On September 15, Ottawa is going to get a first-hand view inside the creative mind of Rolf Klausener (The Acorn) when the inaugural Arboretum Festival kicks off. This unique collaborative project will meld all different aspects of what makes Ottawa such an amazing city: music + gastronomy (which, if you don't know, is the art/science of eating food) + visual art. While there isn't a thick wooded area surrounding the Arts Court, the Ottawa Jail Hostel should prove to be an excellent venue for all types of Ottawa personalities to make an appearance and share their trade with us. Many of you may have already seen the beautifully designed posters up around the city, I was almost caught doing a fist pump in the air when I saw Cadence Weapon's picture staring at me today. With artists such as Cadence Weapon, Adam Saikaley, Roberta Bondar, Andrew Vincent and Ohbijou taking part in the festivities, the talent is nothing short of extraordinary. Of course, music is only part of the equation... this festival promises to bring together the best arts, food and culture Ottawa has to offer. Take a glance at the full lineup here, or alternatively, check out the poster below. As the festival motto goes, 'We are totally doing this!' Tickets $25 - more info here.
So the weekly picks haven't been quite 'weekly' recently, but I'm working on that. The point here isn't to make you like the same music that I do - it is to give you something (possibly) new to listen to while getting dressed or baking cookies. And if you want to read my two cents about it, you are welcome to do that as well.
Lately I've been totally immersing myself in new music, new genres and different approaches to composition. With an open mind I'm rediscovering the art of listening to an album - although albums these days are just binary code on the computer, I'm relieved that musicians still write quality full length albums and not just singles. I still miss the excitement of unwrapping a new CD and popping it in for the first time though. I also used to be one of those guys who religiously listened to rap in grade 10, thinking Tupac Shakur was the messiah and that the 7 Day Theory was actually true. Since then, my taste in music has matured a bit but I'm still always open to listening to good hip hop. A Tribe Called Quest, Beastie Boys and J5 opened my eyes to intellectual hip hop and the power it has to represent real skill and technical ability over the gangster image.
A lot of times Canadian rappers remain under the radar, as hip hop seems to be disproportionately centred around the United States. Not to take anything away from what Drake has achieved, but his breakout came from getting signed by Lil' Wayne's Young Money Entertainment. Even more, I still think a lot of it is about the fame and fortune. It still boggles my mind how rappers make money from writing about how much money they have - it's like a never-ending circle that promotes being a douche. I guess that's one of my main problems with so many rappers, that they are consumed with the wrong things and then writing songs about stuff I would never care about. I can't connect to something I don't care about. The pretentious aspect of it all takes away from the core of what hip hop is all about: the human condition in urban culture.
Obviously this isn't a blanket claim. The fact is that most 'real' hip hop remains unseen and unheard by the general public. I'm not claiming to know everything about underground hip hop, far from it. I'm only starting to get back into it again. One Canadian artist that stands out is Cadence Weapon (Rollie Pemberton) of Edmonton, AB who now resides in Montreal. His latest release Hope in a Dirt City through Upper Class Recordings has been getting huge reviews and critical acclaim. His recent short-list nomination for the Polaris Music Prize is a result of delivering a risky, yet dynamic album that forges different styles of music together. It includes everything from jazz-influenced intrumentation to 80's sounding bass lines - the rules of hip hop composition have been thrown out the window in favour of a completely original sound.
The overall approach to this album is the use of unconventional approaches. The lyrical phrasing is often 'sloppy', but intentionally so. Pemberton goes back and forth between verses with rhyme and flow to ones that are more disjunctive and almost spoken. The use of synth to create a darker aura in several songs, and there aren't many repetitive loops or samples. This makes the album one that requires a few listens to really develop an appreciation for - with so many different things happening, it might come across as strange at first. Personally, I've had it on repeat since I downloaded it.
Part of what makes this album a success is the way Pemberton explores darker themes, and how he reflects them through lyrics. The narrative changes throughout the album, songs like 'Hype Man' look at the hip hop scene through different perspectives and tell a story through an interesting dialogue. Tracks like 'Get On Down' really focus on the technical aspects, as he provides an unrelenting and intense flow that makes you wonder when he has time to take a breath. His skills as a DJ and producer are apparent throughout the entire album. The production is more intricate and developed than his 2008 album Afterparty Babies (also a Polaris Prize nominee), and offers listeners a much different sound to almost anything out in the music world right now. Overall, listening to this album is a refreshing experience.
I recommend giving all the Polaris Prize shortlist nominees a listen. This year's crop of artists won't disappoint. I recently saw Pemberton on Discovery HD's National Parks Project, an incredible documentary-style series that brings together Canada's rugged and beautiful landscapes with our nation's most promising and talented musicians. He joins musicians Laura Barrett and Mark Hamilton in Waterton Lakes National Park, AB, where they band together and create incredible music that reflects their experience. I can't recommend this series more, it is impossible not to enjoy. Check out the Waterton Lakes EP features Cadence Weapon, Barrett and Hamilton here.
Last night marked the beginning of this year's increasingly popular Ottawa Dragon Boat Festival 2012, and I popped by Mooney's Bay to soak in the evening sun and catch some of this year's bands. What's even better is that these events are free all weekend, which means people of all walks of life can witness some great Canadian bands in action - from families to die-hard fans.
I was most excited to see Prince Edward Islanders Paper Lions, as their ever-growing catalogue of great music captures the spirit of what Canadian indie is all about. After releasing their acclaimed full-length debut Trophies in 2012, their recent EP release At Long Creekhas been turning heads and was the #1 most listened to stream on Exlaim.ca. Bringing enthusiasm and on-stage character, these guys rocked the diverse crowd into the night as the warm sun set over the festivities. Plus, seeing kids dancing like no one's business up front is an excellent indicator of a great sounding band... it brought a little warmth to my heart knowing they may be the inheritors of this great Canadian sound in the future. After a fun set in which the crowd was involved with singing a few refrain melodies, I was able to meet Colin, David, Rob and John of Paper Lions backstage and get a few words from a couple of the guys:
Matias: You guys just
released you new EP on June 16th, and you have a full length coming
out September as well?
Colin:
That’s right, it’s actually completely finished. September
is a very tentative date though, as far as the new release… we’re basically
keeping the record in our back pocket for now. Just working out a few
logistical things in terms of how we’re going to release it, but yeah hopefully
the fall but chances are it won’t be too long from now.
Rob:
It’s hard to say, you never really know even when you’re not
releasing another record in the meantime, I mean we’re coming out with stuff in
the meantime to push and get out there so we can play that material for people.
In the best of circumstances, records never get released when we think they’re
going to anyway, so it’s often up in the air.
Matias: What’s the
writing process been like with the new album compared to previous releases?
Colin:
Well the latest bunch of songs? One thing we’ve done
differently this time around has been lyrically we kind of went back to our
childhood. We grew up together, John and Rob are brothers and I lived across
the street from them in the rural countryside of P.E.I… so we never really
struggled with lyrics but we always want them to be really good, and I guess
the best way that we’ve found to do that is to go back to our childhood and dig
into some funny stories… it turned out to be a really natural process to sit
around and shoot the shit about when we were kids.
Matias: You guys have
been touring a lot and playing a lot of shows, what band has been the most fun
to hang out with – or do you mostly keep to yourselves?
Rob:
We did a tour with Cake in 2008 and undoubtedly that was the
most fun… sold out crowds every night, accommodations we were provided with
prior to the show, early evening shows were really nice because we’d finish and
be like ‘oh wow, it’s still only 10 o’clock’… so it kind of gave us a taste of
what touring might be like as a really successful band - really delightful,
that’s definitely my personal favourite.
Colin:
I would totally agree with that.
Matias: Coming from a
small town (Belfast P.E.I.), what advice do you have for musicians or bands
form rural or sparsely populated areas?
Colin:
I would just say keep doing it. Whenever we started we kind
of had these grand ideas that we were going to be the hugest band on the planet
in a couple months time, giving ourselves all these deadlines of band dates
like ‘if it doesn’t happen by this time next year, then that’ll be it!’… but
we’ve found that little successes every few months was enough to keep us going.
So it’s best not to have a set mandate of success and to just be happy where
you’re at.
Matias: In your mind, what has been your greatest success as a band?
Colin:
You know, we’ve won some awards and they are nice and all but I think
the thing we are all most proud of us this record we haven’t released yet. At Long Creek was a really fun and
spontaneous project and we are really happy with the end result, but what we
are really excited for is pushing forward the record we worked on in the month
of May with our friend Howard Redekopp in Vancouver.
---
Much thanks to the guys from Paper Lions for their time, hopefully we see them back in Ottawa soon!
Independent music is something that is not easily grasped by
the masses. I don’t mean to imply that there is anything categorically abstract
about it that makes it less accessible to the general public.
And I certainly wouldn’t group all indie music together into a genre per se
(that is a huge pet peeve of mine), but I’ve always been intrigued by the way
in which these bands approach the songwriting process and expose their work
to the public. In many ways, there is a double-edged sword to becoming an indie
artist.
On the one hand, there is total artistic freedom with respect to style
and composition. Artists have the ability to produce incredible music from their
bedrooms, and build hype through music blogs or streaming sites without necessarily spending a dime
on physical albums. Many bands create their own mega-specific genre of a
sub-genre of a sub-sub genre…, which demonstrates creativity and musicianship
in a way that is almost unheard of in the Top 40 world. This creates (in some, not all cases) niche audiences and devout fan bases that are sparse but committed. On the other hand, it is a barren desert of obscurity for most independent artists out there. Just because there is true passion and inspiration in music does not necessarily pave the way for success - it is a difficult process developing a fan base from an already miniscule percentage of the music-listening population. Most offer up their work free to stream and download on sites like Bandcamp or Soundcloud, and allowing the listener to pay whatever price they are willing to fork out for the music. Plus, most venues for music exposure (such as festivals or radio stations where bands can market their sound) have an interest in showcasing artists who are already established. Getting gigs isn’t always easy for the lesser-known ones, and attracting new faces is even more challenging. For me, anyway, this is a big problem.
Enter the Break North Festival. It’s mission is to “showcase
independent and emerging Canadian musicians over a four day run of concerts in
the National Capital”. It’s purpose is simple - bringing local independent
artists into an intimate setting in order to give them exposure as well as
provide fans with an opportunity to experience new music in a way that won’t
destroy your last paycheque. I spoke with organizer Mark Isbrandt about the
purpose and motivation behind the four-day festival. He emphasized the point that
there are not many ways for local, independent bands to show off their material
to new audiences - a series of shows that bring people to experience new and
different music can provide a way for artists to promote themselves and garner
some more support.
There are many music festivals in Ottawa, and Mark didn’t
shy away from acknowledging the fact that competition is stiff – especially in
the summer. He pointed out that there is a lot of diversity in the music scene
in the nation's capital, and that having a variety of bands gives the festival an edge over some others. Hosting shows that aren’t genre-specific give the audience a
chance to expand their horizons and get a good idea of what kind of local music
is out there. With so many larger festivals such as Bluesfest and Folkfest, the
intimate atmosphere at Elmdale Tavern and Rainbow Bistro is a refreshing change
where musicians and fans can interact more easily.
Little Stella @ Break North Festival
I was able to make it out to the opening night of Break
North at Elmdale Tavern on June 14th, and got to see things kick off first hand. Little Stellawas the first band to play and their set was a strong start to the
festival. Their Canadian folk/rock sound also earned them a spot at the Live
88.5 Big Money Shot competition this year, one they hope to advance through to
the later rounds in the coming months. The band was happy to be playing the festival
and seemed very comfortable on stage, with all members contributing to a great
sounding set. It was nice to meet the guys and hear how excited they are to be
playing in front of new people, as they were genuinely stoked to share some of
their experiences as a young band and some of their future plans. Hear their EP Songs For Spain and catch them live at Feverfest next
Saturday at the Clocktower Pub (Glebe) 9:30 PM.
The night continued with After Funk playing next, a group of
young talented guys who made the long trip up from my hometown of London,
Ontario. Lead singer Yanick Allwood wasted no time getting the crowd involved,
and playing funk/soul music that even got the older bartender lady out dancing.
Like me, I heard many people in the audience say how impressed they were with
the set, which included a mix of originals and covers of Jimi Hendrix, Beatles,
Bob Marley, and Michael Jackson, amongst others.
The Ticket @ Break North Festival
Arms of the Girlplayed next and performed some of their folk-rock songs off
their album Versions of Happiness. They didn’t hold back, as lead singer Carolyn Côté kept
the energy going with good stage presence and strong vocals. I met them after
the show and they were very down to earth, even nice enough to give me a sample
of their music. Check them out June 28th at Zaphod's with Bleeker Ridge. The Ticket closed things out with their original sound and
style. Lead singer and guitarist Adam broke a couple strings on the first song,
but avoided that brutally awkward pause while waiting for the other guitar by
providing some impromptu banter. Throughout the rest of their set, Adam let the
guitar do the talking and blew away the audience as both he and Jack (on drums) poured every inch of their soul into the set. I was also totally impressed with the sound at Elmdale too, getting
it right in smaller venues is not a common occurrence. Props to sound guys, who
don’t get enough credit.
Overall, the night proved to be a reminder of how important
these lower-key festivals are for local independent artists. Having the
opportunity to meet some of the artists and organizers involved reminded me
that so much passion for music as an art form exists at the grassroots level,
and that true music lovers have something to gain from being part of an
intimate, small-venue festival such as Break North. Not only is it a great way
to meet those involved, but fans also become part of the experience in a way
that isn’t quite the same at larger shows. For me, the absence of anonymity was
a very positive thing – it was as if you could feel everyone listening and have
the bands feed off that connection. I hope Break North becomes a regular
fixture amongst Ottawa’s festivals, because I think it is necessary to balance
the emphasis of larger events with ones that are solely focused on the local. Supporting
our independent artists is the only way to ensure Ottawa remains an artistic
centre and an ever-growing source of new musical talent in Canada.
NXNE is one of the best festivals to hear loads of new music, from Canada and around the world. Ottawa continually offers up solid additions to the festival, some seasoned veterans and others new to the event. Here is a list I made of all the Ottawa bands and their shows at NXNE this year, I hope some peeps get out to support our local talent in the big city. Good luck to them!
Think what you will about music videos, but I still believe that they can be an incredibly effective compliment to a song, or album. Ever since I accidentally flipped to Muchmusic when I was 6 and watched Green Jelly's "Three Little Pigs" (which was horrifying at that age, to say the least) I have been intrigued by what music videos have to offer. Nothing can really replace how the song actually makes you feel when you listen to it, whether it be the bassline, rhythm, lyrics, or a simple guitar riff. However, in some cases - and I say some because the music video world is populated mostly by idiots - the video provides another dimension to the music. Beach House seems to take that quite literally with their video for 'Lazuli' which mostly takes place in the 4th dimension. For some reason it reminds me of 'Paranoid Android', a video which we all know and love. Maybe it is the presence of despairing characters. Or maybe it's because no one has a frigging clue what is happening throughout either.
Nonetheless, I love it. A cool video for an even cooler song. Cheers to director Allen Cordell and his brain.
The time has come to
bust out the new playlists and add new tunes that will inevitably
become your soundtrack for summer. Well, for me anyway. If you are
like me and like to keep things updated on the old ipod, then keep an
eye on my weekly picks. I'll be adding new weekly pics in order to
keep things fresh, for myself and anyone generous enough to read my
blog or visit my website. I'm not going to go into too much depth
with these pieces, just give a recommendation and brief overview of
what you can expect with said pick.
Young Empires – Wake
All My Youth [EP]
Released: Jan. 31, 2012
Toronto's Young Empires
have been increasingly making their presence felt. Their new
groove-driven, dance-causing, merrymaking debut release 'Wake All My
Youth' EP follows indie electro-rock forefathers Passion Pit and
Empire of the Sun in creating genre-defying eclectic songs. They released their EP through Pirates Blend, who also represent the likes of Bedouin Soundclash (a long time personal favourite of mine). The EP
itself is a logical extension of the original 'Enter Through the Sun'
release in 2011, combining synth, beat-laden and bass heavy aspects
with raw guitar riffs and stunning vocals. Their songs have also reached top spots on Canadian charts and the Top 15 on The Hype Machine. It is undeniably fun
from start to finish. It should prove to be a solid basis from which
to create a full-length album in the (hopefully near) future.
Every
year, Ottawa Bluesfest draws an impressive group of artists from
different genres to lay their sound down on Lebretton Flats. This
year is certainly no exception. After a bittersweet 2011 festival
(which included scary storms, a stage collapse, and some
cancellations), Bluesfest 2012’s lineup provides an excellent mix
of renowned, lesser known, and local area musicians. As a series of
features, I will examine some lesser known and local artists that are
particularly worth your time if you plan on attending the festival
in June. In my experience, you will often be surprised with what you
may find when seeing an band or artist you haven't heard much of.
--------------------------------
Youth
Lagoon
Boise,
Idaho, US
Active
since 2010
Ottawa
Bluesfest 2012: July 14th
23-year
old Trevor Powers is an unlikely breakout artist. His project, Youth
Lagoon, has gained serious traction since the debut LP release Year
of Hibernation in September 2011
on Fat Possum Records. As far as indie goes, Powers has hit it big
with this debut album (it should be noted that the LP was recorded
and mixed in his room). Since recording finished a year and a half
ago, Year of Hibernation
has become a furiously blogged and well-received album. Pitchfork
gave it an 8.4 rating and spot on its “Top 50 Albums of 2011”,
obtaining similar reviews across the board.
Similar
to Justin Vernon of Bon Iver, Powers seemingly locked himself away
and poured his heart out writing the songs on Year
of Hibernation. The
delicate synths, perpetual reverb, and shy vocals provide the dreamy
undertones that deliver listeners to a place where he tells of
twenty-something tribulations. Having dealt with anxiety and
heartbreak, the album is a story that unfolds in way that so many of
us can relate with. The song that got me hooked is called "Bobby", which, ironically is not a part of the standard issue LP (included as a digital release on the 7" bonus disc that comes along with the vinyl LP). It, like so many others, is laden with emotion that makes it quite difficult to stop listening. It opens with the lyrics:
You camped out in my mind and told me evil things like a demon I cant find but I named you. I named you.
Youth
Lagoon's DIY approach to producing this album serves as a symbol of
truth to the music. Powers explains - “I just want to perform music
in an honest way” and this is exactly how it comes across. The
songs are intimate and peaceful, yet tearing in a way that resembles
Daniel Johnston's music (see “Some Things Last a Long Time”).
However, throughout the album the wispy keyboard and creative drum
loops keep things moving with occasional build-ups that temper the
melancholic aspect of the music.
Youth
Lagoon is a must-see for people interested in attending Bluesfest. I
think a lot of individuals go for the headliners, but I am a
proponent of experimenting with new music. Who knows, if you end up
at the stage Youth Lagoon is playing at on June 14th,
we may even run into each other.
Tonight really solidified my desire to continue pursuing a naive transformation into full-time music experiencer. Damn the man, because the man has shitty headphones and no time to pursue life's passion - of which mine is (live) music. Ok that may be a little bit harsh.
I've been to a lot of concerts and live gigs. LOTS. I don't mean that in a "No Big Deal" kind of way... In comparison, Purity Ring and AGOR was a completely unique show that transcended anything I had seen before. Cafe Dekcuf provided a perfect (tiny) venue through which to experience their music.
Purity Ring is on the indie label 4AD, along with acclaimed artists such as The National, Grimes, Bon Iver, Deerhunter - to name a few. I had heard of them last year while rummaging through The Hype Machine, and since their songs such as Lofticries and Belispeak have been amongst the most blogged music peaking in the top 10. Out of all the songs I had heard on there, Purity Ring was different. Their melancholic undertones hit me in a way that most other music out there doesn't. The only word to describe it is haunting - an adjective that doesn't normally bear positive connotation - haunting in a way that if you put your headphones on and crank the volume up, you can't take them off.
Being a huge fan of bands like The National and Bon Iver got me interested and wanting more, but they only had 3 or 4 songs released at the time. This was frustrating. Luckily last month they unveiled plans to release the new track Odebear and a new album dubbed 'Shrines' on July 24. Leading up to a few European dates and NXNE festival in Toronto, they played tonight in Ottawa at Cafe Dekcuf. Not able to miss this opportunity, I came ready to hear a few new songs and maybe even meet them.
AGOR was the opener, I had never heard of him before. With the name AGOR, I was half expecting a hardcore death metal band to come up. Synth-electropop as he is described - his timid demeanour was quickly drowned out by his experimental bass drops and complex transitions. I kind of thought of him as Kid A's nephew. His set got everyone up and dancing, which set the tone for Purity Ring. After he finished I spoke with him - an extremely nice, gentle dude - he told me a bit about Arbutus Records and a few bands he has been listening to.
Purity Ring came on and instantly put the sold-out show into a trance. Hearing them play their bone-chilling songs live - with cool light show in operation - was surreal. There was something eerily reminiscent of the song Teardrop by Massive Attack to me, everyone just watching as Corin played the bass with lanterns and Megan flawlessly navigated strange and complicated vocal parts. The new songs were very impressive, but only gave a taste of what's to come on the new album. Still frustrating. Can't wait. I spoke to Corin briefly after about the album release and thanked them for making a stop in Ottawa.
This was one to remember, and something tells me that next time Purity Ring plays in Ottawa, the venue might have to have a slightly larger capacity.
Ok, so this whole thing is new to me. I've decided to snub the man and take on this project because I love music and want to write about it. As I walked to Dundonald Park in Centretown I realize that I am actually doing this. It's happening. I didn't really know what to expect, but it was a beautiful Sunday afternoon on the May long weekend.
Needless to say, my mind was a little bit blown. All the performers had a unique story to tell and did a terrific job at doing so. Here's how it went down.
Avid Napper, Gloria of Scary Bear Soundtrack's side project, came up and played a couple Springsteen covers. This was a great start as I became slightly more familiar/comfortable with my surroundings, and because who honestly doesn't like the Boss?
Scary Bear Soundtrack then came up and played a few politically/socially charged tunes that piqued my interest. I had seen the new 'Asian Fetishist' video a few days before and I was thoroughly impressed with their adaptation in a live acoustic setting. Gloria has a simple but engaging voice, and the harmonies were sick.
Jenna Tenn-Yuk came up and began with her 'Jamasian' poem. Let me just pause here and say that the only exposure I'd had to spoken work was a few Leonard Cohen pieces, so I'm no expert. I am a sucker for stories though, whether in song, movie, or as it turns out, poetry. She blended some poems with songs, covering Austra and playing originals. I was impressed how seamlessly the poetry and song blended together, something I can say I had never experienced before.
Jessica Ruano gave me a second, more forceful dose of spoken word. She was the designated 'time killer' since Del Bel and Lisa Bozikovic had to run for sound check. Wow. Jessica touched on themes I think we all experience at different points in our lives - particularly powerlessness, but also strength to recover from our our times of weakness. She kicked ass.
My most anticipated act came up, Fevers. This electronic/pop group formed last year has really been making a name for themselves. They impressed me by playing perfect acoustic versions of non-acoustic songs, Passion is Dead & Radiohead's Idioteque. Previously, I was convinced that Idioteque was a non-coverable song as it is extremely experimental and unapologetically complex. I was dead wrong. Colin beautifully adapted Thom Yorke's mutant vocal powers into a version that was very accessible to anyone listening. Something that stood out to me during their set was that I never felt as though one vocalist was more dominant than the other. Colin and Sarah are a highly effective duo, similar to the dynamic of the band 'Of Monsters & Men'. I spoke to them briefly after the show and they were very down-to-earth and obviously enjoying every minute of their musical endeavours.
Eriksen rounded things off playing a set of originals. His songs provided a nice end to what was a perfect Sunday afternoon.
I look forward to seeing Fevers play @ Babylon this Friday the 25th, and hope to see the other performers around Ottawa in the future.
