Top 25 Albums
1.Bon Iver-Bon Iver
2.Metronomy-The English Rivera
3.Lights-Siberia
4.Swimming With Dolphins-Water Colours
5.Dan Mangan-Oh,Fortune
6.Two Bicycles-The Ocean
7.Starfucker-Reptilians
8.The Devil Wears Prada-Dead Throne
9.The Rural Alberta Advantage-Departing
10.Com Truise-Galactic Melt
11.iwrestledabearonce-Ruining It For Everybody
12.Cash Cash-Love Or Lust
13.Los Campesinos!-Hello Sadness
14.Ford & Lopatin-Channel Pressure
15.Asking Alexandria-Reckless And Relentless
16.Tennis-Cape Dory
17.The Human Abstract-Digital Veil
18.Alestorm-Back Through Time
19.Rich Aucoin-We're All Dying To Live
20.I See Stars-The End Of The World Party
21.Chad Valley-Equatorial Ultravox
22.Mastodon-The Hunter
23.Cold Cave-Cherish The Light Years
24.Danger Mouse & Daniele Luppi-Rome
25.Born Gold-Bodysongs
Top 10 EPs
1.Innerpartysystem-Never Be Content EP
2.Starkey-Space Traitor Vol. 2
3.Between The Buried and Me-The Parallax: Hypersleep Dialogues
4.Saywecanfly-Home EP
5.Little Chords-Little Chords
6.Sock Hands-Division House
7.Teen Daze-A Silent Planet
8.Starkey-Open The Pod Bay Doors
9.Strange & Savage-Strange & Savage With Chris Godwin!
10.Skrillex-Bangarang EP
Monday, December 26, 2011
Monday, March 28, 2011
Album Review: Cold Cave: Cherish The Light Years
If you’re unfamiliar with the story of Cold Cave, I’ll summarize it for you. Wesley Eisold, longtime stalwart of the Chicago hardcore scene in bands such as Some Girls and American Nightmare, realized one day that some of Fall Out Boy’s lyrics were quite similar to his. He then decided to sue his acquaintance Pete Wentz, which resulted in a writing credit on Fall Out Boy’s most popular albums and also, more importantly, a hefty out of court settlement. Eisold decided to use this to invest in a bunch of vintage synthesizers and form the synth-pop band he always wanted to be in. The first fruits of this project, named Cold Cave, were assorted EPs and 2009’s debut album, Love Comes Close. Since then, Cold Cave have been touring as a three-piece and acquiring new influences for this, their sophomore album, Cherish The Light Years. The first thing you notice is how much bigger everything sounds on this album. Whereas on Love the electronics were more minimalist and often devolved into experimental noise, Cherish sounds like a huge synth-pop album straight out of the 80’s, even though it is still dark. Live drums, guitar, and bass are everywhere, and Eisold’s vocals are stronger than ever before. He used to sing like Joy Division’s Ian Curtis, but now he sounds more like The Cure’s Robert Smith. Some songs even come close to Killers/Bravery territory. So, a much poppier album, and while not necessarily better than Love Comes Close, it is still extremely strong and a nice listen.
-Scott Kendall
LISTEN
Thursday, March 10, 2011
March 9th, 2011: Titan/Dancing With Paris/Exalt, Parts and Labour, Toronto, ON
After hours of waiting, Titan finally took the stage. Doors were supposed to be opening at 8:00 but they didn’t open until 11:00, so all of the bands and the people working the show had to spend 3 hours standing around doing nothing. This changed at 11:30 when a band that can accurately be described as Michael Cera fronting Converge started to play. Titan are a crushingly heavy band, shaking the building to its foundations with every riff. But why are they fronted by Michael Cera you may ask? Well, their frontman doesn’t physically resemble the infamous character actor, but in speaking voice and in the way they talk they are almost one and the same. Between every song there was a lengthy and awkward speech about some random topic, and I felt as if I was within Youth and Revolt. But music-wise, Titan were the best band on the bill.
Second to play were Dancing With Paris. They were kind of out of place on this lineup, noticeably more poppy and mainstream-sounding than the other two bands. Your average scene kid at a hardcore show would enjoy this band, but sadly there weren’t any of them at this show, so Dancing With Paris didn’t get much of a crowd reaction. Their sound was closely akin to Vanna, sounding like a throwback to 2006/2007 before scene hardcore bands discovered electronic and mainstream pop music.
Playing last were Exalt, inventors of the sport of Garbagebottle. Garbagebottle was how the band killed the 3 hours of down time, and it entailed two band members standing behind a garbage can and throwing a crushed up water bottle into the other person’s can, and eventually a highly elaborate set of rules was written up. But anyways, on to their music. Exalt were definitely the most energetic band of the night, with their frontman seemingly devolving into a rage as soon as he stepped onto the stage, and often screaming without a microphone. Their music was intense post-hardcore both similar and different to Titan. Whereas Titan were slow and crushing, Exalt were fast, intense, and heavy all at once.
-Scott Kendall
LISTEN
Saturday, February 19, 2011
FRED PENNER INTERVIEW
I got the chance to interview one of my childhood heroes, Fred Penner, and I was quite excited. I remember back when I was 5 or 6, I saw him on a float at the Bowmanville Santa Claus Parade and it was the highlight of my life to that point. Fred is playing at Canadian Music Week in Toronto on March 12th at the Drake Hotel, so I recommend you go check him out. If you're Canadian, chances are Fred Penner had an impact on your childhood.
SK: How does it feel to be an important part of the childhood of an entire
(or maybe multiple) generation(s) of Canadians?
FP: I am honoured to be a part of the lives of so many. Children learn by observing and imitating, they are sponges and I think that the connection with my music, through CDs and TV at a critical time of their development, is the foundation of our relationship. I believe deeply in the power of music to make a difference in the life of a child, and at this point in my career I am seeing the proof of the philosophy. During a recent Mall Tour in Edmonton, I was singing to the full range of humanity, babies to teenagers to seniors and a beautiful wave of parents who were the 'first generation', rediscovering Fred with their children. The sensation is hard to describe, but it definitely keeps me smiling.
SK: How does it feel to be a member of the Order of Canada?
FP: I received the Order of Canada in the early 90's. When I saw the other Canadians in the lineup I was totally overwhelmed. The incredible contributions that people have made to our country and the world in every discipline made me feel, "What am I doing here?" Humbling, to say the least. My mother attended the ceremony with me and I know that she was very proud of her son. Now that she has passed on, the memory of that day has taken on a deeper meaning.
SK: How long do you think you’ll carry on touring and making new music?
FP: Until I drop. I love what I do. I made the decision to pursue a performing career 40 years ago. I can't believe that it is still nurturing me and the audience. As long as I stay healthy and creative and feel the 'vibe' from the audience, there's no reason to stop.
SK: Do you still enjoy playing songs you’ve been playing for 30 years?
FP: Absolutely! The range of music in my bag of tricks is very eclectic, swing to country to ballad. We get rocking in live performance but when I begin the Em / D / C / B7 chord progression for the Cat Came Back the energy in the house goes through the roof. This trip is all about connecting with the audience and I have made that my personal mandate in every performance. Participation is key and prodding some early memories is the bonus.
SK: Are you looking forward to playing at CMW/have you played at it before?
FP: CMW is going to be incredible. I have not played it before, and I am delighted that Paquin Entertainment asked me to present at the Drake Hotel on March 12th. I will be joined by two of my daughters who live in Toronto as well as my Winnipeg side man Paul O'Neill and a couple of surprise iconic Canadian musicians as well. Come and check it out.
SK: I saw a video where you were performing with Pat LePoidevin and Dan
Mangan (both of whom I’m a fan of), are there any other new Canadian
artists you’re a fan of?
FP: How much space do you have? I am very excited about the great Canadian talent bank. Playing the festival circuit last summer was inspiring, to say the least. Did a gospel workshop with Dan and Pat and The Good Lovelies. Jammed and hung out with Miss Emily Brown and Corwin Fox (Morlove), Royal Wood, Kevin Barr, Kym Gouchie, Shane Koyczan...the list goes on, a lot of talent. I can't wait for the festival season this year, my gigs include Folk on the Rocks (Yellowknife) and Evolve (Antigonish )
SK: It doesn’t seem like there’s really any Canadian children’s artists
nowadays who have achieved the same level of popularity as you or
Sharon Lois & Bram did, why do you think that is?
FP: That really isn't for me to say. I constantly feel inspired by my audience. The e-mail and personal stories that come to me on a regular basis are heartfelt and caring. I think for me, knowing that people feel so deeply about the connection we have gives me the strength to go back 'on the road' even after all this time. I have a legacy and I respect my audience. I will continue to honour that as long as I am able.
SK: What are your opinions on the music industry nowadays and where it’s going?
FP: I am pleased that the major record labels are having to really work for their money now. I know a lot of musicians who were taken for a ride on the corporate train, so in a way there's a little payback now. The retail distribution channel is in constant turmoil because of the ease of downloading product from the net. You don't have to go to a store to buy a CD, and usually only the most popular artists get some decent visibility in the retail market. Musicians now have to bring computer savvy to the table and play the 'quest for popularity' game that way. There's good news and bad news...the good news is that it is relatively inexpensive to record your material and get it out there; the bad news is that it is too easy to record your material and get it out there. Not everything you write is ready for public consumption, I sometimes feel that artists should spend more time in the editing process. Being a musician is a profession and it takes years to develop the skills, it doesn't happen overnight, contrary to the viral videos we see.
SK: What advice do you have for anyone who wants to do what you do?
FP: Why do you want to do this? Build your philosophy and understand the 'true value' that can be attained through the world of communication. Never underestimate your ability to make a difference in the life of a child. Entertaining children and families is not just a matter of getting on a stage and playing a few songs. There is a deeper meaning which hinges on respect, honesty and human value. Don't do this for the money, do it because you have something inside you that must be said.
SK: What’s the main difference between playing for adults and children?
FP: Oddly, I don't feel a great difference between playing for adults or children. I like to think that my purpose in life is to communicate through the music and often the same songs will work no matter what age. Universal topics. I have been doing a number of early childhood conferences over the years and these become an opportunity for me to get more philosophical, I can give some background to where the songs came from and how they work. Children wouldn't be interested. But, there have been more opportunities lately to play 'adult' venues so I have been writing some material that has a more contemporary feel (whatever that means).
SK: Do you encounter a lot of people who think that you wrote ‘The Cat Came Back’?
FP: Yes! Many people are under that misconception and I thank you to perpetuate the myth as long as possible.
SK: Do you still have that sweater you wore for the intro of Fred Penner’s Place?
FP: I have many Fred Penner's Place sweaters hiding in my closet. I may or may not have the specific one you are thinking of.
SK: A friend of mine wants to know, where’s Word Bird now?
FP: The Word Bird is well. He is hanging out with me in my home in Winnipeg. He doesn't like to travel much any more, but he did come on stage with me this past December for a couple of shows at the West End Community Centre in Winnipeg. Who knows, he may even make an appearance at the Drake....some of his best friends are Drakes.
SK: Finally, are you happy with what you’ve achieved in your career?
FP: I am extremely happy with what I have achieved in my career. I do have to give my wife Odette credit for setting me on the right path. She was inspired to start a childrens dance theatre company in Winnipeg in late 70's. She choreographed pieces for the young audience and I wrote the music. This was the springboard for the the first album The Cat Came back in 1979, which was picked by Raffi's company and led to a 5 year relationship there. The rest is history. I am overwhelmed with how this is turning out. I never knew where this would go in the beginning, I followed this path because it felt right and I guess this was an accurate sensation.
SK: Thank you.
FP: I have been playing the university circuit in recent years, orientation week, pub nights, keynote addresses etc. Mount Royal College in Calgary last year was particularly memorable. As part of the Cat Came Back song, I have added a chorus of 'Crabbucket' by K'os, and at this event K'os came up and performed with me. Oh yeah! These visits have been awesome, to say the least, and I hope to do many more in the future...spread the word.
Saturday, January 15, 2011
January 14, 2010: Tokyo Police Club/Two Door Cinema Club, EP Taylor's, Oshawa, ON
It always seemed slightly surreal that Two Door Cinema Club would come and play at Durham College, and almost as odd that Tokyo Police Club would play here. On the list of the tour dates for this current North American tour, Oshawa stuck out like a sore thumb. EP Taylor’s was about a quarter of the size of most of the venues on the tour, and that’s why this show was so great.
Northern Ireland’s Two Door Cinema Club played first. They had achieved quite a bit of success in the United Kingdom over the last year by taking Foals-style mathy indie rock and adding a huge dose of poppiness to it. Judging by this performance, 2011 will likely be the year they conquer North America also. The set highlights were obviously their two strongest songs, ‘What You Know’ and ‘Something Good Can Work’, as well as, to a lesser extent, ‘Undercover Martyn’ and set closer ‘I Can Talk’. TDCC also played a smattering of new songs, which sounded slightly more mature than the songs off of their debut album Tourist History. Of the new songs, ‘Hand Shake’ sounded the best. Even though the crowd wasn’t as receptive to them as they were to Tokyo Police Club (I’m sure alcohol MIGHT have had something to do with that, plus the fact that TPC are Canadian), Two Door Cinema Club were many times better than TPC in terms of live performance.
So then it was time for Tokyo Police Club, and as per usual, their live performance was kind of disappointing. They just don’t sound good live, plus no matter what they seem to do, their newer songs have never again attained the heights of their debut mini-LP, A Lesson In Crime. However, the must-have-been-sell-out crowd more than made up for this, going crazy for the majority of TPC’s set. Halfway through the set, a highly inappropriate mosh pit started, and surprisingly, it continued for the rest of the night, much to the obvious discomfort of singing bassist Dave Monks. It was the second most inappropriate mosh pit I’ve seen, the most inappropriate one was at a Los Campesinos! show, and that one was more impressive because it wasn’t as alcohol-fueled. Set highlights included all of the four songs from A Lesson In Crime they played, as well as ‘Tessellate’, ‘Your English Is Good’, and ‘Wait Up (Boots of Danger)’.
The moral of the story is that TDCC are a great live band, TPC are not, but drunk people will go crazy either way.
-Scott Kendall
LISTEN
Sunday, January 2, 2011
The Best Albums of 2010
So, every self-respecting blog just HAS to do an end-of-the-year list of the best albums, and this is mine (just according to my opinion). I, of course, recommend you check all of them out.
1. Rolo Tomassi-Cosmology
2. Starkey-Eardrums and Black Holes
3. Crystal Castles-Crystal Castles (II)
4. Foals-Total Life Forever
5. Bring Me The Horizon-There Is A Hell Believe Me I've Seen It, There Is A Heaven Let's Keep It A Secret
6. Freelance Whales-Weathervanes
7. B.A. Johnston-Thank You For Being A Friend
8. The Word Alive-Deceiver
9. Skream-Outside The Box
10. Attack Attack!-Attack Attack!
11. Chiodos-Illuminaudio
12. Circa Survive-Blue Sky Noise
13. Eagle Scout-New Hands
14. Abandon All Ships!-Geeving
15. Owen Pallett-Heartland
16. Miniature Tigers-Fortress
17. The Dillinger Escape Plan-Option Paralysis
18. Two Door Cinema Club-Tourist History
19. Minus The Bear-OMNI
20. These New Puritans-Hidden
21. Delphic-Acolyte
22. Magnetic Man-Magnetic Man
23. Mystery Jets-Seratonin
24. Los Campesinos!-Romance Is Boring
25. Attila-Rage
26. Klaxons-Surfing The Void
27. Tokyo Police Club-Champ
28. Sky Sailing-An Airplane Carried Me To Bed
29. We Are Scientists-Barbara
30. Ikonika-Contact, Love, Want, Have
31. Alesana-The Emptiness
32. The Felix Culpa-Sever Your Roots
33. Weezer-Hurley
34. Marina & The Diamonds-The Family Jewels
35. Of Mice & Men-Of Mice & Men
36. Hadouken!-For The Masses
37. Godfalls-Make Me Alpha
38. Girl Talk-All Day
39. Rusko-O.M.G.!
40. Gorillaz-Plastic Beach
41. Tera Melos-Patagonian Rats
42. Gold Panda-Lucky Shiner
43. 3OH!3-Streets Of Gold
44. Greeley Estates-No Rain, No Rainbow
45. Hawthorne Heights-Skeletons
46. Rout-The Spirit Of Humanity
47. eatmewhileimhot!-xALBUMx
48. Emarosa-Emarosa
49. Arcade Fire-The Suburbs
50. MGMT-Congratulations
Best EPs of 2010
1. Skrillex-Scary Monsters And Nice Sprites
2. The Devil Wears Prada-Zombie EP
3. Stepdad-Ordinaire EP
4. There For Tomorrow-RE:Creations
5. Lights-Acoustic EP
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