10 Awesome Albums of 2011

December is guaranteed for at least three things: cold weather, endless holiday cheer, and the inevitable sea of best of lists. Hey, if you can’t beat ‘em, join ‘em! So allow this Press+1 critic to chip in and recommend some the best albums of 2011 that are obvious choices, or a few that may have possibly flown under the radar.

10. Foo Fighters - Wasting Light

Dave Grohl and co. turned back the clock in more ways than one for this seventh studio effort. Not only did they bring in producer Butch Vig who had worked on Nirvana’s Nevermind with Grohl 20 years prior, but the band recorded the album the old fashioned way with analog tape instead of modernized pro-tools. The end result wound up with arguably the Foo’s best album in over a decade.

9. City and Colour - Little Hell
After what was once a side project for singer Dallas Green, it is now officially a full-time gig. Since handing in his resignation to Alexisonfire earlier this year, this third full length effort from City and Colour simply solidifies Green’s choice to solely concentrate on showcasing his swooning vocals and sweet melodies opposed to playing second fiddle to scream rock.

8. White Lies - Ritual

Another fine effort of doom and gloom set to infectious euphoric overtones from this young London three-piece. Produced by seasoned producer Alan Moulder, Ritual doesn’t stray too far off the path from the band’s debut, To Lose My Life, but if it ain’t broke, don’t fix it. Another huge sounding album definitely worth a look if originally passed by.

7. Florence + the Machine - Ceremonials
No such thing as a sophomore slump for the fiery red Florence Welsh and her cast of Machines on Ceremonials. At just 25 years old, Welsh’s compositions are way beyond her years and rightfully rank her in a class with the likes of Kate Bush and Stevie Nicks. Key tracks such as Shake it Out and Never Let Me Go are just keys examples of just how strong of an album this is.

6. Noel Gallagher - Noel Gallagher's High Flying Birds
Team Liam vs. Team Noel. The singer vs. the songwriter. After endless media pot-shots since the split of Oasis in 2009, this was the year for Liam and Noel Gallagher to put their money where their mouth is and show who could make the better album without the other. The end result? Noel Gallagher’s High Flying Birds is on this list and Beady Eye is not. Enough said.

5. Wilco - The Whole Love
With Wilco often dubbed as the “American Radiohead,” and singer Jeff Tweedy heralded as one of the best American songwriters of our time, it’s always a treat whenever Wilco releases a new album. On studio effort number eight, The Whole Love undoubtedly lives up to the consistent and interesting standards the band have always been known for. Tracks Art of Almost and lead single I Might are just a few examples of Wilco brilliance at its best.

4. M83 - Hurry Up, We're DreamingLA based French musician, Anthony Gonzalez, under the moniker of M83, has followed up 2008 breakthrough Saturdays = Youth with yet another synth-pop, dreamy shoegaze offering with Hurry Up, We’re Dreaming.Gonzalez has described this ambitious 22-song double album as a brother and sister companion piece, each with having a sibling on the other disc. As most double albums generally sound bloated, there’s not many areas on this album where it could actually be trimmed down.

3. Fleet Foxes - Helplessness BluesEarthy, harmony-rich and heavily bearded pretty much sums up Seattle’s Fleet Foxes who have showed anything but a sophomore slump on Helplessness Blues. This album showcases the band’s maturity of beautifully well-crafted folk songs, and contain such pin-point harmonies that would even make the Beach Boys envious. Sheer excellence.

2. Adele - 21What can be said about Adele that hasn’t been already said? And what a year it's been for the English singer-songwriter. An absolutely massive album inspired by heartbreak, 21 truly speaks for itself. These songs are heard everywhere and completely overplayed, but an album undeniably filled with so much emotion and passion, it’s near impossible to become tiredsome. She’s one incredibly grounded and down-to-earth individual despite all that fame which makes it impossible not to appreciate her all that much more. 

1. Bon Iver - Bon Iver

If there’s a more alluring, a more soothing, and a more moving arrangement of songs that’s been released in recent memory, please come forward and show yourself. Until then, Wisconsinite woodsman and falsetto crooning Justin Vernon, who records under the handle of Bon Iver, easily holds that title. Having gained critical acclaim since 2008 debut, For Emma, Forever Ago, this self-titled second effort has not only upped Bon Iver’s notoriety amongst hipsters and music enthusiasts alike, but has even earned the band four well-deserved Grammy nominations next year, including Best New Artist and Song of the Year for Holocene.  Bar none, a must have album for anyone who’s a fan of music of any genre, period.

Other honourable mentions:
The Black Keys - El Camino
Tom Waits - Bad As Me
Kurt Vile - Smoke Ring For My Halo
Zola Jesus - Conatus
Sloan - The Double Cross

Post Corus, Alan Cross is very much Alive and Kicking

After a quarter of a century as arguably one of the best on-air personalities this country has ever seen, Alan Cross and Corus Radio have parted ways.

A restructuring and reorganization of the company’s online radio division is the basis for the Senior Program Director’s departure, best known for his Ongoing History of New Music program, and in recent years, the head honcho for Exploremusic.

What exactly does this mean for the guru of all things new music? Other than Corus no longer being his platform, not a heck of a lot. Since the apparent amicable separation, Cross has pretty much hit the ground running ever since. Not only are his Twitter and Facebook feeds constantly abuzz with current trending topics and facts, he also has a regular Friday column in the Metro News along with many contributions in publications nationwide just to name a few. He has also set up shop at the newly launched www.alancross.ca providing the usual music fix of everything you'd ever want or came to expect of the man is there.

There have been mutterings that Cross may work with Corus in the future on a freelance basis only, but will not longer be in the building. What that entails is anyone’s guess, but if presumptions are in order, the freelance involvement would be for Cross to remain submitting new episodes of the forever and wildly popular Ongoing History of New Music to air in its regular rotation. But like I said, this is just an educated guess.

On the flipside, what does this mean for Corus? That would all depend on who you ask of course. Speaking as a child of the 70s and 80s, the Spirit of the Edge began airing out of a tiny little house in Brampton all those years ago. It was second to none and unlike anything else heard across the airwaves . It was the only stop along the dial where it wasn’t uncommon to hear bands like The Smiths, Joy Division, New Order, Stone Roses, The Cure, etc. It was the station that identified with everyone from the geeks to the jocks and anyone in-between who wanted something innovative and different and outside of the typical top 40.

It wasn’t until the mid-90s and into the early 00s that we began to see CFNY’s music format slowly sway from the beloved Spirit of the Edge foundation making room for the new “New Rock” based content slowing leaving the station’s glory years to a fading memory. Along with the departure of many cherished on-air talent (leaving or being shown the door) making way for on-air personnel that correlate with today’s kids, the link connecting the Spirit generation to what the station had become gradually broke down. Other than Dave Bookman as the lone graybeard left from yesteryear who still broadcasts evenings on the station, and the dearly departed Martin Streek, Alan Cross was the last remaining thread that tied myself and whatever Spirit generation there was left to the station. But hey, that’s life. Time moves forward and the torch inevitably always gets passed, but for this listener who favored the earlier format to that of the later, the identity is just no longer there. It was a good 22 year run.

Cross personally told me in a conversation years ago that he enjoyed doing the Ongoing History of New Music so much so that he’ll do it until the day he dies. With the gift of being able to tell such captivating stories, holding the listener to every word, we’re going to hold him to his word. Hell, the man could read the dictionary and make it compelling.

As a true inspiration to thousands and a legend to most, only time will tell what the future holds and exactly where Alan Cross will turn up. But whatever and wherever that may be, as long as Alan Cross still breathes and has a pulse, a music world without his spellbinding wisdom and encyclopedia of a brain, is practically and unquestionably unfathomable.

Live Review: Fleet FoxesMassey Hall, Toronto, July 14, 2011

Photo by Sarah Rix

Sometimes you can’t fully appreciate a band’s talent until you’ve actually witnessed them live. Let’s face it, anyone can make an album with the help of a studio – just ask Smashing Pumpkins. But if there’s one thing Seattle’s Fleet Foxes have already perfected in their young career, it’s translating what they’ve cut to tape to the stage in an absolute flawless fashion. And what better platform to do so than Massey Hall?

Opening with “The Cascades” from this year’s critically acclaimed album, Helplessness Blues, this very bearded ensemble took the stage to a packed house in a very undramatic fashion looking as if they just finished a shift at a logging mill. When I say “undramatic”, band members doing their own sound check prior to curtain call doesn’t exactly make for the most climactic stage entrance come show time.

Amongst a barebones stage set and just a curtain for a backdrop, once the six-piece did kick-start the evening’s festivities, the mesmerizing tone was set from the get-go. In just the first song alone, four of the band’s six members played a minimum of two instruments each before the song concluded.

Other than front man Robin Pecknold’s soaring vocals, complemented by pitch perfect harmonies from drummer Josh Tillman and bassist Christian Wargo, the most fascinating member of the Fleets easily has to be the newly recruited multi-instrumentalist Morgan Henderson. Not only could he have passed for a street person panhandling outside the venue prior to the show, he had a revolving door of instruments in his hands the entire night. Starting with an upright bass and moving to guitar to flute to sax to maracas, needless to say Henderson is the jack of all musical trades.

Next to a near flawless start to a recent North American string of dates, the only drawback of the night was the 2-3 minute gaps between songs it took to tune the guitars that hindered the flow of the evening’s set. Whether an extra roadie or two had border issues getting into the country is anyone’s guess. With that being said, in recent memory, there isn’t a band that has had the capability of captivating an audience with such an array of talent and sound - a rarity far and few between.

Spanning their entire catalogue, evening highlights included, “Drops in the River”, “Battery Kinzie”, “Montezuma”, and the Robin Pecknold encore-solo delivered “Oliver James” with hand-clap help from the audience.

Thursday night’s performance was an absolute treat and an experience appreciating true talent at its purest. Massey Hall was built for bands like Fleet Foxes – plain and simple. Already compared to harmony-rich groups such as The Zombies and Beach Boys, just two full length albums into their career so far, is an incredible feat in itself. One can only hope the best is yet to come.

Next time the Fleets roll through town, especially in a theatre type setting, do yourself the favour and take in such an unforgettable experience. Guaranteed to thank yourself after.


Setlist:

The Cascades
Grown Ocean
Drops In The River
Battery Kinzie
Bedouin Dress
Sim Sala Bim
Your Protector
Mykonos
Tiger Mountain Peasant Song
White Winter Hymnal
Ragged Wood
Lorelai
Montezuma
He Doesn't Know Why
The Shrine/An Argument
Blue Spotted Tail
Blue Ridge Mountains

Encore:

Oliver James
Helplessness Blues

Live Review: Soundgarden Molson Canadian Amphitheatre, Toronto July 2, 2011

One of the year's most anticipated shows made the Canada Day long weekend that much better, as Soundgarden launched their 2011 reunion tour right here in Toronto.

It had been exactly 14 years, 7 months, and 19 days since the grunge forefathers last saw these parts as a foursome, so needless to say their long awaited return was received with open arms packing a near capacity Molson Canadian Amphitheatre. For a show with as much hoopla as it had, surprisingly scalpers were cutting their losses by half, in desperation, trying to unload their extras at the door.

The last time Soundgarden played Toronto was back on November 13, 1996 at the dreadful tin-can of a venue, Varsity Arena. With very little stage chatter, fans could feel the tension ricocheting from the stage the entire night. Most notably, the severe temper tantrums bassist Ben Sheppard displayed while playing with his back to the crowd, eventually smashing his instrument and kicking over amps. The writing was on the wall as it was just a few short months later that the band inevitably self imploded.

Fast forward to 2011 and the difference between this and the '96 show were like night and day. Chris Cornell had even been quoted in recent years that a Soundgarden reunion "just didn't make sense". Maybe it was the money or Cornell's failed attempt at hip-hop to get the wheels in motion. Regardless, clearly all differences have been put aside leaving room for a group out to have fun. Smiles could be seen beaming from all four members faces the entire night. Cornell was not shy giving guitarist Kim Thayill a hug on stage during band introductions setting the tone for an all out lovefest.

Taking the stage right on cue, fog lights would have come in handy to cut the thick cloud of sweet leaf that began to rise even before Cornell had started the first verse of set opener, "Black Rain".

Cornell even had family in tow as he introduced his young son side-stage who was air drumming along all night to the decorated stickwork of the ageless time keeper and full time Pearl Jam drummer, Matt Cameron.

With a front loaded set list, the hits and fan favourites (along with a few obscurities) came one after another all night. A new album is apparently in the works for a release sometime next year, but nothing new or unfamiliar was represented giving the faithful everything they could have possibly asked for. The only questionable part of the evening might have came when the band left the stage before returning for the obligatory encore. Other than possibly "Pretty Noose" (which was surprisingly left off the set list), they left the audience in suspense of what could possibly be the nights send-off during the encore. In the end, not much was missed if you cut out early to beat the crowd.

Sounding completely polished and tight a band as ever, evening highlights began with "Spoonman", third song in, followed by "Rusty Cage", "Blow Up The Outside World" with Cornell letting the audience sing ending chorus honours, "Fell On Black Days", "Black Hole Sun", and hands-down, evening highlight, "Outshined".

With a mesmerizing video and light show from the stage, the audience was also treated to nature's lightshow as the rain came down with forks of lightning about half way through the night. Not an ideal situation if you had a lawn seat.

So now you know, Toronto went home mystified, looking California and feeling Minnesota.

Set List:

Black Rain
Searching With My Good Eye Closed
Spoonman
Gun
Rusty Cage
Blow Up the Outside World
Let Me Drown
Jesus Christ Pose
My Wave
The Day I Tried To Live
Outshined
Beyond The Wheel
Fell on Black Days
Ugly Truth
Burden in My Hand
Superunknown
Black Hole Sun
4th of July

Encore:
Face Pollution
Like Suicide
Slaves & Bulldozers

Live Review: Beady Eye Sound Academy, Toronto June 20, 2011

If the story isn’t old enough already, Beady Eye is Oasis, minus leader and chief songwriter, Noel Gallagher, and it’s been almost three years since the Beady Eye members were last seen around these parts. To be exact, it was September 7, 2008 at the Virgin Festival in Toronto when a crazed fan somehow snuck backstage and interrupted Oasis’ set by blindsiding Noel Gallagher mid-song turning him into a human bowling pin right on stage.

Fast forward to Monday night and four fifths of that Oasis line-up were back in Toronto this time as Beady Eye to make one of only four North American stops to promote their debut album, Different Gear, Still Speeding.

Compared to other markets, Toronto has always been a huge Oasis supporter since the band’s inception, therefore, for Hog town to be included as part of the Beady Eye’s North American mini-tour certainly had to have been a no-brainer.

Even if Beady Eye is basically a sans-Noel Gallagher Oasis, it was a real treat to be able to see the group perform in just a 2,600 capacity club, even if it was the cavernous and inconvenient-to-get-to Sound Academy generally known for its narrow sightlines and poor sound, opposed to the massive and unfriendly stadiums Oasis were stature for.

Amongst a sea of Oasis t-shirts, the mostly 30+ crowd packed the club with more curiosity than anything to get a first time look at Liam Gallagher strutting his stuff without big brother in tow. Decked out in a dapper thigh length Union Jack coat and sporting a massive shaggy mop-top of hair, he was his usual charismatic self, sneering centre stage in his trademark hands-behind-the-back singing crouch, rounded out by guitarist Gem Archer, guitarist Andy Bell, drummer Chris Sharrock, plus touring bassist Jeff Wootton and keyboardist Matt Jones.

Near the end of their career, Oasis were renown for their motionless and statuesque type performances often looking like a disgruntled lot just punching a clock for another day at the office, but this clearly wasn’t the case for Beady Eye. Maybe a brand new start and scaling back to club scene again is all that was needed for igniting energy and getting the band moving. Dare I say it, Liam Gallagher and co. were actually having fun. I guess that’s what happens when you eventually become your own boss.

The electric vibe inside the Sound Academy and smiles all around when the house lights went up at nights end was proof enough a great night was had by all. Not a bad feat at all considering not a single Oasis lick was heard in a room packed full of Oasis faithful. Highlights included single “The Roller”, the raucous ode to heroes, “Beatles and Stones”, the charging bass driven “Man of Misery”, and the atmospheric “Wigwam”. The only thing that might have made the evening all the more better was if in-house screens could have actually displayed subtitles for every time Gallagher spoke in his thick Mancherterian accent.

The tunes were great so Liam gets a free pass.

Live Review: Foster The People The Mod Club, Toronto June 18, 2011

L.A. based indie pop trio Foster the People rolled into town for the second time in just over a two month span on Saturday night at the Mod Club Theatre.

Riding the wave of their newly released and well received album Torches, a faithful crowd consisting of everyone from college kids to 40+ musicphiles all packed the venue to capacity to get a look at what is arguably the year’s biggest buzz band.

Saturday’s show was definitely a series of challenges. Just getting your hands on a ticket for this highly anticipated show was a task in itself. Secondly, for those who had tickets, having to make like a herd of cattle just getting to the club, located smack dab in the middle of the Taste of Italy festival on College Street, was not only exhausting but quite trying. Being such a young band and presumably inexperienced, a tinge of skepticism was had going in, but all it took was just half of one song to throw that theory out the window. Right from the get-go, Foster the People are all business. Frontman Mark Foster’s stage banter and audience interaction was at its barest minimum and performance energy at its maximum. It was all completely clear the moment the fivesome took the stage launching into the track “Warrant” that it was all about hyper for the rest of the evening.

Other than drummer Mark Pontius, all members are multi-instrumentalists and took turns jumping from keyboards to guitar to each taking a turn at aggressively beating a stand-alone floor tom centre stage like it owed them money. For a band that’s only been together since 2009 and its members more than likely only a few years removed from high school, they’ve pretty much already mastered the art of perfect ear-worm pop songs. Torches is entirely full of them, and with that being said, live interpretations of these songs are just as tight live as they are on record. They had the roughly 600 capacity crowd in the palm of their hand — jumping and dancing while singing in unison and filling the room with an infectious vibe. Really, not bad for an ensemble that’s still relatively new at this game. The biggest highlight of the night had to have come with the light show and bubble shower from the rafters that accompanied the most anticipated song of the night and summer, “Pumped Up Kicks”. From that point on, the place was just a sea of grins from ear to ear.

It was at night’s end where FTP scored the highest points with the audience — they left the stage at set’s end, only to return just 30 seconds later for the obligatory encore. No long-drawn out build-up, no denying the inevitable — just getting it done. Bravo. Speaking of encores, can we abolish these things already? We know you’re coming back for at least one more.

If you’ve missed out on the two times Foster the People have been by already, they’re back for a third time this year on October 1st playing the much larger Sound Academy — a Saturday night to boot too. Don’t just think about it, just go. You won’t be disappointed and be humming these tunes for days.


Warrant
Miss You
Houdini
Waste
Call It What You Want
Life On The Nickel
I Would Do Anything For You
Broken Jaw
Pumped Up Kicks
Don't Stop (Color on the Walls)

Encore:
Helena Beat

Live Review: Death Cab For Cutie Phoenix Concert Theatre, Toronto May 18, 2011

Photograph: Sarah Rix

There are definitely both pros and cons to seeing a band at the very beginning of a long and gruelling tour. Pros: there’s likely next to no fatigue and the band is full of energy. Cons: many un-ironed kinks are apparent and need to be worked out before a groove is found. Both were clearly evident in Death Cab For Cutie’s gig on Wednesday night as they kicked off a series of small club warm-up shows to promote the forthcoming album Codes and Keys before hitting up amphitheatres and theatres this summer.

Having graduated from “indie darlings” to commercial success thanks to breakout albums Transatlanticism and Plans, seeing a band in a small setting that has progressed to larger venue status is always a special treat. With that being said, tickets for Wednesday’s show were snatched up quicker than one could say Zooey Deschanel.

The foursome hit the stage wasting no time kicking off the evening with a hits laden set starting with the raucous bass driven stalker single, “I Will Possess Your Heart”, followed by familiar favourites “The New Year”, and 2001’s The Photo Album’s “Why You’d Want To Live Here”. It wasn’t until five songs deep before we received a sampling of what’s to come from the forthcoming Codes and Keys, the dude bashing yet melody filled track, “Some Boys”.

With a scattered set list mostly concentrating on the last three albums, it was more than enough to please the faithful that came to hear vintage Death Cab, even if there were quite a few noticeable blips and hiccups along with a subpar soundboard mix. Regardless, no love lost – it was an opening night free pass.
Although some songs sounded tighter than others, evening highlights included the Narrow Stairs single “Cath”, the new and instantly catchy “Underneath The Sycamore” which is easily a forthcoming single, and the Ben Gibbard solo performed, “I Will Follow You Into The Dark”. It was until the very end of the night that we received the massive crescendo building anthem, “Transatlanticism”, a track so huge you’d have to not have a pulse to not feel the electric vibe unison sing along of Come on! It was about as feel-good as it gets.

With a capacity of roughly 1,100, needless to say many were shut-out of the Phoenix on Wednesday night for a are up close and intimate setting. But before disappointment has enough time to set in, Death Cab will be back in just two short months on July 29 at the much larger Molson Canadian Amphitheatre. Surely by then they’ll be a well oiled machine in the fine live form they’re normally known for.


I Will Possess Your Heart
The New Year
Why You'd Want to Live Here
A Movie Script Ending
Some Boys
Doors Unlocked and Open
Company Calls Epilogue
Long Division
Grapevine Fires
Codes and Keys
What Sarah Said
I Will Follow You Into The Dark
You Are a Tourist
Soul Meets Body
Meet Me on the Equinox
Underneath The Sycamore
Cath...
Crooked Teeth
The Sound of Settling

Encore:
Your Bruise
Title and Registration
Photobooth
Transatlanticism

Album Review: Foo Fighters - Wasting Light

Who said rock was dead? According to some, apparently it has. It’s no secret, rock has taken a definite back seat to the dance pop chart hogging Lady Ga Gas and the Katy Perrys of the world as of recent, but if anyone knows how to rock properly, it’s Dave Grohl and co., here to take a stance and show the world that rock is undoubtedly alive and well.

Into year 16 of the band’s existence, Wasting Light is the Foos seventh studio album and arguably their best in well over a decade. Both heavy and melody laden, and not a ballad to be found, Grohl (aka: the nicest guy in rock n roll) has even admitted to feeling like he’s been lumped into the same category as Bon Jovi by the kids these days, but all it really takes is 25 seconds in to lead off track “Bridge Burning” to realize that comparison couldn’t be any further from the truth. Album number seven also marks the first time in 20 years that Dave Grohl, producer Butch Vig, and ex-Nirvana band mate, Krist Novoselic (making a guest bass appearance on “I Should Have Known”) have shared a creative space together since the recording of Nirvana’s Nevermind.
Also staying with the Nirvana connection, Pat Smear, touring guitarist during the band’s latter days, is officially back full-time into the Foo fold after departing in 1997.

No studios, no pro-tools. Wasting Light, appropriately nicknamed “The Garage Album”, was solely recorded in Grohl’s garage using only analog equipment, a process that’s undeniably gone by the way side more or less. A definite rare and tedious recording process in this day and age indeed, but the dirty raucous ferocious balls-to-the-wall sound the Foos were trying to capture with this effort, it really couldn’t have been done any more flawlessly.

It’s quite possible after having rubbed shoulders in the studio and on tour with fellow Them Crooked Vultures band mate, John Paul Jones, for the past few years that Grohl might have been highly influenced by the Led Zeppelin legend’s recording process of yesteryear to take the analog route once the Foo Fighters rejoiced.

This is an album meant to be heard in its entirety oppose to just a patchy collection of scattered singles. Just a number of the stand-out tracks deserving of the 3-fingered rock-on salute include potential future single “Arlandria”; “Dear Rosemary” which contains superb guest vocals from Hüsker Dü frontman and Dave Grohl idol, Bob Mould; and leadoff single “Rope” containing such a killer hook you may actually want to refrain from driving while listening – pedal to the metal will be inevitable.

If Wasting Light isn’t enough for the hardcore faithful and avid fans alike, be sure check out the incredible Foo Fighters rockumentary, Back and Forth as the perfect companion piece. It starts from band’s inception after the implosion of Nirvana and covers every high and low of the band’s career right up to modern day and the recording of Wasting Light. Everything you ever wanted to know about the Foo Fighters is here. Take heed people, the Foo Fighters are back.

4.5 out of 5

Live Review: Chris Cornell @ Queen Elizabeth Theatre, Toronto, April 20, 2011

Photograph: Alison Lo

It didn’t take long to notice I was clearly amongst a mostly 30+ crowd looking for a shot of nostalgia and to relive some stripped down anthems that once defined their youth of yesteryear, as I stepped foot into the Queen Elizabeth Theatre on Wednesday night.

With the smell of incense filling the air, a very jovial Chris Cornell outfitted casually in a v-neck sweater and jeans took the stage to a standing ovation, bowing and appearing genuinely flattered by the adoration as he propped himself on what looked to be a barstool centre stage. He was surrounded by the typical acoustic and electric tools of the trade and a few unusual stage props such as an old fashioned telephone plunked atop a stool beside the singer throughout the evening. A first time sighting of its kind for this reviewer.

Arguably having one of the best rock voices of all-time, there was a bit of skepticism going in to this show for the condition of Cornell’s pipes after having to call in sick, just one night prior in Poughkeepsie, NY. If he hadn’t openly admitted he wasn’t exactly feeling 100%, even comparing it to the coming down feeling of his drug days, the one or two minor blips went practically undetected. “I love Toronto very much” were just a few words of gratitude Cornell expressed throughout the evening. He spanned his entire career, offering up acoustic renditions of his classics Soundgarden/Audioslave/solo anthems, deep album cuts, and even a number of covers including a highlight rendition of Led Zeppelin’s “Thank You”. Early on he mentioned he had a list of roughly 25 songs he was going to play throughout the evening, but welcomed requests from the audience if there was anything in particular anyone wanted to hear. I then welcomed this opportunity to bellow out a personal Soundgarden favourite “Like Suicide!”, in which he actually obliged.

The biggest treat of witnessing an intimate acoustic performance of this nature is not only hearing the classics peeled back to their barebones infancy, but the stories that go along with the songs and how they were originally conceived. Painting a clear picture while telling a story is a quality Cornell is extremely good at. He even put down the guitars entirely for “When I’m Down”, singing only to a vinyl recording of a piano on a record player setting the stage for a complete living room feel.

Some of the more interesting moments of the evening were the acoustic portrayals of tracks from Cornell’s failed Timbaland produced 2009 electro-pop album, Scream. Knowing how these songs could have originally sounded had Cornell stuck to the guitar-driven course opposed to taking a perplexing R&B direction, it was enough to ponder ‘what could have been’ and temporarily forget the blunder he made just 2 years ago.

Evening highlights included “Fell on Black Days”, “Seasons” originally found on the 1992 Singles soundtrack, a dramatic cover of Springsteen’s “State Trooper” in which Cornell himself deemed “F**king cheating” as he sampled himself playing back-up as a second guitar part, and most definitely “Hunger Strike”, a flawless solo effort after admitting he was nervous attempting of what is originally a two-man duet with Pearl Jam’s Eddie Vedder.

The evening ended with Cornell inviting the crowd up as close to the stage as they possibly could to take part in a lovefest sing along before setting off for the night, only to return for a three song encore.
If you missed the opportunity to be apart of this extremely rare occasion, fear not as Cornell will be back in town on July 2 in full band mode with a reunited Soundgarden at the Molson Amphitheatre. Much larger scale mind you, but after a 15 year absence since we last saw the foursome play in these parts, it’ll undoubtedly be the must see show of this coming summer concert season.


Scar On The Sky
Be Yourself
Can’t Change Me
As Hope and Promise Fade
Ground Zero
Call Me A Dog
Fell on Black Days
Dandelion
Thank You (Led Zeppelin)
I Am the Highway
Sunshower
Hunger Strike
State Trooper (Bruce Springsteen)
When I’m Down
Seasons
All Night Thing
Man of Golden Words (Mother Love Bone cover)
Comfortably Numb (Pink Floyd teaser)/Say Hello 2 Heaven
Mind Riot
Like Suicide
Like A Stone
Doesn't Remind Me

Encore:
Sweet Euphoria
Black Hole Sun
Imagine (John Lennon)

Album Review: The Strokes - Angles

There’s not very many bands that can take a 5 year hiatus in-between albums (alas The Stone Roses - The Second Coming) and still have their core fan base intact awaiting their return. With the constant demand for new music and the easy accessibility to it in this day and age, most musicphiles just simply move on.

Since the release of First Impressions of Earth [2006], we saw a handful of solo albums from three fifths of The Strokes, none of which having any real lasting power that all pretty much came and went. With the new release of the band’s long-awaited 4th album, Angles displays an obvious slew of new influences, most certainly due to this album being a democratic effort opposed to Julian Casablancas solely taking the lead this time out.

Angles is a very scattered record and it completely stands out from anything we’ve ever seen from The Strokes. From track to track, the flow of songs jump back and forth from a very, new-to-The Strokes, 80’s New Wave synth to the post-punk garage clang that originally made the world take notice of this NYC outfit. To classify Angles in a single definition: It’s the love child of The Cars and Talking Heads with Thin Lizzy as a distant cousin.
Right from the first few bars of lead off track "Machu Picchu", you can totally anticipate Cars vocalist Ric Ocasek’s pipes to kick in, while second track and first single, "Undercover of Darkness", is where we’re hit with the familiar, hyper-bouncy-upbeat Strokes that wouldn’t sound out of place on 2001 debut, Is This It. From this point forward, the tone has been set.

For a band that’s been in the game as long as The Strokes have, and arguably making one of the top 10 best albums from the decade prior, you can’t help but admire a band that changes pace and experiments to alleviate any kind of repetitious monotony. But the longevity between albums that left the Strokes faithful pining for something new, Angles may be a little hard to grasp for anyone longing for vintage Strokes. It’s there, but not by much. Key tracks include "Taken For A Fool", "Gratisfaction", "Life Is Simple In The Moonlight", and the aforementioned, "Undercover of Darkness".

Allegedly the band has already started work on a follow-up to Angles as perhaps a half-decade apart has intensely kick-started creative juices. With Angles clocking in at just under 35 minutes, it wouldn’t be surprising to learn if this album was actually written in the studio or hammered out in just over a weekend. There’s nothing here that screams out they’ve had this one pent up for 5 years.
The album has already been called a masterpiece by some critics and the band’s best achievement since their spectacular debut from others. It’s possible this one’s a grower and takes multiple listens before branding it with excellence. As for this reviewer, and most definitely a Strokes fan, I’m still waiting.
Here’s hoping this collection is just a warm-up of what’s really to come.

2 out of 5

Live Review:Jeff Tweedy @ Queen Elizabeth Theatre, Toronto, March 22, 2011

(Photograph: Timothy Turner)

While taking a break from recording the follow-up to the 2009 album, Wilco (The Album), Jeff Tweedy left his bandmates at home and kicked off a solo tour in Toronto on Tuesday for the first of two intimate performances at the Queen Elizabeth Theatre.

With a venue no bigger than a high school auditorium and not a bad seat in the house, Tweedy shyly took the stage almost resembling “The Man in Black” and took a sold-out 1300 capacity venue and made it feel like your living room. He wasted no time strapping on one of the five acoustic guitars surrounding him in a semi-circle, and launched straight into “In A Future Age” to kick-start the evening’s festivities.
Tweedy treated the audience made up of die-hard and devout Wilco fans to a vast variety of favourites and rarities from the Wilco catalogue, as well as a few numbers such as the whistley “Ruling Class” from his work with Loose Fur, and “Wait Up” from his Uncle Tupelo days.

Tweedy has been known for being intolerant with crowds and has had a tendency to show his cranky side in the past, but he was in fine form on Tuesday night displaying his quick-wit and dry humoured stage banter that would make most stand-up comedians jealous, especially when dealing with the mostly obnoxious male fans hollering out in-between songs displaying their man-love for the frontman, all the while handling it like a seasoned pro.

If there’s one thing particularly unique about Wilco and Tweedy solo shows what sets them apart from other bands is that they let their fans help build their set lists night after night, via the band’s website. With that being said, and happy to oblige, he then in turn poked fun at those fans calling them “geeks” who actually take the time to log on and specifically request certain songs for shows. This was his excuse for having mucked up the guitar arrangement on a couple of songs and forgetting lyrics on another, specifically “Poor Places”. But really, no one cared. It made for a good laugh and an incredible opportunity to hear how all these songs were likely originally conceived from their barebones and rarest form. Especial bright spots, “I’m Always In Love”, and the Tweedy penned Mavis Staple track, “You Are Not Alone”.

“Have I ever played solo in Toronto before?”, Tweedy questioned from the stage, as he was immediately reminded from the faithful in front that he had indeed done so back in 2002. “Oooh, the bad old days” wincing with a shudder. Body language alone indicated he may have been reminded of a low-point in time when turmoil and infighting were at its peak within the band (captured and well documented in the film, I Am Trying to Break Your Heart: A Film About Wilco). A few other evening highlights were an unprovoked sing-along of “happy birthday” after Tweedy announced it was his guitar tech Steve’s birthday, as well as announcing he had paid a visit to Toronto’s Sky Blue Sky sandwich shop for a bite to eat, an eatery completely inspired by Wilco and named after their 2007 album of the same name.

After a full set, Tweedy returned for a three song encore, only to leave and return for a second encore to perform “Acuff-Rose”, completely unplugged with no PA. Just a man and his acoustic guitar at the very edge of the stage.

Needless to say, a good night was had by all the Tweedy faithful, as the house lights emerged and a sea of smiles appeared - it pretty much said it all.

4.5 out of 5

In a Future Age
Spiders (Kidsmoke)
Open up Your Mind
I Am Trying to Break Your Heart
One Wing
Muzzle of Bees
Chinese Apple
Via Chicago
Please Be Patient With Me
I’m Always in Love
The Ruling Class
You Are Not Alone
Wait Up
Magazine Called Sunset
Poor Places
Hummingbird

Encore:
Jesus Etc
California Stars
Shot in the Arm

--------------------
Acuff-Rose

Album Review: The Joy Formidable - The Big Roar

For just a three-piece ensemble, The Joy Formidable certainly know how to pack a punch sounding larger than they physically appear. This North Wales tandem (now by way of London) clearly draw a heavy influence from the distorted guitar-driven drone, better known as shoegaze.

The Big Roar is the band’s first proper full-length album after having released a handful of singles and an EP, 2009’s EP A Balloon Called Moaning in the past.
The opening track, "Everchanging Spectrum of a Lie", sets the tone perfectly for what to expect on this album – drawn out fuzz and distorted squall eventually building to massive crescendos, all built around cute contagious vocals from front woman Ritzy Bryan.

The Big Roar has many bright spots. I’d defy anyone to listen to singles “Whirring” or “Austere” and not find yourself bouncing with energy within the first 20 seconds of each opening. Both of these songs are unquestionable album highlights, but anyone already familiar with The Joy Formidable before this album’s release have heard it all before. Other than the album’s lead-off track or the very My Bloody Valentine-esque “A Heavy Abacus”, The Big Roar’s definitive moments can already all be found on A Balloon Called Moaning, which some may even say for the better. Aforementioned singles and other tracks have either been expanded or filled out with multi-tracked vocals. More so a matter of being tinkered with and remodeled for the sake of nothing really.

But not all is lost. If you are in need of a new guitar-driven shoegaze fix melded with melody along the lines of a Jesus and Mary Train, or if the distorted fuzz of a Sonic Youth or Slowdive is your thing, than really, look no further than The Big Roar.

2.5 out of 5

Album Review: Beady Eye - Different Gear, Still Speeding

Sibling rivalry finally comes to a head. Big brother takes his ball and goes home. Little brother picks up the pieces, changes the name of the band, and soldiers on. Oasis - Noel Gallagher = Beady Eye.

This 13 song debut, Different Gear, Still Speeding, plays it safe and doesn’t really wander too far off the Oasis beaten path. If anything, it’s a perfect example of just how far Liam Gallagher’s songwriting has propelled over the past decade. With desperately trying to prove that he no longer needs big brother, Noel at the helm, kudos to Liam who has really travelled light years from his first embarrassing penned composition, “Little James”, from the 2000 Oasis album, Standing On The Shoulder Of Giants. To give any idea how far “Our Kid” has come since Little James, anything from Different Gear, Still Speeding sounds like Sgt. Pepper in comparison. Then again, what’s a Gallagher composition without the slightest inkling of influence from the Fab Four?

It’s no secret the influence The Beatles have had on the Gallaghers their entire career. Heck, even Liam went as far to name his first born, Lennon. Those are some big shoes to fill. History always seems to repeats itself and it’s clearly apparent on Different Gear, Still Speeding’s latest single, “The Roller”, casting a reworked Instant Karma vibe, while the grinding ditty of, “Beatles and Stones”, is a lot less subtle. Really, no surprises here.

The album is an admirable effort and does have it’s share of shining moments, but it doesn’t exactly exceed any expectations. The middle of this collection contain more than it’s fair share of filler, but it also has it’s bright spots as well. Stand-out tracks include “Four Letter Word, “Millionaire” and arguably the best and most feel-good track on the album, “The Beat Goes On”. All in all, a significant feat considering the band’s Grand Poobah is no longer at the helm. Noel Gallagher, the ball is officially now in your court.

2.5 out of 5

Album Review: R.E.M. - Collapse Into Now

There are very few acts that can generate enough interest from their fans to be genuinely excited after a 30+ year career for new material. Self-parody is all too familiar for any group that’s been around long enough, to go from spokesperson of a generation to an aging graybeard while trying to remain relevant all the same. Just when some may have felt R.E.M. might have stayed a little too long at the party the past 10 years or more, Collapse Into Now returns to the form which brought the group their early 90’s notoriety which made them a household name.

For their 15th studio effort, Collapse Into Now, was a name suggested by legendary proto-punk poet and admirer of R.E.M. front-man Michael Stipe, Patti Smith, who also contributes backing vocals to a couple of tracks. But, had they instead decided to entitle this new collection of songs “Out of Time pt. II”, they wouldn’t have been too far off with a striking comparison that evident. Peter Buck was even quoted as saying the threesome hasn’t been as excited about an R.E.M. album “in the last 20 years”; the exact amount of time passed since Out of Time was originally released. Coincidence?

The new tracks on Collapse Into Now such as “Überlin” make a perfect companion next to older pieces such as “Losing My Religion” or “Texarcana”, while the new ballad “Oh My Heart” easily compliments the jangly arrangement of Out of Time’s “Half A World Away”. Even the upbeat and quirky “Alligator_Aviator_Autopilot_Antimatter” shows the eccentricity side of the band reflecting back to earlier days with cuts such as “Stand” and “Shiny Happy People”. All enjoyable none the same. Stand out tracks on Collapse reflecting vintage R.E.M. include “It Happened Today” featuring prominent backing vocals from Eddie Vedder, the bouncy first single “Mine Smell Like Honey”, and the infectious and beautifully arranged “Walk It Back”.

R.E.M. has done a 20 year full-circle with this new effort, and unlike the past few releases, there’s very little filler to be found. Multiple listens in this collection are in order, and once again, the trio has found the formula that originally made us stand up and take notice. I’m already predicting Collapse Into Now will show up in many best-of year-end lists.

4 out of 5

Things I learned from a fallen brother - this note's for you

My entire life I've had this tendency of retaining mass amounts of useless music facts and information, to the point that if one were to open up my skull and analyze my brain, it just might resemble an episode of Hoarders. Sure, I’m the occasional go-to guy for music related facts opposed to Google, but other than self-amusement, it really doesn’t get me very far.

With that being said, and because of an extremely tragic incident, a number of those facts have been surfacing lately giving me the opportunity to reflect and remember with great fondness as to when and where I learned them.

The year was 1997 and I met this guy Ryan through a friend of mine, Jeff. He was an ordinary average guy and instantly gave off a genuine good-nature type aura. He needed little-to-no warming up to and I can honestly say I liked him the moment I shook his hand. Within just a short while, we recognized we had a lot in common, and just like that, an instant camaraderie was born.

The love of music was just one common ground Ryan and I stood on and together we both shared quite the admiration for Nirvana. I always thought I knew everything there was to know about the band until the time Ryan mentioned his favourite Nirvana track was a song called “Marigold”. I had never heard the song before and just assumed he was mistaken with something else, but it was he who introduced me to a huge slew of Nirvana b-sides that I never knew existed. Still to this day, whenever I hear the first few chords to one of the many Nirvana b-sides loaded on my iPod, Ryan instantly comes to mind.



Then there was the time I wore a Goo Goo Dolls shirt to a Goo Goo Dolls concert. A few of us went to an all day festival race car/concert event years ago, and one of the bands playing was the Goo Goo Dolls. I happened to have a Goo’s shirt tucked away in the back of my closet and I figured it was more than the appropriate thing to wear that day. It wasn’t until we got to Ryan’s house before leaving that maybe my choice of attire wasn't such a good idea. Apparently I was committing a major concert faux pas - wearing a band shirt to the show of the band you’re going to see. The hazing came fast and furious as a pissing contest ensued between us, but by the time the jabs had finally subsided, I probably would’ve taken less abuse had I worn socks with sandals instead. To this day, if ever I’m at a concert and see a fan wearing a shirt just like I did all those years ago, I fight temptation of tapping the person on the shoulder with a, “er, excuse me, but don’t you know….”. Needless to say, I’m seasoned with concert attire these days. Payback is a bitch though - I had a field day the day Ryan revealed he was a Limp Bizkit fan.

Fast forward a summer later, Ryan had a barbeque with a group of friends. When the first few bars of the Phil Collins’ hit, “In The Air Tonight” hit the radio, Ryan told the tale behind the song of which none of us had ever heard before. According to the lyrics, the song is based on a true story where Collins witnesses a man refusing to come to the aid of a drowning swimmer, and years later Collins invites the perpetrator to the show where he premieres the song for the first time. And now because the man has been disclosed of his long lost secret, he immediately commits suicide following the concert in a fit of guilt. Ryan told this story with such convincing and meticulous detail, I was blown away and made him tell it twice. As compelling as the story was, it wasn’t until a few years later that I learned the story was complete folklore and turned out to be one of rock n roll’s greatest myths apparently. A little disappointing actually, but it was still fun to hear and I’ve never forgotten where I was and who told me the story.

Although Ryan and I were never the closest of friends and only saw each other sporadically over the past ten years or so, it was always like no time had ever passed whenever we did cross paths. He was always the jovial, happy-go-lucky Ryan I had ever known.

The day we learned of his brave yet harrowing passing, it was all just too surreal and mind numbing to fully comprehend. Trying to make sense out of an act so unspeakable and heinous, all I could think of is something so horrific unfortunately happened to one hell of a human being.

If anything positive has come out of his unspeakable tragedy, it’s all the memories that have come flooding back – captures in time that define one’s youth. To have known him is an honour and a privilege, and I honestly believe I’m a better person for it.

Sgt. Ryan Russell #7686, you are forever saluted.
Thanks for the memories, my friend.

Live Review - White Lies @ Mod Club, Toronto, January 29, 2011

For a first time listener of White Lies, it’s doubtful one could ever imagine these guys are just a few years removed from high school. With a sound so profound with deep, dark lyrics, this is a group that is already light years ahead of its time.

The group made their Toronto return to a sold out Mod Club for a stop on a mini 4-date North American tour promoting their barely 2 week-old sophomore release, Ritual.
With curfew in effect, the 5-piece made their way to the stage promptly on time and looking as if they just walked off the set of a Gap commercial donning crisp and neatly pressed shirts and not a single hair out of place.

“Good evening Toronto, we’re White Lies”, followed by a near mint sounding “A Place To Hide” from 2009’s debut To Lose My Life. The evening’s set basically consisted of a flip flop of tracks between both albums, in which it wasn’t hard to notice the difference in crowd reaction with cheers definitely more pronounced for TLML tracks. At this point, it’s too early to tell if fans prefer the earlier stuff to that of the new album or if it’s just too unfamiliar being so primitive. It wasn’t until later in the set that the fans showed true appreciation for Ritual cuts, highlights being "Peace and Quiet", "The Power and the Glory", and the colossal first single, "Bigger Than Us".

It really is astonishing how this band can take songs mostly themed about death and gloom and give them such a joyous and uplifting overtone. It was clearly evident with the room bouncing up and down in unison with smiles from ear to ear screaming such lyrics as, “let’s grow old together, and die at the same time”. Caught up in that type of buoyancy, I then shortly found myself in a head scratching, “hey, wait a minute” type moment. Especially after standing beside a grown man jumping around all night with fists pumping and screaming like a 14 year-old girl. (Think 60's vintage Beatles concert footage). Needless to say, it was a sight to be seen in itself.

Tonight’s affair was definitely a hot ticket leaving many disappointed of being shut out of a roughly 600 capacity club. But the love Toronto showed White Lies last night, there’s no doubt they’ll be back in the very near future in a much larger venue to say the least.

Damn, I love this band…..



Video courtesy of Christine Estima