The Harpoonist & The Axe Murderer @ Vogue Theatre -- 06/27/15

For the last week and a half, the Vancouver International Jazz Festival has descended upon the city with hundreds of bands across dozens of venues around the town, both free and ticketed shows. And you can't accuse the jazz fest of having too narrow a focus; the long running festival brings more than just the titular genre to Vancouver. Last year two of the Jazz Fest shows I caught were Royal Canoe and Yamantaka // Sonic Titan, and last night they presented two of the finest blues/roots rock bands the city has to offer. 

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Catlow w/ Hot Panda @ Biltmore -- 06/13/15

It was pretty good fortune that Catlow and Hot Panda were playing a show together; both are bands I was only marginally familiar with, but had wanted to see live for a while. Hot Panda, I had last seen four or five years ago, and while I wasn't totally sold on them then, I had heard a lot of good things about their newer material, from trusted sources. And for Catlow, I had heard a few songs from the Vancouver band over the years that I liked (most recently in the CBC Searchlight competition), but just never took the chance to see them live. So with Hot Panda opening for Catlow's video release screening show, it was pretty fortuitous.


I missed just about all of the first band, Owl Skowl, getting there just in time for their last song, and all I could really tell from it that it was loud.


It wasn't long before "Also Sprach Zarathustra" (better known as the theme from 2001) filled the room as Hot Panda lead singer Chris Connelly walked around the dancefloor, getting people pumped and urging the people sitting on the side to come closer, before jumping on stage as the other two members came out, Catherine Hiltz on bass and Aaron Klassen on drums.

Right away they launched into some high energy alt-pop/dance-punk songs and didn't let up until the end of the set. They also gave me a slightly tongue-in-cheek vibe; not that they weren't being sincere, but between their energy and joking around a little between songs, I got the sense that they were having the most fun in the room, and that would be the case no matter the venue size.

Some highlights from the set included "Masculinity", which saw bassist Catherine pull out a trumpet and play both instruments at the same time (only for Connelly to joke that while that was impressive, he was also singing and playing guitar at the same time!) and a song from their last album, Go Outside, called "See You All Around" that started with a really neat back-and-forth riff-off between Chris' guitar and Catherine's bass to start off, and ended with a nice drum solo from Aaron.
They managed to up the energy one more time as they came to a close with a bit of a schizophrenic song, "Negative Thinking Patterns" -- that I swear snuck in a little Green Day into the bassline -- the song bursting into an all-out rocker to end with a bang.

It was a really fun set, and if my sources are correct, they have a new album done and ready to go (but no word on a release date yet). If this show was any indication of that album, I can't wait to hear it.


After a showing of their new video for "Stormsad" (see it below) Catlow hit the stage adorned in black & white. I always appreciate it when a band even attempts to look coordinated, so I liked that the three members in the middle of the stage were wearing all black, while the two on the outside were clad in all white.

Musically, the set was full of 90s-tinged alt-pop, driven by lead singer Natasha Thirsk's confident voice. Most of the songs were high energy rockers like "Number One", or one of their recent singles, "Lose Control", full of ridiculously catchy hooks. But there were also a couple slower numbers (relatively, anyway) like the spacey and rhythmic beat of the slow-burning"Stormsad", and a sultry & seductive song called "Iamloved", Thirk's voice enticing the crowd.
After about an hour they drew the night to an end with a frantic rocker called "Shinsy" from their second album (I think), playing right up to the curfew and not bothering with the encore-fake-out.

In the end, while I did enjoy the set there was something bugging me in the back of my mind the whole time. Something just felt off. I don't know if it was the mix, if the band just wasn't quite cohesive, or something else, but I wanted to like it more than I did. They were also following Hot Panda, which was not an enviable task.

But that aside, it was still a darn good show and I'm looking forward to seeing them both again soon enough.

The Belle Game & David Vertesi @ Biltmore -- 06/04/15

Almost exactly a year ago was the last time I saw The Belle Game play, at the CBC Music Festival in Deer Lake Park. I am not sure if that was the last time they played live until now, but for the last few months the band has been hunkered down to work on their upcoming album. And as they near completion, they popped up for a show here in Vancouver, to tease and try out some of their new songs.
And you know it's going to be a good show when half of Vancouver's music scene shows up, members of at least a half dozen other bands in the crowd.


First up, though, was their pal David Vertesi opening the night with his self-described Sad Dad Cruise Ship, Crooncore sound, joined by Andrew Rassmussen on keys and Johnny Andrews on drums. After an instrumental build up, Vertesi started off the set with the high energy "Soft Skin" off his album Cardiography. Most of the set revisited the album, but also included a few new songs, like the catchy "Loud Talker".

I've always said what puts Vertesi above your average singer-songwriter is the amount of emotion he puts into his songs, and that was definitely evident during the show. Especially the absolutely heartbreaking "Learn To Run" which starts off soft and erupted with raw emotion. That lead into a new song, I think perhaps called "Forever Young", that was my favourite of the set. An upbeat song with lyrical nostalgia from Vertesi's smooth baritone. He also jumping into the crowd to play guitar part way through the song, eliciting some swooning reactions.

From there he turned every late-20-early-30-something person in the crowd into a screaming fangirl, with his cover of "Say You'll be There" by the Spice Girls, and finally he wrapped up the set with "Mountainside", a great song about a doomed relationship.


It wasn't long after that the curtain was pulled back for The Belle Game, (almost) the entire band clad in white. As well as their first show in a while, it was the first show with the band's "new" lineup, slimming down from a six-piece to a quartet; they dropped their bass player entirely (with Katrina Jones picking up the bass slack with the keys and synth) and guitarist Alex Andrew moving behind the drum kit. Adam Nanji and Andrea Lo's positions remained unchanged, on guitar and vocals respectively.

The set started with an ethereal, haunting introduction before they launched into a set of nearly exclusively new songs. Which for the most part sounded very much an extension of The Belle Game's sound. Enough like their previous album not to be jarring, but new & different enough not to be stagnant. And you could hear vague influences, songs had hints of R&B, or soul, or pop -- but without betraying the sound that made their first album Ritual Tradition Habit so good. Well, there was one song that had a bit of an overdose of synth and drum pads, but the rest of the new songs were rooted in their dark, orchestral indiepop sound.

Highlights included "The River", the only old song they played, which was the stunning highlight of Andrea's powerful voice, and a new song that I had actually seen performed a few times, and was a favourite since I first heard it, called "Mess Around" (I think). It is a slow-burning song that builds up to both Andrea's voice and their rich sound soaring, filling the venue.

They brought the set to a close with another soulful jam, not bothering with the whole faux-encore leave-and-come-back deal (which I always like when bands forego that). And while it was a really good set, I think the band had the slightest bit of "stage rust" -- notably, Alex seemed a little stiff on the drums a couple times. But seeing it was their first show in that configuration, I have no doubt that they'll be a finely tuned machine before long. It was still highly enjoyable, and definitely had me eager to hear the new album.

photos by Christine McAvoy

Owen Pallett @ Biltmore Cabaret -- 05/28/15

The Road to Bestival ran through the Biltmore Cabaret in Vancouver the other night. The UK festival stretched its legs this year and will touch down in Toronto June 12th & 13th, and to drum up some hype they put on a series of free shows across the country, presented by Fido Mobile, with bands from the lineup. Vancouver was lucky enough to get Owen Pallett, and of course, there's no way I would miss seeing his immense talents at a venue like the Biltmore.

Hometown electronic band Gang Signs started the night out, beginning with a dark and percussive synth sound, the vocals split between Matea Sarenac and Peter Ricq (one half of Humans).
They spent most of the first song gazing downwards (perhaps at their shoes) for a darker and moody song, and I was a little weary that the whole set was going to be like that. But they slowly built the energy up as their set went on, building to more dancey and uptempo songs.
There were a couple in particular that I liked -- though didn't get the name of either -- but overall I thought it was just a good set, with some solid electro-pop. They were a perfectly good opening band.


To begin his set, Owen Pallett took the stage alone to start with some violin looping, but was quickly foiled by a faulty midi cable. However, after a quick anecdote of how he felt about playing a show for a cell phone company (in the end, he was okay with it) he got going with a few older songs from his Final Fantasy days, "That's When The Audience Died" and "This Lamb Sells Condos", putting on a clinic as he pieced each song together layer by layer.

The rest of the band, Rob Gordon and Matt Smith on drums and bass, came out after that, as they went into some newer material, starting off with the title track to his latest album In Conflict. Pallett danced back and forth between violin and keyboard, or both with his masterful looping, as his amazing voice soared over everything.
That is, until it came to an abrupt pause. As Chekhov knows, you can't introduce a broken cable in act one without it ruining the show later on, and about halfway through, "Soldier's Rock" came to a screeching halt. Owen explained the cable had been acting up all night, and while barely noticeable to the audience, he had to fix it to continue. This slowed the momentum a but while Matt vamped by awkwardly talking about some current events, but soon after they were right back into it, picking the energy right back up as "Tryst With Mephistopheles" built to a furious ending.

Owen played a few more songs alone before being rejoined by the band, and climaxing the main set with a song that has become one of my absolute favourites, the incredible "The Riverbed" driving with intensity and leaving everyone in the room breathless, before they closed with one last one, "The Great Elsewhere" from his Heartland album.

There wasn't even a pretense of an ending, though, as Owen left some reverb going, and he was soon back out alone for a few more songs. He once more engaged the audience, asking some questions and responding with his dry humour before going into a cover of Tori Amos' "Pretty Good Year". He finally decided on just two more songs, a pair of insane fan favourites, both getting huge reactions; "Many Lives → 49 MP" which had people singing/shouting along, and the ode to his Arcade Fire bandmates, "This Is the Dream of Win & Regine". Both songs, one again, gorgeously showing off his frantic bowing, and plucking of the violin's strings, for the perfect ending to the night.



setlist
That's When The Audience Died, This Lamb Sells Condos, In Conflict, Scandal at the Parkade, Keep the Dog Quiet, Soldier's Rock [attempt #1], Soldier's Rock [attempt #2], Tryst with Mephistopheles, The Passions, Song for Five & Six, The Secret Seven, Infernal Fantasy, The Riverbed, The Great Elsewhere.
(encore) Pretty Good Year [Tori Amos cover], Many Lives → 49 MP, This Is the Dream of Win & Regine.

Peak Performance Project Year Seven Launch Party with Good For Grapes & The Wet Secrets @ Fortune -- 05/27/15

The seventh (and final???) year of the Peak Performance Project kicked off last night, in style, at Fortune Sound Club.
Starting with the announcement of the Top 12 (cut back from a Top 20 last year, to accommodate the newly launched Alberta version of the Project), the bands chosen will take part in a week-long bootcamp learning everything that can about the industry, play a series of showcase shows, and take part in other challenges, all to have a shot at the giant novelty cheque for $102,700 presented to them by Music BC and 102.7 The Peak.

This year kicked off with a "Victory Tour" of last year's winner Good for Grapes, and the first PPP Alberta winner The Wet Secrets, after the live announcement of the top 12. They started here in Vancouver and will tour across BC and Alberta, finishing off in Calgary for their Top 12 launch party.


It has been something like eight years since The Wet Secrets last played Vancouver (one of their members was only 14 at the time!) and thanks to that, I had never had the seen them play live. So I was very much looking forward to it, having heard nothing but great things.

When they six-piece band from Edmonton hit the stage, the first thing you notice -- okay, the second thing you notice, after their matching marching band uniforms -- is their unique instrument composition. No guitar, just lead singer Lyle Bell on bass, and a strong horn section with Kim Rackel & Emma Frazier on trumpet & trombone, respectively (as well as backing vocals, and some sweet choreographed backup dancing) and Christan Maslyk rocking the sax. Drummer Trevor Anderson and Paul Arnusch on keys (and congas) rounded out the band.

But of course the spectacle of their outfits wouldn't mean a thing if they didn't back it up with their music, and they certainly did with a fun and catchy alt-pop sound. They started off with "I Can Swing A Hammer", the first song from their upcoming album, before ramping up the energy for the raucous marching song "Secret March", one of my favourites, and a song that will be stuck in your head for days.

Other highlights included "If I Was a Camera", which asked the crowd to take off their clothes, as the band went first, doffing their marching band jackets during the song, and "Get Your Shit Together", a song to listen to "when experiencing technical difficulties with the people of Earth."

And as fun as The Wet Secrets' music sounds, it often hides some darker (and, more often than not clever) lyrics. Lyle introduced one song as the happiest song about murder/suicide, and another favourite "Sunshine" is a cheery song about wanting to escape a dreary city (Edmonton) and "die in the sunlight"

Lyle was also quick to give advice to any of the top 12 bands in the crowd, and tell tales about the fun times they had in the competition last year, especially at the bootcamp, before they finished off their set with a cover of The Cure's "Boys Don't Cry".

It was a really fun set that absolutely lived up to my expectations, and proved that they are definitely worthy of having been the first Peak Performance Project Alberta winner.


It was getting late on a school night and the crowd started to thin, but as soon as Good For Grapes took the stage, their loyal fanbase rushed up to dance along with their folky sounds. The seven members filled the stage with energy and their rich sound filled the room, a set with songs that burst to life with a hint of brass and strings, and spot-on harmonies.

Their biggest song, "Skipping Stone", had people singing and clapping along, and they also included a very interesting version of The White Stripes' "Seven Nation Army" -- which was a little amusing, since one of the challenges in the Project is to learn a "Classic Canadian cover" and yet neither cover in the night was Canadian. They wrapped up the set with another grandiose song that included the obligatory floor tom breakdown, as the crowd chanted for an encore as they left.

To be completely honest, I haven't really been much of a fan of the band over the last couple years, but I can not deny they are very good at what they do. It's just a certain sound that I have grown a little weary of over the last couple years, and I feel that while the band has certainly improved since I first saw them, they haven't really evolved much. But they did mention they just finished a new album, so it'll be interesting to hear the new material.



As for the Top 12 itself, here is the list in order of announcement:

Little India – Langley
Chersea – Port Coquitlam
Smash Boom Pow – Vancouver
Jesse Roper – Victoria
Find the Others – Bowen Island
Mindil Beach – Vancouver
Bed of Stars – Abbotsford
Mike Edel – Victoria
Windmills – Vernon
JP Maurice – Victoria
Joy District – Comox Valley
Van Damsel – Kamloops

Regular readers will/should already know how much I like Chersea, so I was happy (but not at all surprised) when she made it in. She's also the sole female artist this year, but surprisingly not the only looper. Windmills, who I have seen before and like okay, also made it in. Perhaps they'll take after Hannah Epperson, who places second a couple years ago.

Three of the twelve bands are returning; Mike Edel, Van Damsel, and JP Maurice. Honestly, I am not sure that I like returning bands with a smaller pool, especially since JP and Mike also previously placed 4th and 5th (respectively) in 2012 AND it's JP's third time in the project (not even counting his backing up other bands). Van Damsel, at least, has changed their sound a bit since they were in it two years ago, and have been getting a push recently on The Peak; I think they are the early favourites to win.

Most of the other bands I either know in passing; Bed of Stars, or have only seen their names around town; Little IndiaMindil Beach and Smash Boom Pow. The rest of them I am not familiar with at all, and look forward to hearing them.

And the first chance to see them all live will be at the Khatsahlano Street Party, on July 11th, where all 12 bands will play short sets throughout the day on the Peak Stage. See you there!