Category: Live Bait

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Stylus vs. NXNE – Day 3: Patrick in the Pit


By Patrick Michalishyn
All right, so I said I’d write for Stylus about my NXNE experience. And I did — eventually. As any reader of this fine publication would understand, when you have the chance to meet, hang out, befriend a musical hero, you take that chance. And on this trip I did. I’ve had some time to collect my thoughts and refine my writing in the “cool off” days following. I hope ya dig! – Patrick

Rumoured shows are wonderful… when they actually happen. There was a rumour that at this house-party/BBQ George Stroumboulopoulos would show up, that Broken Social Scene would all come, and that they’d be dragging along Pavement for a secret set. I decided to check it out. Even if none of that happened, the beer is free.

I make it down, pay my cover and go get a beer. Four bucks! So much for free. Estranged friend Chris Nelson (former “Going Coastal” guy) tells me that Strombo is on a motorcycle down to L.A., and the other two rumours are definitely just that.

I missed Sebastien Grainger’s new band Bad Tits, but I was told they put on a stellar living room show. I couldn’t tell you who else played though… the bassist from the Constantines has a new band and might’ve mentioned that the ‘Tines have run their course (exclusive!). Eventually we left that off-Vice party and headed for the Horseshoe for the Chunklet show.

Continue reading “Stylus vs. NXNE – Day 3: Patrick in the Pit”

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Stylus vs. NXNE, Day 2 – Patrick Sees Thee Oh Sees

By Patrick Michalishyn

I got a Facebook message back from Ralph Alfonso of Bongo Beat that he would be in town for the world premiere of Circa ’77: The Diodes a half-hour doc about the beginnings of the Diodes, as well as their end and the renewed interest and resurgence of this fantastic Toronto punk band. Lots of archival footage of them performing at the Crash & Burn Club (Canada’s first punk venue), interviews from their heyday, and lots of history. This all leads up to a reunion at NXNE a few years ago.

The movie kind of felt like an episode of really great TV, in the way that it packed in so much and covered so much ground in its short (27-minute) runtime. Hopefully it’ll come out with the Action/Reaction reissue (coming soon—hopefully—on Bongo Beat). So not only did I meet Ralph, who I’d been bugging about music stuff since I was 15, but three quarters of the Diodes were there for a Q&A.
Later that night was the Kelp Records Showcase at Clinton’s Bar. Local non-Kelpers Jennifer LFO played opened the show at 8 p.m.—playing to me, the bartender, the NXNE volunteer, and eventually Toronto Liam that I met at Jersey Boys a few nights before. It was a crying shame more people didn’t see them, but they played tight pop-rock with Acid Mothers guitar freakouts and Liz Phair-like duo-femme vocals. Liam an I went hoarse and had raw hands, giving them the volume-recognition they deserved. They thanked me by giving me their drink tickets. Unneccesary, but appreciated!

Near the end of that set, all of the Ottawans finally showed up: Andrew Swan, Jim Bryson, Mr. Kelp Records himself Jon Bartlett, Camp Radio and the man I’ve been listening to since I added “teen” to my age, Chris Page. You know when you meet someone who makes you love music so much that you pick up an instrument and learn to play their stuff? That’s who Chris Page is to me. He went up as soon as he walked through the door and played a half-hour solo set, sprinkled with songs from his four albums, plus a bunch of rarities found on the annual Kelp comps. I grinned like an idiot through the whole set, sang along, called out requests (and got a little tease of a Trapped song).

Then it was time for Camp Radio to take stage. Special surprise, they beefed up the power trio with two more guitarists (Jim Bryson and another guy I talked to for 20 minutes but forgot his name). It was gonna kill. I bought their album as soon as I heard it and couldn’t get enough. Now here, they kicked out more new songs from the forthcoming album than the old ones I’ve memorized and I couldn’t be more excited. They’re like a mix of the Nils and Superchunk, boundless energy, and a very beardy drummer. After they finished, it was hugs all around, and I kinda felt like the cousin who doesn’t get out to visit. I hope I get to see these guys again soon.
With two bands off my bucket list of “Bands to see before I die,” I walked over to the Great Hall to catch Thee Oh Sees. Brigid is more gorgeous than her pictures, Petey’s got that punk/intellect thing down, and the-man-that-never-rests John Dwyer, well he’s one of the coolest cats I’ve ever met. If you’ve never heard of the Oh Sees, here’s a quick overview. They’re from San Fran, their “breakthrough” album was called The Master’s Bedroom Is Worth Spending a Night In, and it’s a hell of a lot more frenetic than EVERYTHING that came before. Reverby surfy garagy punkrock’n’roll. They have records coming out every other month and everything sounds wonderful and unique.

Thee Oh Sees

I was right at the front of the stage, singing/sweating/dancing. They played a few songs from Master’s, “Block Oof Ice” getting the largest response. “Tidal Wave,” from the 7″ of the same name, got peoplethrashing and yelping. They even played the epic 15-minuter mind-melter “Warm Slime.” Some dude threw about 20 drinks on Dwyer and drummer Mike, and they got him back with one right in the face. The whole concert was absolutely insane. The only disappointment was that they played on the stage. Usually Thee Oh Sees set up in the middle of the floor, or in the bar, or in the lobby, or in the bathroom, and then just let’r rip, fans circling them and singing and playing their instruments. The stage show was still fantastic though, and after the show I got to hang out with them for about 45 minutes. I’m like a kid at Disneyworld right now, nothing’s gonna bring me down. If they ever come through Winnipeg, or if you ever have a chance to see Thee Oh Sees, never EVER pass it up. I’m gonna try and get some sleep now.

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Stylus at NXNE, Day 1: Eagles of Death Metal and Small Sins

By Patrick Michalishyn

Hi, I’m Patrick, and I’m writing about my North by North-East experience for Stylus. Originally, I was just flying out to see Man… or Astro-man? perform at the Horseshoe, but my editors suggested I try for a media pass. Well, holy shit, it worked! So my stay was extended, my Toronto cherry was popped, and now I’ve gotta report back daily so I don’t get blacklisted. I hope I don’t bore you.

My basic rules:

TAKE EVERY OPPORTUNITY
If I’m invited to a show/BBQ/party, I go (unless I have previous plans). Basically, I’m not allowed to wimp out. No “pulling a Patrick.”

AVOID SHITTY BANDS
With over 650 bands playing NXNE, the chances of seeing crap are high. I’m trying to avoid that. So the bands and shows I’ll be reviewing will most likely be positive since it’s all stuff I want to see.

MAKE CONNECTIONS
You never know who’s in the know. Whether it’s Man… or Astro-man?’s secret performance at Sneaky Dee’s, or a healthy rumour of a free Pavement set at an afternoon BBQ, or… shit, was I not supposed to tell?

PLAN AHEAD
Make a list of who you need to see, where they’re playing, and how long you need to get there. Logistics and common sense. If it’s gonna be a huge show, get there early. If two bands you want to see have conflicting schedules, see if one’s playing on another night. Give yourself time for transportation.

PUBLIC TRANSIT IS YOUR FRIEND
Winnipeg: our city planning and transit system suck. Not so much in Toronto. The city is a grid and the transit lines run on time (and frequently!). You just need to know the direction you’re travelling and the name of your stop (if additional help is needed, there are posters everywhere). Buy a pass for the week and keep it with your ID.

I got my media pass and swag bag, and during the long wait for both I ran into Andy Maize (of the Skydiggers, super affable dude), plus local wunderkinds Stephen Carroll (Weakerthans) and Shaun Gibson (Details). I love running into people I know in a place I’ve never been.

The only plan for the day, NXNE-wise, was deciding what kick-off party to attend. The big two were Eagles of Death Metal with Small Sins at the Phoenix or Karen Elson at El Mocambo. The guy at Rotate This said he’d sold out of tickets, and I’d only be interested in seeing if Jack White would be there supporting his wife (stranger things have happened). So I opted for the Eagles.

The show started promptly at 10 p.m. with Toronto’s Small Sins. Apparently this was their first show in a year and a half, but you wouldn’t know it. They were hella tight. Arranged in almost olympic-rings pattern on stage, these guys were kinetic on stage. Lots of dancing and harmonizing and smiles, with extra extra handclapping. Holy hell, there was a lot of handclapping. Musically, they ran the gamut between slower, atmospheric rock ‘n’ roll to super energetic Hall and Oats-like pop. Oh, and lots of good humour. They were the first to call themselves on being mismatched on a lineup with Eagles of Death Metal. Small Sins are a great band and they had people bouncing around, but you could tell the crowd was there for Boots & Co.

And at 11 o’clock, the Devil himself appeared. You know what to expect at an EoDM show: lots of southern-sex boogie-rock ‘n’ roll led by the charismatic-as-fuck preacher Jesse Hughes. I’ve never been disappointed with them. Plumes of pot-smoke filled the front of the Phoenix. The girl beside me took off her pink D-cup bra and hurled it at Hughes. It landed perfectly over the neck of his guitar during a song. He laughed, thanked the ladies in the audience, and hung it on the kick-drum like a trophy. He would pull the girls up onto the stage for a quick kiss and send them off to watch stage-side and soon girls were just climbing on up there on their own. Amazing showmanship every time, they know how to bait an audience. What a party! The only downside with any EoDM show are the meathead douchebags that feel like they’ve gotta flail and crash into everybody around them. Otherwise, kick-off was a success.

Come back to stylusmagazine.ca daily for Patrick’s NXNE updates!

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Preview: Sleep… in the Gallery

Maybe it’s because it’s raining in Winnipeg today that the idea of curling up and listening to some sonorous sounds is appealing. Of course, regardless of the weather, there’s a lot to recommend the happenings at Ace Art this Thursday, May 13. Vancouver drone-maker Empty Love and Winnipeg’s experimentalist Chris Bryan (formerly 3x3is9) will perform. Attendees will also be treated to a short film program featuring the work of Clint Enns, Kelsey Braun, Andrew Milne + Cam Johnson, Montreal’s Sabrina Ratté and former Stylus cover artist Leslie Supnet (whose illustration is pictured above right).

Doors are at 8, the films start at 8:30, followed by the live sound performances.

Organizer crys cole urges you to “bring open ears and a pillow, sleeping bag or whatever makes you cozy.” I say, take her up on it!


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Sound advice: Two shows you do not want to miss

I know that Monday and Tuesday nights are generally reserved for laundry and/or recovering from weekend revelry, but please, Winnipeg, I implore you — break with tradition and go see these two early-week shows.

missemily11. MISS EMILY BROWN – MONDAY, APRIL 19 at the MONDRAGON, 9 p.m.

$7, with openers Ben Wytinck and Steve Brockley (Montreal)

Hopefully our feature on Emily Millard, a.k.a. Miss Emily Brown, sparked your interest. Her expert manipulation of her instruments — from voice to autoharp to guitar and banjo — coaxes out sounds that bring the old into a starkly modern context. Check her out on MySpace, or watch this little video to get a better picture of what to expect at tonight’s show:

Miss Emily Brown – In Technicolor from Benjamin Schuetze on Vimeo.

Baby-Dee2. BABY DEE – TUESDAY, APRIL 20 at the WEST END CULTURAL CENTRE, 8 p.m.

$12, with opener Keri Latimer

Baby Dee adds new meaning to the term “uncategorizable.” Her music takes a lot from classic cabaret, but throws in heaps of church music as well as the brutal honesty of the folk singer-songwriter tradition. Her voice, heartfelt and rich, only adds to the glorious ambiguity of it all. Learn more on her website or on MySpace.

Here’s a video of her performing my favourite track from her new record, Songs for Anne Marie.

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Basia Bulat: Breaking Hearts and Autoharp Strings

basia

Watching Basia Bulat onstage, you can’t help but feel that her throaty alto was made for the resonance of the West End. She has this energy, present and exuberant that’s perfect for this sort of listening room.

On this tour, supporting her second album Heart of My Own, she’s accompanied by her brother, Bobby, on percussion and Allison Stewart on backing vocals and viola. (Sadly absent was Holly Rancher. Where in the world is Holly Rancher? Better check her blog to find out.)

Bobby matched his sister’s exuberance and Alison provided the stoic reserve that both  she and Holly are known for (some people find this off-putting, but I’ve always felt it balances out Basia’s energy perfectly).

Continue reading “Basia Bulat: Breaking Hearts and Autoharp Strings”

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Live Bait: Monotonix

with War Elephant, January 19th 2009 @ the Pyramid Cabaret

By Holly Beddome

Photo by Cheyenne Rae
Photo by Cheyenne Rae

On January 19, 2010, a group from Tel Aviv named Monotonix walked into the Pyramid Cabaret and left an amazed audience behind.  Bandmates Ami Shalev, Yonatan Gat and Haggai Fershtman rocked out in short shorts with wild hair flying as they played a raw set of rock and roll anthems reminiscent of decades past. The trio turned the Pyramid into a playground as they continually moved their set, with energetic audience members cheering for them on all sides.

Although missing their guitarist that evening, opening act War Elephant still rocked the stage. The Winnipeg duo kicked the evening off with a perfect contrast to Monotix’s wild energy, with a laid-back set with thudding beats and slow, distorted bass hooks.  While War Elephant are not a band to dance to, they nonetheless rocked out and played a solid, grunge-tinged show that resembled a less-vocalized mix between Black Sabbath and Soundgarden.

Following War Elephant’s performance, Ami Shalev of Monotonix walked up to the bar and grabbed several bottles of water while drummer Haggai Fershtman and guitarist Yonatan Gat warmed up.  Cheers and whistles rang out from the audience as Shalev grabbed the microphone. The real show began as the band ripped into their first song; riffs were shredded, beats pounded and Shalev yelled like a man possessed with the spirit of Johnny Rotten.

The band fed off the energy of the crowd and clearly enjoyed shaking things up.  A garbage can was dumped over Fershtman’s head, drumsticks were given to audience members, and Shalev hung from the rafters like a monkey mid-song. Water and beer rained down as the Israeli rockers emptied the contents of several bottles over the crowd. Despite the chaotic energy of the evening, the vibe was friendly as people simply forgot their troubles and absorbed the show.  Monotonix truly put on a performance to be experienced, not just observed.

Next time these crazy rockers roll into the ’Peg, do yourself a favour and pick up a ticket. Seeing this band live is an experience that you will never forget!

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Múm with Sin Fang Bous and Hildur Guðnadóttir – October 30/09 @ Pyramid Cabaret

By Dustin Danyluk

Photo by Samanta Katz
Photo by Samanta Katz

The Pyramid Cabaret was sparsely populated when Hildur Guðnadóttir, cellist and vocalist of Mùm, took the stage alone with her cello and laptop. Her freeform, ambient cello-based music reflected both her classical musical training (an experimental consciousness that seems to be common within Icelandic music circles). Guðnadóttir’s set was reminiscent of performances given by fellow Icelandic experimental musicians Leanne Zacharias, Borgar Magnason and Kippi Kaninus this past May at the St. Boniface Museum for the bargain price of $5. Guðnadóttir’s music differed in that while that performance was meditative, dissonant and droning, Guðnadóttir chose to insert very melodic and shifting passages, which were later given more breadth by the accompaniment of fellow Múm members Eiríkur Orri Olafsson on synths and trumpet and Gunnar Örn Tynes on bass. Typically for the Pyramid, the crowd was backed far away the stage, but you could still feel the swells in dynamic and the intent that had been put into writing and playing the music. The modest crowd showed all the appreciation their limited numbers could convey.

Fortunately, by the time the quirky indie folk singer Sindri Már Sigfússon and his latest project, Sin Fang Bous, took stage, the crowd had grown to a less-embarrassing size. The brand of eclectic folk pop he and his band unleashed was a delight to experience from one song to the next. Sigfússon’s live vocals were much more rough and energetic than the mellow and smooth delivery on his albums, and hints of ambient textures and novel rhythms kept the crowd on their toes. And though the band were just backing him up, you could tell there was enough groove and texture in the songs for them to really grab hold and have fun with.

By time the headliner Múm took stage, the Pyramid had mercifully filled up enough to balance out the unsightly bare spots in front of the stage. Múm’s energy and instrumentation was hard to resist (regardless of whether you prefer Kristín Anna Valtýsdóttir-era Múm or their more recent poppier, folkier sound). Most the songs they played were off of their most recent two albums, Go Go Smear the Poison Ivy and Sing Along to Songs You Don’t Know. Fans of the bands earlier output might have found their new vocal approach a little underdeveloped, but the band as a whole more than compensated for that. Múm’s live instrumentation sounded fantastic. Their drums triggered glitched creaks as well as producing traditional acoustics, adding a dynamic to their electronic sections that just can’t be programmed into a loop. Múm’s energy peaked when they returned for an encore with a track from the acclaimed Finally We Are No One.

Being Gate Night, there was something of a weird atmosphere in the room. While the band played, a man in the front row fainted and fell straight backwards to the floor and, for a second, the shadow of his head cast onto the floor looked like a pool of blood. (Only for a second though.)

>>>www.myspace.com/mumtheband

>>>www.myspace.com/sinfangbous

>>>www.hildurness.com

PHOTOS BY SAMANTA KATZ