Immaculate Machine @ Biltmore Cabaret -- 03/19/10

Ok, I've gotta complain about the Biltmore here for a moment. I think it is a great venue to see a show, but where there are severely lacking is in time management and consistency. On their site, they had doors at 8, show at 9:30. But 9:30 rolls around, and nothing. Then 10. Then finally at 10:30 the first band goes on. The first band of three, mind you.
When they have Glory Days and want to kick everyone out, they have no problem making a show run smoothly and on time, but this just seemed like they were trying to milk money out of everyone there by keeping us as long as possible so people would buy more drinks (jokes on them, I just had free water!).

So for full disclosure, I was kind of tired by the time the first band came on (up at 630 with six hours of sleep will do that), and I fully admit it may have effected my enjoyment of the opening acts. The first of which was A Pale Blue. They hit the stage at 10:30, but there was a bit of stalling for a while after the curtains opened. Their sound was kind folky-country, but maybe a little too much on the country side. The set was half an hour, but seemed quite a bit shorter, since there seemed to be quite a bit of them standing around for no apparent reason... They were not bad by any means, but just not really anything that held my attention.

Then coming on at 11:30 was Sun Wizards, a great band name. Their set, too, was pretty short, but definitely more up tempo. They had some catchy songs, but it seemed a little bit too much like one catchy song played with slight variations over and over. The vocals were also really indistinguishable; I think the lead singer somehow managed to mumble and yell simultaneously... Again, they were not bad, and I might be interested in seeing them open for someone again, but I probably wouldn't go see a show for just them.

Both bands sets kind of blended together (within themselves, not with each other), and again, my general fatigue probably played a factor, so I am not counting either one of them out. But neither one particularly gave a good enough first impression to get through my tired eyes.

And finally, FINALLY, hitting the stage at 12:30 was Immaculate Machine. Last time I saw them I was quite disappointed by Kathryn Calder not being at the show, but this show more than made up for it. I am not sure if she has fully left the band, or is just more of a part time member now (with her being in New Pornos and her upcoming solo album), but I was reminded so much of why I love the band. That's not to take away from Brooke Gallupe, as he is also an excellent musician, but Immaculate Machine without Kathryn is like Stars without Amy Millan, or Black Mountain without Amy Weber. Yes, Campbell, McBean and Gallupe are all more than capable of fronting their respective bands on their own, but it would just be weird. It was only three songs in, with "C'mon Sea Legs" and "Dear Confessor" (one of my favourites) back to back, when I realized how much of an impact Calder made.
That was just reaffirmed throughout the night, especially when they played some of their older songs like "Broken Ship" and "Jarhand". And of course the newer ones were great too, with "Sound the Alarms" and "Neighbours Don't Mind" both being incredibly high energy and rocking. Spanning songs off their last three albums (their first, Transporter, got no love) and throwing in a their usual cover song, this time "The Chain" by Fleetwood Mac (they've played a different cover every time I've seen them live, and that is just another reason I love the band so much) this was probably the best I've seen them play. They were all on top of their game, and it's kind of interesting to see how they've grown since the first time I saw them four years ago.
They played for about an hour or so before "leaving" and coming back for just one more and taking off for good. Which I didn't mind too much, since it was already after 1:30 at that point. I may have managed to be alert for their entire set, but I don't know how much longer I would have lasted. There was also a cool piece of merch I picked up, a collected edition of the various comics Brooke has done over the years. Some can be viewed here at their website but there are more in the book. For only $5 it was definitely worth it.

While the poor time management may have put me off the show "earlier" in the night, it was more than worth it to see the excellent set from Immaculate Machine.

setlist:
Only Love You For Your Car, Don't Build the Bridge, C'mon Sea Legs, Dear Confessor, You Destroyer, Thank Me Later, Sound the Alarms, Phone No., Broken Ship, He's a Biter, So Cynical, Jarhand, The Chain (Fleetwood Mac cover), No Suck Thing As The Future, Neighbours Don't Mind. (encore) Nothing Ever Happens.

Immaculate Machine @ The Biltmore -- 09/12/09

I always seem to have bad luck with Immaculate Machine. As much as I love them, I've only seen them live thrice before -- and of those, only one was them headlining. Every time they come through, it seems like the fates have conspired against me seeing them. For example, last time they came it was the same night that I already had tickets for The Stills.
This time, however, there was nothing to stop me from heading to The Biltmore for some musical goodness. Or was there...???

Up first was Char2D2, who had me won over with the name before anything else. Normally consisting simply of former Bella member, Charla McCutcheon, she has added a touring drummer for her shows. Music-wise, it was Perfectly Acceptable Music and about what you would expect from someone of her background. All the songs were pretty catchy, and some nervous/humble/charming stage banter sprinkled the set. I wasn't quite won over enough to pick up the EP, but I will be sure to keep to keep a lookout for her in the future, and wouldn't mind seeing her live again.

Then shortly after Immaculate Machine hit the stage... but something was wrong. Brooke was there, but not so much Kathryn. And the weird thing is, her replacement (who, I will say right now, was not bad, but just not Kathryn) wasn't even on the keys, rather another guitar. So of the band I fell in love with, only one member was there -- with drummer Luke having left the band, and music all together, after the new album came out. The show was still pretty damn good, but it was more like... Brooke Gallupe & Friends Cover Immaculate Machine. Not to take anything away from Brooke, as he is an excellent musician in his own right, but it was almost like seeing Stars without Amy Millan or Arcade Fire without Régine Chassagne. I am probably sounding a bit harsh, but it is mostly because the whole thing was unexpected. I almost do wish the show had been billed as a Brooke Gallupe solo show.
The set was kind of up & down. Starting with a few tracks from the new album, which sounded great, but as soon as they got into some of the older stuff the changes seemed very noticeable. C'Mon Sea Legs wasn't quite the same, nor was Broken Ship, and Dear Confessor -- one of my favourite songs, not just of theirs -- sounded completely different. Not necessarily worse, just... different. Most of the newer songs, however, sounded awesome, with maybe the exception of And It Was, also suffering slightly from the Calderlessness. Sound The Alarms, however, was a fantastic song live and He's A Biter even had Brooke breaking some strings.
They ended the main set with a double shot of Nothing Ever Happens and Neighbours Don't Mind, two related songs (from different albums) about the perils of Brooke's apartment. The encore break was short, as they had to be out by 11 for, and I quote Brooke, who was quoting the staff, "The Invasion Of The Hipsters"
Every time I've seem IM they've done random covers, and tonight was no different. After talking about singing it in karaoke after their Chilliwack show the previous night ("if you ever want to sing karaoke with sad cowboys....") and learning it in sound check, they launched into a pretty awesome cover of Thin Lizzy's The Boys Are Back In Town.

Again, I am focusing on the flaws, but it was most certainly not a bad show by any means; rather somewhat of a disappointment. Had I known Calder wasn't going to be there beforehand, I don't think I would have minded nearly as much. And again, her replacement was certainly by no means bad, but they lack of Kathryn & the lack of any sort of keys just made it a completely different show from what I've seen before. And since it seems like she had a diminished role in the most recent album, and wasn't in the newest video for Only Love You For Your Car (which is, by the way, an awesome, awesome video)... I'm starting to wonder and worry about her/the bands future status...


As for the setlist:
Don't Build The Bridge, Only Love You For Your Car, Thank Me Later, C'Mon Sea Legs, Dear Confessor, And It Was, Sound The Alarms, You Got Us Into This Mess, Broken Ship, He's A Biter, So Cynical, Nothing Ever Happens, Neighbours Don't Mind.
(encore) The Boys Are Back in Town, No Such Thing As The Future.

High On Jackson Hill by Immaculate Machine

I am going to admit right off the bat, this was a hard album for me to review. I have loved Immaculate Machine since the moment I saw them open for the New Pornographers (even before knowing about the two bands connections) and was eagerly anticipating High On Jackson Hill. But after digesting it, I almost can't help but almost feel that it is a transition album. Just after it came out, drummer Luke Kozlowski left the group and they picked up a couple new members.
The album itself also feels... off. While the previous three LPs all felt balanced, this one feels very Brooke-heavy. Which, don't get me wrong, isn't really a bad thing. I like Brooke Gallupe. He is a talented musician, a very fine songsmith and his voice on this album is better than it's ever been. But it was the interaction with him and Kathryn Calder (part-time New Pornographer and long lost niece of Carl Newman) that made me love the band. It's the reason why Dear Confessor is among my favourite songs. The way their voices intertwine, and how the verses play off each other... I find this album does not have nearly as much as that, with most of the time Calder being backup vocals. Heck, even the awesome painted fold-out poster (done by the new bassist and sister, Caitlin Gallupe) that comes with it only contains Brooke amongst the trees.

That being said, the album does succeed in being quite versatile. Don't build A Bridge is a great opening track and does have a fair amount of duelling vocals, while the next two songs are more individual with Gallupe's Thank Me Later and You Destroyer, the only track with a strong Calder focus; a very laid back and folksey number that comes together seamlessly. Sound The Alarms is the first single and can only be described as anthemic, with more great contrast between their voices. The next few songs are almost all Brooke, with He's A Biter rocks it out while I Know It's Not as Easy is Brooke's chance to give in to his folky side, almost a companion to You Destroyer. Primary Colours then brings everything back for the most lavish track on the album, with scant R&B influences and sing-along chorus. Neighbours Don't Mind reminds us they haven't forgotten how to crank it up. It also almost sounds like a counterpart to Nothing Ever Happens from the last album, Fables. Compare the previous song about being stuck in a crumby apartment: "or else we get it much too loud / the neighbours bang the walls and shout" with the new songs: "But the neighbours won't mind if we turn it up a little"
If I Know It's Not as Easy was a companion to You Destroyer, then And It Was is the culmination of both the songs, a soft and heartbreaking duet between the two vocalists, the first chorus belonging to Brooke, the second Kathryn and them sharing the final one.
Brooke takes centre stage again with You Got Us Into This Mess before the album closes with two of my favourites from it, the awesomely titled Only Love You For Your Car which is a great poppy and bouncy tune. Luke's main contribution to the album, Blurry Days, seems an odd choice for closing the album, however, since it is probably the song that most reminds me of prior albums, with all three members seemingly working as one unit. It almost seems like a "goodbye" to the old Immaculate Machine.

One major reason -- aside from laziness -- that I review albums month(s) after they are released is to give me time to be with the album, so I am not just making snap decisions. Had I reviewed this just after it came out, I would have been much more harsh on it. Since I have given it time, it has grown on me. I still think it is not the strongest Immaculate Machine album, but I also think I would have liked it a lot better had it been a Brooke Gallupe solo project. I know that he was doing some solo shows before the album came out, and with Calder busy with the New Pornographers, it is no surprise he took centre stage for the album. It is a very solid album, and shows a vast amount of growth in the band, in Gallupes songwriting abilities and their ability to pull off any style they try. And I want to reiterate again, it's not that I don't like Brooke, or that I like Kathryn better. If the album were more Calder-heavy, I would like to think I'd have the same reaction. For me, Immaculate Machine works -- or worked -- better as a unit.

For all my complaints, though, I really did like the album. And while I may miss the "old" Immaculate Machine, I am very intrigued in seeing how the band grows, as this albums proves anything they decide to tackle will, if nothing else, be interesting and compelling.




Download And It Was


Download Only Love You For Your Car


Download Blurry Days

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