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