CHRW Music and Arts

Review x Photos: Down With Webster at The Wave

2012-01-29T14:51:00.007-05:00

What do you get when you mix some of the biggest party animals with one of the biggest schools in Ontario? A hella lot of red cups, W’s thrown up and one insanely amazing night of great music and serious jamming, of course! Toronto-based group Down With Webster hit up The Wave last week in fine form to help kick off our winter semester. Joining them for ride was opening act Ubiquitous Synergy Seekers who had some insanely crazy beats and showed that lab coats are never really out of style. Though the guys did a great job at warming up the crowd, it was Down With Webster who really brought the heat.

DWW is one of those bands that you simply NEED to see live. Their extensive touring over the years has really allowed them to perfect the formula for a good performance. Although it is important to be able to translate recordings into a live setting, sometimes what matters even more is the ability to interact with an audience and build the energy floating around in order to make the sounds and experience that much more explosive. This is what the boys in DWW really excel at, and when you’ve got members all going in at the same time, you know you’re in for a ride. It’s really impressive that there is no fighting for attention while on stage, but there is a shared understanding that everyone will get his moment. There were many times where I saw Cam and Tyler moving back while Bucky Buck almost fell into the audience, or when Pat would really rip into a solo and the rest would be hanging with Marty and Dave; it’s all about balance, and these guys know how to manage a scale. Most of their set consisted of tracks from It’s Time to Win Vol. 2, but there were a few favourites from the album’s predecessor weaved in, including Woah is Me and Your Man. Tracks like Royalty, Go Time, and She’s Dope were met with huge reactions and kept the momentum for the night going. Really speaking, Down With Webster could have performed a rendition of a Kriss Kross track and it still would have been hype.

This was an amazing opportunity to catch one of the biggest up and comers in Canada and we have to give the Social Science Student Council and the USC a big shout out for bringing USS and DWW to our stomping grounds. If you have yet to catch these guys in action, do it before you have to pay a gazillion dollars and they become little specks on a stadium jumbo tron. In fact, Down With Webster will be heading across Canada and the United States on their upcoming Wintour so be sure to check them out, especially when they return to London on March 23rd at the London Music Hall.

Mehek S

Concert Review: The Midway State at London Music Hall

2012-01-11T12:51:00.005-05:00

All photos by Mehek S

On Wednesday December 14th 2011, London Music Hall hosted The Midway State after nearly three years since the last time they had been on tour for their debut album Holes. This record made them hugely successful in 2008, winning a pair of MMVAs for ‘Favorite Artist of the Year’, and ‘Best Independent Video’ (for Never Again), so there was obviously a lot of excitement to see how the band was going to present their second studio album Paris or India.

Before we get to the actual show, let’s take a closer look at the actual record. I must say that after a first spin, I was far from impressed with the new material, as the whole album appeared to be rather disorganized and altogether somewhat unclear. But as a music critic it is well known that first impressions are often bias, so with some research and after listening to the record about 30 times all together I now feel myself capable to pass some judgment. Given the hype generated from The Midway State’s first record, their label Universal Records wanted a repeat of all the success that 2008 had brought to both the label and the band. However, this meant constant pressure to produce “radio music”, which lead to many attempts at reproducing tracks to fit a selling image, something that caused a lot of friction between label and band members Nathan Ferraro, Daenen Bramberger, Mike Wise and Mike Kirsh who now began to desire a transition from performers to actual music artists. Being true to themselves and where they wanted to take their music, the band decided to leave the label and face the music industry on their own, something quite unheard of when it comes to a relatively new band with just a debut album on their musical history. With the help of producer Thomas Salter the end result was Paris Or India released July 19 2011, inspired and written in Wise’s basement followed up by several recording sessions in the small spaces of ‘B Town Sound’, a low budget recording studio located in Burlington Ontario. The goal was simple: create an album with as few elements as possible to allow for a mix of sound amplification and musical effects that would ultimately give the album a spacious feel to it. This is quite present in songs like Alive and Atlantic, where harmonies, instrumental pieces, and even nature sounds were amplified and overdubbed in the mixing process of the record. Therefore I must say that this album deserves a great deal of respect for its much appreciated effort to impersonate the pureness of the independent music scene, and has turned yours truly from a harsh critic to an enthusiastic believer.

Unfortunately, despite the fact that the album itself convinced me, the live performance that Wednesday night did little to fulfill my expectations. I will start of by giving credit to Nathan Ferraro, whose strong vocals and enthusiastic performance were the only excitement injected to the show, and although the sound was very clean the rest of the band failed to deliver a dose of thrill much needed to ignite the small crowd present that night. The set list was very well chosen in my opinion, containing a mix of songs from both albums that blended well in transition. And while songs like Can’t Stop and Change For You from Holes enhance the individual as well as group efforts, other tracks such as Lighting and St. Paul The Wolf from the new record at times failed to incorporate individual pieces in a clear and crisp sound. The band would finally come alive with the introduction of the first single Atlantic, as bassist Mike Kirsh and Mike Wise left their rigid and sculpture like positions at both right and left stage and actually started connecting with the crowd, something that was well noticed and appreciated by the fans, it is too bad that by this time the show was nearly done. Nevertheless, the excitement carried through to the encore which consisted of their hit single Change for You, and an amazing cover of Bittersweet Symphony by The Verve, which was by far the best cover of that song I have ever seen!

The reality is that the talent is there, the energy is there, as well as the passion and love for the music shows, and despite the fact that the live sow did not do them justice, I still look forward to the artistic talent that is slowly unfolding and cannot wait to see how a bit more experience proves that this small four piece from Collingwood Ontario has what it takes to become a strong influence in our national music scene.
Diego Garzon
94.9 CHRW

Concert Review: Stars, Bedouin Soundclash, and The Balconies

2011-11-29T11:33:00.003-05:00

All photos by Andres Garzon

The Kings University College Student Council pulled off yet another successful night in the Western music scene. Their annual concert, which featured appearances from two of Canada’s hottest bands, Bedouin Soundclash and STARS attracted more than four hundred Westerners to the doors of Music Hall. Enthusiasm was quickly obtained form a very anxious student crowd as a last minute, but none the less surprisingly talented little group from Ottawa Ontario known as The Balconies took the stage early in the night. The raw yet clean and strong harmonies from the trio created much commotion. With energetic and powerful vocals, young lead singer Jacquie Neville impressed many first time listeners along with the swift and solid bass lines from sibling Stephen Neville, which harmonized beautifully, and off course we could not leave out the intensity of percussionist Liam Jaeger who notably caused much commotion amongst the female spectators, quickly boosting expectations of what would become a memorable night.

An hour later with energies high up, the floor was torn up in excitement as Jay Mailnowski, Eon Sinclair, and new band addition Sekou Lumumba took the stage for the much-anticipated Bedouin Soundclash appearance. And if I had thought I had seen female craze over young Liam, well I was quickly proven to be very wrong. The funky and full-of-life collaborations from the trio had girls floored, and guys, though much more reserved in reaction, were equally thrilled. With songs like Fools Tattoo, Walls Fall Down, and a solid cover of Stand By Me, the trio gave the people what they asked for and claimed their strong presence and music influence in their London fans. The place had finally completely filled up by the time Bedouin Soundclash had left the stage, as STARS were ready to make their night debut.

I was fortunate enough to catch the STARS show that took place last October here in London, in which the band tore up the scene and had their London fan base, including yours truly, in a complete musical high. Being a loyal STARS fan for many years, I was anything but short of high expectations for their entrance. The set-list was perfect, featuring a variety of songs from their very beginning with Nightsongs, through their evolutionary sound displayed in Hearts and Set Yourself On Fire, and a mix of their new musical style displayed in The Five Ghosts. The show surpassed all expectations, with the vocal collaboration of Torquil Campbell and Amy Milian melting the crowd as nothing but raw emotion filled the storyline in which STARS drove the fans through the story of the band, making their songs a carefully chosen and synchronized tool that welcomed us into their mysterious and romantic history. Much attention was paid to the funky drumming style of Pat McGee, as well as the talented and musically versatile styles of keyboardist Chris Seligman and Bassist/Guitarist Evan Cranley. Two hours and about 20 songs later the crowd refused to call it a night, and the band did not step off stage fore than a minute before they were driven back on by the crowds anxiety and united pleads for an encore. The band saluted the crowd and praised it as one of their best stops all year, finishing the set with two more songs; the final one dedicated especially to us the London Fans.

After the show we were invited to join the band backstage, in which I was able to discuss their writing styles and a detailed explanation of the track Personal from their forth studio album In Our Bedroom After the War which had proved to bring a lot of controversy by the different meanings provided by fans. I was also able to discuss their development over the years, which attributed their great success while maintaining the purity of the Indie persona. I must admit, at the end of the night the whole experience was pretty surreal, for you never what to expect when meeting some of your musical heroes. With STARS it was clear that their national and international success did not prevent them from maintaining a strong personal connection with their fans. Once again, the new musical scene that has emerged from what the world recognizes as “anointed Montreal”, proves to be taking shape with STARS, who are real people, making real music.

By: Diego Garzon

KUCSC Presents: Stars & Bedouin Soundclash TONIGHT!

2011-10-20T12:02:00.004-04:00

Tonight will mark one of the biggest events of the year for us Westerners, yet most of us are unaware of what is really going on. So here at CHRW we are officially calling out to all you musical souls to put the books down, and join us at 8:00 pm sharp at the doors of Music Hall to celebrate the KUCSC (King’s University College Student Council) annual concert. Past years have proven to be a huge success for the KUCSC with appearances from IllScarlett, The Flatliners, and MSTRKRFT among others bringing us shows that have no doubt “shaken the Western Campus”, and this year they have toped themselves in my books. “Soft Revolution”, a track from the breakthrough album “Set Yourself on Fire” from the Montréal based Canadian band STARS is a perfect way of describing the influence of this amazing group. With six studio albums and five EP’s, STARS have revolutionized the Canadian music scene and stolen the hearts of music lovers around the globe with a melodic romanticism while keeping the integrity and purity of the Indie persona. Also featuring on this memorable night is the Canadian master trio BEDOUIN SOUNDCLASH based in Toronto Canada. With almost ten years of experience on their belt from the release of their debut album “Root Fire”, the once novice group of Queens students have evolved both musically and in character to bring us the distinct and beguiling sound of their latest record “Light the Horizon”. A mixture of reggae and rock mastered by very few bands distinguishes Bedouin Soundclash as one of the hottest talents of our generation.

TONIGHT! Ladies and Gents, hope to see as many of you as possible at 8:00 pm at the doors of Music Hall, don’t miss the chance to get your tickets at Info Source in the UCC, your respective affiliates, or check it out online by clicking here.

Come out and support our Canadian Music Scene as well as our fellow KUCSC on this amazing event, don’t miss your chance to see real people who are making real music.

Diego Garzon

Miesha and the Spanks - "Gods of Love" (Transistor 66 Records)

2011-06-01T13:46:00.000-04:00

There’s something satisfying about hearing a woman belt out vocals over a distorted guitar riff with the attitude that Miesha Louie, of Miesha and the Spanks, possesses. Gods of Love, the band’s second full length release, leaves you thinking “yes, this is rock and roll”. The Canadian band describes themselves as an arrangement of “grit soul vocals, ringing sixties guitar, jangly shuffling drums, and wheezing Hammond organ”. The album opens up with “Across the Country”, which gives a taste of each of those elements. The entire album captures the emotions of “passionate, unsteady, and unsuspecting love in all its stages” through the wavering balance of dynamics as the album progresses. “Make Love” has a sweet nostalgic quality, using elements from earlier decades of music with the crooning vocals, and Chris Nevile’s organ being a focal part in the track. In my opinion, “Leather Jacket” is the track to look out for on this album. It’s aggressive yet upbeat, and really does define the album. The vocals are anything but clean cut, which works with the recording quality that comes off as not over produced. It allows the music to come off as organic and raw; straight up rock and roll, without the sugar coating to spoil it. Gods of Love is an album reminiscent of “good old rock and roll”, but with some pleasant twists of its own.

Written by Nicole Zouki

94.9 CHRW Music and Promotions Department

NOTE: You can check out Miesha and the Spanks at the Black Shire Pub June 10th as part of Radio What Wave's Evening of Women Led Bands. Do not miss this show!

Mike Tompkins Scores MTV OMA Nomination

2011-04-15T15:52:00.004-04:00

Say what!?

If you're not sure who Mike Tompkins is, please take a few minutes and check out his extremely unique and wicked cool cover of Rihanna's "Only Girl in the World" with London, ON's Shad on the track:

Can you dig it? Tompkins is a London, ON native who has made a name for himself through his vocal and beatboxing talent, covering everyone from Bruno Mars to Katy Perry to Taio Cruz accapella. Yes, every snare, kick, and synth-y sound all came from this boy's mouth, gaining him over 30 million views on YouTube and appearances on The Today Show and The Ellen Degeneres, and even caught the eye of producer Timbaland, who worked with Tompkins out in Miami. I think a POW! is necessary here....POW!

All of this attention and yet no official recognition? Not quite. MTV's first ever Online Music Awards, an award program dedicated to people making their mark on the digital scene, is taking place this month and Tompkins has scored a nomination for Best Fan Video for his take on Rihanna's smash hit. The awards will take place online on April 28th and viewers and fans can vote by clicking here for Tompkins.

USC Presents: The Purple Finale

2011-04-01T15:49:00.006-04:00

Oh gosh: April has once again fallen upon us, and with that comes a huge pile of stress, all nighters, a spike in highlighter, lined paper, and calculator sales at The Book Store, The Spoke food diet and of course, the never-ending battle for a cubicle at Weldon. In short, it's exam time, and UWO is about to enter study mode.

BUT WAIT! There's still some time to celebrate the end of the year, and that's why our lovely friends at the USC are bringing us The Purple Finale, a music festival to end off the year with a bang. The best part is that it's completely free! And it's going down TOMORROW in the UCC Atrium. The USC is bringing the talents of Skratch Bastid, Alexz Johnson, Grand Analog, Alyssa Reid, and Basia Bulat, and we've got a peek into each of these artists portfolio to get you up to speed for tomorrow's festivities.

artist: Skratch Bastid - set start time: 12:30 - QuickLink: MySpace

artist: Alexz Johnson - set start time: 1:40 - QuickLink: Twitter

artist: Grand Analog - set start time: 2:40 - QuickLink: MySpace

artist: Alyssa Reid - set start time: 3:50 - QuickLink: Twitter

artist: Basia Bulat - set start time: 4:30 - QuickLink: Official Website

Concert Review: Five Alarm Funk

2011-03-14T20:20:00.005-04:00

venue: Call the Office - date: March 8/2011 - rating: four.five/five

Vancouver's Five Alarm Funk took the stage at Call The Office in London, ON Tuesday night, playing two attitude-infused, high energy sets for an enthusiastic audience. The band managed to sardine themselves onto CTO's tiny stage to deliver a performance influenced by James Brown, Tower of Power and Sly and the Family Stone. Funk, Latin, rock, reggae, and even a dash of metal (on the aptly-titled “The Iron Pegasus”) combined for a feel-good summer sound, and band members played up the summer theme with shades, shorts and tees. The band played songs from their 2010 release Anything Is Possible as well as a few new joints. Drummer/vocalist Tayo Branston led the band with his tight beats and Wolfman-meets-Hulk-Hogan voice. An animated Justin Kennedy (percussion) performed with vigor and abandon, running on the spot during “Doctor Child” and incorporating a frenzied cowbell solo into the set early on. One audience member remarked, “That guy's gotta be on some kind of drug.” By the time “Monolith” had begun, bongo player Tom Towers was already shirtless and the band had moved from funk into a classic rock sound. The song featured a guitar solo by the blonde-mulleted Gabe Boothroyd, whose face seemed stretched into a permanent grin.

The band's choreography was admirable. Whether it was synchronized marching during the mariachi-esque “Cave of the Gypsy Troll” or swaying side to side soulfully during the laid-back “Brother Egypt,” the band's heavy roots in old school funk are evident even down to their dance moves. During “Soft Six,” an eastern European-influenced waltz, Towers and Kennedy alternated bobbing up and down at the front of the stage while one couple in the crowd took the opportunity to show off their ballroom dancing skills.

“Face Riot” closed the second set. Branston encouraged audience participation, leading a refrain of “Put your hands in the air! Put your hands on the floor!” The song ended with a blast of confetti and the band shouting “Anything is possible” in unison. An encore was inevitable. Kennedy returned to the stage after a suspenseful few moments, stating, “I like three things. Apple cores, hardcore, and fucking encores!” The band went into“Voodoo Hairdoo,” an 80s style jam which featured solos from Boothroyd and Towers. The band's request for someone - “anyone!” - to bring them a pitcher of beer was met by one audience member, who brought the jug first to Kennedy and then to Branston, whose hands were occupied and had to have the beer poured into his open mouth.

Tuesday's performance marked the band's first bar show in London, having played the city's annual outdoor Sunfest the year prior. (Sunfest founder Alfredo Caxaj was directly in front of me and spent the night shakin' his groove thang, Latino style.) If you're looking to purge your ears of hipster hype in favour of some hot, pretense-free grooves, make sure you give these guys a listen!

Bianca Marcus

New Spin: "Shapeshifting", Young Galaxy

2011-02-18T16:17:00.004-05:00

The other day in lecture, my prof said,“Writing about music is like dancing about
architecture.” With this in mind, I attempt to review Young Galaxy’s newest
album, Shapeshifting, a minimalistic, sensualised eletronica gem. Shapeshifting
demonstrates a natural growth and extension from Invisible Republic, the band’s
last album released in 2009. It had a much edgier and rockier sound, albeit
nuanced with some synths and echoing vocals. Still, Shapeshifting sounds like
the whole album was recorded underwater (okay, maybe the album cover has
something to do with this reasoning…).

My natural association with electronica music tends to evoke visions of
futurism, sleek and sublime metals, technology (Tron anyone?). Shapeshifting
however, has a very primordial, ancient, indescribably ‘natural’ sound. Tracks
like “Peripheral Visionaries” and “Cover Your Tracks” easily exude a sort of tribal,
exotic sound that, when eventually coupled with the lovely vocals of Stephen
Ramsay, pluck at the heartstrings of even the grumpiest of us.

I adore the lyrics that sing of profound and ethereal possibility; nothing seems
tangible or material. Young Galaxy allows us to discover our own meanings in
their music, making the experience that much more satisfying.

Shapeshifting doesn’t maintain a steady sound throughout all its songs. The
instrumentation, well, shifts shape. “Phantoms” for example, immediately starts
with a dance-y, funk sound reminiscent of Chromeo but coupled with endearing
guitar chords (the go-to track, in my opinion). The final and title track returns to
the band’s roots- Catherine McCandless vocals have a natural echo as though
she’s singing in a room with great acoustics, sans mic. It’s mellow, earthiness
makes it an ideal finish. The overall sound of the album is engaging and hopeful.
Case in point: the track “We Have Everything” swells with optimistic synths and
beautifully poigntant lyrics; “in poverty my love, we have everything.” Listen to
this album and you’ll feel you do too.

Magdalena Dabbour, Music and Promotions Department

New Spin: "Ritual", White Lies

2011-02-03T13:32:00.000-05:00

A friend once asked me why I like White Lies so much. I explained that it was their lyrics; they explore love and death, making them inherently inseparable. Sounds awfully macabre… until you give them a listen. While there is something undeniably dark and ominous in this British alternative rock band’s sound, it is also woven with hope and desire. In their newest album, the themes of love and death are once again prominent. Harry McVeigh’s dark and smooth vocals mixed with poetic and darkly Edgar Alan Poe-esque lyrics make Ritual an immensely satisfying album.

The album’s single ‘Bigger Than Us’ has a hollow and haunting chorus, but doesn’t compare to ‘Holy Ghost’, an infectious dancey-rock track. There’s definitely been stylistic growth in this album as well; tracks such as ‘Peace & Quiet’ and ‘The Power and the Glory’ include plucky synths that were absent in the previous album. ‘Strangers’ is also surprisingly uplifting and inspiring – the kind of song you’d want to wake up to. Most outstanding however, is the blend of lyrics that simultaneously tell it as it is and manage to be powerfully poetic. They succeed in speaking volumes about the things we feel but can never vocalize.

Is Ritual the kind of album you listen to while powering through your morning run? Yes. Is this the kind of album you sing along to in the privacy of your vehicle? Absolutely. Is it the kind of album you play at max volume to annoy your roommate? Probably… except that my roommate would definitely love it. And whose wouldn’t?

Magdalena Dabbour, Music and Promotions Department

Review: "Let Me Come Home", Broken Records

2011-02-03T13:18:00.005-05:00

When listening to “Let Me Come Home,” the second album from the Edinburghian band Broken
Records, it is hard to argue with their nickname “The Scottish Arcade Fire.” Although I agree that
the band is on par in terms of instrumentation and vocal talent, it becomes more and more clear
travelling deeper into their latest effort that they seem to be lacking the inspiration of their Canadian
counterparts. Songs begin with the beautiful, driving melodies Broken Record’s fans are familiar with,
but almost all lose steam and drift off into the realm of “background noise.”

The album opens with the passionate A Leaving Song. Soft percussion and a driving bass accompany
vulnerable lyrics about a last night with a departing love. However, the drums and strings begin to
swell and grow until they completely overwhelm the vocalist. The second half of the song blends
into a repetitive drone, and I had to consciously prevent my mind from wandering off. And not in the
cool, “into the music” kind of way, but more in the “what did I need to get from the store again?” way.
This carries through the rest of the album, and entire songs begin to melt into one another and lose
their identity.

The worst part is that throughout the album, we are constantly reminded of what this band could
achieve. Dia Dos Namarados stood out the most thanks to its’ haunting duet, and I Used To Dream is the
only song that I felt remained untouched by overproduction.

It is important not to lose sight that this is a still a very young band trying to meet some pretty high
standards. Although they may not have the inspiration of high profile bands like the Arcade Fire or The
National, I have no doubt that the Broken Records have the talent to step out of their shadows once
that perspective comes along.

Chris Voorpostel, Music and Promotions Department

New Spin: "The King is Dead", The Decemberists

2011-02-03T12:47:00.007-05:00

Check out the first single from the album, "Down By the Water"

After releasing two concept albums in a row (The Crane Wife and The Hazards of Love), The Decemberists went back to the basics with their new album,
The King is Dead. Reminiscent of their older albums, from 2002-2005, the King is Dead incorporates lyrics
which are less narrative and more songs just for the sake of being songs. It sounds as if Colin Meloy stopped expressing himself through characters in his music, and began simply expressing himself – a welcome change for the band. The songs on The King is Dead are enjoyable when played individually, or as a collective in order, something which was not quite as possible with the concept CDs. This proves that The Decemberists know how to evolve, while still maintaining the sound that attracted their fans in the first place; their folk-rock, eloquently written lyrics will help to keep the old fans, while their new lighter sound will attract fresh listeners.

The album starts out strong with “Don’t Carry It All”,
which includes Meloy giving acknowledgement to their new sound with the opening lyric “Here we come to a
turning of the season.” The King is Dead maintains an upbeat feel, only pausing for some more sentimental
moments in the songs “Rise To Me” and “January Hymn”. The Decemberists show their natural abilities through
their newest album, not attempting to wow listeners with detailed storylines, but through consistent
and well-written tracks. In this case, doing less definitely did more in the end.

Lindsay Arnold, Music and Promotions Department

New Spins: iVardensphere, Jon McKiel, & Laura Peek

2011-01-26T02:12:00.008-05:00

iVardensphere, "Bloodwater"
This is the second album (third if you count a disc of remixes) by this Edmonton trio who make "blazing tribal-tinged industrial dance music." While I've personally never really counted myself as a fan of this style of music, all the songs were very accessible.

Jon McKiel, "Confidence Lodge"
A new, five song teaser EP in anticipation of the 'Tonka Warcloud' full-length album that should come out later this year. Each song sounds a little different in terms of inspiration, so it's slightly difficult to make sweeping comparisons to other artists that might peak your interest. "Snow Owls" is a minimal folk song that somewhat reminds me of SONGS: OHIA and will surely warrant inclusion on my next mixtape.

Laura Peek, "Key"
With more than three years since the release of her debut album, Laura returns with a very brief collection of pop songs. They may at first sound minimal in terms of instrumentation, but the arrangements reveal more with each repeated listen. Peek teams with Dave Ewenson, Mike O'Neill (The Beginners, The Inbreds), and Charles Austin, which is an automatic recipe for fantastic music!

New Spins: Andy Creeggan, Amanita Bloom, & David Vertesi

2011-01-26T01:07:00.008-05:00

Andy Creeggan, "Andiwork III"
As the title helps indicate, this is the third solo album by Creeggan. His previous two albums combined
instrumental rock, jazz and modern classical influences, and they are certainly present here. However, I find
this album to be a little more funk and electronic influenced, which is to say that you can boogie to most of
these songs.

Amanita Bloom, "Furniture Music"
Early reviews of what appears to be the debut album by this Montreal band make comparisons to Nick Cave, but I hear Jonathan Richman vocal comparisons instead. In fact, "Often In The Springtime" reminds me of "Road Runner" by The Modern Lovers, which is a compliment of the highest order.

David Vertesi, "Cardiography"
Sometimes it is easier to peak the interest of a campus radio DJ by talking about the more well-known peers of the artist in question. With that said, you'll probably want to know that Jose Contreras (of BY DIVINE RIGHT) co-produced, recorded, engineered, mixed, and co-vocally contributed to the album. Additionally, HANNAH GEORGAS adds vocals to a few songs. Vertesi has a warm and affective voice that feels familiar and his lyrics are very good.

Christopher White

Review: Feelin' the Spirit

2011-01-12T02:44:00.003-05:00

What do you first think of when I say "London Music"? Olenka & the
Autumn Lovers? The Rizdales? Handsome Dan & his Gallimaufry?

All excellent options, true, but do you, per chance, think of a choir?

London's choral offerings, after all, are easily on par with its
offerings in any other genre. There are the seculaur groups: The
Amabile Singers and the Cantorian Choir, but many of the city's best
choirs are cloistered within the walls of the city's churches. It's
not a group who's members have their praises sung often. They tend to
show up weekly, be heard by a handful of parishioners, and to give
special concerts rarely if ever. Be that as it may, their music is
magnificent.

I must admit to a special preferance for the choir of St. Paul's
Cathedral, but that of First-St. Andrew's United has long had a
reputation as among the city's best. We finally have a CD to
prove it.

"Feelin' the Spirit" is Gospel at its best, with a classical polish
tossed in to boot. Heartfelt, spiritual, magnificent. And if that
were it, that alone would be quite enough.

But there are a dozen little extras tossed in to keep us even more
happy. First there are the soloists. Sonja Gustafson - a name every
Londoner should be familiar with - and Ross Dodington offer
magnificent performances throughout the CD. Then there are the bells
- an orchestra of bell ringers performing on a half-dozen of the
tracks. Indeed, three of the pieces are entirely instrumental - the
bells, the piano, and percussion.

And then, tucked midway through the CD is a jazz interuption. Just to
make life a bit more interesting.

Everything fits together magnificently.

Benjamin Vazquez

Review: "My Beautiful Dark Twisted Fantasy", Kanye West

2010-12-12T03:14:00.006-05:00

I can hear the judgements already. Kanye West? What? But WHY?

Well really, why not?

Many believe Kanye West to be an overly egotistical, overly present figure in mainstream pop culture and hip hop. I wouldn't disagree. The man has had numerous amounts of public fits and outrages at members of the media and society who scorn and mock him and suggest him for being anything but a talented overly egotistical, overly present figure, who is deserving of much more than what he's given.

The peak of this attitude came over a year ago when the infamous 'Taylor Swift incident' occurred, spawning several rumors, parodies, and giving the public the opportunity to point their finger at West and present their cries of outrage. This time, he listened, and spent several months flying under the radar.

I know I said I agreed with you, and I do. But to deny the man's talent is blasphemous, it is. And all those months spent away from the scene set up Kanye for a huge comeback, ego still in tact, incarnated into his fifth studio album, My Beautiful Dark Twisted Fantasy.

I've sat on my thoughts for this album for a couple of weeks, but not because I'm confused as to what my opinion on it is. It's because I've been blown away by the degree of artistry and lyricism showcased, with infectious production, hooks, and features that include Swizz Beats, Kid Cudi, Pusha T, Bon Iver, Chris Rock, and Nicki Minaj, that I wasn't sure if I could find the words to describe it. Here it goes.

My Beautiful Dark Twisted Fantasy is a culmination of the Kanye fans have familiarized with over the years. A few 808s, a lot of killa verses, and the ever present self-proclaimed greatness, a theme that can almost act as a signature for his tracks. Songs like 'Devil in a New Dress' (featuring Rick Ross) and 'Dark Fantasy' are classically hip hop, but it's songs like the powerhouse collaboration 'Monster' (featuring an outstanding and stellar verse from Nicki Minaj) and one-verse, Bon Iver sampling 'Lost in the World', with the ensemble 'All of the Lights' which really define the album. It's here that West really breaks the formula for a 'hip hop' record, taking his listeners on a very twisted and mind boggling road.

But beneath all the glitz and glamour of the album, there is also a raw self awareness which provides an insight into West's dark mind, showcasing that despite his claims of justly being the best of the best, he is also the worst of the worst. It's been quite a few years, after all - the death of his mother, the ongoing criticisms, the under performing 808s & Heartbreak, his split with Amber Rose, and of course, the T Swizz incident - dark and twisted, indeed. His second single, 'Runaway' gives us a clearer picture of a Kanye that is all over the place, and yet has never made more sense than he does now, on this record.

Judge him as you will. I know I have. I recall seeing him in concert in Toronto a few years ago and having to listen to a fifteen minute speech about his greatness, and how he was aware that he sounded like a pretentious, egotistical jerk (pardon my honesty) - but he asked us, the audience, rhetorically, whether or not anyone else could do it. Do him. Be the rapper that was so outrageous but so good at what he does. If it weren't for the screams of acceptance, I'm sure we would have heard crickets as a response, because no one else could do it.

And quite frankly, if I get to experience albums like these, I don't really want anyone else to even attempt to do it.

Mehek S

Review: Oh! Compilation Two

2010-12-12T02:46:00.006-05:00

I've been looking forward to this one for a while.

After missing out on last year's Oh! compilation, I was quite determined to pick up a copy of the reprise.
As is ever so typical of local CDs it showed up in the studio weeks before I could get a copy of my own,
and in an act of supreme selfishness I spent half of my show putting the entire CD on the air sight unseen.

Of course there were some of my old favorites.

Olenka & the Autumn Lovers contributed "Sparrow", a
magnificent, incredibly energetic track. Alana Gurr
contributed "Take the Streets", which I had used as an intro to a talk show some time ago. And the Whipping Wind's music was - finally -
available to the general public, or at least a track of theirs was. On all three counts I couldn't help but approve.

And, let's face it, if this had just been a CD of my old favorites I'd still be raving about it. After all, it would
be a convenient, tidy package to present to these people who complain that London doesn't have
a decent cultural scene. Olenka and Alanna and Handsome Dan and Sam Allen all make for a pretty impressive
rebuke to that claim.

But about a week after I managed to lay my hands on my own copy of the compilation I found
myself driving down to St. Thomas with my mother. I tossed the CD on, and started flipping about.
Listen to this, and this and this.... And half of the tracks I was showing off weren't my old favorites at all.
The essence of the conversation, from my end at least, was "How did I miss these ones?".

Take Matthew and the Birds, for instance.
I'd heard about them before, but it was just a name. I hadn't been to a concert, and I hadn't heard a recording.
And then, out of this new compilation comes weaving this magnificent cross between Indie and Jazz. Pure magic.
Or Golden Death Music. Who thinks up a name like that?
Really. And, having thought it up, who attaches it to this sort of sweet, soothing, psychedelic music?
And, given that this magnificent concoction has, apparently, popped into existence, why didn't I hear about it?

And just as my mother and I were about to reach St. Thomas, I pulled out one last track. Appropriately the
closing track on the CD. Lido Pimienta. This magnificently melodic Spanish piece. Dreamy, heartwarming,
damn near perfect. How, how indeed, did I miss that one?

That's what makes this CD so amazing to me. Not because it contains half the artists I already loved
the best, but because it contained half the artists I didn't yet love that way, because I hadn't yet heard what
they could do. For me, the CD was both slightly humbling and wildly inspiring. I hope - and, frankly, expect -
that everyone who picks up this CD will find at least one magnificent surprise on it.

This city never ceases to amaze me.

Benjamin Vazquez

Review: More, More

2010-12-07T02:04:00.001-05:00

My only real issue with the latest “More More” release is that it’s
just too short.

On the whole, I sympathize with the idea that musical groups ought to
be large. A half-dozen people can simply create a larger sound than
one or two of them. More varied and more rich.

I was first introduced to “More More” when I did a fill-in show here
at CHRW, and decided to dedicate the show in its entirety to London
musicians. Midway through the show, I received a request for the
group. They had a single track in the studio – their single
“Narrator”.
I loved it.

And, frankly, I expected that the piece was the work of at least four
or five musicians. It had a layered, professional quality to it that
smaller groups can rarely churn out. That the piece was, in fact,
produced by three men quite astounded me.

From then on, “Narrator” found its way into my shows with moderate
regularity. I only had a single track, and I hesitated to play the
same track week after week after week, but it just kept slipping back
in. I mean, really, this was a good track. Really good.

And so, when a proper “More More” CD arrived in the studio, sitting
down with it was an immediate priority.

I’m glad I did. “Narrator” is still the best track on the CD, and the
one I’ll play more often. The others, though, are excellent. Almost
all of them tread the line between indie and rock, pulling elements
from both genres. The release is full of energy, full of life. Full
– packed full – of guitars.

Definitely a good time.

Benjamin Vazquez

Reviews: Mohammed Alidu and the Bizung Family, Olof Arnalds, Sebastian Blanck, & Tucker Finn

2010-10-31T15:23:00.006-04:00

Mohammed Alidu and the Bizung Family, "Land Of Fire
Alidu is a Master drummer born into the Bizung lineage of talking drum chiefs of northern Ghana. He has performed with/for Peter Gabriel, Baaba Maal, and Playing For Change. Expect "lush harmonies, traditional African rhythms and infectious grooves define the debut release from this Afropop powerhouse."

Olof Arnalds, "Innundir Skinni"
This is the second full-length album for this Icelandic singer. Don't expect to understand many lyrics, but Arnalds has a very nice voice (think Joanna Newsom) which adds an interesting layer on top of the delicate acoustic guitar playing acting as the base of every song.

Sebastian Blanck, "Alibi Coast"
Released in late July of this year, here's a hidden gem for fans of bands like Midlake, Vetiver, or Simon & Garfunkel if you want to go that far back. Half of the songs find Sebastian sharing vocal duties with people like Lavender Diamond's Becky Stark and Chairlift's Caroline Polachek, and these selections are the highlights because the collaborations work so well.

Tucker Finn
A wonderful surprise of an album from this Toronto area folk musician. My Old Kentucky Blog recently made a positive comparison to Aimee Mann, although the lyrics regularly reminded of John K. Samson of The Weakerthans. Listen to "Cold Paper Heart" to hear what I mean

By Christopher White

Reviews: Aids Wolf, aKido, Gianna Lauren, Jimmy Edgar, & Mikrokolektyw

2010-10-31T14:39:00.010-04:00

Aids Wolf, "March to the Sea"
The third LP from Montreal's Aids Wolf isn't a huge change from what you might expect. This is to say it is loud, noisy, and claustrophic No Wave-inspired music. If you're in for something a little different, the last track is a 10-minute Throbbing Gristle cover.

aKido, "Gamechanger"
Montreal based electronic musician and composer, Kim Gaboury, has been doing quite well for himself on the national campus radio charts and quite deservedly. Each song seems to pull from a different sub-genre of electronic music, so the album should have a broad appeal. With dubstep basslines "Carrousel" and "Paper Chase" are the two highlights worth hearing.

Gianna Lauren, "Some Move Closer, Some Move On"
With no disrespect to the other musical elements, I found myself loving the atmosphere of this album the most. The first side of the record seems to do it the best with electric guitar, Gianna's voice, and other unspecified "atmospheric sounds" by Daniel Ledwell. A particular highlight is "Standstill" which reminded me of Cat Power circa the 1998 "Moon Pix" album.

Jimmy Edgar, "XXX"
Detroit-based electronic producer combines hard electro, Zapp & Roger-style vocoder vocals, and the dirty mind of Prince.

Mikrokolektyw, "Revisit"
A new trumpet and drum jazz duo from Poland. The music is mainly acoustic, with layers of electronic flourishes, Moog, and samplers. Despite all these layers, the sound is still rather minimal.

By Christopher White

Review: Women, "Public Strain"

2010-10-13T00:08:00.005-04:00

If there was ever an album to listen to in the winter months, Public Strain is it. The follow up to Women's 2008 debut record picks up where the Calgary natives left off: in a catchy, angular yet melodic snowstorm of guitar riffs and drum beats. With songs like “Penal Colony” and “Venice Lockjaw” the band continues to show their skill at writing catchy lo-fi indie rock while still crafting rewarding songs. “Bells,” for instance, hums and flows out of “Penal Colony” like an atonal river. This is where Women choose to roam, between the atonal and the melodic. They are nothing if not daring musicians. While there aren't many surprises on this record, there is a lot of dense, atypical music to wade through. Songs like “Drag Open” and “Narrow With The Hall” deliver fuzzed out familiarity fans of Women have come to love but also convey a sense of maturity and control not present in their debut. They're not afraid of just how much noise seeps from their amps. Bottom line: fans of the band have a lot to enjoy, and newcomers to the noise rock genre will be in for a surprise. This isn't an album to put on at the start of any party. You play this album at 3 in the morning after everyone you don't know goes home.

Tyler Smith

To find out about touring and to hear some tracks, check out Women MySpace.

Review: Olenka and the Autumn Lovers, "And Now We Sing"

2010-10-08T14:00:00.007-04:00

This one's going to be personal.

I really don’t actually know what I can say about Olenka’s new CD. When I first arrived at CHRW and did a mock show for Michael, our program director, he said that I was being far too exuberant. I was calling too many of my pieces “the best”, “magnificent”,“spectacular”. He was right too. I did it far too much. Moreover, I did it without any real justification. When I said "best" I meant "the CD which speaks to me the most”.

And this CD speaks to me for many, many reasons, some of which I expect no one to share. When I moved to London some four years ago, I didn't like the place, and I didn't expect to stay. I was here, in the interim, because my family wanted me around, but I had every intention of moving back to Montreal, or possibly even on to New York. This place seemed small, unattractive, and bled of culture.

I first experienced Olenka shortly after I moved here. My cousin dragged me out to a concert of hers - this was ages before the Autumn Lovers - on the basis of a poster he happened to like. Little men marching around with mushrooms. The concert was at the London Music Club. I snuggled up close to the stage. I felt intimate and comfortable. She had distributed noise makers, and I took to them with some degree of vigour. Endlessly cheery - I don't know how she keeps it up - she chatted with my cousin and I for a healthy chunk of time, and afterwards we corresponded briefly.

I let it drop. I still didn't much like London. I didn't want to
believe there was an arts scene here. I wanted to be free to pick up
and head east whenever I got the chance. Anyway, she was good, but she was also a local. Surely that was a bad thing.

I ran into Olenka again about the same time I started hosting shows up at CHRW. Both of her CDs were in the studio, and both of them got listened to, repeatedly. One of them actually spent a substantial period of time in my apartment, something which I really shouldn't be mentioning in a review which will probably be read around the studio.

I liked London a bit more by then. I'd gotten settled in, although I was uncomfortably aware that I was settling. I didn't like that fact. And Olenka became part of the settling process. In a good way. I listened to the music again, and I loved it. And this time the emotional bleed-overs ran the other way. I stopped disliking Olenka because she was associated with London. I started liking London because it was associated with Olenka. She wasn't the only thing which won me over, but she was one of the best.

Olenka's music was growing faster at this point anyway, but for me the pace increased at a rate far quicker than it did in reality. I no longer wanted to see something thin and bled of life. I wanted to see something rich, full, and vibrant. And I found it. It always was there for me to find, all over the city, but it took a while for me to do the deed. And once I found it in Olenka I started finding it all over London.

This latest CD speaks to me because the music meshes so perfectly with how I see London. Rich. Beautiful. Elaborate. Threads of musical tones laid one on top of the other - no two the same, but all coming together in the end.

In the end I cannot, and will not, review this CD objectively. I love this CD, and I love London. I cannot separate these two facts in my mind. I love London because it's the sort of city which could produce a product like this. It's the sort of city which could nurture these musicians, and release this kind of creativity, these kinds of collaborations. I love this CD because I honestly believe that it's the best London has ever produced. The thing turns on itself. I could as well argue that I ought to hate the city and CD alike. Logically it makes no sense.

Do I expect better yet from the city? Absolutely. I see this as a foretaste. I see so many talented musicians doing so much good work. I don't see how it will happen, or where it will come from, but I expect this CD to be surpassed again and again and again.

But, as foretastes go, this one's pretty good. I expect better, but I couldn't possibly ask for it. I'll still be listening to this one
until the day I die.

Benjamin Vazquez
CHRW Music and Promotions
Host of Classical Plus (Fridays 12Midnight-2am)

Review: Alanna Gurr, "Alanna Gurr"

2010-09-26T23:23:00.003-04:00

Some things remind you of home. For me, they can be the oddest things. Cows sillhoutted in the setting sun, or a tree whose branches are encased in ice. That, and random music. Long hours whiled away in the basement listening to my cousin strumming on his guitar. Calm. Quiet. Heartwarming.

Alanna Gurr has captured that feeling perfectly. I can't listen to this C.D. without imagining her and a few friends clustered in a living room simply enjoying themselves and their music.Some things remind you of home. Faces and names. Grandparents and parents. Aunts and uncles. Crowded Thanksgiving dinners, and long walks in the woods.

Alanna Gurr has captured that feeling perfectly, too. This C.D. is full of life. It feels backed by a deep, abiding love, it oozes sentimentality of the finest and most wonderful kind.

Some things remind you of home. Lovers and sweethearts. Holding hands in a deserted park. Romance that intends something more than a day, or even a week. Promises. And, someday, children.

Alanna Gurr has captured that feeling perfectly, too. This C.D. begs to be snuggled into. That magnificent voice tugs at you. It inspires dreams of candlelit evenings and children playing on tree-lined streets.

Not bad, on the whole, for six tracks.

Head over to Alanna's MySpace to listen to some of her material by clicking here.

Benjamin Vazquez
CHRW Music and Promotions Department
Host of Classical Plus (Fridays 12-2am)

Review: Peter Katz, "First of the Last to Know"

2010-09-26T23:11:00.005-04:00

I have rules about what kinds of C.D.s I shall review.

One of these rules is that I won't review any C.D. which isn't on CHRW's "new" rack any longer. Another of these rules is that I don't review artists who aren't from London. Both of these rules make sense. After all, the whole point of reviewing these C.D.s is to help bring the attention of Londoners to good local music, and hopefully get them out to concerts.

This review, however, is going to break both of these rules.

Why? Well, because Peter Katz's new C.D. - "First of the Last to Know" - is just plain good. Because it's the kind of music that warms the heart magnificently and brings to mind family dinners in a cramped kitchen, or two lovers sitting in a tire swing. Because the orchestration is spectacular. Because he weaves musical tapestries rich enough that you could fall into them from the top of a cathedral spire and not break through them. Because it contains some of the best sad songs I've heard in a while.

That, and the gent plays in London from time to time. We'll give him that.

You can check out Peter Katz's album "First of the Last to Know" and his other material by clicking here

Benjamin Vazquez
CHRW Music and Promotions
Host of Classical Plus (Fridays 12Midnight-2am)

Born Ruffians & Caribou Rule the Night at the 2010 LOLA Festival

2010-09-20T22:50:00.004-04:00

The London Ontario Live Arts Festival (aka LOLA – see how it just rolls off your tongue? LOW-LAH) took over downtown London this weekend, and had a pretty sweet roster of artists and bands participating in this year’s festivities. Like many festival goers, I embraced the cool autumn weather and took in a few shows at Victoria Park, and I gotta say, the fresh air, mellow crowds, and solid music made the trek worth it.

Born Ruffians

Although I wasn’t a London resident when Born Ruffians made an appearance at the very first LOLA festival back in 2006, Friday night’s show gave me a pretty good indication as to why this Midland, Ontario trio was invited back to perform.

Born Ruffians played a set for just under an hour, performing their brand of indie rock to a relatively small but appreciative crowd who swayed and jumped to tunes like “Oh Man”, “What to Say”, and “Sole Brother”. If the guitar riffs didn’t catch you, I am absolutely certain that lead singer/guitarist Luke Lalonde’s subtle quirks on stage and outgoing vocals held your attention.

LOLA aims to shed light on the multiple facets of visual arts and sound, and I think Born Ruffians was a great selection to provide this kind of exposure. The band has a mix of semi-minimalistic and staccato-like rhythms, and while that isn’t exactly a recipe for a top forty success, it’s a taste of another type of talent we have in Canada – and it’s equally satisfying.

An overall enjoyable show, Born Ruffians is the kind of band you should catch, if not for a personal obsession, then at least for the mere pleasure of hearing some good music.

Caribou

London, ON-born (and current London, England-residing) Dan Snaith, the mastermind behind Caribou, took the Rogers Main Stage in Victoria Park on Saturday. He lit up the sky with his visually stunning backdrop and rocked the crowd with a crazy-cool combination of synth beats backed by a live band.

Judging by the reactions of many around me at the show, I think that it is safe to say that there was a fair amount of people who were not exactly prepared for what was an undeniably amazing show. Granted, the psychedelic-electronica-indie rock sounds of Caribou are not everyone’s cup of tea, but like one audience member shouted, “Caribou is tasty.” …delicious, even! But his sense of musicality and performance is a sight to be witnessed, no matter your preference.

Soon enough, Snaith had the entire audience at least nodding along, if not causing a select few to jump and get lost in the soothing rhythms and kaleidoscope-like images plastered on the backdrop of the stage, perhaps elbowing one or two glasses-wearing students in the process (I won’t hold it against you, I swear). It was a treat to see this Polaris Music Prize winner in action, because Dan Snaith himself was so consumed by his work on stage that he seemed to have forgotten that the audience was there!

I can definitely say that the highlight of the night was when Caribou closed up the show with Swim tracks “Odessa” (his breakout hit of the year) and “Sun”, both of which really had the crowd leave the show on an energetic and happy note. While some may have walked away slightly bewildered at what was just witnessed, I think that most can say they enjoyed the colourful treatment that is Caribou.

Conclusion? Caribou is a must see live, and definitely an excellent choice for LOLA.

------
By Mehek S
CHRW Music and Promotions