Aidan Knight @ L'Escogriffe, August 9th, 2010

I’ve realized it to be common amoung many Victoria musicians to refer back to their home when speaking about their songs. Beyond references to the habitual rain as found in the banter of Vancouver musicians, Victoria musicians consistently allude to the slow lifestyle of B.C.’s capital. Victoria’s folk artist Aidan Knight made his Monday visit to Montreal no exception.

Filled with sincerity and humour, Aidan expressed his gratitude to his audience, letting us know that he hoped we were ready for the show with “a beer in hand, smile on face, and pal at side”. Aidan and fellow guitarist Dave joked about their absolute lack of the French language, suggesting they should try to fulfill entire conversations with “Je suis Dave” and “Jambon”. The crowd enjoyed their humour.

“So this song-guess what? It’s about Victoria! You asked for it.” This tender ballad beared a more direct reference to his hometown. Singing about his local corner store, Aidan sang gently, letting the notes making up “sour key” sustain. In addition to singing about Victoria explicitly, Aidan sung of knitting for loved ones, an Alberta river and the tale of his hotmail correspondence with the girl of his affection visiting Hawaii in his younger years.

The show featured three musicians (Olivier Clements, David Barry, and Jonathan Anderson) who played the guitar, bass, violin, flugelhorn and organ to join Aidan on his guitar. Aidan Knight’s vocals are soft, yet gripping. His voice bares a resemblance to the haunting quality of John Vanderslice and the rich tones of Andrew Bird. This comparison translates most effectively in Knight’s live performance.

After providing a supporting role in several bands on the West Coast, Aidan Knight is celebrating the release of his own debut album, Versicolour.

Aidan Knight: http://www.myspace.com/aidanknightmusic
John Vanderslice: http://www.myspace.com/johnvanderslice
Andrew Bird: http://www.myspace.com/andrewbird

Jenny Holzer Solo Exhibition @ DHC/ART

Old Montreal’s DHC/ART is hosting the work of text-based artist Jenny Holzer until November 14th, 2010. This solo exhibition features Holzer’s recent work and work from her Truisms (1977-79) series.

When one enters the DHC/ART, they find themselves in a room with declassified US government documents, made accessible though the Freedom of Information Act, blown up and silkscreened over canvases. The first declassified e-mail the gallery visitor reads is concerned with interrogation and torture techniques imposed by the US military. A disturbing tone is set for the rest of the visit. This e-mail correspondence is spread across several canvases. Our eyes trace over the black blocks that cover up what is still confidential to the unsettling descriptions of these interrogation techniques. Large maps are found on the adjacent and opposite walls. They feature plans of attack on Iraq and are coloured a haze of florescent pinks and purples, intentionally akin to the colour of bruised flesh. As one travels up the stairs to reach the other rooms of the exhibition, one travels further and further into these exposed truths. The second floor contains “Ribs” (2010). Text travels across each horizontal LED sign, the respective ribs, where testimonies of US soldiers and detainees are transcribed. The inconsistent movement of the LED signs is discomforting to say the least. I became slightly nauseas from the text’s movement and the information alike. This theme continues on the next floor with “Thorax” (2008). We are isolated in these small white-museum box rooms, left to encounter and negotiate the meanings of one LED projection per room. Our senses are disrupted in a similar vein to the goal of interrogation techniques applied to prisoners of war.

The final floor features additional declassified memos, e-mailes and testimonies silkscreened onto canvases. These canvases encircle a table low to the ground in the rooms centre. It is adorned with bones, arranged systematically. They do not appear in a memorializing way, rather numerical. Upon closer attention, metal tags inscribed with text can be found attached to select few bones. The tags, however, are not Holzer’s commemorative words but are instead the words of victims and offenders of sexual crimes committed against women during the conflict in the former Yugoslavia (1992-1995).

The exhibition carries into the second of the DHC/ART buildings. In it, the one-liners from Holzer’s LED sign series Truisms (1977-79) are featured. Truisms once infiltrated the advertisement space in New York City with its messages that do not urge one to buy, but instead to comply with ones hearts desires and Holzer’s advice for life. Each of the two works occupies a different room. Trying to keep up with all the messages running across each LED sign is dizzying as the flashes of contrasting colours alternate, appear and reappear from their tracks. One can become entranced when aiming to absorb as many of the consecutive statements as possible. The ever-changing text dislocates our moral codes as we read the proverbs laid out by Holzer.

Jenny Holzer’s chilling exhibition plays with language, censorship and our senses. Upon leaving the exhibition, one can feel the freedom of being exposed to natural light, removed from the hypnotizing texts Jenny Holzer has challenged us with.

DHC/ART: http://www.dhc-art.org/

Maylee Todd + Hooded Fang @ L'Esco, July 27, 2010

Steamy as a sauna, L’Escogriffe welcomed energetic musicians and an audience that embraced all kinds of dancing last night. Toronto’s Maylee Todd and Hooded Fang made Montreal the last stop of their summer tour together. Beginning the night with a full venue, Hooded Fang charmed us with their pop music, orchestrated with horns and equip with gentle harmonies. After their first song, they urged their audience, “Come Closer!” The consistent pace of the drumming encouraged dancing amongst the audience. As a dace party ensued, we learnt that despite some bad luck with animals earlier that day (a bird relieving itself over the bass player and food-poisoning-by-mussels experienced by the lead singer), Hooded Fang was in good spirits. Fans of Edward Sharpe and the Magnetic Zeros would be fond of Hooded Fang’s harmonies. Fans of Stars would enjoy Lorna (main female vocalist of Hooded Fang)’s soft voice. Hooded Fang makes pleasant and catchy music for any mood. The reptilian monster-like figures employed as the band’s graphics nicely juxtapose the sweet nature of their music.

Another creature could be seen in the venue-a plush lion’s head. Boasting a fluffy mane, this lion’s head is usually found worn by Maylee Todd in promotional photos, but last night this lion’s head damped the sound of the drum. Being much to warm for any costume, Maylee instead delivered her majestic performance barefoot. She claimed to be tired at the beginning of her performance, but I’m not sure if I believed her. Sharing boundless energy, Maylee began her set with her harp before moving to the guitar and later dancing with her vibraslap. Hooded Fang horn players Lane and Julia accompanied Maylee for the second half of her set. Her music is a fusion of Bossa-jazz and funk. Delivered with confidence and charm, Maylee’s jazz infused music makes us feel as though she has taste and style beyond her years. The freedom of her spirit is implicit in the title of her debut album Choose Your Own Adventure. As the end of the evening approached, Maylee called for a good ol’ “soul train”, whereby two lines formed and the individuals at either end met to groove back down the line aside one another as Maylee acted as the MC. Sad to see the evening reach its end, we all breached the thick air of the venue towards the refreshing feeling of the cool air that met our bodies outside. For these musicians, dancing in this humidity is worth it.

Hooded Fang: http://www.myspace.com/hoodedfang
Maylee Todd: http://www.myspace.com/mayleetodd
Edward Sharpe & The Magnetic Zeros: http://www.myspace.com/edwardsharpe
Stars: http://www.myspace.com/stars

Five Alarm Funk @ Le Divan Orange, June 22nd, 2010

Vancouver eleven-piece band Five Alarm Funk took the stage at Le Divan Orange last night, playing for their first time in Montreal. They have been on a CD release tour to share their new album Anything Is Possible with Canadian fans. When their choreographed arm gestures coincided with their melodic climaxes, audience members could not help but share their energy. I’ve never seen an entire audience jump and throw their hands in the air at Le Divan Orange as I did last night for Five Alarm Funk.

Having played together for seven years, Five Alarm Funk has grown to become a band that embodies many eclectic sounds. While their previous album Voodoo Hairdoo (2008) carries a more funk/afro-beat/Latin oriented sound, the heavier bass lines, Tayo Branston’s raspy vocals akin to Gogol Bordello, and the use of horns similar to Beirut create a more Baltic sound, even chamberal at times, for their new album Anything Is Possible. This is especially evident in “Soft Six”, during which the musicians stacked their hands in front of their chests and bobbed up and down like Russian dancers. One musician created bows and arrows with his arms and shot them into the crowd. Other musicians wearing Viking, gorilla and shark costumes danced on stage. Vivacious as they were, many of the musicians became shirtless to keep cool. Seeing Five Alarm Funk live is more than just a sampling of their new music-they give a truly theatrical performance of undeniable umph.

The encore featured an amplified cover of “The Final Countdown”, heralding the entire audience to join Five Alarm Funk in jumping, proving these Vancouver folk are musical and theatrical gems with whatever they craft. Prior to Five Alarm Funk’s performance I was feeling ill, and after realizing I felt better by the end of the night, I came to understand that Five Alarm Funk is a fine medicine indeed.

Five Alarm Funk: http://www.myspace.com/fivealarmfunkmusic
Gogol Bordello: http://www.myspace.com/gogolbordello
Beirut: http://www.myspace.com/beruit

Sweet Mother Logic @ Casa del Popolo, July 20th, 2010

Visitors to the Casa del Popolo were greeted by a myriad of lovely sounds last night. Montreal’s instrumental band Sweet Mother Logic is hard to describe and I am even nervous to write about them, fearful that I cannot giving them all the remarks of awe that they deserve. My iTunes reads the genre as “Unclassifiable”. On their MySpace, they describe themselves as “Experimental/Acoustic/Pop”, but I suppose you’d really have to come to a show to experience just how this is realized. For me, their music exists somewhere between an orchestra and the climactic music of a space-themed video game. Whatever it is exactly, it is a truly distinctive sound. I was sold after the first time I saw these musicians perform months ago and have tried to see them every time I can since. Sweet Mother Logic features two cellos, guitar, keys, synth, drums, and sometimes videos (by VJ Bandit) to accompany their music- a sensory delight.

Performed were many songs from their 2009 self-titled debut full length CD, including variations from each track. To see Sweet Mother Logic live is to experience something new and different each time. They broke into seemingly flawless improvisations during which the musicians were laughing and exchanging smiles. “Ghost Army” was chosen as the encore song. It’s climax was repeated, turned, and twisted; “Ghost Army” subsequently grew into an extended jam. Quite frankly, Sweet Mother Logic rules. Do yourselves a favor and see them the next time they perform. Sweet Mother Logic is Adrian Aitken, Erip Kaplin, Jack D. Kelly, Jean-Pascal Saint-Cyr and Justin Wright.

Sweet Mother Logic on MySpace: http://www.myspace.com/sweetmotherlogic

Ted Leo & The Pharmacists @ Il Motore June 22, 2010

I had been waiting for New Jersey alternative punk-rock band Ted Leo & The Pharmacists to come to Montreal for years now, so their time spent felt only too short. Realizing after the show that they did play nineteen songs, I discovered that enjoying their show removed me from time entirely and placed me simply in the sensation of enjoying Ted Leo & The Pharmacists live.

Although performing from the far left corner of Il Motore’s stage slightly separated from his audience, Ted Leo gave a performance full of energy. With greater speed given to his songs live than found in his recorded material, Ted grew sweaty as the audience attempted to keep up with their clapping. Something I did not expect, however, was a rather sedate audience. Other than the ten or so who began a miniature mosh pit as soon as “Me and Mia”, a fan favourite began, the crowd remained tranquil. Ted spoke with the crowd in between songs. Most impressively, he did most of this in French. He expressed his gratitude towards the opening band Screaming Females, a band also from New Jersey, but there was still something that gave me the impression that he was not totally psyched to be there.

Performed were eight songs from his most recent album “The Brutalist Bricks”. The bands’ new songs are just as solid as their older material. Like all Ted albums, “The Brutalist Bricks” starts with a bang-“The Mighty Sparrow”. “The Mighty Sparrow” was played near the beginning of their Montreal set list. Also played was one song from “The Tyranny of Distance” (2001), two songs from “Hearts of Oak” (2003), and four from “Shake the Sheets” (2004). The crowd was able to rally up some energy to herald an encore, although with their general lack of enthusiasm I’m surprised Ted even gave one at all. Returning to the stage with a fresh shirt, which read “Happy 400th Quebec!” Ted performed a new song solo. Look out for a new one with the words “Live as if I could…” in it. Continuing in solo, he covered a Nick Lowe song, “So It Goes”. The final song “Timorous Me” began with just Ted. The entire band (Chris Wilson on drums, Marty Key on bass, and James Canty on guitar) joined him for the last half of this upbeat song to close the night.

While I can’t comprehend the sleepy feel of most of the audience on this night, Ted delivered a performance as energetic as you would expect from listening to his recordings and proved that the new album is worth attention for old and new fans alike.

Ted Leo and The Pharmacists are touring through the US and Canada now. See their MySpace for tour details: http://www.myspace.com/tedleo

Screaming Females on MySpace: http://www.myspace.com/screamingfemales

The Thanya, Emilie & Ali Band + Horses Vanish @ Le Divan Orange, June 16, 2010

As the relentless rain poured a river down on St. Laurent Boulevard last night, the soft sounds, laughter and chatter of The Thanya, Emilie & Ali Band began an evening of music at Le Divan Orange. These three Vanier College students formed in 2008 and they have since been experimenting with various instrumentations in their performance. The girls use an upright bass, a flute, piano, guitar and a violin to accompany their vocal harmonies. The girls switched between instruments throughout their show. The bands’ lead singer, Emilie Kahn, has also performed in Montreal’s Darling Ghost. Her vocals resemble a mash-up of Montreal’s Caroline Keating and the UK’s Sophie Madeleine. The girls began their set with their own rendition of The White Stripes’ “Seventh Nation Army”, which blended into “You Are My Sunshine.” Their own songs sway between harmonies and spoken word tales about their youthful experiences with boys and love. The girls played their ‘Shoe Song,’ which they say is “actually a metaphor for understanding others.” Most of their dialogue is followed by laughter between the girls and amongst the audience. ‘Shoe song ‘ reflects their youth, as they quote a popular Youtube video of 2006/2007 (?) from The Liam Show entitled, “Shoes.” They performed a song about missing one another while one vacationed in India. This song aims to capture the “weird tuning” of a violin one of the girls heard while there. The girls’ set became even more eclectic in their lyrical themes and instrumentation alike-they moved into a beat-box lullaby. These vibrant young girls are not going unnoticed by Montrealers- much of the audience seemed to be in attendance to see them.

The following band, Montreal’s Horses Vanish, brought with them a similar theme of orchestration. Horse Vanish is made up of two musicians who play the flute, piano, cello, mandolin and acoustic guitar. Instead of their beautiful songs conveying feelings of youthful sweetness as found in The Thanya, Emilie & Ali Band, Horses Vanish brings feelings of darkness and mystique in their chamberal music. The male and female vocals harmonized throughout, often trading off between each other. Consequently, they described many of their songs as those of dialogue and conversation. Their song about a fourteen year-old was my favourite. He sang, “I got you a Barbie, you act like you’re fourteen.” Her answer complimented his words with an echo of, “I’m fourteen.” They continued to converse in song with a cover of The Postal Service’s “Such Great Heights.” Later, a song in French! There is something about the frequent strumming of the mandolin, the wavering vocals, and the tambourine in the recorded materials of Horses Vanish that resembles The Dutchess and The Duke. (Ps-The Dutchess and The Duke join The Dodos in opening for The New Pornographers tonight at Le National!) This attractive folk style that bares dark undertones certainly makes Horses Vanish a band I hope to hear more from.

The Thanya, Emilie & Ali Band on MySpace: http://www.myspace.com/thanyaemilieali
Darling Ghost on MySpace: http://www.myspace.com/darlinghost
Caroline Keating on MySpace: http://www.myspace.com/carolinekeating
Sophie Madeleine on MySpace: http://www.myspace.com/sophiemadeleine
The White Stripes on MySpace: http://www.myspace.com/thewhitestripes
Horses Vanish on MySpace: http://www.myspace.com/horsesvanish
The Postal Service on MySpace: http://www.myspace.com/thepostalservice
The Dutchess And The Duke on MySpace: http://www.myspace.com/thedutchessandtheduke
The Dodos on MySpace: http://www.myspace.com/thedodos
The New Pornographers on MySpace: http://www.myspace.com/thenewpornographers

Lost In The Trees @ Le Divan Orange, June 13 2010

North Carolina musicians, Lost In The Trees, played their first Canadian show last night in Montreal’s Divan Orange. Feeling that nothing is like a band with orchestral music live, I was bound for their free show. Seven musicians, nearly all playing more than one instrument throughout the night, filled the stage. I was sold after their first two songs-an effect of having been left in complete awe that I have not felt since first seeing Montreal’s Sweet Mother Logic. Lost In The Trees plays music that envelops both classical and folk music. The orchestration of their music sounds as if it could have been written for a movie soundtrack, one with suspense, placed in medieval times.

Their instrumentation included two cellos, a violin, an accordion, a French horn, a xylophone, an Autoharp, an acoustic 12-string guitar, drums, a tuba, a bass, and an electric guitar. This instrumentation varies even more on their 2010 album “All Alone In An Empty House.” The crescendo’s that were featured in nearly every song enticed their audience, a full crowd at the Divan Orange. Lost In The Trees musicians were very grateful to their appreciating crowd, and began telling stories of their first day in Canada together as a band. They noted their experience of feeding a squirrel out of their hand earlier that day on the mountain. In addition to their remarkable tightness as a band, they are endearing. As the musician playing the 12-string guitar took the centre stage as the singer, fellow accordion/xylophone/drum/Autoharp/French horn musician accompanied him with vocals. The female voice echoing ‘oooh lalala’s’ behind the male’s gentle folk songs produced an unparalleled effect. I felt convinced that I was hearing her voice through the nave of a large and archaic stone church. With music like theirs and lyrics such as, “Sometimes all it takes is a walk around the lake,” Lost In The Trees creates feelings of suspense and tranquility alike.

I am ready to say that Lost In The Trees is quite possibly my favourite act I’ve seen all year. The crowd seemed to be in agreement. Heralding the most encores I’ve seen since Daniel Johnston’s October performance in Montreal, the Divan Orange listeners kept on clapping and cheering for more. I think there were four encores, but I sort of lost track. I got lost in the post-show acoustic serenading that was the encore. All the musicians climbed off the stage and into a space hollowed out by the audience to play a quiet song. The set-up changed with each new encore, the second pairing down to the 12-string guitar and xylophone. All the musicians returned for another song, where they had the Divan Orange crowd sing with them. Many spectators at first shy joined, a wave of voices filling the room. The final encore featured one musician with the 12-string guitar and another with the electric guitar. Together they performed a bluegrass song.

Lost In The Trees tickled the collective nervous system of their audience last night, giving us chills and beautiful CD’s for our ten dollars. It is an impossible task to sum up their majestic qualities, so do give them your listen:

Lost In The Trees on MySpace: http://www.myspace.com/lostinthetrees

Amelia Curran + The Jon Cohen Experimental + Justin Rutledge @ Inspecteur Epingle

Inside Inspecteur Epingle on the evening of May 29th, a folk-eclectic musical sandwich was found. Psychedelic/progressive/pop Montreal locals, The Jon Cohen Experimental, joined folk singers Justin Rutledge (Toronto) and Amelia Curran (Halifax). Justin Rutledge began the evening. Best known for his songwriting, he sings about love and makes many references to nature and places throughout his lyrics. He sings about rivers, pine trees, olive trees, California, the sun and Alaska. After his first song, he addresses the audience, “Some of you might know that I don’t play Saturday night music, but I’ll see what I can do”. The day of the week was of little concern to the audience; it was clear that his performance was the most anticipated amongst the crowd. Although not often seen, he plays his folk music with an electric guitar. He does it beautifully. Many songs from his new album The Early Widows were played, including those co-written with Canadian writer Michael Ondaatje. His song "Mrs. Montgomery" was written for a character in one of Ondaatje’s theatre projects. Promoting his new album, Justin drew the attention of the audience over to the mech table announcing, “There’s some stuff for sale if you’d like to throw your money away,” (laughs) “I should get a spokesperson”. He closed his set with a slow song about a girl, serenading the songs' character with the names “jellybean” and “Boston-cream”. I think he might be the only person who can get away with using these as terms of endearment. Also included in his set were songs "Heart Of A River", "Greenwich Time", and his old classic "Too Sober To Sleep", which has recently been covered by Canadian country/folk artists Carolyn Mark & N.Q. Arbuckle.

The second band to perform, The Jon Cohen Experimental, brought an eclectic sound of music I can best classify as ‘instant foot tapping music’! While their melodies and their instrumentation felt to me like a meeting of Modest Mouse and Of Montreal; they certainly have a distinct sound of their own, with each song differing from the next. One minute electric sounds fill the air, the next, whistling. With only the instrumentation of electric guitar, bass, and drums, it sounded like more than three musicians occupying a stage. Jon Cohen sings lead vocals that blend softly over the music. He is accompanied with some 'oooh ooooh, ahhhh ahhhh's' by the fellow musicians. Included in their set list was, "Stroke (Of The Night)", "Behold", the title track of their album and "Don’t Be The Cloud". Local folk /alternative/pop artist Charlotte Cornfield, who is credited with providing additional vocals on their album, was invited on stage to accompany Jon for their last song, "Don’t Be The Cloud". It was a delight!

Amelia Curran gave the last performance of the evening. After her lastest visit to Montreal on February 10th (her first visit), folk music lovers of Montreal were left eager for more. Singing songs off her new album Hunter-Hunter, including "Bye Bye Montreal", "All Hands On A Grain Of Sand", "Tiny Glass Houses", "Last Call", "The Wreckage", and the crowds’ favourite, "The Mistress", Amelia overlays her gentle strums with the lyrics of a true songsmith. Describing her songwriting, Amelia says, “I write a lot of songs about generally being ashamed of myself”. Amelia jokes near the end of her set, “I have no censor”. Many addresses to her father and her Catholic schooling were made between each song, each gaining laughs from the audience. The crowd appreciated her sense of humour and her knack for songwriting alike. Her best-received song was, "The Mistress", from which she earned a standing ovation. It gave me chills. Given the song’s theme, she did promise her audience that she is “actually a really nice person”. This is true. Amelia is a 2010 Juno winner and an East-coast gem. If you aren’t left in complete awe of her songwriting, you will certainly share many laughs.

Justin Rutledge: http://www.myspace.com/justinrutledge
Carolyn Mark: http://www.myspace.com/carolynmark
The Jon Cohen Experimental: http://www.myspace.com/thejoncohenexperience
Charlotte Cornfield: http://www.myspace.com/charlottecornfield
Amelia Curran: http://www.myspace.com/ameliacurran

Philemon Chante CD Release at Casa del Popolo

Never have I ever seen the Casa so packed! In a similar vein, never have I ever seen Casa del Popolo packed with such a diverse crowd. Fans and friendly folk alike gathered to experience Philemon Chante’s free show last night, held to celebrate the release of his new album, "Les Sessions Cubaines". The crowd bustled in as soon as the doors opened, filling every table and soon occupying every available inch of the cozy venue. It is clear that Philemon’s appeal is not set within the limits of a specific age group or language, but that he has a very accessible, yet unique appeal.

Before Philemon’s set began, a video showing the recording process of the new album was projected. The film showed Philemon, who after seeking a change of scenery, traveled to Cuba. There he met several musicians, and after practicing together, Philemon decided that they ought to record. After two days in the studio, "Les Sessions Cubaines" was created. There are few moments when Philemon is not smiling when he tells this tale. Although the CD’s could not actually make it in time for the CD release party, the list of contact information for those who wished to purchase one filled up throughout the night, some five pages long.

A trumpet, upright bass, Congo drum, and keyboard accompanied Philemon on his guitar. Throughout the performance, Philemon and the bass player took precedence. In several songs the trumpet player delighted the crowd with solos. Many quiet songs were played, including “See My Girl” and “Je Te Mange” from "Les Sessions Cubaines EP". The participation of all the musicians produced the liveliest numbers.

The first time I saw Philemon perform, earlier this year at the Casa, I enjoyed listening to his songs in both French and English, especially because he yodeled a Hank Williams song. My partial understanding of his lyrics is almost besides the point-regardless of language, all who see him experience a genuine performance. I do not think there is a better word to describe him than enchanting. This was most apparent during the fourth song in his set. Despite a minor language barrier, I understood the song was about love-the sounds of multiple couples smooching and the murmur of a few audience members singing along snuck into the quiet air. Engaged with the intimate performance, the audience remained incredibly silent when he played, following each song with an explosion of applause and “Bravo!”s. Between songs, Philemon cracked up his audience with personal anecdotes. The laughter in the crowd and the smile of Philemon persisted throughout their interaction.

While Philemon experienced his nerves in rehearsal and was without the expected presence of the violinist, the show could not have gone any better. I believe that Philemon continued to give his fans reasons to admire him and his music, and charmed fresh ears into becoming new ones. You can soon be those fresh ears too! Check out his MySpace for upcoming performances:
Philemon Chante: http://www.myspace.com/philemonchante

Another review (en Francais): http://hellenfrancais.blogspot.com/

New Pornographers' "Together"

I think I listened to the New Pornographers’ new album “Together” ten times the first day I bought it. Needless to say, I am a big fan. After both a friend and the girl in the record shop told me wonderful things about it, I contemplated if the New Pornographers were capable of putting out a mediocre album. Their fifth album “Together” is composed entirely of catchy anthems, in suite with their brand of skilled songwriting. In “Together,” Canadian mega-group the New Pornographers stretch their ability even further, incorporating wider orchestration.

Nine songs are written by A.C. Newman, three by Daniel Bejar. “Together” begins with ‘Moves’, a song that carries the traditional New Pornographers sound of pleasing harmonies. We recognize this again in the third track ‘Your Hands (Together)’. The second track ‘Crash Years’ produces something different. The combination of the carefully crafted drumming, tambourines, and Neko’s serenading vocals make it an instant favourite for me. The hook crafting of the New Pornographers is effortless and echoes throughout the album.

Unlike “Challengers” released over two years earlier that seemed to hold a sadder and more serious feel, few quieter songs appear on “Together”. The exceptions are the gentle, ‘Valkyrie In The Roller Disco,’ which places an emphasis on the piano and banjo and sounds like it could have appeared on “Challengers”. The other is Neko Case’s solo song ‘My Shepherd,’ which carries a melody similar to Neko’s solo work. “Together” on the whole makes a greater effort to feature Neko’s unparalleled allure. The song ends with horns played by The Dap-Kings. Other guest musicians that appear on this album include Okkervil Rivers’ Will Sheff who sings in ‘Moves,’ Annie Clark of St. Vincent who plays guitar in ‘My Shepherd,’ and Beirut’s Zach Condon who plays the trumpet in ‘A Bite Out Of My Bed’.

Not to be forgotten are the pop ballads of Daniel Bejar. “Silver Jenny Dollar” and “If You Can’t See My Mirrors” are two of these. I cannot help but jack up the volume when these play. Neither is far from his work in Destroyer. They make me want to power-purr more than cat massage lady’s fortunate cats!

“Together” is made in memory of Lynn Calder, mother of Kathryn, vocalist and keyboardist in the New Pornographers. As the album’s name suggests, they sound more “Together” than ever. While we expect nothing less than greatness from the New Pornographers, they still manage to surprise us in the turns and delights of every song. I can already feel that this will be the soundtrack of my summer. I just hope my roommate likes this new album half as much as I do.

The New Pornographers will be in Montreal June 17th at the National. Tickets can be found at Cheap Thrills.

1. Moves
2. Crash Years
3. Your Hands (Together)
4. Silver Jenny Dollar
5. Sweet Talk, Sweet Talk
6. My Shepherd
7. If You Can’t See My Mirrors
8. Up In The Dark
9. Valkyrie In The Roller Disco
10. A Bite Out Of My Bed
11. Daughters Of Sorrow
12. We End Up Together

The New Pornographers: http://www.myspace.com/thenewpornographers
Neko Case: http://www.myspace.com/nekocase
Destroyer: http://www.myspace.com/destroyer
Kathryn Calder: http://www.myspace.com/kathryncalder

Galerie Rye "Reflection Bay" and Grand Opening

Whether it’s this new gallery’s location in the heart of Montreal’s gay village, the friendliness of those who represent it, or the excitement of the crowd, Galerie Rye is a vibrant venue that is certainly a space to visit and get involved in.

Works by visual artists Jonathan Himsworth, Shane Watt, and Gabriel Deerman are featured in the gallery’s opening exhibition, “Reflection Bay”. During the vernissage on May 22, 2010, local music group Jon Cohen Experimental accompanied the exhibit. Beyond an exhibition of cartography, “Reflection Bay” examines the way in which we engage with city architecture and orientation. Realized in great detail are the visions each artist has for a city. The whimsical exhibition encourages its visitors to invent their own ideal cities.

Himsworth creates cities that thrive on the football (soccer) stadiums of invented teams. His sixteen-piece wallpaper dominates the first major wall of the gallery. Six smaller works are found on the wall opposite. Gallery visitors brought their selves close to these works to carefully examine their details. In a large newspaper document that hangs on another wall, Himsworth describes his ability to have lucid dreams. Himsworth explained to me that he gained this ability after he learnt he would not die from dream paralysis. Although for only a few scenes at a time, he could do anything. What would he do? Visit the football stadiums of his created cities.

Shane Watt’s city maps take on organic forms, much like a bloodstream, clotted with city blocks. Peculiar names are given to nearly every city street, body of water and park. “Mindful Island”, “Static Park,” and “Vision Lake,” are places I’d like to explore. I might veer clear of “THE FOAMIN BRINE IN WATER,” “CORK BOBBIN,” and the “SEA OF NEGATIVITY.” I almost expect his cities to alter their orientation once I am inside them. With invented names and references to real places, the whimsical texts of Watt’s maps leave us disoriented, searching for what might be familiar, and eager to explore what is not.

Behind the performing Jon Cohen Experimental are the works of Gabriel Deerman. Assorted frames hold images of individuals who inhabit these cities. Lines connect the portraits as a map of their relationships. The talented and modest Jon Cohen Experimental created a pleasant mood for the gallery. You have missed their delightfulness? Do not fret! You can catch them next Saturday, May 29th, with Amelia Curran on 4051 St. Hubert.

There is something refreshing about Galerie Rye that is best attributed to its inviting atmosphere. Beyond being a commercial space for art, Galerie Rye also functions as a boutique and centre for a community interested in art. Galerie Rye is a spot to keep our eyes and ears on.

Galerie Rye: www.galerierye.com
Jon Cohen Experimental: http://www.myspace.com/thejoncohenexperience

Greetings!

It’s the first entry! The first entry of this newly born blog, conceived from the beginning of my first Montreal summer and my love of the Arts.

Just over a year ago, I had the pleasure of accompanying a pal to the Hey Bear, Whoa Bear concert in the cavernous space that is L’Escogriffe. Summer was beginning and I considered that I was maybe leaving Montreal too soon. During this CD release Tim Moxam, writer and acoustic guitar player for Hey Bear, Whoa Bear, noted that he was more proud to release his band’s CD than graduate from university that same month. The album was indeed something to be thrilled about!

Their song “Assignment 63: Write an Encouraging Song” is the song from which this blog gains its title. In the songs third line, Tim sings, “Running round like children free after four, already in love but just too young to be sure”. I liked this phrase a lot the first time I heard it, and increasingly thereafter. It reminds me of the Fool, a tarot card figure. The Fool perches at the foot of a cliff and pauses as if to get a whiff of the surrounding nature, oblivious to the dangers that his body’s carefree motion might take him (away from his sturdy footing and into the abyss of unforgiving rocks beneath). The image of his naïveté and love for the world resonates with me, as do the words of Tim’s song. So, as Tim’s imagined children run free, I hope for this blog to meander in the happy fields between concert, exhibition, and cd reviews. Happy reading and happy listening!

Hey Bear, Whoa Bear: http://www.myspace.com/heybearwhoabear