So I finally sat down with my good set of headphones and a vinyl copy of this record when I had some time to myself. I dropped the needle on the band’s full-length debut and lay back with the liner notes as these three Londoners were firing through “Year’s not Long,” already one of my favourite songs of the year with its major scale hooks and furious sixteenth note strumming. In the midst of guitar noise, reverb settings stolen from Abe Vigoda, double time drums, half time drums, and inprecise chord changes, you can catch that almost all of John Arthur Webb’s lyrics are about temporality, living in the moment, etc. etc., which gives the whole of Nothing Hurts that arty and poetic edge. Unfolding the liner notes, I discovered a huge photo of the three stylish guys looking up at the camera and the name Male Bonding splashed under them. Right then and there I wanted to scotch tape it to my wall and scream along for weeks on end. (Sub Pop, www.subpop.com) Taylor Burgess
New York, New York’s Endless Boogie is one of the most aptly named bands around today. Forget obtuse band names like Animal Collective (no animals playing instruments—big disappointment) or Japandroids. (What? Not even a word.) Endless Boogie aim to deliver exactly what their name implies—Boogie, in the quantity of Endless. This is primarily achieved by taking one or two guitars and having the first slam out some heavy bluesy guitar riffs, full of Boogie, and then repeating them into damn nigh eternity, hence the achievement of Endless. Then, halfway through most songs, the second guitar snaps into the forefront, in full Wank mode, lending some Endless solos too. The guitars are the star of this picture based on their presence alone. They are so all-encompassing you barely notice the competent, albeit complacent rhythm section, which anchors down a beat for the guitars to wail over. The vocals are growled or hurled out seemingly as an afterthought. From what I can tell, they are mostly about pie (“Mighty Fine Pie”) and having good times (“All Other Songs”). Pleasant enough, given that you love electric blues and take the term “Endless” as a good thing. (No Quarter) David Nowacki
Overlords of all things heavy and riffy return with their proper follow-up to 2008’s excellent Nude With Boots. In case you haven’t been paying attention, this is the third record that wizard-haired front man Buzz Osbourne and god of thunder Dale Crover have churned out with the heavy-hitting rhythm section of Big Business. The two-drummers-on-one-massive-drumset formula has been perfected here, with Crover and Willis no longer merely trading fills but somehow sounding like one superhuman drummer: syncopated, complex and unstoppable. But something just isn’t sitting right with me on this record. The Melvins have been around forever and have rarely missed the mark – unless they’ve missed it on purpose. (Prick anyone?) While The Bride Screamed Murder has it’s share of bangers, Buzz and the boys let their bizarre sense of humour loose a bit too often here. The military march, call-and-response of “The Water Glass” is interesting, once, while the 8-minute version of “My Generation” is just awful. But, if you’re a Melvins fan, you know that every once and a while they mix in some self-indulgent silliness amidst some of the greatest riff-rock ever written. It’s a price that must be paid. (Ipecac Recordings) Curran Faris
As Stylus found out in this interview, William Schaff is a musician too, but he’s most well-known for his album art. He has done the entire discography for Okkervil River, but most of us Brave New Waves-listening –and The Wedge-watching– punks were first thrown into his world after cracking open Godspeed You! Black Emperor’s Lift Yr Skinny Fists Like Antennas to Heaven! and witnessing the disturbing drawing of skull-masked presidents wagging their fingers and chopping off hands. Freud’s Bathhouse and Diner is getting more than 100 original zines of Schaff’s as the key attraction of their zine art exhibit and expo, I Know What My Weaknesses Are, Probably Better than You Do. Schaff took enough time to talk to Stylus over the phone from his Rhode Island studio where he works and sleeps.
Stylus: I read all about how you met up with Okkervil River, how you and William Sheff met because you almost have the same name, but how did you meet up with other bands, like Godspeed You! Black Emperor or the What Cheer? Brigade? WS: Meeting with Godspeed was coincidental. I was in a band ages ago and we toured through Montreal, and we played at Hotel2Tango. We slept there, and in the morning this guy [Godspeed’s Efrim Menuck] popped out, we started talking. And I gave him one of those little books [that’ll be in the exhibition] because back then I always carried them around with me. Time passed on, and he asked me in an email if it was alright that used images from that book for his band’s album cover. I said yeah, go ahead, that means I don’t have to draw anything new for it, you’ve already got the images. Then I was sitting in New York, reading my Rolling Stone and I realized, “Wow these guys are huge.” I just finished another job for them this week. They’re curating a show for All Tomorrow’s Parties. I did the poster for them. It’s nice that they’re keeping in contact about stuff like that.
As for the What Cheer? Brigade: I’m a member of that band. There are so many people in that band and there’s no band leader, so everyone brings something different to the table. I hate booking shows, but I am able to create images for the band. Stylus: What do you play?
WS: I’m one of the six drummers, I play the quad drums. It’s a standard marching band instrument. Stylus: On your Flickr page, you post playlists that you had listened to when you were making a piece. Do you feel it’s necessary to do that?
WS: I have to listen to music when I’m working, it’s seldom there isn’t some sort of sound going on in the background. Like right now—well, I paused the DVD when you called—but I’m watching this documentary that I can’t figure out whether it is fake or not. It’s called Brothers of the Head; have you heard of this? Stylus: No, not at all.
WS: It’s about two conjoined twins, about their life, and they start a rock band together. It’s really something. Anyways, getting back to the question, I’m always listening to music when I’m working because it has the biggest influence on me. And as for posting my playlists, I do that because someone who likes a piece of mine might be interested in the music that I’m listening to and then maybe they could see how that music goes with the piece. Stylus: What’s your opinion on street art?
WS: I love good street art. I have absolutely no problem with graffiti, but I just hate bombing crews who are just putting their name everywhere. When I was in Berlin not too long ago, there was beautiful street art everywhere—but here in the U.S., it’s illegal, so nicer street art is harder to find. I do make some stencils once in a while, but by no means do I consider myself a street artist. Stylus: I also noticed that you do a lot of mail art. Why did that interest you?
WS: I originally started doing that because I got the internet way back when the internet wasn’t like it is now. I started drawing on envelopes because it took a good chunk of time while a page was loading up. Over time, I’ve gotten a lot of beautiful mail. I get a lot of bills, most of which I never open. But to see a wonderful package, amidst all those things that bring you down, it really brightens your day. Stylus: Is there anything else you’d like to talk about?
[After a bit of small talk] WS: Yeah, actually I’d like to talk about the gallery [Freud’s Bathhouse and Diner]. They’re reaching out to artists, and they’re taking all the steps to make it happen. They’re saying, “Yes we’ll ship it here, yes we’ll ship it back, yes we’ll insure it.” It’s really admirable because not many people would do that, and it’s amazing that they have the wherewithal to carry through with it all. So if I had something to add, it’s how thankful I am for people like Kristel and Mark, because I couldn’t do it without them.
You can see I Know What My Weaknesses Are, Probably Better than You Do opening tonight and showing until August 29 at Freud’s Bathhouse and Diner at 42 Albert Street.
Tonight at the Lo Pub with Vampires and White Light Machine, Ultra Mega will releasing The Dart EP, their first record since their controversial Black Wu Jackets.
The sessions didn’t include drummer Ben Jones because he was busy with school and the recently-added guitarist Josey Krahn wasn’t a member yet, but singer/guitarist JD Ormond and bassist Conrad Petkau had a great deal of fun recording with Six Shooter signee Luke Doucet.
Doucet, who played the role of producer and played the drums for the EP, happens to have quite a special relationship with Ultra Mega. He’s Ormond’s brother.
“Sometimes when we were working in the studio,” says Ormond wistfully, “I would be looking at Luke and I’d just picture him like he was some punk in the West End and we were making songs you could double your friends on your BMX to.”
So we get these emails every morning giving us the highlights of the day for NXNE. While Iggy Pop was this years’ “headliner” and De La Soul were closing out the night at the big free stage, I heard about show that happens every week in Toronto, a band who takes up a monthly residency at a different bar, playing only covers, some straight ahead, others mutated and mashed up with other known songs. The band’s name is Ancient Chinese Secret.
Ancient Chinese Secret is the latest band featuring the man who started the whole music geek in me running: Mr. Brian Connelly of Shadowy Men on a Shadowy Planet fame. And this was not your standard show. Brian, the nicest, most modest, fun and self-depricating musician-type that I’ve ever met, he and his band set up at the front of this tiny pub and just play. They don’t really talk until they announce they’re going to take a break between sets. Not looking for anything but to play to whoever’ll listen and have a beer when they rest their hands.
I woke up late in the morning (early afternoon) in pain from rocking out too hard at the Astro-man? show last night. Shit, where’s the Robaxacet? No time to write, the only panel I cared to see was starting in two hours, across town at the Hyatt.
The panelists:
Henry Owings of the (in)famous Chunklet mag, Drug Racer Records, graphic designer (and it goes on and on).
Damian Abraham of Fucked Up, new dad, all around nice guy.
Nick Flanagan, moderator, singer of the Brutal Knights, comedian, and recent cripple (a skin-puncturing compound fracture that he got while performing. So punk!!)
The panel: “All of the Other Panels at NXNE Are WRONG.” The purpose: debunk all of the shit that every other panel tells you you need: “Finding a manager,” “The 360 Deal,” “Making a name for yourself,” and other horse-hooey that “the biz” says is a must when you want to start a band. Passion and the want to make music is the most important thing. Everything else you can pretty much do yourself. Yeah, EVERYTHING. Promote yourself, book your own shows, manage your cash, release your own records, get distro deals. EVERYTHING! The message was loud and clear from the get-go, but the three had 55 minutes left to make their point. Well…
Almost immediately, Damian took over moderating duties from Nick. Nick would jump in with random ridiculous comments and Henry would claim that they “knocked that one out of the park.” Three guys who know their shit, know what’s bullshit (almost everything) and aren’t afraid to mince words or take the piss out of anyone/thing that needs it. With a heap of humour. The panel was absolutely hilarious. Essentially three friends riffing off of each other and the list of names of the other panels. Sadly, the idea that was being bounced around before the panel started was that Damian, with wireless microphone, was going to crash other panels and report live from other rooms why they were bullshit. We even tested the range! It all boiled down to what the Big Boys ended their concerts with: “Go start your own band!”
I would’ve gone home and wrote about the previous day and got my reports in on time, but I got the option to go out for food and beer and record shopping with Henry, so I chose that instead. No brainer, right? Big geek, bigger heart, I love that man.
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.
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.
I first met Nick Liang, the primary singer and songwriter for Winnipeg natives Departures, when he was a temp at HMV a couple of years ago, and the first thing that struck me was how damn savvy he was. I like to think of myself as a fairly well-informed music geek, but man, this guy could geek with the best of them. He had a genuine enthusiasm for all things musical.
