>Julie Doiron the Soundtrack to my first Pedestrian Sunday of the Year.

>“I Can Wonder What You Did With Your Day” is quite possibly the loveliest album released this year to date. Julie Doiron is a gem from New Brunswick, she’s been through a divorce, had children and she still hasn’t lost her charm.

If you don’t believe me listen to: “Nice To Come Home” and “Glad To Be Alive”. They’ll make you think twice as to whether Julie Doiron ever wrote a sad song (ha!).

>June Capper, Brand New and Camera Obscura

>I’ve rediscovered my love for Brand New. Thanks to the wonders of downloading, I found a series of off cuts from live gigs. Seems as though lead singer Jesse Lacey digs less punk and Morrissey tunes. He covers a Neutral Milk Hotel from their legendary album ‘In the Aeroplane Over the Sea’ called “Oh Comely” and my favourite “Upward Over the Mountain” by Iron and Wine. He has a distinct voice as far as artists go in the punk section. Lacey’s voice is pretty and I always think of Morrissey because that’s one of his prime influences. I hope they come back and play a venue that isn’t meant for airplanes.

I can’t get enough Camera Obscura. They’re new album is stunning, a little over produced but it worked for the last album, so why not another? “French Navy” is cute and it’s this albums response to “Hey Lloyd, I’m Ready to Be Heartbroken”. I’m super excited to see them.

>Steamboat Record Release Gig at Sneaky Dee’s; Saturday May 16, 2009.

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Steamboat Record Release Gig at Sneaky Dee’s; Saturday May 16, 2009.

This show was actually three weeks ago so I’m sort of forgetting all the wonderful little things that happened. There were however about a million brilliant things that happened that night so I feel good regurgitating everything.

Steamboat is a Toronto band. It’s a conglomeration of brilliant musicians, to make a sound that sounds identical to Andre Ethier. Heavy piano pushed by Christopher Sandes is the trademark of the similarities of both these artists. This band is comprised of well-groomed thirty year olds that have been around for a while. A very comfortable, experienced demeanor they carry ridiculously well.

This gig was cleverly ran as Steamboat actually only has one album out, which is actually only an EP. Without much material they made some calls around and had some really amazing Toronto acts out to play. They first called out Ian and Simone from $100. I really don’t care for $100, they’re sound is great but I can’t get over how lazy it is. I always wonder what Simone would sound like if she just sung normally, leaving her country bumpkin sound behind. I’ve got my bets on not very good. They played two songs.

I wasn’t really familiar with Alex Lukashevsky or Mantler. I really liked Lukashevsky, his sound is together. Mind you as was Mantler’s but Mantler sort of had this ridiculous joke-like feel to him, I almost couldn’t take him seriously. Most of the bands had a really soulful feel. I think I can seriously credit it to their back up band–Steamboat.

Alex Lukashevsky’s recorded material is really slow, they breathed serious life into it.

Doug Paisley is great, he has an Band-like feel through his steady songs, when he doesn’t go country overboard. I found out that Paisley is one part of Dark Hand and Lamplight, of who I saw open up for Apostle of Hustle two or three years ago. They use overhead projectors to show live art happening, through the hands of Shary Boyle, using dry erase markers on acetate paper.

It was such a treat to see Sandro Perri, this was the first time i’ve seen him. I heard the tune “Double Suicide” and that’s what sold me on his music. He however shared the stage with the kooky Mantler and only sang one song. I’m under the impression that Perri’s niche is in making music, as his original band called Polmo Pompo was an instrumental group, he shocked all of his friends when he put out a project with his vocals. This night had a real soulful vibe to it so naturally his song choice reflected that.

There were a lot of covers peppered through the acts, which was cool. Familiarity always wins the crowd. Andre Ethier however did no such thing. Surprisingly, I recognised two out his three song choices, he played “On Lies” first, a really amazing song that kicks in with his ukelele and is carried on by it. He is immaculate live. He also played another tune off of ‘On Blue Fog’ called “Pride of Egypt”. Ethier’s distinct style almost sounds like preaching when performed and recorded. It’s distinct. I’ve never heard the Deadly Snakes but it’s something I need to get on, Ethier use to be a part of that group. I didn’t recognise the third song but I really enjoyed his portion of the set.

This gig really points out Steamboats chameleon ability as a group. They can pick up and gel to other sounds really easily. From what I’ve gathered Steamboat use to be primarily a backup band at the Tranzac. The bands that play the Tranzac sort of stay on the outskirts of the Toronto music scene. The little Australian bar is pretty awesome but for it’s size and capability it’s sort of left out quite often. It’s good they brought the boys out the Tranzac.

Lovely, well-put together show.

andre ethier, sandro perri, mantler, alex lukashevsky, ian and simone from $100 and doug paisley

>Vetiver at the Horseshoe Tavern; Friday May 15, 2009

>Vetiver at the Horseshoe Tavern; Friday May 15, 2009
I loved this band’s artwork at first sight. Their album ‘Things From the Past’ has a ridiculously cute girl holding a record from what looks to be her collection of vinyl records. It had a classic appeal to it that drew me in, for at very least another glance at the album.

I took a listen to their album ‘Tight Knit’ released earlier this year. Upon hearing the first track titled “Rolling Sea” I knew this album was beautiful. I purchased their self-titled album when i went to the states while back, it wasn’t until i bought ‘Tight Knit’ that I actually listened to the self-titled. Each album is dynamic in their own way. ‘Tight Knit’ is straight foward, where as ‘Vetiver’ is loose and unkept. In between those two albums Vetiver released two cover albums, modestly titled ‘Things From the Past’.

I caught one of the openers called The Papercuts. They were a little slow, but their sound was there. They used a great deal of synthesizer, which I’m not really sure if I like it or not. They seemed like the Beach House male counterpart. I however decided to sit this one out because their music was a bit slow for my likings. The Papercuts are from San Francisco.

Vetiver are also from San Francisco. I really love Vetiver. Frontman Andy Cabic is a gem, he’s confident, but not too confident. He initially said to the crowd that they’re going to start the show off slower. In anticipation of the crowds chagrin, Cabic said “You’ve gotta build up”. Build up they did, however they also dropped down to. For the unaided listener Vetiver probably comes off sounding a little boring. Cabic’s voice doesn’t translate clear, especially over the loud music of the venue. I really like Cabic’s lyrics, they’re full of imagery and heart, it’s a shame they didn’t come out well over the music.

His band is tight (ha!). Their sound is great, Cabic too is actively involved in the music. Very importantly they have a keyboard player, who really brought their sound together, closure. Each member is tremendously talented which reflects in their pristine sound live. They play as a band perfectly, making it really easy to enjoy their live set.

Vetiver fuses what I love about many bands I enjoy listening to. Very notably, Fleet Foxes, for the harmonization and rootsy folk sound to their music. Vetiver also reminds me of Ben Kweller, stripped down and folk-country like. I also love how this band feeds off of other artists, on the self-titled album Cabic scooped up longtime friend and co-writer Devandra Banhart, Joanna Newsome and Mazzy Star’s Hope Sandorval.

My favourite bit of the set was hearing the tune “Rolling Sea” and the commercial boosted “Everyday”. I think I enjoyed them so much because I was super familiar with them. I really dug a cover he did of a Towns Van Zandt tune. Cabic makes the cover tunes his own, to the extent you don’t know whether their his songs or songs of other people. At the tail end of their set they played the tune “Wishing Well” which reminds me a bunch of Ben Kweller. It was apparently released on a 7″ on Sub Pop for record store day. It had that cute appeal that Ben Kweller sports.

I had a lovely time, it seems as though they’ve played here at least twice before. Once at the Mod Club and the other time at the Drake. This band is a group I would love to have played at my high school dance.

>M. Ward at the Phoenix; Monday April 27, 2009

>M. Ward at the Phoenix; Monday April 27, 2009

I have always though M. Ward’s music has a classic feel to it. I wasn’t sure what made it sound that way, but seeing just him live really shed new light on him. All of M. Ward’s music sounds relatively similar. I could throw on something from ‘the Transfiguration of Vincent’ which was released in 2003 and ‘the Hold Time’ which was released this year, and you wouldn’t even know the difference. It’s that consistency that earns my high regard. With that said it should be acknowledged that M. Ward’s music is consistently good. His lyrics are sweet, like an old Beatles album is, M. Ward effortlessly achieves the innocence that so many bands try to pull off. He played pretty much the new album in its entirety, I think very highly of this album so I really didn’t have a problem with that. The tunes are lively and upbeat for the most part, which stretches it apart from the older albums a bit more. This album moves with more vigour and spirit. The other albums sort of lagged a bit at times. M. Ward managed to catch his breath mid way through the set, he played three or four slower tunes with and without the band. I really liked his live rendition of “Oh Lonesome Me,” which recorded features guest vocals from Lucinda Williams. It’s a sweet song about hanging out at home than going out. I really don’t like the album version, it’s slow and I don’t think his voice goes particularly well with Williams’. Live this song had a lot of heart, M. Ward played it with his guitarist, just him singing. He even played the song “Hold Time” which is quite possibly the slowest song, it felt particularly drowned out because you could really hear the synthesizer live. Two things saved that song, first M. Ward’s piano playing and secondly that it’s so short. He played the song “Fuel for Fire” off of the album ‘Transistor Radio’. I was really happy to hear that live. He also played “Magic Trick” and ended the show with the Daniel Johnson cover “To Go Home”. I was incredibly surprised when he played two encores. I read somewhere that M. Ward was a super introverted person, I just assumed that from seeing him live with Zooey Deschanel as She & Him. He barely made a sound, tucked to the far left of the stage. This show he front centre, without a beautiful girl to divert the attention. M. Ward had a great sound live and not for very long did I feel as though he was bailing from the crowds attention. He wasn’t much of a talker to the crowd but he was appreciative. One thing is clear is he is quite the guitar player. I’m going to make bold and say he is first a guitar player then a singer, although his voice is immaculate, live and recorded. M. Ward played a handful of covers, most predictable being Buddy Holly made hit “Rave On!” which he plucked off of his latest release. For his last song he played “Roll Over Beethoven” but before playing it he pointed at the disco ball and asked for them to make it light up. He described it as “that big ball”, they didn’t understand him initially because of his drawl. At the beginning of the set he played a John Fahey cover which I’m going to assume was the tune “Bean Vine Blues #2”. I just found out “Oh Lonesome Me” is also a cover, who knew!M. Ward’s albums are all about detail, he produces most of his albums, definitely the later ones. His shows are no exception, well put on, well thought through and a great sound. He apparently prefers to stay home instead of touring, he doesn’t do it too often!

May 2, 2009

>Flight of the Conchords at Massey Hall; Tuesday April 21, 2009

>Flight of the Conchords at Massey Hall; Tuesday April 21, 2009

You would not believe what I did to get these tickets… Well I didn’t as much as what Joel did. I knew these shows would sell out before I had even seen them live. The real question is why? Or to make a really bad Flight of the Conchords joke would be to say “What?”. I hope my cheesy side oozes onto your monitor with ease.Regardless, the golden question is Why do these fools sell out?. Additionally, if these guys can make me pee with laughter from my computer screen Why did I not find them the slightest bit funny live?. I can speculate that it was because of the venue set up, if I had seen them at something tight like the El Mocambo or the Rivoli, maybe, just maybe it would have been enough to make me laugh. I paid fifty bucks to see these blokes, and what do I get out of it?–A measly postcard from Eugene Mirman, their opener. Eugene was pretty badass, you might know him from being their landlord of the television show. I thought he was pretty fun. I knew after someone in the audience very rudely yelled something along the lines of: “Fat people off the stage!” or something with fat in it, he fought back. Mirman simply said: “Say it again?”. It wasn’t in a cocky way but it was in a what do you have on the fat guy that you paid fifty bucks to see. His rants were scripted and I could tell he said them every night, which by knowing that it sort of bores me a bit. I thought what he had to say was funny though. I was most happy that he wasn’t a music act, there’s only so much parody I can take in one evening. His final rant was on Delta Airlines. He claimed they lost his bags and returned him some ladies junk and when they finally found his stuff months later they refused to allow the lady who’s stuff he received to send it to him. Did you get all that? Basically with his power as a celebrity, of some sort, he printed off a bajillion postcards reading what he’d like to say to them but from millions of satellite people. Here’s what it reads:Dear Delta Airlines, My name is ___________. I am a fan of comedian and actor Eugene “Horsedick” Mirman (who you may recognize from his small,recurring role on HBO’s Flight of the Conchords.) Mr. Mirman flew your airline from Seattle to New York, where you lost his luggage. Quick exposition: you delivered his luggage twice to the wrong address in Atlanta, GA, refused to pick it back up, then said you would pick it up, then never came, and then told him to file a claim and wait to hear back within 10 weeks. Eugene described his traumatic incident with your terrible airline on stage. As a result, I will never ever ever ever fly with you again. Your airline is worse than someone dressing p like Hitler as a joke and not understanding why that’s offensive. If your airline was drowning, I would save you, but give you look like, “I can’t believe I’m saving such an asshole.” To make things right, if I were you, I’d formally apologize to Eugenee on television, give him controlling stock in Delta Airlines or $10,000 (whichever is greater), and lastly make a video of yourself in the balls while going, “Why am I hitting myself?” and put it on youtube.Yours Truly, ______OK that’s a lot. He’s a funny guy, American too. Apparently, he’s toured with a handful of rock bands like The Shins and Cake. I suppose it’s much cheaper for one body than a band of five.OK to the goods. Flight of the Conchords, AKA Brett and Germaine didn’t get me. I found it really hard to laugh at something being recreated. I think I was also kind of bitter because I wanted to hear “Rymenoucerous vs. Hiphopoptamus” and “Brett You Got It Going On” even more so. They didn’t play either songs. They did however play the Bowie tune and “Business Time”. The first tune they played was called “Too Many Dicks on the Dancefloor,” which they apparently got the title from a guy in BC who yelled out in a club “There’s too many dicks on the dance floor”. In true Flight style Brett and Germain popped out in robot costumes made of carboard. They played it to strobe lights, and eventually stripped down to their normal clothes but with their jocks from the costumes still on top of their street clothes. Speaking of clothing a quarter of the way through their set Germaine unbuttoned his faux jean button up to cool down, just to be wearing the exact same shirt underneath. Cute detail.I kind of liked how the audience could partake, despite the huge venue. I don’t know how people could possibly want to sit in the gallery, I’d get nervous being that high!Flight’s sound was great, they’re two funny men and quality musicians too. They both sported the guitar, no bass from Germaine. They did however have a cellist jump on stage on occasion, it added a little zip to their music. Of course they made fun of his outfit as he got on stage, something I’m sure they do each and every night. They’re new tunes were funny, instead of a live show it felt like more of a story telling session with thousands of people with you. They made me laugh, but I wasn’t ready to cry like I thought I would have been. Maybe it’s because I feel like I’m seeing the live closer from my computer monitor. The other big thing was the script factor. We live in an age today where nothing is real. It’s a really haunting thought to think that everything we see on TV is completely fabricated. TV shows like the Hills or home renovation shows. Whether the homes are real or Spencer and Heidi really getting married. I can confidently say they wouldn’t take my parents place on, that would be a six parter home renovation made for TV movie. I’ve been giving a lot of thought into bands playing their tunes over and over. Do they get bored, is it better to see them on their first gig or their last. Their first tour or their last. Seeing a band first, on anything always compromises quality. I was listening to Randy Bachman’s (of the Guess Who) program on CBC Radio 2 called Vinyl Tap. Good play on words. He mentioned that when a band records in studio it sometimes takes twenty recordings to perfect a tune in the studio. That is unless you have Sir George Martin evaluating your studio performance….! Bachman also mentioned that seeing a band on their last show is a sure fire way of seeing their best live performances because they have everything down, from the melodies to the change overs. This raises a couple of questions in my head… Number One: Do you want to see a perfect well performed gig?. Number Two: Do bands get sick of playing the same things over and over, whether it’s in the studio or on stage. The only person I really felt that was getting sick of their repertoire is Damien Rice. From the two times I’ve seen him he’s sort of mentioned it lightly both times. That and he keeps reinventing himself. Basically, the one question I’m tapping at is… How much is too much? This review feels like Carrie Bradshaw’s column on Sex in the City, too many questions!Bottom line, I will never see Flight of the Conchords again unless Brett and Germaine make a personal stop to my living room for a gig. Tough luck.Just a plug… CHECK OUT BACHMAN’S SHOW ON CBC RADIO 2… 94.1FM. The best way to spend your Saturday night I swear!

May 2, 2009

>Maria Taylor at the El Mocambo; Friday April 17, 2009

>Maria Taylor at the El Mocambo; Friday April 17, 2009

Maria Taylor is sloppy. Her live show is minimal with what seems like a last minute put together band with boys ten years younger than she. Regardless, her show was great. Her voice was spot on despite her demeanor. I find it real funny that I saw this slopfest of a show after Neko Case, as perfect as live gigs get. I mainly feel the way after getting there a bit early seeing the openers Whispertown 2000. This was a band I saw probably four years ago, when Jenny Lewis first toured her flawless album titled ‘Rabbit Fur Coat’. Yes, believe it or not that album was released nearly five years ago, it just may have been five!! I barely remember their set but my friend Lily was all about them, and still is if I’m not mistaken. Of seeing their set today, they look ridiculously young. Too young to have toured five years ago. When I got in they were playing a tune that was loud and aggressive. They were chanting catchy tunes. Moments I felt really into it, others I just thought I could get at home, with one of my housemates dancing to mediocre music as they normally do. I found it funny that they alternated instruments after each song, proving that none of them were really good at any instrument. I didn’t really like this band, I hope they learn how to play before they tour again. They weren’t short on fun though.Maria Taylor flopped on at around 11:30. I was pretty beat but jazzed nonetheless to see this lady for the third time. The first I saw with my Mother at the Horseshoe Tavern. At that gig her band consisted of her sister on the keyboard and her brother somewhere else. This show none of her family members were in her band. The second time I saw her was with Johnathan Rice, not too long ago. I think it was in the fall, I could be wrong though. This show was by far the best gig i’ve seen her live at. The last show I think she played more tunes alone. The band this time round were together, each one of them seemed to know what they were doing. Taylor’s voice was great, it was all there. They keyboardist was also really fantastic. Many of her songs have a bunch of keyboard work and it really came through this gig.I was really happy to hear her play “Speak Easy,” which as always I found completely and utterly charming. She introduced it as a ‘love song’. She also played “No Stars”, one of my favourite songs to hear live, because of its pick ups and fall downs. They translated it live perfectly. She also played “Replay” a catchy tune. I always forget how much I really like Maria Taylor. I was pretty beat and I didn’t end up staying for her entire set. I left after hearing practically every song I wanted to, with the exception of “Song Beneath a Song”. I knew she’d play as a closer, as it was featured on Grey’s Anatomy. Well worth the twelve bucks I paid.

May 2, 2009

>Neko Case at Trinity St. Paul Church; Friday April 17, 2009

>Neko Case at Trinity St. Paul Church; Friday April 17, 2009

The openers are called Crooked Fingers, folk ensemble that simply can’t choose what genre they want to stick with. I really liked them this go. The last time I saw them was with Texas gems Okkervil River. I remember feeling very bored by their set as I looked on from a distance. This time I was closer and I could see everything. They’re quite minimal, with only a guitar, drums and the occasional bass guitar. The bassist was a woman that alternated between bass, vocals or sometimes both. I was really blown away by the lead singer’s vocal range. He sang in a sky high falsetto voice above the girls in one the tunes. They made very pretty tunes. I would never want to physically stand through one of their sets entirely but i found sitting to be quite the treat. The Music Gallery would be the perfect venue for this band, pews included.I’m putting it out there that I’ve never been a huge Neko Case fan. I think I bought her older album ‘Furnace Room Lullabies’ because her band was called the Boyfriends and Case is absolutely legendary. With that same logic I went to see her at Trinity St. Paul, one part because of the venue and one part because well, just because it’s Neko Case.She has a dynamite voice. Her voice lit up the entire church, effortlessly. She played a good chunk of her new album, peppered with older tunes. All the songs sounded perfect, as they do on the album. She has a great band which just strengthens her live performance all the more. Neko often played the guitar and always sung. Her backup singer was cheeky, but entertaining. I read in her Eye Weekly spread that her backup signer is also her best friend. How great would it be to see the world with you second half. It’s rare to find a backup singer so good. I sat closer to her so I could hear her voice real well. At times i felt that she could carry the show with her voice. She however never over shone Neko by any means. She’s completely beautiful but slightly aged in the face. She’s super petite for her age, she’s a year shy of forty. Her comfort and ease in her performance reveals just how comfortable she is. Throughout the set she was name dropping artists she wrote the songs with. She mentioned Sarah Harmer and the Sadies—two relatively local acts that made me real happy. Unfortunately none were in attendance.’Middle Cylcone’ as a whole has a natural theme to it, perfect for Earth Day, not a week after her gig. She however maintains a solid, strong female appeal to the album. ‘Maneater’ not in the confident girl way but in the literal, animals being ‘maneaters’. Watch out Nelly. On a couple of tunes she uses a music box throughout. In the live show she used it only in the song “Middle Cyclone”. It was absolutely beautiful. Innocent and minimal. Much like the song, which lyrics I can’t get enough of. It’s one of the prettiest tunes on the album for lyrics and sounds. Neko is a confident and successful female artist, both solo and through her band the New Pornographers. She’s a real gem, one I’m proud to say is a Canadian.

May 2, 2009

>Thursday at the Kool Haus; Wednesday April 8, 2009

>Thursday at the Kool Haus; Wednesday April 8, 2009.

This show was the closest thing I’ll ever get to a high school reunion… It’s because I feel as though the songs I heard tonight were a warm welcome to my high school past. I remember first buying the album ‘War All the Time’ in the tenth grade. I bought it with Thrice’s ‘Artist in the Ambulance’ at the HMV on Yonge Street. It was just before my Mother and I saw a play at the Cannon theatre. I remember flipping through the album’s lyrics to find a ‘cool’ lyric to put in my MSN screen name… (!!!) I wish I went to see Thursday, Thirce and the Deftones… What a line up, too bad it was at Arrow Hall…I would just like to put out there in facebookland that I, Kimberley Stemshorn went to ‘Taste of Chaos’. If you’re not familiar with ‘Taste of Chaos’ it’s the miniature, spring Warped Tour, give and take an ad. I made sure I missed every other band that played that night, because I had no interest in seeing any of them. It’s funny that I had never heard of any of these bands because five or six years ago I was completely on top of the “punk” music scene. [For sake of ease, I will just refer to it as “punk,” even though my housemates would like to interject what they believe punk is. Regardless, Thursday are kept in the punk section, therefore I will label them punk.] The bands that played tonight were probably the equivalent to Funeral for a Friend, Poison the Well or Planes Mistaken for Stars… The “indies” of “popular punk”. I’m just in complete aw that I’ve never heard of any of these bands… They’re probably on Victory, or Vagrant. This really scares me, I’m actually growing out of a scene of music. I feel old.I arrived just shy of ten, Thursday very prompt went on at five to the hour. Seeing them at the Kool Haus was incredible. The last time I saw them was at the Warped Tour in 2006. I remember running to the stage, alone and being very unsatisfied, due to the large stage and new songs played. They did get an extra ten minutes tagged to their set of all the bands, which was really great.Geoff Rickley kept apologising for their band flaking on past Toronto show(s?). I couldn’t think of one for the life of me, but I remember I almost went to Taste of Chaos three or four years ago when the Used were headlining and I returned my ticket lightening fast when I found out they weren’t playing. My friend Nicole went and apparently I burned her real bad for going. I was informed of this today.The first two songs they played were new. I didn’t know them, but they sounded pretty good. Before the third song, Rickley said to the crowd: “It looks like there’s a lot of old people here… We’re going to play a tune off of ‘Full Collapse’… This is “Understanding in a Car Crash.” Lame title, I know, but my heart stopped in anticipation for the sixteenth notes drummer Tucker Rule plays to kick off the song. Rickley’s vocals were sloppy as per usual and completely expected for these gigs, but they were spot on. His tone was there and in parts they even sound a bit polished. The band played a great mix of songs from all their albums. Of my favourite ‘War All The Time’ they played “Signals Over the Air”, which Rickley Described as a song that was about women’s rights…. Which I thought was really weird because I’ve listened to that song countless times and I never picked up on that. They also played “For the Workforce and Drowning” which I thought was the worst performed… It was incredibly sloppy and the band didn’t sound together. They ended with “War All the Time”, the title track, he said just before he played it: “I don’t think we ever played this here.” I think he’s right, after a lot of thought.Off of ‘Full Collapse’ they played: “Understanding”, “Cross Out the Eyes” and for the encore they played “Autobiography of a Nation”. “Autobiography” has a really sweet intro with a great bass/guitar bit. I was really impressed by Manny Carrero, who is the bassist for Saves the Day and Glassjaw. He played perfectly, I wouldn’t have even noticed the difference if Rickley didn’t point him out. Thursday had a keyboard player!!!!! I couldn’t help but think of the first time I saw this band play, where they performed “This Song Has Been Brought To You By A Falling Bomb” the ballad off of ‘War All The Time’. It was funny enough that there’s a ballad on that album, but when they did it live they played with a recording of the piano part. It was great nonetheless and it sounds spotless on the album. I always thought that Rickley put this on as a piss of to all those who use to call him “tone Geoff” because he was never in tune. I was incredibly happy when Rickley said “This song is not off of a full-length but on an EP called ‘Five Stories Fallen’, an album that is mostly live songs with the exception of this one song.” THEY PLAYED “JET BLACK NEW YEAR”, which is easily one of my favourite Thursday songs. The first time I saw them, they played this tune and at the end of the countdown of the song they released a load of confetti on the crowd. Not this time. But they did have ridiculous balloons flying everywhere, which I found super distracting… throughout a few songs, they eventually all just popped.They played a tune off of their split EP with the Japanese “punk” band Envy. It was released by Temporary Records which makes me incredibly happy, as Temporary is home to Explosions in the Sky and Eluvium!! It’s getting harder and harder to see this band because their growing catalogue is becoming less and less appealing to me. They do however satisfy everyone, in that they play songs from their entire catalogue.I’m super happy I was able to see them play right after they had released ’War All The Time’. That was five years ago!!! NOTE:Perhaps I should have referred to them as “Post-Hardcore”. It almost seems like a genre they give to modern “Punk” bands that they find OK, or a step above the other ones. This band did put out a song called “Ian Curtis”. Tell me what you think, i’m interested….

April 9, 2009

>Julie Doironat the Horseshoe Tavern; Thursday March 26, 2009

>Julie Doiron at the Horseshoe Tavern; Thursday March 26, 2009.

Have you met Julie Doiron yet? If you haven’t she was in the ’90s independent rock band Eric’s Trip. It’s hard to say whether they’re actually independent or not as they were on Sub Pop. Think back when Sub Pop wasn’t representing Wolf Parade but bands with a bit more edge to them. $100 opened up the show after Rick White (former lover of Doiron and Eric’s Trip bandmate) who i had missed. I really wanted to see $100, they have a fairly unique sound for all the fame they’ve been getting lately. I like them, they do put on a good show. The Horseshoe was packed, i hated it! Their live sound is spot on, however I was seriously wondering how lead singer Simone Fornow would actually sing if she wasn’t in her distinct country style. Doiron is a complete gem. She’s cute as a button with brown messy hair tied back. She entered the stage suddenly and alone. She then proceeded to play three or four songs alone without a band. The first song she played was especially nice because it was just her singing. Simple and sweet. Between those songs she was thinking aloud wondering if she should play a sad or a happy song. At this point i sort of got the idea that she was known for her sad, sad songs. The new album (the first Doiron anything i’ve ever bought!) is happy, it’s full of love and optimism. I read in an interview she wrote quiet songs because she didn’t want to wake up her kids (she’s got three!). I thought that was sweet, and it spot on reflected her life at the time. I met some people a day later and they got really pissed that she stopped in most songs to say something about what just happened. I found in crazy cute, she oozes honesty and heart. She reminds me of a rougher Cat Power with the simplicity and heart Feist had beforehand. She doesn’t mind messing up, she completely backs it up with charm.The rest of her set was comprised of mainly the new album, she played it in order. I didn’t know it well enough to notice that until later. Of the album titled ‘I Can Wonder What You Did With Your Day’ I really like the edgy “Spill Yer Lungs”, “Blue” and “I’m Glad To Be Alive”. Three is a good number for a new release i must say.For the encore she came out alone and played “Glad To Be Alive”, I just knew she would. I rarely feel so certain going into anything. I had a great time at this show, perfect venue for this lovely lady.

March 29, 2009