Toronto – Since releasing their debut album Twin-Hand Movement last year, droney gazey rock act Lower Dens has been on a slow and steady ascension to prominence. This slow burning dreamy track voiced effortlessly by Lower Dens vocalist Jana Hunter is bound to draw comparisons to the other prominent Baltimore band on the indie circuit – Beach House. While it might be lazy to compare two acts based on geographical distance, one only has to hear a few tracks from this band to realize the resemblance, which is definitely not a bad thing. Lower Dens will be playing two sets at NXNE, make it a point to check them out.
The Garrison Wednesday, June 15 @ 10PM
Lee’s Palace Thursday, June 16 @ 1AM
Toronto – You thought we forgot didn’t you? This might be Good Friday, but here at the Chinese blog factory known as The Panic Manual, there are simply no days off.
I love Art Brut. When they first came around in 2005, they sounded so fresh and there was no way you could listen to songs like “My Little Brother” and “Emily Kane” and not sing along. They have a new album out this year, called Brilliant! Tragic!. Produced by Pixies front man Frank Black, this new album sees Eddie Argos attempt a different sort of vocal delivery – singing? I’m not quite sure – it’s more restrained than his usual shouting ways but what remains completely awesome is the memorable lyrics that usually define an Art Brut song.
The first single off this album is called Lost Weekend, which features some of the new Eddie Argos delivery along with a wicked guitar riff. Art Brut now has a song called “Good Weekend,” “Bad Weekend,” and now “Lost Weekend.” Check it out.
They are playing the Mod Club for NXNE on June 17th.
Toronto – After pioneering some pretty innovative technology on how not to be a concert douchebag (picture link above), it’s with a humble apology that I admit to being just such a douchebag during one show at NXNE this year.
Apparently some types of scotch will turn even the biggest music nerds into concert douchebags
The scene of the crime was C’est What and I was busy chatting with some remarkable people from Malta and New York. One was a successful millionaire who owned a penthouse in the Upper East Side. The other owned and operated her own business training and selling Maltese Falcons. I may have just made that stuff up, but the important thing to note was that the scotch was flowing.
As this was happening, two low-key extremely chill female singer-songwriters in the form of Ghost Bees came on at 12 am. While I was at the back of the room, I had no idea that my voice was projecting up to the front like the clarion call of the beautiful Vuvuzela. At some point mid-set, a young lady approached my guest and I, “Excuse me, did you know that we can hear you way up at the front?” Even scotched up, I was pretty horrified at my behaviour. I mumbled some apology and retreated to the bar area to continue rhapsodizing without disturbing the rest of the show.
Here is an executive summary of the lessons learned:
Apparently some types of scotch will turn even the biggest music nerds into concert douchebags
A concert douchebag situation may be diffused if dealt with tactfully and in a non-confrontational way
My douchebag technology needs updating to reflect loud drunken talking at quiet shows
So to all those Ghost Bees’ fans who wanted to punch me in the nads but refrained, I thank you for staying your fisticuffs. To that tactful young lady that got me to simmer down, I thank you for being tactful and getting me to simmer down. And to everyone else: sorry for being such a douchebag. I promise to stay away from that particular brand of scotch. Scout’s honour!
Toronto – There have been times at NXNE where I’ve run from one venue to the next in a desperate attempt to see and hear everything that could possibly be seen and heard. This year I decided that my new rule of thumb is no more than two venues per evening. The new plan is to minimize the hopping and get friendly with the locals and the locales. The night began at the Harlem restaurant with some sultry jazz in the form of sultry sultry Elise LeGrow.
Some people are surprised to hear that, although I am huge jazz fan, I’m not typically into the vocalists. While I do have a soft spot for the old greats like Ella Fitzgerald and Billie Holiday, much of today’s fare strikes me as more adult contemporary. It’s perfectly innocuous music that features prominently on many a jazz radio station. Listening to a snippet of it can be like having a popsicle on a nice summer day. Too much and it’s more like cotton candy laced with bubblegum and sprinkles all melting together on an uncomfortable humid day with a smog warning in effect. That’s not to say that there aren’t legitimate contemporary jazz vocalists out there; as was evident by the first show of the evening.
Elise LeGrow is a Toronto-based songstress that has both the voice and charisma that evokes the great jazz women of yesterday. She sang a mix of both contemporary songs and classics for a small and appreciative audience at the Harlem. I have to admit her stage presence was so captivating that it was a trying affair to concentrate on the music. While making her way through the set, she bobbed up and down and playfully ran her hands through her hair at all the right times. It was so incredibly distracting that I spent the better part of the hour looking around my environment for some kind of materials that I could use to a fashion a makeshift engagement ring. Did I mention her sultriness?
If there was one thing that I was a little lacking in the performance, it had nothing to do with Miss LeGrow herself. While her band provided some solid backing, I could imagine that the addition of some musical reinforcements would really kick things up a notch. Hers is a stylish and elegant music that is perfectly suited to a classy little downtown restaurant like the Harlem. I wonder what she would sound like if we added the authentic woody thump of real double-bass, and swapped out the electronic keyboard with a baby grand? With that kind of setup, a snifter of brandy, and some arts & craft type ring making materials, I’d be as happy as a kid with cotton candy.
The next set at the Harlem was Toronto-based Erin Hunt and her groove-based funk and R&B band. She started things off with a rendition of Crosstown Traffic. I could tell during from the noodling by the guitarist during the band setup that we were in store for some really groovy stuff. Easily the highlight of this set was the work of guitarist Ricky Tillo who showcased both amazing chops and an excellent sense of rhythm. I wish he could have had more freedom to stretch his legs.
In the previous set, the backing band needed some shoring up to match the talent up front. In this set, it was the opposite dilemma. Erin didn’t have the vocals or stage presence that could captivate the audience. What she did have was a kick-ass band that I would not hesitate to go see in a purely instrumental incarnation. Unfortunately she made a few gaffs that weren’t terribly endearing. She forgot the name of her drummer when introducing the band. Then when encouraging people to stay for the next set, she admitted that she didn’t know what band was following her, but was “sure they were good”. Not the classiest move of the evening.
I’d definitely go see that guitarist again in any other setting though.
