Royal Canoe & Krief @ Waldorf -- 09/14/12

One of my favourite guitarists is The Dears' Patrick Krief, so of course I was a fan of his previous solo project, Black Diamond Bay. Well, Patrick is back with a new solo album, simply under the name Krief, and when I saw he was coming back to Vancouver I knew I needed to check it out. And then, when I found out Royal Canoe -- who played one of the best shows this past spring -- was on the bill too? Well, this was going to be one hell of a show.

Though there was a bit of confusion surrounding the show. There was a big mix-up with the set times of the show, so not even the bands knew what time they were going on until the last minute, and even earlier in the same day I had seen conflicting reports about whether it was Krief or Royal Canoe headlining the night.

One thing that was for sure, the opening band was Lost Lander, from Portland. It was the first show of a small tour of the Pacific Northwest with Royal Canoe, and they were an good choice for an opener. Strong, dark indie pop with some nice boy/girl harmonies between the guitarist & lead singer John Gnorski and Sarah Fennell on keyboard, they put on a very enjoyable set, with a good stage presence. Though there was a bit of chatting with the growing crowd a little between songs, there was also a few awkward pauses, and they wrapped up with the two best songs of the set, "Cold Feet" and "Belly of the Bird / Valentina" from their debut album DRRT.
They were nothing too mind-blowing, but put on an entertaining set, and I wouldn't mind checking them out more int he future.

Next up was Krief, whose set started a bit slow, as they had to chance the mic cable after the first song. But from the second song on, they filled the room with a blues inspired indie-rock sound, and deep & cinematic, beautifully textured songs. Krief didn't say much during the set, just letting the music speak for itself, and did it ever; the lush songs not only evoked emotion from the lyrics, but the musical arrangements as well. Highlights included "Simple Lives", with its soaring chorus, and the catchy "Perfect Bodies".
After the rocking "What We Wanted", an older Black Diamond Bay song, they closed out with the title track from the recent album, Hundred Thousand Pieces, starting soft then exploded with intensity, and featuring an extended, amazing, face-melting solo from Krief.
It was a pretty fantastic set, and hopefully it won't be another three years until I get the chance to see Patrick Krief playing his solo material live again.

That right there would have been a show worth seeing, but there was still Royal Canoe to wrap up the night. As with the other times I've seen them, they almost had more bodies and equipment than the stage could fit, the six members with an assortments of keyboards, synth, effects pedals, dual drums and more. There was one point where, to get to the other side of the stage, Matt Schellenberg had to hop off and walk around.
They started the set with "Hold On To The Metal", a great example of their complex, yet catchy wall-of-synth rock sound. Their live so is so tight and refined, with densely layered songs that still remain accessible. Highlights of the set were a couple new songs from their recent 7" Purple and Gold, a sexy slow jam called "Summer Sweat" & the crunchy "Show Me Your Eyes", and the bombastic "Bathtubs".
The set seemed way too short as they played right up to the curfew, not bothering with the encore fake-out, ending the set with the incredible "Nightcrawlin'", featuring Matt Peters again using the effects mic to run his voice through what I dubbed the "demonic processor", to give his vocals a deep and electronic quality.

I've said it several times before -- and I'm sure I will again -- but Royal Canoe is one of the best, and most unique, live bands in Canada right now, and I will be there without hesitation next time they're in town. And with Krief on the bill as well, for another excellent set, this was an amazing all-around show.

Peak Performance Project Showcase #1 @ Red Room -- 09/13/12

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands a year and makes them stars. Past winners are We Are The City, Kyprios, and Current Swell with a ton of great bands and artists included as well.
Part one of the project was a rock & roll boot camp where they went on a week long retreat to get lectures and advice from industry pros to help them refine their craft. Phase two is a series of shows at The Red Room, four artists a night for five weeks, each playing a 45 minute set. The bands are rated by a panel of judges, which will go toward their final score in the project, and they've also been tasked to learn a "Classic Canadian Cover" to play during their set. I always love hearing bands play cover songs, and I am definitely looking forward to see who each act chooses (and, as in the past, I am going to keep a running tally on how many Arcade Fire, Neil Young or Leonard Cohen songs we get).

And going in to this, I'm not going to pretend I don't have biases; there are bands this year I am familiar with and bands that I am already a big fan of, and this showcase was, at first glance, the one I was looking forward to the most. 


Ali Milner: The jazzy-pop sounds of Ali Milner started off not only the night, but the showcase series. Her backing band included some familiar faces; Erik P.H. Nielsen on bass and Rob Tornroos on guitar. I've seen Ali play a few times in recent months, and I would have to say this is the best set I've seen her play. Behind the keys with her gorgeous voice, her bubbly personality is infectious, and it translated into a fun and upbeat set, with dynamic songs like "Fly". 
Ali is no stranger to covering Canadian singers, and her cover wasn't new, rather a song that she's had in her repertoire for a few years, "After the Gold Rush" by Neil Young. It was a good cover, but I was hoping she would do something new.
The set ended with "Waiting", which saw Ali take out a box of egg shakers part way through the song and jump into the crowd to distribute them for people to play along -- and they all had numbers on them, with one lucky person winning some merch. 

I genuinely hope that Ali makes the top three -- which would make her the first female to crack the top three -- but I have a feeling this is going to be the hardest year to predict the outcome.

beekeeper: With the lights dimmed, and a robotic voice introducing them, the trio of Devon Lougheed, Luke Cyca and Brandi Sidoryk hit the stage with a high energy and did not looking back. Their genre-bending "math rock" may be hard to keep up with due to the frantic arrangements and seemingly constantly changing time signatures, but drummer Luke anchors them magnificently, and they put on one hell of a live show, which is either absolutely brilliant or incomprehensibly weird. Or both.
Devon was more focused on stage than I've seen him, especially between songs, still showing his manic energy and goofy sense of humour but not going overboard. He even took the set down for a moment with a sincere story and almost mellow (or, as mellow as beekeeper can get) song called "Drownings". 
For their cover, they teased playing Rush, but then launched in to "You Learn" from Alanis Morissette, which was definitely the most interesting cover of the night, giving it a "beekeeper twist", and even had Devon going into the crowd.
"Pinwheel Revolution" took a moment to show off Brandi's operatic past and her glass-shattering voice, and they brought the set to an end with a "family photo", pulling up as many fans as they could fit on the stage for a big group picture, and then letting everyone stay and dance for the last song, "Believe, Believe". 

Probably the most high energy and genuinely fun set of the night, beekeeper is another band that I really hope makes the top five, but I can see them maybe being just a little too "weird".

Redgy Blackout: The members of Redgy Blackout hit the stage looking slick, adorned in dress shirts and ties, with Scott also sporting a vest and top hat. They were immediately fun and energetic, with their unique mix of indie rock, folk and pop. Both Scott Perrie and Jeremy Breaks have a good live energy and play off each other really well, getting everyone moving to songs like "Coming Alive" and "Bottom of the Sea".
After what I thought was going to be an introduction into a Matthew Good Band song for their cover, they ended up going with Arcade Fire's "Rebellion (Lies)", giving a more up-tempo version, and getting the crowd to yell along with the "LIES!" 
Their final song they brought out Brandi from beekeeper to help out on backup vocals, enlisting the crowd as well, and scores of balloons being tossed throughout the crowd to wrap up their set. 

While I enjoy watching Redgy Blackout live -- they are tight, have great harmonies and write catchy songs -- I think they are just missing something, some ineffable quality to really push them over the edge.

Jordan Klassen: One of the more well known acts -- with a little bit of Peak airplay before the competition started -- Klassen ended off the first showcase. The first thing you notice about Jordan is his incredible energy on stage. He oozes enthusiasm, jumping and leaping around the stage; rarely will you see a more enthusiastic tambourine player. That energy definitely rubs off on his five bandmates, and even into the crowd. 
Klassen's rich, folk-pop sound gives way to grand songs that start slow and build to a soaring finish. Like the alternating slow burn and explosiveness of "Piano Brother", the lush "The Horses Are Stuck" and "Go To Me", which had a couple members mingle in the crowd with tambourines, creating a surround-sound feel for the song.
His cover was the 90s pop hit "Love Song" by Sky, which was not at all ironic, but endearing and appropriately cheesy. It was probably my second favourite cover of the night, as it was both a unique and interesting take on the song. The set, and the night, was brought to an end with "Call & Answer", which is probably my favourite song of his; another one that starts soft and grows to an energetic and huge ending.

I would not at all be surprised if Klassen makes the top three of the contest; he has almost everything they're looking for, and would definitely be deserving. 


And with that, the first showcase was done. Join me next week at the Red Room where we'll have the chance to see The Harpoonist & The Axe Murderer, The Fugitives, The River & The Road and The Headwater. It's bound to be a good one. 
And hopefully the sound in the Red Room is better next week.

Christopher Smith CD Release w/ Snowblink & The Belle Game @ Waldorf -- 09/12/12

Last night was the CD release party for Christopher Smith's latest offering, Earning Keep. He was joined at the Waldorf by fellow Vancouverites The Belle Game and, a last minute addition to the show, Toronto's Snowblink. They were supposed to have a show at the Rickshaw on the same night, but I guess something happened and they were added to this bill.

Starting off the night was The Belle Game, the six of them (seven when Andrew Lee was out to play trumpet) packing the stage of the Waldorf. They filled the room with their indie-rock-slash-chamber-pop sounds and Andrea Lo's powerful voice -- even though they admitted she was feeling under the weather -- with songs from their upcoming album Ritual Tradition Habit.
Highlights included "Wasted Light" and the powerful "River", and the whole set was brought to an explosive climax with the first single from the new album, "Wait Up For You"; which, despite featuring the ever-prevalent singer-on-a-floor-tom for the intro, had an amazing energy & soared to an ending with Alex Andrew hopping off stage to finish off his frantic solo in the crowd.

Next up was Christopher Smith, joined by a few familiar faces; including Peter Carruthers on bass and Michelle Faehrmann out for a few songs on cello. He had a folksy, yet lush, rock sound, though a lot of the set was about the same tempo. It picking up slightly towards the end, with the last song, "No Light Could Pass Though Me so I Have a Shadow", being the highlight of the set, and definitely having highest energy, building to a grand crescendo of the band rocking out.
There wasn't much interaction through the set, a couple "thanks", here and there, but he preferred to let the music speak for itself. 
It was a perfectly enjoyable set, but he was overshadowed by the other two acts of the night.

And finally, Snowblink took the stage to round out the night. I'm not sure if it was because it was pushing midnight on a Wednesday, or that they were a last minute addition, but sadly a lot of the crowd had dispersed, leaving only a couple dozen people. But that was their loss, as from the moment they hit stage, the duo of  Daniela Gesundheit -- whose guitar had antlers mounted on it -- and Dan Goldman -- also on guitar -- were amazing.  Daniela had a great presence and charisma on stage, as well as a stunning voice, and their ethereal dream-pop was captivating.
Even though the set wasn't technically "perfect" -- they had a couple issues throughout the night -- it felt very natural and loose, with them playing off the glitches perfectly and connecting with the small audience; at one point handing out bells so they could ring them on cue during one of their songs, and almost chatting one-to-one with people.
Highlights of the set included current single, the infectiously catchy "Black and White Mountains", which had  Daniela on a drum pad, and a cover of Bruce Springsteen's "State Trooper", which was introduced with  Daniela simultaneously apologizing and saying "you're welcome".

All in all, it was a great night of music, with the acts being different enough, but still working perfectly together. I would see any one of the three again, especially Snowblink, who I hope is back soon for a longer show.

Black Mountain @ Waldorf -- 08/25/12

It's been a long time since I last saw Black Mountain (almost exactly a year) so I was more than a little excited to see Vancouver's psych-rockers at the Waldorf's Outdoor Summer Concert. Joined by a returning Ladyhawk, Basketball, Toronto's Quest for Fire -- who will be touring with Black Mountain -- and Von Bingen, they packed the Waldorf parking lot for an evening of rock.
Unfortunately I was off earning some money, so I missed the bulk of the show, arriving mere moments before Black Mountain hit the stage.

Right out of the bat, Steve McBean broke a string on the first song, and the intensity of the show didn't let up from there. Launching into "Tyrants" early on, the eight minute song ebbs and flows from ear shattering, head banging guitars and drums to the powerful beauty of Amber Webber's voice; and mirrored the structure of the set, which flawlessly went between straight ahead rockers like "Old Fangs" and the calmer moments, like McBean grabbing an acoustic guitar for "Buried by the Blues".

Other highlights of the set included "Angels" -- which McBean dedicated to his mother who was wed at the Waldorf years ago -- and the moody "Queens Will Play", that was yet another great example of Webber's strong and haunting voice.

The climax of the set was the explosive "Stormy High" and they ended with "Don't Run Our Hearts Around" from their first, self titled album. But they were, of course, back out for a few more including the driving "Let Spirits Ride" and finishing off with "Roller Coaster"

Maybe it's because they don't play all that often -- they don't over-saturate themselves -- I always forget just how incredible they are live. McBean amazing shredding, his & Webber's voices blending so well together, and Joshua Wells' wailing drumming; they're all factors that make Black Mountain one of Vancouver's best, most intense, and ass-kicking-est, bands to see live.

Then & Now @ Biltmore -- 08/21/12

The brainchild of Vancouver's beekeeper, Then and Now was a simple concept; take ten artists and get them to play a brand new song and an old song -- their current favourite that they're super proud of, and one of the first songs they wrote, that they may be a little embarrassed by.

The night was also a fundraiser for Megaphone, a local magazine that is sold by the homeless or low income people, who get to keep the profits of their sales.

The night started with a couple amazing songs from aboriginal blues artist Murray Porter, followed by Brandi of Sidney York, who took the concept to its extreme playing her very first song and brand newest song -- the latter being a sexy cellphone song (no, seriously).

Dominique Fricot followed, with his "then" song being a song he wrote for his high school grad. Hannah Epperson sang a short song she wrote when she was eight, to sing as a pre-dinner prayer of sorts, before amazing everyone with her incredible violin looping, and the first half of the night was wrapped with with Katie Rox , first singing a song from her old (industrial) band Jakalope before being joined by Brandi and Luke Cyca for her "now" song.

After a brief intermission Colby Sparks kicked off the second half, being a bit of an odd man out, genre-wise but certainly not talent-wise. His old song was him playing saxophone overtop of some beatboxing, while his new was a complex series of samples that had everyone's heads bobbing and shoulders shimmying in their seats. Ma Petite came up next, first rapping(!!) a silly joke rap group she had in high school, and playing one of her first songs, a sappy love song before her newest one. 
David Vertesi was up next with his new song being from his latest album, but his old song from his high school band, Touched By An Uncle, called "Sean Connery" which was a love song to the titular actor. And it was as goofy yet amazing it is sounds. Jody Glenham followed him, with her old song being "Coffee Soaked" played on guitar instead of a piano and her new song being written on a bar stool in the back of the very venue she was playing in, the Biltmore. 
Finally, wrapping up the night was beekeeper, playing a full electric set. Their "then" was not an embarassing song from Devon's past, but a song from their first album, BE KEPT, and their new one was a brand new tune called "Don't Need Hope, Need Whiskey"

It was a really fun night with a great concept, and while the show never felt like it dragged -- the hosts Devon and Lana Gay did a fantastic job during the quick turnarounds, and many of the musicians had amusing stories to go with their songs -- the show ended up running three hours, with the break. Next time they put on an event like this (and I sincerely hope there is a next time) I hope they pare down the lineup a little, but not by much

.