass was deep, and the beats were pulsating. Distinctly British, their sound lends itself well to the likes of a modern-day Joy Division, New Order, or any other post-punk outfit. It’s been subsequently announced that the group will be taking an indefinite hiatus (perhaps until 2016). To those who enjoyed their set, it may be the last.

Feist

Beginning things with an eight-piece ensemble (including Charles Spearin from Do Make Say Think and Snowblink) was a wonderful treat. Leslie and co. spent the first half swooning over her latest offering, Metals; then things got weird. Looping her voice on ‘My Moon My Man’ and treading into psychedelic realms on ‘1234’ proved confounding, albeit bold. Those looking for peace and love where met with electronic meditations on past crowd favs. You can’t blame her for trying, right? 

Broken Social Scene

With a press release that stated “one night only”, the die was already cast for something grand. Making things even rarer, the collective group of BSS players took turns at the mic to deliver You Forgot It In People live (for the first time in its entirety). It was worth the price of admission alone. “K.C. Accidental” saw Drew’s dramatic vocals come through, while the spine-tingling “Anthems for a Seventeen Year Old Girl,” found the trio of Lisa Lobsinger, Stars’ Amy Millan, and AroarA’s Ariel Engle combine their vocal prowess on behalf of an absent Emily Haines (really, is Metric that important?). Truly it was a legendary capper to a beautiful day.

The Food

Toronto’s acclaimed food trucks came in droves to Field Trip, giving those with cash to spend some of the City’s tastiest artisan dishes. We spent, we sampled, we rubbed our bellies. Here’s our report.    

Buster’s Sea Cove

Octopus Tacos ($10)

Tiny portions, with a meaty serving of cephalopod mollusc. Spiced coleslaw lined the bottom, adding some zip. The hype and price were a little off-putting. It was delicious, though. 

Donkey Bites

Jerk Chicken Gyro ($9)

Succulent, zesty chicken, although the bread turned soggy after a minute. Prompt and friendly service. 

Stuft

Creole Turducken ($9)

Hefty and nicely spiced. The accompanying buffalo chips were crsip, yet moist. Total win!

Final Thoughts

Field Trip was built around the themes of community and wonderment. Last Saturday amidst the greenery and the Gardiner express, you certainly felt it.

(photos by: Adrian Miller & Myles Herod)

By: TJ Liebgott June 10, 2013