Bobby B's Top 50 Albums Of The Decade (#30-26)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36] [#35-31]

30. Heartbreaker - Ryan Adams (2000)

The argument that most of the world's greatest art is derived from sadness is one that I've always worked hard to refute, but a guy like Ryan Adams doesn't make it easy for me to do so. It doesn't get much sadder than his solo debut, which apparently was inspired by the ending of a romantic relationship. Obviously this is not exactly uncharted territory in the world of (real) country music, but Adams leaves no misplaced notions that the feelings portrayed here are anything but genuine. I love the album's deceiving opening, where it begins with a hilarious interchange between him and David Rawlings about whether or not Morrissey's Suedehead is on the album Viva Hate (it is), before lunging into an upbeat rockabilly number called To Be Young (Is To Be Sad, Is To Be High). From that point on though, Adams plays some of the most melancholy music I've ever heard. Oh My Sweet Carolina is a homesick ballad featuring the always beautiful vocals of Emmylou Harris. You may be able to remain composed during Bartering Lines or Damn Sam (I Love A Woman That Rains) but by the time Come Pick Me Up comes along on the playlist, you might as well just set aside the foolish machismo for awhile and let the waterworks flow, because this is an artist that was not put in the recording studio for our foolish amusement. [Myspace: Ryan Adams]

29. Desperate Youth, Blood Thirsty Babes - TV On The Radio (2004)

TVOTR is a band that has been very consistent throughout this decade as all three of their studio albums were considered quite seriously for inclusion on this list. When I listened to them all through more recently though, it was this 2004 (studio) debut that had to be the winner since it's the original in terms of them solidifying an avant garde sound that is currently beyond comparison. For me, TVOTR is basically a genre unto themselves. When I want to listen to psych rock for example, there are many artists, old and new, that I could go to. The same goes for folk music, and pop music. But when I'm in the mood for TVOTR music, only TVOTR will do. The harmonies and swirling vocalizations of Tunde Adebimpe and Kyp Malone take bizarre doo-wop sonics to another level, while the music itself takes the standard bass, guitars and drum approach and layers it to a point where it becomes a grand looping orchestra. And the acapella groove of Ambulance hits me in a clouds parting, heavens opening sort of way. There's no doubt that they'll continue to be one of my 'purchase without needing to hear first' bands, since their consistency is now an established fact, as far as I'm concerned. [Myspace: TV On The Radio]

28. Cryptograms - Deerhunter (2007)

While last year's Microcastle and subsequent tour established to us all that Bradford Cox has gotten most of the weird out of his system, I'm eternally grateful that he managed to get this psych rock experience out to the masses beforehand. His more streamlined sound of today is still amazing as he continues to break down boundaries with his unique and original vision, but in terms of artistry and special experiences, nothing can compare with the sonic achievement of Cryptograms. I love the album's schizophrenic approach with the songs alternating between heady rockier, almost straightforward numbers and disjointed soundscapes that make the spaces inbetween the songs crucial to the album's overall tone. The fact that the album was recorded at two different sessions actually works in its favor as this enables it to serve as a document of growth from a confused disheveled beginning to a more focused yet eclectic conclusion. [Myspace: Deerhunter]

27. Fox Confessor Brings The Flood - Neko Case (2006)

There are many reasons why Neko's Fox Confessor... album is one the best of the decade. For one, there is the unique structuring of the songs as they deliberately steer clear from anything overly conventional while still borrowing heavily from the pioneers of the past. There is also the strength that is to be found in the lyrical aspect of the album. Lines such as "The night I fell into the lion’s jaws /To my regret /And your delight /Those teeth themselves could not divine /Nor their pressure estimate /The haze I wish to never break /And to never contemplate" are stacked with unusually stark imagery. But let's be honest, the main reason she's here is that voice! That unparalleled, powerfully sultry voice is such that one can't help but be a slave to its charms. Nowhere is this more obvious than when she belts out the title to That Teenage Feeling, where that intoxicating vocal presence of hers takes me back, not to my own teens, but to the pre-adult years of generations past with a classic feel that epitomizes a time that is often categorized as innocent, even though Case's homage makes it clear that such was not always the case. [Myspace: Neko Case]

26. Let It Die - Feist (2004)

And while we're on the topic of unparalleled vocalists, is it any surprise that Leslie Feist has gone on to become the household name that we all knew she should be? Well, I guess the true answer to that question is actually 'yes' since although she's discovered the pot of gold, so to speak, there are many other equally deserving artists who have not. And it's true that her current popularity has spawned a crapload of imitators but even more tragic is the fact that artists who have been doing this longer than she has are now in danger of being accused of imitating her as well, since she has opened a path that many are now free to follow. Wow, what was supposed to be praise for her album is now sounding like a rant, but let me apologize by saying that Let It Die deserves it all. What's interesting is the fact that, although I like the popular Mushaboom song, as well as the popular Bee Gees cover (Inside and Out), one of my favorite songs is actually the cover of Françoise Hardy's L'Amour ne dure pas toujours simply because, for me, that song encapsulates all that I find endearing about Feist's whole persona. She's certainly got an air of mystery about her, that certain twinkle in her eye if you will, but she also seems completely down to Earth and approachable as well, and both of those sides shine throughout the course of this album. [Myspace: Feist]

Tomorrow: Bobby B's Top 50 Albums Of The Decade (#25-21)

CONTEST: Win tix and CD's to the Hottest Indie Showcase in Toronto!!!!

I hope that you're enjoying my deliberately dragged out and unabashedly self indulgent list of the top 50 albums of the decade, as selected by me; but I currently interrupt the countdown to bring to you this very special announcement and contest.

There have been many exhilarating unions made in the past: Superman and Muhammad Ali; Run DMC and Aerosmith, and Vodka and Red Bull come to mind, but none have had the universal impact that is sure to result from the joining of forces that is to take place at The Garrison in Toronto (1197 Dundas Street West) on Saturday November 28th.

That is the day and the venue where two of the greatest local indie music superheros, namely Two Way Monologues (altar ego Dan Wolovick) and Zygiella (secret identity Tyler Wade), join forces to showcase a performance by the best bands on the local indie music scene today.

Black Hat Brigade are insane which, if you've heard their album or seen them live, then you already know this. The Schomberg Fair's brand of "speed gospel" is so authentic sounding that it's hard to believe that they don't actually hail from the deep dark south. The Racoon Wedding have apparently received a little bit of lovin' from Now Magazine, who described them as "exciting, catchy and loud" and "worth checking out." And then there's Germans, who were Spin's Artist Of The Day, as well as co-players on Final Fantasy's He Poos Clouds CD. That there is a lot of talent for one night, and to be able to see a show like this and then go home and listen to these bands again once the show is over is a state of euphoria that a person should not expect to experience too often without possibly exploding. Now imagine if you could do this all for free.

Well, tickets for this show are only $7, which is a steal in itself, but I'm actually here to give you the opportunity to get in for free. And if that weren't enough, I'm also going to throw in some CD's as well. So here's the deal:

CONTEST: Courtesy of TWM and Zygiella, as well as the bands themselves, I've got CD's by Racoon Wedding, Schomberg Fair and Black Hat Brigade to giveaway as well as 2 tickets to the show taking place at The Garrison on November 28th. Now, since most of my readers are apprently going steady with most of J-Polk's readers, you've probably noticed that she's holding the same contest. What I recommend is that you enter both and double your chances at winning!

To win the tickets here, send me an email at quadb2001 [at] gmail [dot] com with the words "I Want To TWM with Zygiella" (what does that even MEAN?!?!?) in the subject line and your full name in the body.

Contest closes on Thursday November 28th.
You must be geographically able to attend the show.
You must be at least 19 years of age to enter.
Winner will be chosen randomly.

I now return you to my regularly scheduled countdown, already in progress...

Bobby B's Top 50 Albums Of The Decade (#35-31)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36]

35. Ys - Joanna Newsom (2006)

I get an amazing number of hits to my site from people googling the phrase "I Hate Joanna Newsom", simply because the word 'hate' is in the title of this here blog, and I've talked about Ms Newsom on a few occasions. Of course, they're usually angered to find that when I make reference to her it's always surrounded by flattering phrases that couldn't be further from the idea of me hating her. On the contrary, I love Joanna Newsom! But it's understandable why some might find it hard to warm up to her. There's that high pitched squeaky voice, those meandering 17 minute songs, the preference for harps instead of guitars and not a hook to be found in the lot. But I don't think that you'll find a more ambitious album this decade, and the magical pairing of Newsom and Van Dyke Parks is an otherwordly adventure that begs to be experienced. This album is not made for dancing, nor is it a delightful piece of background music perfect for playing at your next dinner party. This album is a work of art and it deserves to be treated as such. This is an album that demands a listener's full attention as it fluctuates from mellow flowing movements to harsh gothic trajectories, all working together to create a musical number that is simultaneously enticing and unsettling. A challenging listen for sure, but well worth the effort. [Myspace: Joanna Newsom]

34. Hometowns - Rural Alberta Advantage (2008)

Admittedly, I'm still in the throes of RAA hype at the time of preparing this list, so it'll be interesting to see if this album's inclusion will be reflected on with rolling eyes by the time 2020 rolls around, but for now, I still find myself consumed in the glow of this masterful release. The fact that I still listen to the album as much today as I did a year ago when it was first released is a good sign, as is the fact that, despite my penchant for being contrary, I haven't felt the desire to rebel against the current hype, as overbearing as it is getting these days. For now, there's just no denying the fact that this is just simply a collection of great songs from start to finish with not really any duds in the lot. The challenge at this point will be where does the band go from here. A series of great songs this is, but I don't think I want their sophomore to be just more of the same. And as much as we all strive to judge an album based on its own merits, our human nature can't help but be tainted somewhat by future releases (see my #43 pick.) So the pressure is on, but in the meantime, I'm more than happy to enjoy Hometowns for what it is as it sits comfortably amongst my favorite releases of the decade. [Myspace: Rural Alberta Advantage]

33. Glissandro 70 - Glissandro 70 (2006)

My prog loving soul can't help but bask in the glow of this local post-rock amalgam of Craig Dunsmuir and Sandro Perri. This one time collaboration makes good use of the build up approach, with each cut opening with a few loops and repetitious drones before exploding into a series of sounds and styles that incorporate Afro-beats, tribal chants, progressive chord changes and even slight leanings towards electro. The opening song Something serves as a bit of a teaser, with a disjointed looping acoustic guitar being accompanied by sounds and atmospheres before giving way to Analogue Shantytown, which is a six minute piece that opens with a looping harmonica accompanied by a whispered 'shantytown' chant before transforming into an experimental piece that hearkens back to the early 80's period of King Crimson mixed with an almost jazzy vocal before embarking on a celebratory revisiting of the opening 'shantytown' chant that is all encompassing. The album's centerpieces, Bolan Muppets and Portugal Rua Rua are inspirational slices of 'almost' danceable psych flourishes that should appeal to fans of Animal Collective with their odd and challenging arrangements. The album ends with a trance inducing 13 minute track called End West that is pretty close to perfect, and makes me wonder why this collaboration has never bothered to release a sophomore album. On the other hand, why mess with perfection? [Myspace: Sandro Perri]

32. A Ghost Is Born - Wilco (2004)

Jeff Tweedy's experimental phase hit a whole other level with the release of this one. At first listen, I actually remember saying something to the effect that it was every bit as good as Yankee Hotel Foxtrot, and a natural progression from the expanding ideas presented on its predecessor. That opinion has obviously softened since then, but it doesn't mean that this album is not an outstanding achievement in its own write. There are many moments where the album feels as if it has a loose and improvisational feel, which is outstanding considering that Tweedy himself has commented on the fact that every guitar solo and moment of ambient noise was carefully organized and premeditated. The part at the end of At Least That's What You Said, for example, is intoxicating. There are also moments where the band sounds as if they're deliberately trying to alienate, most notably during the wall of synth at the end of Less Than What You Think. This may not be a moment that I always enjoy listening to, but I can't help but admire it to a certain extent. And then there's Spiders (Kidsmoke) and it's incredible jammy feel. The song is over ten minutes in length and yet I still find myself hitting the repeat button whenever it plays. Simply amazing. [Myspace: Wilco]

31. Figure 8 - Elliott Smith (2000)

While it's true that throughout the Elliott Smith catalog there are moments that are more philosophical (1997's Either/Or), more heart wrenching (1998's XO) and more experimental (2004's posthumous release From a Basement On A Hill) , for me no album is more enjoyable a listen than 2000's Figure 8. Smith's passing in 2003 was probably the musical death that I found most difficult to hear, simply because for me, it seemed to come out of nowhere. While it's true that clues of his unhappiness were always prevalent in his lyrics and even in his interviews, I honestly didn't see it coming and I was always looking forward to seeing him perform live. So Figure 8's upbeat and positive feel is just the way that I would prefer to remember him. And I realize that titles like Everything Means Nothing To Me and I Better Be Quiet Now don't exactly scream positivity, but the dreamlike nature of the music and presentation just makes me picture in my mind a person who was relatively happy while he recorded these songs. That's the image that I choose to see whenever this album is playing and it always makes me smile. [Myspace: Elliott Smith]

Tomorrow: Bobby B's 50 Albums Of The Decade (#30-26)

Bobby B's Top 50 Albums Of The Decade (#40-36)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41]

40. Goodbye Doris - Fox Jaws (2007)

Barrie's Fox Jaws are easily one of my favorite live bands, and I make a point of trying to catch their show every time that I can. For whatever reason, their debut album has really struck a chord with me personally, and whenever I put it on, I simply marvel at the beauty of it all. Carleigh Aikins voice is somewhat of a revelation, taking songs that would be good but perhaps a bit average and making them absolutely earth shattering. Some have made the comment that her blusey whiskey stained rasp when coupled with the basic pop rock sounds of the album are a little too odd of a match, but I think that therein lies the beauty. How could one not be exhumed in euphoria when Carleigh belts out the "write it down!" part of the song Couple Of Pops, or the adrenalin flamenco flavored shock of the last 30 seconds of Hide And Seek? The band can get experimental (Hitchcock Camera Trick), epic (New Body) and endearingly atmospheric (My Hands My Plans). It's hard to imagine anything more chill inducing than that last song, and it'll be great to continue to follow their career even further in the decade ahead. [Myspace: Fox Jaws]

39. Icky Thump - The White Stripes (2007)

There have certainly been various opinions on the subject, but for my money, I would have to say that Jack White was the true savior of rock 'n roll in this particular decade. I've already noticed that both 2001's White Blood Cells and 2003's Elephant have made other decade-end lists, but personally I didn't feel that any of those albums offered the non-stop adrenalin rush that this 2007 release gave us. I'm of the opinion that they will never be able to capture the excitement of their debut back in 1999, but this one comes pretty darn close. The opening track is like a punch in the face, with its simple yet effective bassline, its phenomenal riff and Jack's commanding voice. Their cover of Patti Page's Conquest (written by Corky Robbins) is about as fun as it gets, with its matador image inducing trumpet and Jack's tongue in cheek yelp. And never before has the band sounded more authentic than on the songs Rag And Bone and 300 M.P.H. Torrential Outpour Blues. You just can't fake a sound like that! [Myspace: The White Stripes]

38. For Emma, Forever Ago - Bon Iver (2008)

Surprisingly, it took me a little bit longer than most to appreciate the beauty of this album. While most blogs and critics declared it the album of the year in '08, I had trouble preventing my mind from wandering when it came on, and therefore it didn't even make my personal list for that year. But it was on a semi-lengthy spring road trip that I decided to give the album another chance and this is when I became hooked. The album is a solemn listen with a tragic and lonely feel, but the sweet hush of Justin Vernon's voice coupled with the gentle strings of his acoustic guitar is just so compellingly honest that its hard not to feel like you're encroaching on his personal space just a little bit. The decade saw a lot of artists attempt to capture a similar sound, and while many of them managed to woo a few of the critics and fans out there, I've always been a bit skeptical of most of them, even finding the bulk of them to be a bit boring. I'm glad that I gave Bon Iver another chance on that chilly spring day as it allowed me to realize that this album should remain completely separate from the others as this is a genuine collection of moments of sheer beauty. [Myspace: Bon Iver]

37. You Are Free - Cat Power (2003)

I realize that my tastes can be a bit different than most, but I'm truly surprised that Chan Marshall's release from 2003 doesn't seem to get as much love as 2006's The Greatest, which was a significant step down, in my opinion. This album, along with much of her earlier works, contains a vulnerability that is far more endearing and honest hearted than anything she's released since then, and I have to say that this fragility allows the album to have much more of a personal tone to it. As later albums have proven, with a little bit of help, Chan's voice can sound damn near perfect at times, but on this album she allows the imperfections to remain in tact. For me, the beauty is to be found within those imperfect moments. The opening piano track I Don't Blame You and its possible Kurt Cobain references (and reverences) is absolutely haunting as Chan sounds as if she was walking dangerously close to the same line that he walked that eventually cost him his life. The entire album plays like an open wound, whether it's disguised in an upbeat melody (like Free or He War) or she's using someone else's poetry (like Keep On Runnin', a renamed cover of John Lee Hooker's Crawlin' Black Spider.) The album's therapeutic nature was no doubt a step towards her overcoming many personal demons, allowing her to perform these days with a newfound grace that will likely allow her to carry on much longer than she would have otherwise. [Myspace: Cat Power]

36. Welcome Interstate Managers - Fountains Of Wayne (2003)

It may not be a popular opinion, but I like pop music. Sue me. When Fountains of Wayne released their debut in 1996, it became very obvious to these ears that this band was putting out some of the catchiest pop music I've heard since Jellyfish, and I could not stop listening to that amazing album. Although this, their 3rd album, is not quite as good as that one, it comes pretty darn close, even if it does contain that international hit that every single person I've ever met hates with a passion. Personally, I think people have been a little bit tough on that particular tune, as goofy as it is, but overall this album contains enough other material to entertain even the Stacy's Mom haters. Bright Future In Sales and Little Red Light are solid rockers with amazing riffs. All Kinds Of Time is a beautiful ballad that really showcases the fact that Adam Schlesinger is a melody magician. And Hackensack and Valley Winter Song are a couple of alt-country pop delights that rank up there with some of The Jayhawks catchier offerings. Welcome Interstate Managers is just one example that illustrates the reasons why Schlesinger is the go-to guy when the crafting of a pop single is needed for soundtrack work or otherwise. [Myspace: Fountains of Wayne]

Tomorrow: Bobby B's 50 Albums Of The Decade (#35-31)

Bobby B's Top 50 Albums Of The Decade (#45-41)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46]

45. The Weekend - The Weekend (2000)

Probably the most obscure selection on my personal list comes by way of London Ontario's now defunct The Weekend. At the turn of the century I was listening to a lot of embarrassing music and, as expected, when I took the time to revisit some of those old favorites, they did not hold up at all. Oddly enough, I was expecting to say the same about this pop gem, but interestingly, that was not the case. The lyrics are juvenile and very much in the vein of high school fluttery, but the songs are still incredibly catchy, while the vocals of Andrea Wasse and Lorien Jones complement each other in an exceptional way. While their future releases boasted more of a teeny bopper professional sheen, the debut is still surprisingly raw, with a true punk rock aesthetic. The retro keyboard sound of Link Cushman didn't become fashionable for a couple of years, although now you can hear that sound just about everywhere. For an idea on the sound itself, imagine if all of Metric's songs were as catchy as Combat Baby. If you're like me and you wish they were, then combine that idea with the sound of Blue-period Weezer (or more accurately the Matt Sharp side project The Rentals) and this hard-to-find gem may be right up your alley, as it is mine. Hard copies are hard to come by, but I think it may still be available to download on Zunior. [Myspace: The Weekend]

44. Sunset Tree - The Mountain Goats (2005)

I don't usually claim to be one of the forerunners when it comes to music, but I got into The Mountain Goats waaaaaay after everyone else. People have been singing the praises of John Darnielle since back in his lo-fi days, and there are others that got into him after he streamlined his sound a little bit. Myself, I didn't get into him until I heard 2007's Get Lonely, and I simply backtracked from that point on. However, I guess it's better late than never, because I've been turned on to a lot of great music in that prolific back catalogue. As far as this past decade goes, I would have to say that 2005's The Sunset Tree is the best of the bunch. Darnielle's poetic lyricism accompanied by his seemingly basic guitar playing is a combination that cannot be denied, as can be heard in passionate cuts like Next Year, a song that has to be lived in order to be as convincing as it is. He shows a flair for the dramatic with Dilaudid and some classic whimsy with Hast Thou Considered The Tetrapod. [Myspace: The Mountain Goats]

43. Is This It - The Strokes (2001)

Those who have heard me express my disdain for Julian Casablancas are likely surprised to see this album on my list. But a great album is a great album and this, my friends, is a great album. It's just that everything else Casablancas has ever done is terrible. (Ouch!) This is the album that was supposed to save rock 'n roll, and when I listened to it recently in preparation for this list, it's easy to understand why people thought that this would be the case. Songs like Soma, Hard To Explain, Take It Or Leave It and the rambunctious New York City Cops are presented so effortlessly that it's hard to imagine that a sound could be any cooler if the Fonz himself was in charge of the proceedings. The problem is that, like Fonzie, the band jumped the shark pretty quickly and what sounded so fresh and flawless on this debut, came across as forced and cartoon-like on all future releases. I've noticed that Is This It has appeared in the upper echelons of most other lists, and I tried my best to judge this one based on its own merits, but the truth is, that the fact that Casablancas has become such a caricature of his previous self has tainted the overall feel of this one for me, as great as it still is. [Myspace: The Strokes]

42. And Then Nothing Turned Itself Inside-Out - Yo La Tengo (2000)

Everything about Yo La Tengo screams ego-centricity, from their sprawling 17 minute epics to the titles of their albums and, my goodness, don't you just love them for it? Yo La Tengo has certainly released more pop oriented albums, and they've released albums that were also more upbeat, but they have never released anything as sparse or as beautiful than this one. It's true that the mellower approach caused some fans to feel that the release was a little bit too glum or even boring, but I find it to be truly captivating. Saturday, for example, serves as an exploration of atmospheric thoughts and tones, sounding like the soundtrack to a fairly intense lucid dream. Let's Save Tony Orlando's House is another subtle gem, with a sultry vocal that literally gives me chills. And then there's the 17 minute ambient opus of Night Falls On Hoboken, which is a song that I always get lost in. I'm not sure if I would call this one my favorite Yo La Tengo album, but it's definitely the one that I find most endearing. [Myspace: Yo La Tengo]

41. The Revolution Starts... Now - Steve Earle (2004)

Songs of anger and protest are not always my thing, especially since I usually have no interest in hearing other people complain about things that they really no nothing about. However, that opinion completely shifts when it's the articulate poison laced pen of Steve Earle spouting off these opinions. Steve Earle is the type of artist that I have little minor addictions to, meaning that there are times when he's all I feel like listening to. The events of this decade, namely 9/11, made Steve understandably angry, but it was by means of his caustic wit and incredible musicianship that he made his point clear through the material on both 2002's Jerusalem and 2004's The Revolution Starts...Now. The latter makes the cut for the simple reason that I liked the songs just a little bit better, but trust me, the former was only cut by a very small margin. Songs like the biting social commentary contained in the rocking title track, the personal declarations in The Seeker, the perfectly sappy Emmylou Harris duet (Comin' Around), and the hilarious love song to National Security Advisor Condoleeza Rice (Condi, Condi) compile together to make this an album that I come back to regularly. [Myspace: Steve Earle]

Tomorrow: Bobby B's Top 50 Albums Of The Decade (#40-36)

Bobby B's 50 Albums Of The Decade (#50-46)

After spending several hours and TTC rides with my iPod revisiting literally hundreds of albums spawned from the decade that began at the turn of the century, I managed to whittle down a pretty extensive list to a mere 50 choices. These are not the best albums of the decade, these are simply the ones that have spent the most time in my headphones. And I rambled enough about that here, so let's just get on with the list:

50. Gold - Ryan Adams (2001)

There are many that will argue that Ryan's post Whiskeytown output simply does not measure up, but I think the man's brilliance is unrivaled to the point of actually being a bit freaky. Admittedly, prior to his current hiatus, a strong argument could be made for the fact that the man could use a bit of discretion. He has, after all, released ten albums this decade, and that's not including various EP's and unreleased projects. But the fact that he makes more appearances on my list than anyone else shows that it's very rare that his overindulgence results in throwaway mediocrity. Like most of his albums, Gold may be three or four songs too long, but even the lesser songs may simply be a case of too much all at once, as opposed to actually being not that good. The album is a great example of keeping things relatively varied, sporting some straight ahead rockers and other mellower moments, the best of which is the stunning La Cienega Just Smiled and the epic Nobody Girl, which was co-written with Ethan Johns. [Myspace: Ryan Adams]

49. Everything I've Forgotten To Forget - Amos the Transparent (2007)

Everybody knows by now how much I love this Ottawa band, but you may be surprised to learn that this album did not actually make my top 10 for 2007. Like most great albums, this one is a grower. Many of the tracks are instantly likable, like After All That, It's Come To This (with Amy Millan) and the upbeat pop of It's A Beautiful Life. But to fully gain the greatest benefit from this album, one really needs to experience Amos The Transparent in a live setting. Songs like (Here's To) New Beginnings, The Stale Scent Of Old Beer and Title Track take on a new life after seeing them live, and if given the right exposure, those songs have the potential to be true Canadian anthems. The band is still resting comfortably below the radar, but hopefully the decade ahead will see Amos The Transparent sink into the national consciousness with greater success. [Myspace: Amos The Transparent]

48. Writer's Block - Peter Bjorn And John (2006)

For many in the blogosphere, this decade awakened people to the fact that the Swedes can craft a pretty wicked pop song like nobody else. Peter Bjorn and John's third album saw them putting aside some of the heavier power pop stylings of their first two albums, to make way for songs that are more on the twee side of the fence, and doing so with great success. Their signature song Young Folks, boosted by the sweetly saccharine vocals of Victoria Bergsman, is easily one of the best pop songs that I've ever heard, and, for once, the public actually agreed. Although the song's appearance in various commercials and TV shows made it the runaway hit of '06, it wasn't the only great song on the album. Objects Of My Affection and Let's Call It Off are equally as accessible and toe tapping. [Myspace: Peter Bjorn and John]

47. Never Hear The End Of It - Sloan (2006)

Just barely squeezing into my top 30 of 2006, Sloan's 8th album is one that I've been revisiting on a regular basis over the last couple of years, and I'm actually as surprised as anyone that it made the final cut of this list. Personally I find that the songs on this album do not work as well when played on their own, meaning that the album's brilliance really shines through when played as a whole. The fact is, that it's just such an infectious album and their best since 1996's One Chord To Another. What has understandably scared away some people is that the album contains 30 songs, and some people are afraid of commitment. However, if you put forth just a tiny bit of effort, you'll see that the album flows so seamlessly with an Abbey Road Side Two abandon that it actually contains less filler than their two albums previous and the one that followed it. It also contains one of Chris Murphy's greatest compositions (the McCartney-esque Fading Into Obscurity) one of Andrew Scott's best (I Know You), a whole slew of great Jay Ferguson moments and Patrick Pentland's most punk rock moment ever (HFXNSHC). The Brits may have their fair share of fab four worshipers, but Oasis can only dream of releasing an album as Beatle-esque as this. [Myspace: Sloan]

46. Left And Leaving - The Weakerthans (2000)

Nobody with half a brain would ever question John K Samson's poetic songwriting abilities, but never before has that been more apparent than on this classic release from 2000. Besides containing one of my favorite songs, not just of the decade, but of all time, Aside, the album continues to age extremely well. The line "I'm leaning on this broken fence between past and present tense" is highly appropriate since the album has the ability to speak to me in different ways as each year goes by and circumstances change in my life. While it's true that this album was released at the height of the whole emo thing, Samson's lyrics really stood out in the sense that I never felt he was trying to be overtly preachy, pounding my ears with an iron fist, so to speak. He was also not the sort to wallow in his own self pity, screaming his lungs out at the fact that he's the most misundertood teenager in Winnepeg . No, the music on this CD is simply a poetic declaration of his thoughts, emotions and feelings sounding less like a protest song, and more like a person's highly articulate diary. [Myspace: The Weakerthans]

Tomorrow: Bobby B's 50 Albums of the Decade (#45 - 41)

"Spiders are singing in the salty breeze ... spinning out webs of deductions and melodies"

Precursor Ramblings To Bobby B's 50 Albums of the Decade...

It's hard to believe that we're already 10 years into this millennial decade. It seems like only yesterday we were all in fear of Y2K and all of the nonsense associated with that. I always assumed that by this time I'd be flying around in my fuel efficient time machine Delorean, paying $400 for a Coke and fighting intergalactic battles with Wilma Deering by my side. It was 100 years ago that Ottawa won its first Stanley Cup as the Ottawa Senators and it was also that same year when the first commercial flight took place. We're just shy of two years away from the 100th anniversary of the Titanic's massive sinking and just four years away from the 100th anniversary of WW1. We're currently also about 51 years away from Halley's Comet's next appearance.

But random wikipedia stalkings aside, at this here blog it's all about the music, and the internet age of this last decade has seen music become more and more accessible to the masses, as the general public is finally in a position where they get to choose for themselves what they're going to listen to. Sadly, the large majority still hasn't taken advantage of this newfound freedom, opting to put money in the pockets of all of the Theory of a Nickelcreeds and Taylor bleedin' Swift's out there, but I don't think that we'll be seeing that for too much longer. The foul stench of the music industry's rapidly decaying corpse is becoming stronger than ever, and the public will soon have no other choice but to look to podcasts, blogs and other independent sources to feed their musical appetite which means gaining recommendations from people who actually enjoy music. What a novel idea! We're inching that much closer to an era where the important thing will no longer be what a singer's midrift looks like or what music some stuffed shirt has slapped into the pretty person's teen drama of the moment, but it will finally depend on the actual sounds coming through your speakers. OK, maybe I'm dreaming, but when has dreaming ever hurt anybody?

Still, in the meantime, for those who actually care, we have access to more music than ever before, which means that, to my ears, music has never sounded better. I'm sure that hundreds would disagree with me, but I feel that the "oughts" have been the best decade for music since the 1960's, and I've found it downright impossible to keep up with every band, genre and artists that appeals to me; a problem I've never encountered before. However, this is a fun problem to have as I've been spending the last couple of months revisiting all of the music that I've been introduced to since the year 2000 in an effort to compile a list of my favorite albums of the decade. And I'm happy to say that, by George, I think I've got it!

Starting tomorrow, I'll be taking you on a two week journey through my top 50 albums of the decade. I don't think that there'll be a huge ton of surprises, especially for those who have been following my blog at all over the last few years. I worked hard to be as objective as I can be though, not allowing myself to be swayed by popular opinion or common thoughts on what is "hip" or "cool" or (ugh) "indie." There are a few choices that are pretty much exclusive to my own personal list, not because these albums are that much better than everyone else's, but more because I've grown a personal attachment to them. Of course, there are other albums that are making all of the "decade end" lists simply because they deserve it, and you're gonna find these ones on my list too. (Yes, of course Arcade Fire made my list because I'm not an idiot, but it's not number one nor is it in the top ten.)

So I hope you enjoy my ten day foray into self indulgence (eleven days if you include this wordy rambling) as I will have album's 50 - 46 posted early tomorrow morning.

The title lyric is from the song 'Spiders (Kidsmoke)' by Wilco (pictured above), an artist that makes a couple of appearances on the list.

Easy Targets / Postcards / The Hoa Hoa's / Volcano @ Rancho Relaxo

Under normal circumstances, the four band lineup has become something that I do not look forward to as much as I once did. My attention span and irritability level after 10pm is not what it used to be, and the thought of attending a late show with a bill of more than two bands just seems like too daunting a task sometimes. It also often results in me becoming a bit of a harsher critic by the time I get to bands three and four simply because by that point of the evening I've become a grumpy old man.

However, an evening that was billed as The Fallout Party, which took place last Friday night, was a quadruped of sorts that I was more than willing to support, since four outstanding examples of truly euphoric psych rock were joining forces to create a symbiotic "excursion of weightless significance" at our very own Rancho Relaxo. I just knew this was going to be a good one.

Kicking off the evening was Volcano, and, as far as I know, this was their very first live performance. I'm quite familiar with the work of lead vocalist Chris Hobson through his other project The Space Between Things, and when I sampled his Volcano output on the myspace page, I became very curious as to how the material would translate live. While it's true this project comes across as a bit more streamlined than the TSBT material, it still contains a fair measure of jumbled cacophony to facilitate a "how are they going to do that?" thought in my head. Still, even the mildly muffled sound system of the Rancho couldn't hide the beauty of the sounds that this band created together. It was certainly a subdued performance in terms of stage presence and banter and whatnot, but in terms of musical artistry, the band literally sucks you into its drone with a mesmerizing mix of epic space jams and lo-fi psychedelic freak outs. Their last two songs were significant highlights; beginning with an extensive instrumental number that reminded me a little bit of Atom Heart Mother-era Floyd before quietly segueing into their last song, an upbeat rocker with a Keith Richards-like riff that was about as infectious as it gets.

The biggest selling point for me was the last minute inclusion of The Hoa Hoa's into the evening's lineup. It has already been duly noted that they're one of my favorite bands in the city, but despite all of my best intentions, I had never actually gotten around to seeing them live. Yes, embarrassing, I know. Now that I have though, I have to say that my confusion as to their lack of popularity and buzz is now even more mind boggling. I'm willing to accept that they're recorded material may not be everybody's thing, especially if you're not a fan of the whole psych-rock universe. But I refuse to believe that it's possible to leave a Hoa Hoa's show without being completely blown away, regardless of your genre of choice. The reason that I say this is because their performance is tailor made for music lovers, as well as lovers of the live experience, plain and simple. The band exudes an amazing amount of energy on the stage, and the songs translate with excellence as the Manchester beat got the crowd dancing from start to finish. They showcased several songs from the new album, and I think that, as much as I love their older stuff, the newer material boasts a greater intensity that sounds so good live. I loved their performance, and I think that it's safe to say that they are one of the best live bands in the city right now. On the downside, this made things pretty difficult for any band that was put in the unfortunate position of having to follow them.

Postcards (from Montreal) were up next, and of all of the bands that performed that night, the buzz surrounding them seemed to be the greatest. They've built up a strong reputation within the community as a forerunner in the Canadian shoegaze/psych movement, placing emphasis on keeping their sounds artistic, genuine and as lo-fi as possible. As far as I can tell, their EP is only available on cassette, which is either extremely cool or extremely annoying, depending on your outlook. The fact is that their melodic brand of dreamy, slightly Smiths-ish pop music probably suits the hiss and crackle of a car stereo cassette deck warmly, and they displayed their low key sound to a crowd whose enthusiasm seemed oddly disproportionate to the laid back vibe on stage. The audience was jumping around and dancing spasmodically, which was bizarre considering the subtle tones that was emanating off of the stage. Performance-wise, the band was a significant step down from the energetic whomp of The Hoa Hoa's, and it would have been nice to see them get into what they were doing a little bit more. Material-wise however, the band was right on par with everyone else, and I really enjoyed their unique blend of subtle jangle guitar tones and 60's Phil Spector-ish pop melodies.

The evening ended with our very own Easy Targets, who pumped the enthusiasm back up to an indisputable high. There were a couple of familiar faces in the band that I recognized, most notably Jeremiah Knight who played with Volcano at the beginning of the night, and Brad Weber, who's in another one of the best live bands in Toronto, namely Pick A Piper (not to mention the work he's done with Caribou). While the other bands of the evening I would describe as firmly rooted in 60's psychedelia, with hints of 80's rave culture and 90's shoegaze, Easy Targets sounded to me to be more the other way around, steeped moreso in 90's melodic noise rock such as Sonic Youth or even early Teenage Fanclub, while still including traces of some of the aforementioned past genres. Boasting easily the largest band of the evening (I think there were six of them) they ended the evening in a celebratory mode that raised the level of euphoria to an appropriate height for an evening so jam packed with music.

I left the evening completely satisfied, which, as I mentioned at the outset, is a pretty amazing feat for such a huge lineup. The fact that all of the bands complemented each other so well allowed the night to flow seamlessly, and listening to Stone Roses on my iPod as I walked home seemed like the perfect nightcap for me. Needless to say, I've been on a steady diet of psych-rock since then, and it's become apparent to me that I need to go to more shows like this.

Photos: My shots of the Fallout Party @ Rancho Relaxo are on flickr
Myspace: Easy Targets
Myspace: Postcards
Myspace: The Hoa Hoa's
Myspace: Volcano

"She's coming after me, she's like a honeybee..."

Quick Blurbs about Friendly Rich, The Hoa-Hoa's & Krupke

Friendly Rich & The Lollipop People - Pictures At An Exhibition

To describe Friendly Rich Presents: Modest Mussgorsky's Pictures At An Exhibition as an eclectic piece of music is an incredible understatement. His personal reworking of the Russian composer's 1874 suite is as bizarre as it gets, sounding a little bit like the unique instrumental pairing of Frank Zappa and Pee Wee Herman. The project is ambitious for sure, but unlike Emerson Lake and Palmer's 1971 attempt at reworking this intense piece of music, Rich manages to draw out the whimsical elements hidden throughout the work, making this a surprisingly fun listen. His arrangement includes a who's who of guest musicians playing instruments as varied as the euphonium, harpsichord, penny whistle, harp and accordion, along with the standard drums, guitars and bass. The CD contains moments of solemnity (Bydlo), carnivalistic intensity (Ballet of the Unhatched Chicks) and beauty (The Great Gate of Kiev), as well as downright strangeness (Cum Mortis in Lingua Mortu) but it all works together in producing an interesting listen that is jarring yet enjoyable.

His live show has been known to include puppetry, cartoons, crank calls and more so if you're looking for something truly eclectic and new, you should attend the CD Release Party at The Tranzac on Saturday November 7th. The Hamilton Trading Company are opening.

Myspace: Friendly Rich
Video: Some bizarre footage of Friendly Rich @ Sneaky Dee's is on youtube.

The Hoa Hoa's - Pop/Drone/Pedals (early review!)

I've made no bones of the fact that dreamy psych-sters The Hoa Hoa's are one of the most underrated acts in the city, if not THE most underrated. I was going to sit on their P/D/P CD until it was officially released on December 1st but, like it's predecessor, it's one of those albums that you want everyone to listen to as soon as possible. Admittedly it doesn't deviate all that far from their debut in the sense that is still boasts a psychedelic fusion of shoegaze and 60's garage aesthetics, but I would say that the playing is a little bit tighter this time around, and the sounds are just a tad more varied. As the CD sweeps into the headphones, opening with a subtle guitar part, quickly accompanied by the steady shaker and a droney bassline, the percussion comes in with that unmistakenly thumpy early 90's Manchester beat, and The Hoa Hoa's once again blast off into the stratosphere with Postcards, which is a killer opening track. That momentum remains constant throughout the course of the album. There are moments of multi-layered shoegaze (Hey Joe, Wasting Time, Vinyl Ritchie), summer of love by way of Anton Newcombe cuts (Velocity (Downtown), Feels So Good Inside) and stunning occasions of mesmerizing beauty (Waves). The best song on the album to me is one that they've been apparently showcasing on the live stage for awhile now, called Grew Up On The Seeds, which is a tribute to the Sky Saxon led 60's garage band. It's notable to mention that the late Sky Saxon even joined them on stage for a live rendition of that song at this year's SXSW festival before his untimely passing on June 25th.

The underground psych-rock movement is noteworthy for many reasons, but the timeless nature of the quality music consistently put out by The Hoa Hoa's is certainly a major ingredient in this trippy sonic stew. The band will be celebrating the release of P/D/P on Optical Sounds at The Silver Dollar on December 4th. If you just can't wait till then, make sure you make it out to Rancho Relaxo tonight (Nov 6th) as they'll be sharing the stage with a whole slew of great psychedelic acts including Montreal's Postcards, Easy Targets and Volcano.

Myspace: The Hoa Hoa's
Video: New Years Eve Ball 2009 on youtube

Krupke - Slap Bracelet Release Party (November 13th)

Most of modern music these days can be lazily summed up into two basic categories: those that wholeheartedly pay homage to the past (which is what most bands do) and those that look forward to the future by creating something new. Now I realize that this statement is faulty in more ways than I care to articulate right now, but it seems to me that local band Krupke is at least putting forth a noble attempt at working towards the latter.

So far they've only put together a handful of songs (which can all be heard on their myspace page) but trying to lump these songs into a specific genre is not an easy task. The reason that I've chosen to promote them here so early on in their career is because their music is a perfect choice for those that like to be challenged when it comes to what is being fed to their musical palate. For example, their song Dirt and Culture starts out sounding like it's going to develop into a bit of a progressive jazz number, until the off-kilter vocal yelp kicks in, turning into a piece of music that is all over the place. The real surprise though is in the second half of the song where an actual melody starts to peek through and suddenly the very song that was initially impossible to follow is now actually stuck in my head. Weird. Waltz is a mellow number that is folksy yet slightly carnival-like in the sense that it tricks you into thinking that it's a relatively simple song until you really pay attention to its varied complexities. They also have a song called My Dearest Fergie, I'm So Sorry I Haven't Called But The Pony That You Always Wanted Died Today. Yah. With that song the band manages to cram an entire art rock tragi-comedy punk opera into a nifty little three and a half minute package which is exactly as daunting and delicious as you would imagine it to be.

Krupke is a band that demands a listener's full attention and admittedly, this may be a hard sell within the ADD driven world in which we live. Still, I think that if you're willing to put forth the effort, the payoff is worth it, and will continue to be even moreso as the band continues to solidify their sound. They don't yet have a CD to release, but they have released a limited edition personlized slap bracelet that they will be celebrating the release of on November 13th at Bread & Circus. Everyone who attends the show gets one. Opening for them are a few more of the city's finest, namely The Lovely Killbots, Ex~Po and B'mo Crazy.

Myspace: Krupke
Video: Krupke performing for minilogues on youtube

Roky Erickson w/The Sadies @ Lee's Palace

If you're at all familiar with the sordid past of psych-rock pioneer Roky Erickson, than you know that it was only a few years ago that the possibility of ever seeing him perform live seemed about as likely as a warm winter in Toronto. His heavily permissive lifestyle back in the 60's while he was the leader of seminal psychsters the 13th Floor Elevators led to his being diagnosed with paranoid schizophrenia in 1968, resulting in jailtime, electroshock therapy, and even a brief stint where he believed that aliens were coming to Earth to do him harm. It was only shortly after the end of the 90's that Roky finally received both the medical and legal aid necessary to help him on the road to recovery. It was in 2005 that he performed his first full length concert in 20 years, and it was from there that the momentum continued to grow, culminating this year in a brief four date tour that brought him to Chicago, Detroit, Hamilton and right here to Lee's Palace in Toronto last Wednesday night.

Since I attended another performance earlier in the evening, the situation lined up in such a way that I got to Lee's early enough to plop myself down on an elevated stool that was right up against the stage. In other words, best seat in the house, not only for Roky, but also for the openers whom I probably don't have to tell you too much about: The Sadies.

The insane talent of The Sadies has been documented quite extensively on this here site and I really don't know how much more I can add to what I've already said. When I first heard that my favourite cow-punkers would be opening for the garage rock legend, the match-up did not seem hugely unfathomable. I've seen The Sadies cover everyone from Love to The Stooges to The MC5, so their love of all things psychedelic and garage-y has been duly noted and sharing a stage with Roky seemed appropriate. I will say that limiting The Sadies to a 35 minute set is somewhat criminal because, although their set was as intoxicating as it always is, to my ears it felt as if they were just getting started. I will also say that they made good use of their limited time by blasting through as many songs as possible, including an outstanding new song that showcases just how diverse the Good brothers are. If the new album is as promising as the new song they played, it is sure to be a significant release for them.

Photos: My shots of The Sadies @ Lee's Palace are on flickr
Myspace: The Sadies
Download: Anna Leigh mp3
Video: Flash on youtube

As great as they were, the crowd was clearly there to see the legend, and right from the start Roky and his band commenced to rocking, obviously with the intent of laying any doubts to rest as quickly as possible. Roky was smart to surround himself with some highly experienced bandmates for the evening. He had Kyle Ellison (Meat Puppets / Butthole Surfers) on guitar, Matt Harris (The Posies / Oranger) on bass and Kyle Schneider (Ian Moore / Charlie Sexton and a billion other bands) on drums and they were as tight as could be. For obvious reasons, Roky can only get so animated but the enthusiasm exuded by the band themselves more than made up for that. Actually, it was admirable to see a fully competent band care for the areas that Roky was unable to care for himself, while not using the situation as an opportunity for personal grandstanding. To the band's credit, never once did they detract from the reason we were all there in the first place, that is, to see Roky Erickson. He played for about an hour or so, and played a variety of songs from different areas of his career. My personal highlight was hearing him end with some Elevators classics, namely Splash 1 and their signature hit You're Gonna Miss Me as well as a song from his Bleib Alien days called Two Headed Dog. After leaving the stage, the band shouted, applauded and hammered for an encore but, even though the setlist indicated that he was going to come back out with 1982's Don't Slander Me, apparently it was not meant to be. Personally, I've always appreciated an artist that can just make the last song count, instead of contriving up the joint with an anticlimactic encore. This is exactly what Roky did, and the show was everything I could ask for and more.

It's not too often that one gets to see a living legend perform, especially not at a moderately small venue like Lee's. The image of Roky on that stage is one that I will not be forgetting anytime soon. I think it was expressed most eloquently by a friend of mine, who was also there, when he described the image of Roky with his back to us playing guitar, fan blowing his silver-ish hair like he was on a beach in psychedelic garage heaven as completely blissful. Nicely put.

Photos: My shots of Roky Erickson @ Lee's Palace are on flickr.
Myspace: Roky Erickson
Myspace: 13th Floor Elevators
Video: You're Gonna Miss Me on youtube

Other stuff:

There's an interesting interview with Andrew Whiteman of Apostle of Hustle and Broken Social Scene by Matt McKechnie over at Thick Specs. He will be at Lee's Palace on November 19th. [Myspace: Apostle of Hustle]

The Wooden Sky have recently put together a project entitled "The Wooden Sky: A Documentary in Pieces" directed by Scott Cudmore on their summer ‘09 Bedrooms & Backstreets tour. The first two pieces are available here. They will be playing Lee's Palace on November 13th with Hooded Fang and Brian Borcherdt. [Myspace: The Wooden Sky]

Pick A Piper also have a new video up for their song Rooms using footage from all the way over in Iceland. Although today's mild snowfall has made me hate pretty much anything associated with the word "ice", the video is still actually pretty good. You can watch it here. PaP are playing Polish Combatants Hall on Nov. 7th and Rancho Relaxo on Nov. 21st. [Myspace: Pick A Piper]

Exclaim has an exclusive on the Born Ruffians follow up to last year's excellent Red Yellow and Blue. Apparently Luke Lalonde has decided that thinking too much is overrated and they're just going to do what feels right for the new one. We'll be able to find out how well the method worked when the album is released on Warp Records early next year sometime. [Myspace: Born Ruffians]

It may be still a little bit early for such lists, but Amazon has just compiled what is, to my knowledge, the first official list of the 100 Best Albums of 2009. And, big surprise, it looks nothing like what mine is going to look like. You can see the list here.

Shotgun Jimmie @ Soundscapes (In-Store Performance)

Shotgun Jimmie's latest release Still Jimmie (which I reviewed here) is not an album that I would say I pull out on a regular basis, but whenever I do, it instantly brings a smile to my face. It really is a solid album through and through, and I really don't know why I never think about it other than the fact that I listen to a lot of music and it's hard to remember everything. When I heard that he was coming to town and including an in-store at Soundscapes on his stay, I hadn't initially planned on going. But as I was preparing to head out for another show last Wednesday night, it was really by mere fluke that I stopped into the store to check him out. And I must admit, that I'm very glad that I did.

I wouldn't say that I'm much of an expert on the works of Jim Killpatrick and to be honest, Still Jimmie, his third album, is actually the only one that I've heard. However, that album alone was enough to convince me that, lyrically speaking, his was a man of charismatic whimsy, and this was doubly apparent in his laid back performance. Every song he performed that evening was preceded and followed by a quip or two and, I've got to say, that Jimmie is one funny guy. But he's quite talented also, as was made obvious as he sang and played guitar at the same time as hitting the snare drum with one foot and the bass drum with the other. Most of his set featured material from the familiar album, which he explained was all killer, no filler and filled with only the greatest "pop" hits. He then attempted to take requests, but then had to admit that he couldn't remember how to play the one that was first suggested. He did follow that up with a different request though, and then went on to play some new songs, the second of which was obviously still a work in progress as he hilariously took to improvising some of the lyrics on the spot.

Overall this was a performance filled with much laughter and good times, which, as we all know, has always been the Maritime way and I, for one, appreciated him taking the time to bring some of that joviality to us.

Photos: My shots of Shotgun Jimmie @ Soundscapes are on flickr
Myspace: Shotgun Jimmie
Download: Mind Crumb mp3


Other news:
Sorry I haven't done these for awhile but I've been meaning to start them up again. And here goes:

Local psych-folk experience The Space Between Things is planning on re-issuing the Songs About You EP with additional songs and artwork on Friday November 13th. Like the original it is going to be offered as a free download on the TSBT website. [Myspace: The Space Between Things]

Tracy Shedd has a new video for a song called City At Night that will be the first track on an upcoming EP entitled EP88, which will be available on Eskimo Kiss Records in early 2010. [Myspace: Tracy Shedd]

Entire Cities will be re-releasing their amazing album Deep River on white vinyl. The show will be at The Garrison in Toronto on November 19th. [Myspace: Entire Cities]

Spoon is finally releasing a new album and it will be entitled Transference. It will be released in North America on Merge on January 26th and in Europe the day before on Anti-. Stereogum has the track listing as well as some live versions of a few of the songs. [Myspace: Spoon]

The amazing Montreal folkster Leif Vollebekk has just been signed to Nevado Records, which means that the label's streak of signing only the best in Canadian indie is still very much in tact. His debut album Inland will be re-released on January 19th on both CD and 12" vinyl. [Myspace: Leif Vollebekk]

'Sup in November: Ten Picks

I went to a lot of shows in October (including a Shotgun Jimmie instore and an historical Roky Erickson show with The Sadies that I still have yet to tell you about) which means that I think I'm going to chill out a bit for the month of November. I'll still be catching a few, but I'll likely be limiting it to a few of the smaller ones. Still, there's a lot to do, and here are my picks.

For more detailed listings, as usual, go check out Stillepost, Zoilus and Jen's Weekly List (of shows under $10)

1. Monsters of Folk @ Massey Hall
(Monday November 2nd; Cost: $36.50-$49.50 w/$1 of each going to Foodshare)

If you haven't yet heard about this project, (which, if this is the case, where have you been?) this is the name of a new supergroup consisting of Bright Eyes' Conor Oberst and Mike Mogis, My Morning Jacket's Jim James and She & Him's Matt Ward. Initially I wasn't all that enthused about this project simply because I'm no longer as big a fan of each of these talented artists as I once was. Conor jumped the shark at the time of the truly boring Cassadega. My Morning Jacket's last two albums also left me wanting, and I never really was a huge fan of M. Ward. But the Monsters of Folk self-titled debut is actually really good, providing some of the best material that any of those artists have produced in some time. I've also heard that the show will feature two and a half hours of material spanning all of their respective careers.

[Myspaces: Monsters of Folk; Conor Oberst; My Morning Jacket; M Ward]

2. Postcards / Easy Targets / The Hoa Hoa's / Volcano @ Rancho Relaxo
(Friday November 6th; Cost: $7)

Psych rock is alive and well in the city of Toronto and 4 of Canada's finest are sharing a bill at the mighty Rancho. Montreal's Postcards play a minimalistic blend of 60's jangle guitar psych and Phil Spector-ish pop. The Easy Targets capture a mid-90's psychedelic shoegaze vibe, not unlike the Brian Jonestown Massacre. The Hoa Hoa's are one of the best garage bands in the city who are currently in the midst of releasing an outstanding new CD entitled Pop/Drone/Pedals that would've made Ian Curtis proud. And opening the evening is Volcano, the side project of The Space Between Things' Chris Hobson, which takes a lo-fi approach into the psychosphere.

[Myspaces: Postcards; Easy Targets; The Hoa Hoa's; Volcano]

3. Rural Alberta Advantage / Fox Jaws / Bahamas @ Lee's Palace
(Friday November 20th; Cost: $15)

The RAA are officially the hottest band in Canada this year, and they're playing another hometown show at Lee's Palace which is sure to be well supported. They're being accompanied by a couple of Nevado Records' finest; namely Fox Jaws and Bahamas. Hopefully the RAA's supporters will get there early enough to give the openers the exposure they rightfully deserve, enabling them to find a spot on next year's list.

The RAA are also playing a free in-store at Soundscapes on Nov 17th.
[Myspaces: Rural Alberta Advantage; Fox Jaws; Bahamas]

4. Ume @ The Horseshoe (Tuesday November 3rd; Cost: Free)

I finally got around to listening to the Sunshower EP by Austin trio Ume (pronounced ooo-may and pictured above) and it's pretty spectacular. The songs are tight examples of only the best in melodic power pop, but with an edgy guitar sound that rips right through you. Apparently frontwoman Lauren Larson is a guitarist with amazing shred all wrapped in a tiny little amicable persona which sounds to me like a compelling contrast. They've been labeled a must-see by several reputable sources, and to fulfill that recommendation for free is an opportunity not to be missed.

[Myspace: Ume]

5. Camera Obscura @ The Phoenix (Thursday November 26th; Cost: $20.50)

Although they're not the most animated performers I've ever seen, it's hard to deny the power of the music. Their latest album My Maudlin Career may not be quite as magnificent as their star making turn with 2006's Let's Get Out Of This Country, but it's still pretty sweet in its own way, and it will definitely be securing a spot in my personal best of in '09.

[Myspace: Camera Obscura]

6. Devendra Banhart @ Queen Elizabeth Theatre (Friday November 27th; Cost: $29.50)

As much as I admire this beacon of eccentricity, for whatever reason I haven't heard any of his albums since 2005's Cripple Crow. No real excuse for this other than just simply never getting around to it. I also have never actually seen him live, which is an even bigger atrocite considering the fact that he's apparently a very unique performer. Even more unique and eccentric, from what I've heard, is a room full of hippy, freaky Devendra Banhart fans, the entertainment value in which is also likely worth the price of admission. Sadly, I can't make it to this one either, but I will see him one day, just you wait!

[Myspace: Devendra Banhart]

7. The Swell Season @ Massey Hall (Tuesday November 3rd; Cost: $29.50-42.50)

Unlike some people, I never had the opportunity to catch their surprise intimate show at Dakota Tavern in September, but apparently, although the romantic involvement of Glen Hansard and Marketa Irglova is no more, the sounds are still as sweet as ever. This means that Massey Hall will be the perfect setting for them to perform not only the hit songs from Once, but also the newer material from their latest effort entitled Strict Joy.

[Myspace: The Swell Season]

8. The Pretty Faces / Maned Young Lions / Born To Busk @ Rancho Relaxo
(Friday November 27th; Cost: TBA)

The Pretty Faces are an incredibly hooky band that used to live in Waterloo, Ontario before settling in Coral Springs, Florida. Their style is right up my alley as it borrows from many of my favourites like Big Star, Elvis Costello and The Kinks. In other words, the perfect power pop band. Maned Young Lions are a band from Orangeville that I only know in a casual way, but I've had the privilege of hosting a show in the past featuring lead vocalist Rayelle Stainton and I can say with absolute certainty that her talent is staggering. If you're looking for something new and accessible, this show comes highly recommended.

[Myspaces: The Pretty Faces; Maned Young Lions; Born To Busk]

9. Amos The Transparent / The Love Machine / Rival Boys / Michou @ Rancho Relaxo
(Saturday November 19th; Cost: $8)

Looks like the Rancho is the place to be this month, as we witness the return of the always entertaining (especially at the Rancho) Amos the Transparent. Joining them on the bill are fellow Ottawans The Love Machine whose infectious high energy rock throughly impressed me at this year's NXNE. As far as Rival Boys and Michou are concerned, I'm afraid I don't really know much about them other than the fact that they are a couple of Rancho faves whose reputation has become quite the buzz of that particular bar.

[Myspaces: Amos the Transparent; The Love Machine; Rival Boys; Michou]

10. Steely Dan @ Massey Hall
(Wed Nov. 25th & Thurs Nov. 26; Cost: $59.50-159.50)

Well, I'll bet you weren't expecting to see this one on my list. There is no band that raises more eyebrows amongst friends when asked to reveal my favourite bands of all time, but these 70's AM progressive jazz popsters settle nicely in the lower reaches of my top ten. 1977's Aja is an album that I actually crave from time to time and when that craving hits me, nothing else will do. My love of The Dan also explains my attachment to bands like Zero 7 and Midlake, not to mention local acts like The Paint Movement and Make Your Exit. Say what you will, but their influence is obvious (at least to my ears) and I'll bet their highly distinguished sounds would sound amazing at Massey Hall.

[Myspace: Steely Dan]

Honorable Mentions:
There's only a few other shows that I'd like to mention. Former Reily vocalist Megan Bonnell (Nov 1st @ C'est What); Dog Day, Immaculate Machine & Balconies (Nov 5th @ Horseshoe); Islands (Nov 7 @ Mod Club); Peter Bjorn and John & El Perro Del Mar (Nov 11 @ Phoenix); Young Galaxy & The Junction (Nov 13th @ Horseshoe); Invasions, Planet Creature & Davey Parker Radio Sound (Nov 13 @ Silver Dollar); Andre Williams & The Sadies (Nov 19th @ Horseshoe); Devo (Nov 23rd & 24th @ Phoenix); Elvyn (Nov 30 @ Horseshoe)

Where I'll Be:
As I mentioned, I'll be sticking with some of the smaller shows this time around. I'm hoping to catch Ume at the 'shoe, and it would be great to see RAA, Fox Jaws and Bahamas again at Lee's. I will definitely be taking in the psychedelic experience at Rancho Relaxo on the 6th, and I'll certainly be back there again on the 27th to support my friends in the Maned Young Lions. Other than that, the rest of the month is a toss up, so we'll see.

Final Notes:
Just one more thing that I'd like to mention: My computer is currently on its last legs meaning that it's running very slow and overheating regularly. This means that a post like this, which would normally take an hour or so to do, has been taking me approximately a billion hours to do. I'm hoping to get something new early in the month, but until then, my posting might me a little bit on the non-existent side. But I will get those aforementioned reviews up as soon as possible, and when the new 'puter is up and ready to go, I'll hopefully be posting a little bit more regularly again, which means a few more recommendations and rants than I have been providing lately. Until then, enjoy the stupidly colder weather.

[Above Ume photo by Michael Thad Carter]

My Top 10 Hottest Canadian Bands 2009

Well, it's that time of the year that every Canadian music blogger loves the most: I (Heart) Music's carefully calculated compiling of The Hottest Bands in Canada. Matthew is the head maestro of that high quality music blog from Ottawa and what he does is he asks several of the country's finest music aficionados (and me) for their personal picks of the 10 hottest bands in Canada. He then takes our respective lists and, using a team of highly respected scientists and mathematicians, puts together the final selections. I was flattered to once again be asked to contribute my thoughts.

The two points of criteria remained the same: the bands had to be Canadian and they had to have a particularly "hot" year. As far as how these rules were to be defined was left up to our own discretion. I decided that the first point meant that they had to be in Canada, but I took a slightly different approach to that second point this year. Last year, I basically went with hot = popular, which meant that I included a couple of acts that were not necessarily my cup of meat, but included because they were everybody else's. This year I decided, screw that. I'm an opinionated music blogger and therefore I made the list a little bit more bob-centric. But fair.

This meant that I didn't include the bands I don't like, even if everyone else does (see Gentlemen Reg, Chad VanGaalen) and I also excluded the ones that I sorta like but find incredibly overrated (see Metric, Joel Plaskett, Still Life Still.) There are also the choices that were originally on my list but I opted to leave off in the end since I had a good feeling that they would ultimately make the list just fine without my help (see Great Lake Swimmers, Coeur de Pirate.) This allowed me to give that extra nudge to the not-so-sure-they'll-make-it-without-my-vote bands on my list. (By and large, that didn't work.) Finally, by definition, a band's hotness factor is, of course, not all about me, which means that the band needed to have a measure of significant buzz this year that made them stand out, which means that I also had to leave out a couple of my own personal favourites too, as much as it hurt my feelings to do so (see Fox Jaws, Amos The Transparent.) The only exception to this rule was my number 10 pick, whom I knew would likely not make the list, but I thought that I had a pretty strong argument for their inclusion so there you go.

Which brings us to my personal ten selections. Only a select few made the final cut, but this was a pretty difficult year for limiting the choices to only ten, since the level of quality this year was immense. And here they are:

1. Rural Alberta Advantage- Having reaped praise from just about every noteworthy music source over the last year, both here and south of the border, culminating in the support of the mighty Saddle Creek label, the RAA are now mere steps away from being a household name. Very impressive (although I'm still struggling to believe that Stephen Harper honestly listens to their music.) [Myspace]

2. The Balconies - Their debut album encapsulates a brave form of ambition that most bands save up for their third of fourth album. This means that, in theory, their third or fourth album is going to be the greatest thing ever. [Myspace]

3. Bruce Peninsula - Successfully duplicating a live performance that is amongst the most uplifting anywhere onto a studio recording is no small task, but Bruce Peninsula have done so with ease. [Myspace]

4. Wilderness of Manitoba - Folk bands are a dime a dozen these days, but this band's hotness factor lies in their ability to make a semi-tired genre sound fresh and beautiful again. [Myspace]

5. Ohbijou - Beacons is a reminder that even though life in the city can get pretty ugly at times, there is always an inner beauty to be discovered and exposed. [Myspace]

6. Zeus – They’ve made classic rock cool again. And, most impressively, by covering Genesis’ That’s All, they’ve made Phil Collins (semi) cool again. For these reasons, along with the fact that they're ridiculously good, they definitely get my pick for hottest new Arts and Crafts signing. [Myspace]

7. Whale Tooth – I’ve said it before, but in an indie world that tends to take itself too seriously at times, it’s refreshing to have a band like Whale Tooth around to remind us to have some fun. [Myspace]

8. Green Go – Finally, a dance band with a sound that is both organic and honest. [Myspace]

9. The Paint Movement – Not only have they released what, in my opinion, is the most captivating local release of the year, but they’ve done so with a brass rock comeback that, unbeknownst to most of us, was desperately needed. [Myspace]

10. The Hoa Hoa’s – They may not be hot in the sense that everybody has heard of them, but within the massively overlooked Canadian psych-rock scene, they are the saviors of aural experimentation, simultaneously urging us to gaze at our shoes while floating into a sonic high. Reaping praise from psych legend, the late Sky Saxon, is no small feat either. [Myspace]

[RAA photo above by Patrick Leduc]

Elvyn @ Silver Dollar

Brothers Joel and Ryan Beerman have been playing music together as Elvyn for just over 11 years now, and their professionalism and abilities have only increased during that time. Elvyn's mix of pure pop and alt-country is as catchy and accessible as it gets, filled with soaring harmonies and heartbreaking lyricism. If you've ever listened to either their 2002 release Ten Car Stereo or their 2004 EP The Big Bay, then you're likely scratching your head also as to why they've never had so much as a hit song, let alone nationwide success. Of course, with the overwhelming onslaught of music these days, I suppose this is just a product of the musical climate that we live in, and a band such as Elvyn has to settle for making an impression by playing as many gigs as they can and letting the buzz flow that way.

This is exactly what they did when they played The Silver Dollar on Friday night. Rounded out with Jason O'Reilly on bass and Jeremy Knibbs on rhythm guitar, the band played a set that was subdued but tight as their classic sounding tunes caused more than a couple of people to get up and dance. Besides playing a number of familiar ones, they also showcased a number of new songs that are slated to appear on an upcoming CD that should see the light of day in the near future. These new songs are impressive in that they see the band going for an even more polished sound while still keeping an intentional imperfection in tact, allowing the songs to maintain their human "heart on their sleeve" approach. In between songs, Joel the drummer would toss out the occasional quip, while in the rockier moments, Ryan and Jeremy would showcase a little dueling Gretsch action that was entertaining also.

Admittedly, the show did have a few things going against it. The weather was all kinds of bad (I'm pretty sure the monsoon-like conditions wrecked my umbrella,) and there were a lot of other shows taking place in the city too (as is usually the case on a Friday night.) Most noticeably, the sound guy didn't exactly bring his 'A' game this time around, missing cues and messing around with levels, and it was clear that this dampened the band's enthusiasm a little bit. Still, overall, the band handled these setbacks with professionalism, taking it all in stride which the same laid back attitude that is portrayed in the music they make.

Elvyn are playing a free show at The Horseshoe on Monday November 30th.

Photos: My shots of Elvyn @ Silver Dollar are on flickr
Myspace: Elvyn
Video: All Is Lost on youtube

Wilco / Liam Finn @ Massey Hall

Jeff Tweedy's recent attraction to the mellower side of making music in the vein of mid-70's AM pop made me a little bit unprepared for last Wednesday's Wilco show at Massey Hall. Of course I was still excited (this is Wilco after all) but one could understandably be forgiven for assuming that the show was going to be more of a "sit back and relax" type of affair. While it's true that the last time I saw them, they blasted out a set that included a phenomenal three song suite of Being There's greatest rockers, I know that this was more of an exception to the rule, and I walked in to the venue assuming that this would likely be a tad tamer. Still, I had every reason to assume that even that would likely be a sweet slice of fantastic, especially considering the fact that the grand hall of Hart Almerrin Massey is probably the most sonically pleasing venue in the city, especially in an acoustic setting. However, if there's one thing that was proven at the Sonic Youth show earlier this year, Massey Hall is equally equipped for rocking out, and it was with that particular mindset that Tweedy et al approached the first evening of a two night, sold-out stay in Toronto last week.

I was looking forward to seeing opener Liam Finn since I had heard several good things about his live show from some friends who saw him open for Crowded House (featuring his father Neil Finn) and Pete Yorn at this very venue a couple of years ago. He leaped out onto the stage sporting a scraggly beard and a Michael Jackson-like jacket before lunging into a brief set of hyperactive rock that ranged from strongly melodic pop stuff to slightly uncontrolled acoustic numbers, both heavy in drums and looped guitar. Joining him onstage was Eliza Jane Barnes, who helped by filling out on keys, guitar and harmonies. Liam himself was quite adept on both guitar and drums, although rather frenetic when it came to the heavier moments of percussive pounding. During his whole set, I remember thinking that his animated presence would make him a delight to see in a smaller venue, not to mention the fact that the 30 minute time restraint prevented him from bantering much, (although he assured us that when he does, it's hilarious!) For others that may have felt the same way as I did, there's an opportunity to witness a banter-full, complete set when he returns on October 29th for a show at Lee's Palace.

Wilco's self titled opening song (entitled Wilco (The Song), in case you couldn't figure that out) was about the only thing that didn't surprise me about the evening. Following that up with the truly cacophonous one-two punch of I Am Trying To Break Your Heart and Black Bull Nova on the other hand, was an incredibly pleasant surprise and the evening continued on a similarly energetic course that featured a balanced mix of both newer songs and a few select classics. For the first six or seven songs, it looked as though we were going to have to settle for a banter-less Tweedy, but when he finally did end his silence, he was in full "wit and quip" mode as he did everything from appealing to our national pride in order to encourage a singalong during Jesus, Etc. to mocking our singing and quickly apologizing because, in his words, he "didn't realize that we were so needy."

The evening was full of highlights. Nels Cline's insane extended guitar solo on Impossible Germany was truly a sight to behold. Hearing A Shot In The Arm, I Can't Stand It and How To Fight Loneliness from Summerteeth was also an unexpected thrill. Despite Tweedy's jokey comments, the aforementioned singalong sounded more amazing than those usually do, no doubt amplified by the superior acoustics of the hall. I would have to say that my favourite part of the evening though was during the encore when they came very close to displaying a slightly different version of the magic Being There moment of my previous experience when they played Monday and Outtasite (Outta Mind) from that album, only to follow it up with Hoodoo Voodoo from Mermaid Avenue. Classic!

Reading some of the reviews of the following night's experience, I was sorry that we didn't get the expected Feist appearance that they got, (she was busy making an appearance at Amy Millan's Mod Club show on our night,) and I would've liked to hear California Stars (which they pulled out during the Thursday night encore) but otherwise, I'd say that Wednesday's show was every bit as good as Thursday's. At this point, it's pretty much an indisputable fact that a Wilco show is basically a sure thing, and I plan on embarking on that sureness as often as I can. The next opportunity will be when they play Hamilton Place Theatre on February 24th, 2010.

EYE Weekly also has a review of this show (that is even gushier than mine), along with Back In 15 Minutes and The Ampersand, while Chromewaves, For The Records, Blog TO and The Ampersand (again) have reviews of the following night.

Photos: My shots of Wilco, Liam Finn @ Massey Hall are on flickr
Myspace: Liam Finn
Myspace: Wilco

Loney Dear / Asobi Seksu @ The Horseshoe

When I went to see Loney Dear at Lee's Palace a couple of years ago, the experience was far and away a much more thrilling one than I ever could have anticipated. I walked away from that show converted from casual fan to rabid fan, and I couldn't wait to see singer songwriter and multi-instrumentalist Emil Svanängen again. Sadly, my wait had to be postponed a tad when his bus broke down back in May, but all can now be forgiven since the rescheduled show at The Horseshoe was every bit as satisfying as the first one.

The fact that this leg of the tour was billed as a co-headlining set with shoegazers Asobi Seksu was a bit of a surprise to me since I really didn't know anything about them, other than the overhearing of the occasional mentioning of their name whilst eavesdropping on various indie hipster conversations. As usual, I've remain consistently out of the loop. Apparently their presence on Polyvinyl makes them labelmates with Loney Dear, although their sound couldn't possibly be more different. Still, I enjoyed their set quite a bit, as their material was presented with a raucous edge, that was never at the sacrifice of a dreamy melody. Their set was loud and feedback-y, with Yuki Chikudate's vocals hovering just on the positive side of piercing, making me very glad that I remembered to bring my earplugs. It's hard to believe that such a powerful voice can come from such a tiny girl. The hyperactive strobe lights that struck intermittently throughout their set added significantly to the frenzied ambiance, making for a very energetic performance.

The music of Loney Dear is made for the live stage as it consistently strikes a balance between the downtrodden and the uplifting. What I mean is that Emil's voice can't help but have a hint of the "woe is me" in its delivery, while the epic soundscapes that usually kick in within the last minute or so of his average song manages to leave me feeling celebratory. Likewise, the live show is a comparable contrast of highs and lows. Not being familiar with every aspect of his career, I was still surprised at how many songs I recognized, not only from the CD's I own, but also from what I remember about his last show. His memory was equally as sharp as he managed to even remember some of the familiar faces in the audience too. It was very amusing to watch him joke around with some of the mildly inebriated audience members that were hurling crazy requests his way, and it was also great to see him performing in such a way that showed that he was having as great a time as we were. The highlight of the show was when he approached the front of the stage and sang one of his songs without the aid of the microphone to an audience that was paying rapt attention as the din of the crowd's chatter was brought to an impressive halt. At the end of the night, he opted to simply let us know when the encore was taking place as opposed to going through the trouble of leaving the stage only to come back on, and the second highlight was hearing him perform a triumphant version of I Am John, which is easily one of the five best songs of the decade as far as I'm concerned.

I can honestly say that there are few things as uplifting as a Loney Dear show and I sincerely hope that I won't have to wait another two years for his return. Call me crazy, but being uplifted through song is just something I can't seem to get enough of for some reason. Go figure.

Both Chromewaves and NOW also have reviews of the show.

Photos: My shots of Loney Dear are on flickr
Photos: My pics of Asobi Seksu are also on flickr.
Myspace: Loney Dear
Myspace: Asobi Seksu
Download: Loney Dear's I Am John mp3
Download: Loney Dear's Airport Surroundings mp3
Download: Asobi Seksu's New Years mp3
Download: Asobi Seksu's Thursday mp3

Yukon Blonde / The Prince Brothers @ The Horseshoe

I have become convinced that the staff of Nevado Records sneak into my apartment when I'm not home and peruse my personal CD collection for inspiration. For now I'm afraid that I don't have any physical evidence to support this theory, and they haven't stolen anything yet so I guess that it's no big deal. But I can't think of any other way to explain the way that they consistently sign acts that so perfectly cater to my own scattered taste. The latest example of this is Yukon Blonde, who performed last week as part of Nu Music Nite at the Horseshoe.

I thought that I had timed everything perfectly, especially since I got to the venue just shy of the band's supposed 10:50pm start time. However, as I got there another band known as The Prince Brothers were just setting up. This was a bit irritating to be honest, since it was a rainy night and I wasn't really in the mood to be out, and the prospect of being able to just get out, quickly see a set by this band that I've been hearing all kinds of good things about, and getting home early-ish, was just enough to convince me to go. This irresponsible setback was definitely putting a wrench in my plans. That's the bad news. The good news is that The Prince Brothers were actually a really good band.

This Toronto band, led by brothers Eric and Bryan Prince, have a very warm and organic sound that puts them in a unique place for a pop rock band. Usually those adjectives are reserved for artists that dwell in earthier, folksier territory but The Prince Brothers take those roots and accentuate them with grand chorus's and addictive hooks. This is what makes them the type of band that I don't think a person could truly dislike unless he was deliberately being contrary. Their set was mainly composed of songs from their latest release entitled From This Place, and if there were any aspects that stood out for me, it was their very tight musicianship, as well as their impressively smooth sound. I'll admit that my description makes them sound somewhat generic, but that's not what I mean at all. If I was grasping for some sort of comparison, I suppose The Rheostatics would be a good place to start, along with perhaps Wilco's Summerteeth period. Also, if you're looking for a bit of a visual, the drummer does the bulk of the singing, and the other vocalist looks like Trey Anastasio which led me to think that he sort of sounds like him too, but that could just be my mind doing that warped comparison thing that it sometimes does. Anyway....good band.

Photos: My shots of The Prince Brothers @ The Horseshoe are on flickr
Myspace: The Prince Brothers

As explained earlier, Yukon Blonde was the band that I really wanted to see. While waiting for them to take the stage, I was greeted by several other attendees who couldn't stop assuring me that this band's live show really was a sight to behold. A couple of songs in, and it became obvious that Yukon Blonde have been taking in a steady diet of all of the great classic rock bands of the past, and have carefully honed their live show as a sort of tribute of sorts to them.

In the 70's and early 80's, stadium worthy rock bands would cater to the audience with every note, and every rock star pose. In a similar fashion, Vancouver's Yukon Blonde were very aware of their audience, and they put on a rock show that was similar to those epic performances of the past, while still managing to stay away from anything too grandiose or bombastic. They played with an energy that made it obvious that the band not only loves what they're doing, but they also thrive on the attention they garner from an enthusiastic crowd. The songs themselves were just as good as the performance, ranging from straight ahead guitar rockers, to mildly psychedelic mini flourishes. During one of the trippier numbers, they encouraged the audience to dance around all 60's-like, which apparently meant to flair your arms in the air and wave your hands around in a semi-interpretive dance-like fashion. If you don't know what that means, don't worry, Jeffrey Innes did a humuorus job of demonstrating it for us, and it was fun to see the audience flailing along with him during the song. In the grand tradition of classic gems like Fleetwood Mac, Supertramp and Boston, Yukon Blonde are one of those bands that I plan on checking out again.

Photos: Yukon Blonde @ The Horseshoe are on flickr
Myspace: Yukon Blonde

CONTEST: Win tix to The Schomberg Fair's CD Release Show and a copy of their latest CD 'Gospel'

CD Review: The Schomberg Fair - Gospel

For many, the phrases "gospel" and "punk rock" should never be lumped together unless one is having a discussion about opposites. But one listen to the latest release by The Schomberg Fair, and you come to realize that there really isn't any other more fitting description than to classify these roots rockers as an unusual amalgam of dirty punk and speed gospel. Although this seems to be a new concept, if you do a little digging you'll see that it really isn't.

Artists like Johnny Cash, Bob Dylan and even Uncle Tupelo have always incorporated tales of good verses evil into the lyrics of their songs, but it seems that many modern artists that fall under the alt-country tag have strayed away from that subject matter for one reason or another. This is what is so uplifting about the sounds of The Schomberg Fair. They know that this classic battle is timeless and makes for great storytelling, as do the sounds that it inspires. Gospel sweats, it shakes, it quakes and more than anything else, it rocks!

Although they incorporate several traditional numbers throughout the album, it is the band originals that really impress. After a brief introduction, the album gets started with Angel's Wings which is an authentic sounding bluegrass number with the banjo taking center stage, although the number races along at a frantic pace that is highly infectious. That song is just one example of the rampant energy that invades the entire album. Songs like Tall Grass, Pretty Bird and Heaven's Rain are destined to be cow-punk classics with their pounding drums and distorted bass lines, not to mention the deep barritone backing vocals of Nathan Sidon. When they take it down a notch, like on Strange Kind Of Grace, for example, the effect is not any less potent as it allows the listener to take a breather and focus on Matt Bahen's deeply personal and poetic lyrics, showcasing the fact that, although he is an impressive vocalist, his major talent is to be found in his songwriting abilities. My favourite song on the album is Drunkard's Prayer, a song that is laced in such impressive authenticity, that I could've sworn that it was another traditional number that the band had simply put their own unique spin on. Surprisingly this is not the case, as this song is actually another band original, although if it gets the publicity that it deserves, then mark my words, we will be singing it around the campfire to our grandchildren forty years from now.

That is actually, a perfect way to sum up this album, in the sense that is boasts an energy that is new and uncharted, while still showing enormous respect and homage to what has come before. The Schomberg Fair have really come a long way, and it'll be interesting to see where the journey takes them next.

Myspace: The Schomberg Fair
Download: Drunkard's Prayer mp3


CONTEST: The Schomberg Fair are having their Gospel CD Release Party at the El Mocambo on Saturday October 24th. If you've ever seen them live then you know that their show is one of the best parties in town. The cost is $8 and they've got a couple of top notch supports in The Speaking Tongues and The Unsettlers. Thanks to The Musebox, I've got the following to give away to one happy winner:

1) Two tickets to the October 24th show at El Mocambo
2) A copy of Gospel on CD

To enter, just send an email to quadb2001 [at] gmail [dot] com with "I wanna sing the Gospel of The Schomberg Fair" in the subject line, and your full name in the body.

Contest is now closed. Congrats to Morgan D. and thanks to all who entered.

Nuit Blanche 2009

This is the 4th year in a row that I've roamed the streets of Toronto all night to ask myself over and over again that invaluable unanswerable question: "What Is Art?" Toronto's Nuit Blanche is an event that I've consistently looked forward to every year since its inauguration, although I have to admit that my enthusiasm is as much about the urban experience itself, the thrill of watching a city teem with life well past the hours that it normally would, becoming a literal 'city that never sleeps' for one night only, as it is about seeing priceless works of art. Let's face it, if my love of art was the only reason for doing this, I probably would not have made it past the second year. It's true, there is usually a lot of neat stuff going on, but the number of exhibits that leave me scratching my head far outweigh the amount of really impressive moments. The most impressive thing is the enthusiasm that our city's patrons continue to show for something that, I think, the majority of observers are still trying to wrap their head around.

Unfortunately, this year's experience failed to capture the magic of the last three years, partially due to personal scheduling problems. Although it's rare that I pick up tickets for a show far in advance, for some reason this time I did, namely for the Destroyer / Andre Ethier show that I reviewed a few days ago. Clearly I enjoyed the show, but that doesn't change the fact that slapping a show in the middle of a Nuit Blanche experience will most certainly kill the momentum. It also made it difficult to meet up with my usual cast of art loving peers, and unfortunately I never did get the chance to do that. This is how I realized that, left to my own devices, in this setting, I'm actually quite useless.

Still, the wife and I did see a couple of neat things, and here are some of the highlights:

Prior to the show, we started out at Liberty Village where we saw the beginnings of some exhibits that likely got more interesting as the night progressed. There was the Take Shelter exhibit, where people were invited to build a shelter using the cans and cardboard boxes that were provided. Right inside the local Metro Grocery Store, there was Invade, which involved ceiling projections of aircrafts that simulated the sounds and effects of a plane flying dangerously close to the store. And of course, there was A Sultry World, which was a Japanese exhibit involving an artist sitting atop a three-meter high chair wearing a massive scarlet coloured velvet dress that literally encompassed the entire room that it was in. After the show we made our way to Bay Street which gave off a bit of a carnival vibe as a couple of amusement park rides were displayed and offered for free to the public. We didn't bother waiting in line for them, but apparently the exhibit (known as Wild Ride) was meant as a kinetic contemplation of the ups and downs of the recent economic crisis. I didn't hear so much contemplation as I did just a lot of screaming, but maybe that's how some people kinetically contemplate. We also saw a pool made out of Vodka that was known as Vodka Pool, and a balloon shaped like a rabbit which was known as Rabbit Balloon. Not a lot of need for interpretation there. Unfortunately some of the exhibits that we wanted to see the most had ridiculously long lineups in order to get in, the most notable one being Space Becomes The Instrument wherein Massey Hall was converted into one giant instrument. The 75 minute wait just didn't appeal to me at 4 o'clock in the morning. I also heard that there was a lot of cool things going on at the Ditillery District but again, at 4am, that just seemed to feel like it was just a little bit too far.

The verdict from most of my friends was that this year's event wasn't as exhilerating as in years past and although I may be inclined to agree, I wouldn't say that it was a complete washout either. For next year, I will definitely make a more concerted effort not to book anything else on that day, and I will partake in a little thing known as preparing ahead of time. Still, when my head hit the pillow at 5am, I slept like a baby. That was pretty good.

My Photos: Nuit Blanche 2009
More photos of Nuit Blanche: Flickr Pool

Destroyer w/Andre Ethier @ The Horseshoe

Penciling myself in for a show on the night of Toronto's annual city wide art festival may not be the greatest example of "thinking ahead" but if you're going to do it, then it may as well be with the likes of Andre Ethier and Dan Bejar, who are currently a couple of the most interesting songwriters around, in my opinion.

Despite the rabid amounts of praise I've hurled in the direction of the former vocalist for The Deadly Snakes, this is actually only the second time that I've ever seen Andre Ethier perform live. His combination of introspective lyrical folk and progressive barrelhouse jams has made both On Blue Fog and Born Of Blue Fog a couple of CD's that I always keep nearby. There are a lot of artists that I enjoy seeing on the live stage, but in recent months I actually found myself craving his live show. This is why, as much as I enjoy the headliner, it was Andre Ethier that turned this gig into a must-see for me.

For this show, Ethier chose to focus on some of his more upbeat and rockier material. This was no doubt emphasized by the fact that he had accompanying him a few members of Steamboat, who are a local rock band who boast some very talented musicians, some of whom I've seen accompany acts as diverse as Henri Faberge and The Hylozoists. This performance was basically one soul stirring jam after another, with Ethier's relaxed yet mercurial moans wafting through the air in a way that conjured up images of Lou Reed. His set contained many of his own songs as well as a few evenly placed covers. There were way too many highlights to mention, but it's hard not to focus on just how cool the song Cop Killer sounds with full band accompaniment on a live stage.

Photos: Andre Ethier @ The Horseshoe on flickr
Myspace: Andre Ethier
Video: Little Saddy on youtube
Video: Live @ Soundscapes on youtube
Download: By The Stables mp3

Destroyer's Dan Bejar is an interesting character to say the least. From his daunting presence to his bizarre lyrical whimsy, Destroyer has carved himself a niche that is currently unmatched. I've been obsessed with his latest 2 song EP entitled Bay of Pigs, which has a sound that is definitely still Bejar at his best, while still managing to tread in formerly unchartered territory. The 13 minute title track for example, is an ambient disco raveup of epic proportions that just may be my favorite song of the year. As soon as he stepped onstage equipped with only a guitar, a glass of scotch and two bottles of beer, it became obvious that the chances of him playing the new song with all of its electronic elements was highly unlikely, although I wouldn't put it past him to find a way. He didn't.

Instead, he played several stripped down versions of songs spanning the length of his career, which meant that there were songs that I recognized from his last two (pre-Bay of Pigs) albums, as well as some older cuts that I was unfamiliar with. I personally found it hard to take my eyes off of him while he performed. There's just something very intoxicating about the coupling of his Shakespearean vocal accompanied with the strumming of a lone guitar. Because his lyrics are so detailed and unique, I personally find it next to impossible to memorize them, but judging by the way the audience sang along, it became clear that I may be the only one who feels this way. The audience's participation led to some pretty interesting moments, including their singing of the la-la-la's during European Oils. However, as great a performance as it was, I must admit that hearing that many solo acoustic numbers in a row was causing my ever-active mind to wander a little bit. Perhaps anticipating that this may be the case for many, Bejar proceeded to call the members of Steamboat back to the stage to rock with him, leading to a couple of full band numbers that were absolutely outstanding. The indisputable highlight was hearing Rubies, which culminated in an epic jam that was filled out with some incredible sax playing by Joseph Shabason (of Toronto's Everything All The Time). For the encore, Bejar came back out and performed a couple more solo numbers including my fave, Painter In Your Pocket, which I was starting to worry wouldn't make the cut for the night.

Despite a couple of brief lagging moments, the show overall was immensely satisfying, which means that I didn't have to leave the Horseshoe overly disturbed that I scheduled a show on Nuit Blanche day. Still, this didn't make it any easier to hook up with my usual cast of art loving peers afterwards. More on that story later....

Photos: Destroyer @ The Horseshoe on flickr
Stream: Bay of Pigs at Stereogum
Video: Painter In Your Pocket (live @ Cat's Cradle in Carborro, NC) on youtube
Download: Dark Leaves Form A Thread mp3
Download: It's Gonna Take An Airplane mp3