Braids unveil their new music video, “In Kind'”

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By: Sean Carsley July 31st, 2013

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A song that clocks in at nearly eight minutes, it would be assumed that Braids would have a video with substance to accompany their song, “In Kind”. 

 

In the first minute and a half, a montage of the sun and blurry clouds appear as if there is a story to be told. Truthfully, there are some intentions that connect, but overall it’s a shame that they used too many quick cuts. The buildup, the rise and fall of the song could have been reflected with longer cues perhaps, in return creating a mini-story or a sense of harmony.  

 

With that said, it’s an adequate effort, and in the vein of experimental music and a reflection of the said video, the effect offers a strong attempt at aligning the “feel” for the song with the craft of the cinematography. 

 

Short of a bullseye, “In Kind” is an admirable experiment nonetheless – one that declares itself, and Braids, to be the purveyors of Canadian indie’s off-beat psyche.

 

 

{vimeo}70447559{/vimeo}

 

 

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Sean Carsley @carsley92

 

DIANA preps for US tour with Austra

By: Sheena Lyonnais July 25, 2013

 
Toronto band DIANA is gearing to hit the road later this summer supporting Austra on a string of dates across North America. The tour kicks off on August 30 and eventually brings DIANA back home for a few Canadian headlining gigs, including a show in Toronto at the Great Hall on September 26 with support from Empress Of. 
 
The tour supports the release of their debut full-length album Perpetual Surrender, which drops August 20 on Paper Bag Records in Canada and Jagjaguwar in the States. 
 
Featuring Joseph Shabason, Kieran Adams, Carmen Elle and Paul Mathew, DIANA has been touted (including by TMS) as one of the must watch local bands. 
 
Following a feverishly hot performance at the Garrison during NXNE, and opening for Tegan and Sara and Fun. at Downsview, DIANA has the potential to transcend walls. Their sound has the unique ability to adapt. Vocalist Carmen Elle can plan to a small room or a crowd of thousands and her voice adjusts and carries all the same. It has no boundaries. It is unstoppable.
 
Live, DIANA feels like the soundtrack to a druggier John Hughes film. It is truly a beautiful thing. 
 
Check out the triply video for debut singlet  “Born Again” below.
 
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Follow Toronto Music Scene on Twitter @TorontoMusic and Sheena Lyonnais @SheenaLyonnais.

Listen Up: The Darcys new single, “The River”

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By: Myles Herod July 24th, 2013

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Following 2011’s samshing debut The Darcys and 2012’s self-made reappropriation of Steely Dan’s classic AJA, the Toronto quartet’s latest LP, Warring, is a culmination of more than three years of writing and six months of studio craft.

Sources tell us that the album’s focus is aimed at sonic detail, to which The Darcys’ love of post-soul and jazz are proudly palatable alongside their sound of unique art rock.

Produced by Tom Mcfall (Stars, Bloc Party) and mixed by Dave Schiffman (Vampire Weekend, System of a Down), their album will be released on September 17th on Arts & Crafts:

 

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Lead single: The Darcys – The River 

{http://soundcloud.com/arts-crafts/the-darcys-the-river/s-1QS8r}

 

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

Short and Sweet: Polaris finalists announced

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By: Hilary Johnston July 22nd, 2013

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The Polaris Music Prize short list was announced last week and, as per tradition, Twitter erupted with hoards of music fans bemoaning that their favourite artist was left behind in the long list archives. 

 

Admittedly, I find myself lamenting for the days of a long list with its seemingly endless possibilities and ability to please even the most finicky critics. I am forced to bid farewell to a dream of watching Daniel Romano accept the Polaris in what I can only imagine to be an alluringly bejeweled suit. The long list introduced me to Majical Cloudz, a band whose live show I have been insatiably craving. It also made feasible the prospect of seeing performances by Magical Cloudz, Evening Hymns and Colin Stetson on the same bill – a fantasy lineup that was perhaps too ethereal for reality to host. 

 

I am satisfied with the list despite the sorrow I feel for the handful of underdog albums that fell by the wayside. With that said, it is full of stylistic variety, in contrast to the rather strong and accusatory opinion of one LA Times writer, who’s headline read, ‘Terrible short list revealed for Canada’s Polaris Music Prize’.

 

To him I say pish-posh. Whitehorse taps into folk and country while Zaki Imbrahim delivers soulful timbres. A Tribe Called Red draws inspiration from traditional music and Young Galaxy and Godspeed You! Black Emperor offer two drastically different takes on art pop. The majority of the list cannot accurately be described by any one genre of music and this perhaps is why Tegan and Sarah’s Heartthrob and Metric’s Synthetica feel comparatively safe. Their overly polished records stand out as ordinary amongst the vanguards. 

 

The winner will be announced on September 23rd and we have until then to listen to some new music, assemble our thoughts on who should win (as if it matters) and remind ourselves that the presence of a couple of duds cannot negate the eccentric charm of the other nominees enough to feel any legitimate concern that they may win.

 

 

 

 

 

 

The Short List

 

Godspeed You! Black Emperor, ‘Allelujah! Don’t Bend! Ascend!

 

{http://soundcloud.com/constellation-records/sets/godspeed-you-black-emperor}

 

Zaki Ibrahim, Every Opposite

 

{http://soundcloud.com/onerebelgun/sets/zaki-ibrahim-every-opposite}

 

Metric, Synthetica

 

{http://soundcloud.com/metric-band/sets/synthetica-1}

 

METZ, METZ

 

{http://soundcloud.com/metztheband/wet-blanket-demo}

 

Purity Ring, Shrines

 

{http://soundcloud.com/lastgangentertainment/purity-ring-fineshrine}

 

Colin Stetson, New History Warfare Vol. 3: To See More Light

 

{http://soundcloud.com/selftitledmag/colin-stetson-high-above-a}

 

Tegan and Sara, Heartthrob

 

{http://soundcloud.com/teganandsara/i-was-a-fool}

 

A Tribe Called Red, Nation II Nation

 

{http://soundcloud.com/user3105090/sets/a-tribe-called-red-nation-ii}

 

Whitehorse, The Fate of the World Depends on This Kiss

 

{http://soundcloud.com/sixshooterrecords/sets/whitehorse-the-fate-of-the-world-depends-on-this-kiss}

 

Young Galaxy, Ultramarine

 

{http://soundcloud.com/rockcurrent/sets/young-galaxy-ultramarine/}

 
 

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Hilary Johnston @hilary_johnston

Tour Announcement: Said the Whale (upcoming Canadian & U.S. dates)

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By: Myles Herod July 19th, 2013

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Said the Whale confirm their new studio album, hawaiii (yes, with three ‘i’s), will be released on September 17th, 2013, followed by a forthcoming tour of Canada and U.S. dates.

The signature sun-kissed, hook-heavy harmonies Said The Whale are known for prevail over hawaiii’s tracklisting, but alongside a notable sense of darker subject matter and self-reflection. The band kick off a run of stops this month and next, headlining such Canadian music festivals as: Ness Creek, Hillside and Hamilton’s Supercrawl. The full run of shows follows below.

 

SAID THE WHALE – UPCOMING TOUR DATES

7/17 Chicago, IL @ Bottom Lounge

7/18 Minneapolis, MN @ Cedar Cultural Centre

7/20 Big River, SK @ Ness Creek Music Festival

7/24 Los Angeles, CA @ the Grove (opening for Capital Cities)

7/26 Guelph, ON @ Hillside Festival

8/9 Squamish, BC @ Squamish Valley Music Festival

8/10 Seattle, WA @ 107.7 The End Summer Camp

8/14 Los Angeles, CA @ The Echo *

8/18 Colorado Springs, CO @ Black Sheep 

8/27 Pittsburgh, PA @ Smiling Moose

8/29 Grand Rapids, MI @ The Pyramid Scheme

9/2 Indianapolis, IN @ Warm Fest 

9/14 Hamilton, ON @ Supercrawl

* = w/ Kopecky Family Band

 

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

Listen Up: Dine Alone Records – Summer Sampler

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By: Sean Carsley July 17th, 2013

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If you spent the afternoon grooving with good friends and listening to The Dine Alone Summer Sampler, chances are you said one of two things: “Who is this?” or “I need to get this.” It’s a mixing bowl of alternative sound.

 

Who doesn’t love Monster Truck? Don’t say “me” under your breath because “My Love is True” is a great start. The Dodos then come in with “Confidence”, relying on a thin treble sound which is kind of hypnotic until it breaks into a fanatical Doors climax. Ivan & Alyosha have a Young the Giant melody that doesn’t quite cross the finish line while The Weeks create a staccato sound that makes you bounce your head in rhythm. 

 

Buried deep in the set list is City and Colour’s “Of Space and Time”. Dallas Green seems to set everything alight lately but this one comes off a little more subdued. Perhaps for the sake of keeping all things equal on the album, Dine Alone specifically chose this track and not something that would instantly perk your ears.

 

Billy Bragg’s “No One Knows Nothing Any More”, rife with brilliant lyrics, contemplates everything we believe in without sounding like university students overflowing with rhetoric.

 

Equally great, yet a sonic about face is Single Mothers “Baby”, which grabs you by the throat, evoking that eff-you, ’70s punk spirit. 

 

The word “eclectic” emerges but it’s genuine for an album like this. It has a little bit of everything, and by listening to it, it introduces you to bands you may not have discovered otherwise. You can also think of it as a great way to burn an afternoon and enjoy a sunny ass day. 

 

 

 

Dine Alone Records – Summer Sampler

 

{http://soundcloud.com/dine-alone-records/sets/dine-alone-summer-sampler-2013/}

 

Download the album here: http://dinealonerecords.com/sampler

 

 
Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Sean Carsley @carsley92

CD Review: Austra – Olympia

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By: Hilary Johnston July 15th, 2013

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Austra’s sophomore release, Olympia, takes the already ominous synth-wave style of Feel It Break (2011) and blends in more caliginous timbres and danceable beats. Keep in mind, these changes come as no surprise considering the former three-piece has doubled in size. Now a six member sect, the lyrics are grander and more personal, even political at times. Comparisons to Lykke Li are apt, in particular the similar refrain of “Forgive Me”, which bears a striking auditory likeness to “I Follow Rivers” in its use of melody and pensive vocals.  At its most inspired, the LP revels in its use of rhythm, driving the record forward, guiding the listener to the end of the album instead allowing them to drop off at track six or eight.

 

The songs on Olympia have a consistent contour. Starting with a single riff, layers of percussion and euphony are gradually weaved in until  a musical climax is reached, with Katie Stelmanis’ wail reduced to a distant whimper. 

 

To fresh ears, it’s beautiful the first few times. However, after 12 tracks of the same shape, it gets a bit wearisome and indistinguishable. That’s not to say there isn’t musical craft involved. If you go looking for it, you will find some subtle variation between tracks. For example, “We Become” has the flavour of a reggae dance party while ‘Hurt Me Now’, the album’s finale, slows it down with a smidgeon of melodrama. 

 

Generally a pleasant listen, the indifference of its lasting appeal is a point of concern. I can objectively discern that the LP is of quality, but I know that something similar is also waiting right around the corner. Sure Olympia is good, but it won’t make any ‘Best of 2013’ lists. 

 
 
Austra – Hurt Me Now
 
{http://soundcloud.com/dominorecordco/austra-hurt-me-now}
 
 
Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Hilary Johnston @hilary_johnston

Watch This: The Dirty Nil – Zombie Eyed

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By: Myles Herod July 12th, 2013

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The raucous punk-slacker trio are back with a new music video, ‘Zombie Eyed’, an excursion into suburban angst, face paint and fireworks. Set against the blaring, albeit catchy sounds the band has come to conquer, the video itself is one of polish and craft. Director Alexei Golob does a good job weaving an ensemble of characters (including the band) as he hones a nihilistic universe within the constraints of a three-minute product. Alas, if only Much Music were still viable, or relevant. http://thedirtynil.bandcamp.com

 

 

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

CD Review: Skydiggers – No.1 Northern

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By: Sean Carsley July 11th, 2013

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It’s not surprising to find out that the Skydiggers formed around the same time as the Cowboy Junkies and Blue Rodeo, creating a signature acoustic sound which emulates the same stark, crisp mood.   

 

For their 25th anniversary album, No.1 Northern, the tone is eclectic to say the least. Comprised from a grab bag of covers, the track list slides from a legendary Canadian rock artist to the world of country and folk.   

 

The song selection is interesting. Choosing Neil Young’s “Don’t Cry No Tears” shows their loyalty to fine tablature work. An understandable choice considering Neil’s mindset during the release of this song in 1975.  

 

On their cover of Linda McRae’s “Burning Bridges”,  the initial foundation of original  sounds like a Neil homage with it’s dirty electric grunge, so in turn, the Skydiggers take it to their own acoustic level. A neat collision.

 

Reworking Gene MacLellan’s “Snowbird” — a monster hit for Anne Murray, to whom it will forver be identified with — the band instead remain true to MacLellan’s more subdued, original vision, a style in which  their own sound resonates. They do supreme justice to “Red Deer to Margaree” (a nice nod to Andrew Cash, brother of former Skydigger bandmate Peter Cash) and Gordon Lightfoot’s “Spin Spin”. 

 

There is no flash, but there’s substance to No. 1 Northern. Where the Skydiggers fall short is the ability to enhance one or maybe two of the originals. Perhaps Ron Sexsmith’s “Just My Heart Talkin'” could have been ramped up. Then again, it’s not possible to fault this band that wished to remain true. You can listen to this album and get that sense of ‘sitting around a fire’ melancholy. The more it gets listened to, the more you’ll find reason to go back to it.

 

 

Skydiggers – Bitter Beauty (Jason Collett cover)

 

{http://soundcloud.com/killbeatmusic/skydiggers-bitter-beauty}

 

 

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Sean Carsley @carsley92

Nothing but TURF: Toronto Urban Roots Fest

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By: Hilary Johnston July 9th, 2013

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TURF (Toronto Urban Roots Fest) kicked off on Thursday, July 4th to a relaxed crowd of after-work music lovers who were eased into a weekend of live perfromances, big and small. The location of Fort York / Garrison Common proved to be the ideal setting, as the sunset served as a backdrop from the west stage while the cityscape sat behind the east. Save for the unsavoury view of the Gardiner Expressway, it was nice to see Toronto’s green spaces be put to good use, good vibes and good music. 

 

 

 

 

 

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The Barr Brothers 

 

The Barr Brothers walked on amidst the sticky day, humbly thanking the crowd for welcoming them as the first band to ever grace the Toronto Urban Roots Festival. Met with only a handful of enthusiastic early-gawkers, the four-piece started confidently, slowly attracting late-arrivers to the flock. 

 

Their set-up was visually appealing; Sarah Page’s harp served as an anchor for the mixed percussion and guitars. Even with the soft and controlled rhythm (covered by both Andrew Barr and Andres Vial), the harp was only clearly audible during intros and outros of the set-list, leaving me wishing for more. As the show progressed, things got interesting as Brad Barr swapped his acoustic guitar for an electric, finding harmony amongst the eclectic mix of percussive instruments and harmonica.  The audience seemed pleased, with most of their favourites making the cut including “Beggar in the Morning”, which I unabashedly hummed to myself until the next act went on. The Barr Brothers were soft and sweet, like a delicious indie popcicle on a hot Thursday afternoon.

 

 

 

 

 

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Camera Obscura 

 

All the way from Glasgow, Scotland, Camera Obscura came on as the sun was still shining. The crowd had filled out by that time and, at first, I thought it was merely in anticipation of the headliner, She & Him. As the set continued, the number of people dancing and singing proved me wrong. It seems that the indie pop septet had collected some die-hard Toronto fans since their formation in 1996.

 

The music of the sunglasses-clad, pop-smiths was as personable as their stage persona. Tracyanne Campbell’s vocals were crisp, complimenting the harmonies offered by her bandmates beautifully. Campbell is a refreshingly unusual frontwoman, performing with modesty and poise while still effectively fastening the rest of the band. That said, my eyes and ears were drawn to Tim Cronin, who rocked a tambourine, woodblock and then, satisfyingly, a trumpet. Every fill was executed sweetly and precisely. The sound was well balanced, each layer clean and carried by the breeze. Silences were as musical as sounds, a feat not achieved by many bands I have seen of late. Camera Obscura delivered, leaving me relatively surprised, yet strangely content. 

 

 

 

 

 

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Joel Plaskett Emergency 

 

Introduced as “the best time you can have in Canadian music,” Joel Plaskett Emergency were instantly greeted like an old friend upon arrival. Who could blame them? They are classic and wholly reliable.

 

The band played an assortment of favourites including “Truthfully, Truthfully” and “Extraordinaire”, the refrains of which were so familiar that they felt anthemic. Between songs, Joel imparted stories of the Cabot Trail and the challenges of songwriting on a deadline. He even acknowledged the irony of playing “Natural Disaster” after sharing kind words of support for Calgary’s flood victims. He played a few solo acoustic numbers before inviting the rest of the Emergency back to rock out to “Work Out Fine”, “Nowhere With You” and the closer, “Lightning Bolt”. The set lasted longer than expected (not a complaint), which in turn proved to be a fitting encapsulation to a contagiously good time.

 

Is it too soon to compare Joel Plaskett as this generation’s Stompin’ Tom? I don’t think so!

 

 

 

 

 

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She & Him

 

With a name like “She & Him” I was anticipating a duet. Not so. In fact, it was one of several unfulfilled expectations I had to deal with during their performance. While the songs were pleasent and well composed, they resulted in the only two factors that carried the set along. There was great potential for a 1960s girl group aesthetic to be brought to life, but the insouciant manner of the performers felt flat. Comprised of tunes from their albums Volume One, Volume Two and Volume Three, there was an alloted slot given to M. Ward, allowing his coolness to take the spotlight from Zooey Deschanel, if only momentarily.

 

Identifying the source of the deficiency took me a few minutes. At first, I thought Zooey’s voice was simply too loud. Then it hit me. Each time she visited the upper register of her vocal range, it became more and more apparent that volume was not the problem. Her voice is shrill, comparable to the sound of vocals resonating in a giant tin room. It was piercing, starkly contrasting an otherwise cute and occasionally acceptable performance.

 

Next time, I’d like a little bit more of “him” and way less of “she”.

 

 

 

Photos courtesy of Front of House Photography @FOHPhoto

 

Be sure to follow Toronto Music Scene on Twitter @TorontoMusic and Hilary Johnston @hilary_johnston