We’re gearing up for the first-ever event of our Showbox Concert Series on Saturday, October 28th, and we’re giving away some free stuff! The show will take place at the incredible St. Alban’s Church, which offers stunning acoustics and an intimate atmosphere for concertgoers.
Headlining the evening will be Claude Munson, making a rare and intimate appearance with his full band. Acclaimed Montreal/Ottawa outfit Little Suns are also gracing the stage, and will be taking this opportunity to officially release their latest album ‘Zero’ digitally. An offshoot of Ottawa’s art-rock collective Pony Girl called mal/aimé will be performing their experimental chamber sounds to kick off the evening.
Advanced online tickets are $13, and can be found here. Physical tickets will be available at the venue on the night of the show for $15. We hope that you’ll join us to celebrate this new addition to the Ottawa music landscape!
We’re giving away two pairs of tickets and a CD/t-shirt from Little Suns leading up to the event on October 28th, so be sure to enter! The draw will happen on Wednesday, October 25 at noon.
Simply answer the question below:
Q: Little Suns’ frontman John Aaron Cockburn is the nephew and on-stage touring support for which famous Canadian musician?
Some things never change. Walking down Bronson Avenue among the early fall aromas of Pizza Pizza dough and gasoline, I felt unstuck in time. It felt like a scene from a movie about my life circa 2007: a young man makes his way to a New Pornographers show at the Bronson Centre. Oh, and Born Ruffians are playing.
Okay, so maybe some things change. Ten years makes an impact, and the city, the music scene, and everyone involved have changed quite a bit. In theory, the New Pornographers have roughly same lineup they did when “Use It” was pretty much everywhere, but Dan Bejar and Neko Case were notably absent Thursday night. Dan is busy with Destroyer and Neko is occupied with her solo career. Todd Fancey and Kathryn Calder were their backups, and while they were fantastic replacements, there is something slightly off about the band when two of its most prominent members are absent.
Yet Carl Newman’s presence was enough to make all absences irrelevant. Two decades in a touring band will hone one’s talents, and Newman has become one with the stage. He clearly knows the material, and he still brings a tonne of energy to older songs, of which the lengthy set list contained many.
The band played a tight, breathless set comprising most of their well known songs, with the exception of any sung by Bejar (some things cannot be replaced). Their triumphant closer was The Bleeding Heart Show off 2005’s Twin Cinema, a masterpiece of Canadian indie rock that starts slow and builds to a soaringly high energy finale. Doubtless, they know their audience, and the room went absolutely crazy for it. That is, they went crazy for the parts they could make out over the refractive wall of sound issuing from the stage.
Because, here’s the thing: the Bronson Centre is nice and all, but the acoustics are pretty awful. It’s a square room with nothing on the ceiling and bare, reflective walls. The sound bounces around in there like Flubber, and with a band like The New Pornographers that can really be a problem. There were seven people on stage, with violins, keyboards, guitars and drums all clattering together. Now try adding vocals to that mud, and you’ll see why a melodically-focused band might be better off in a different venue.
However, since Bronson Centre is about the only venue in the city with the right size for the band, we may be stuck with it.
Luckily for Born Ruffians, they had only three members on stage. The band was a good fit as an opener because, besides having risen to fame at roughly the same time, their music is written in service of its vocals. Both Carl Newman and Luke Lalonde put on excellent performances, even if their vocals were largely indiscernible. Born Ruffians even debuted a couple of new songs from their upcoming record, which seemed like a step in a distinctly more dancy-punk direction.
While both of these bands have been around for some time, the fans were going just as crazy for their new stuff as their old stuff. The future is as bright as the past for them.
It’s been a little over a year since Toronto’s Weaves released their debut LP on Buzz Records, rapidly becoming a household name in the Canadian independent music landscape. They have been quick to garner international praise for their brand of unconventional guitar pop with not-so-subtle hints of improvisation. The self-titled effort was largely, considered a great success by music publications far and wide. Their album also scored them a short list nomination for the Polaris Music Prize this year, which they performed at a few weeks back after a year of relentless touring. Let’s just say that this is one band you can’t miss seeing live.
Weaves isn’t kicking back just yet. They have just released their second LP called Wide Open, and are out to prove that there is no obstacle too big for them to scale. Their answer to the challenge of following up a hugely successful debut is to keep creating, and continue to push boundaries wherever possible.Wide Open bounces from calm to chaotic, and pulls listeners in every direction. Early listens from publications like Stereogum indicate that Wide Open will surpass expectations, and even critically out-do their debut. I chatted with founding member of Weaves, Morgan Waters, about their success, their approach to following up their first album, and new steps they’ve taken as a band.
Weaves seems to tread a line between people’s comfort zones. Is keeping listeners on their toes something that comes naturally to the band?
I think with any art you don’t want to be boring. And with us it’s always a mix, we don’t really plan anything out. It’s about showing all the influences crashing up against each other. We want to surprise the listeners, and surprise ourselves. The mix of the artistic and the pop gets thrown into the blender where there’s no genres or anything like that. It’s all fodder for something new.
In what ways did the road and your experiences after the debut release influence songwriting on the new LP Wide Open?
Jasmyn starts everything and it all seems to come from her initial spark. She doesn’t really write anything down, she kind of ruminates about things for a while without telling any of us. It seems to come out of her when she goes to the rehearsal space by herself, recording, looping, figuring things out, and from there it all comes out pretty fast. When she’s in that mode, it’s a quick and fertile ‘brain’ thing going on with her. Then we hear the demos she comes up with and we work on it from there, but within 20 minutes of writing a song the lyrics are all usually there and never change.
You and Jasmyn have an obvious chemistry together in the band. In what ways do you compliment each other as artists?
I think Jasmyn is more impulsive and emotional, and I’m more of an editor. I help present her initial ideas in a way that elevates them. That mix of impulsiveness and my revising or editorial skills kind of complete each other. She loses interest quickly and I never stop obsessing, so we temper each other in that way.
A lot of the time I’m sort of translating her ideas, where I’ll sit there and say what I think will work for whichever project we’re focusing on. I’m very happy to work that way and cycling through the ideas, I have an endless amount of patience. I’ll work hard to try to find the “thing” that clicks for both of us.
Many of us were really excited to see that a collaboration with Tanya Tagaq was included on Wide Open, and the Polaris gala performance of Scream was incredible. How did the partnership come to fruition?
We met Tanya at Iceland Airwaves, on the airplane ride over there. Spencer and Zack kind of knew a few of her band members, and we sort of hit it off the whole weekend. We went to her show, and ever since then we always sort of thought that it would be really great to work with her on something since she takes a very improvisational approach to her music as well, which we’re into. It’s all about capturing a moment, and “Scream” seemed like the perfect song to collaborate with her on.
There is a distinct visual element to Weaves, in things like music videos and album art. What role does visual art and aesthetic play for the band?
It’s a major consideration, but it’s also something that just happens. Similar to our music, we like to leave our videos kind of open so that we can improvise on the day-of. On “Scream” we had a white room studio and a good DP (Director of Photography), so Jasmyn and Tanya were able to move around the space freely. It’s personal expression first, and then concept or theoretical parts are secondary. It’s really about freedom of expression, and that factors into our videos. We shoot stuff and see what happens.
Weaves was shortlisted for the Polaris Music Prize this past year, and there were a lot of incredible artists in the running. What do you think Lido Pimienta’s recent win means for Canadian music?
The best part was that we were given the opportunity to perform live, since playing on stage is where I think we can really stand out. So performing on stage with people like Feist and Lido was a way for us to really show what we’re all about. To us, that was much more important that any sort of competition or win in our books. The concept of “winning” in art is weird. So just the fact that we got to play, and play a new song “Scream” with Tanya was the biggest part for us, really exciting.
I think with Lido’s win, I don’t know if it shows what direction Canadian music is going… I’m not really sure how the voting works and all that. It’s so great that a DIY artist like her can win something like that, and I think that will become the norm as labels keep shutting down and people keep doing things themselves. There are no major label budgets and funding isn’t always there, so artists need to be able to do it themselves. Lido winning shows that you don’t need all that other crap, it’s about the music. It’s about what you have to say. You don’t really need teams if you have the work ethic.
Gatineau’s Outside I’m a Giant is set to release their much-anticipated debut album in Wakefield, QC, on Saturday night. The ambient folk trio was founded in early 2016 by Canadian singer-songwriter and guitarist, Jérémi Pierre Caron, and have made their presence in the Canadian music scene known by their inclusion on bills at CityFolk Festival, Black Sheep Inn, the legendary Horseshoe Tavern, and venues scattered along the east coast while on tour.
Their debut record, Point Comfort, is the culmination of many of these early band experiences. Their hard work over the past two years has led them to the Black Sheep’s stage once again, this time celebrating the release of the spectacular 12-track effort. Its influences are likely numerous, but it is impossible to listen to Point Comfort without hearing—and feeling— the brooding, simmering echoes of Leonard Cohen embedded in their work. While Caron’s songwriting takes a more direct approach, the contemplative storytelling and enthralling musicianship ooze from this record in a similar way to Cohen’s body of work. One may simply find themselves sitting in silence in the moments after the record finishes, ruminating.
The intricacy and scrupulous instrumentation that is woven throughout Point Comfort is made immediately apparent, and the cinematic qualities that each song contains evokes moving imagery draped over emotions. Caron’s deep, rumbling vocals compliment the storytelling and instrumentation beautifully, grasping the listener in a comforting way while guiding us through the tumultuous journey. It some ways it is reminiscent of The National’s Matt Berninger, and Caron similarly utilizes his vocal prowess in ways that indulges the eardrums without overpowering the gentle instrumental moments, or distracting from the tapestry created by the strings.
If you’ve never had the chance to catch Outside I’m a Giant live, there’s no better place to see them than the Black Sheep Inn tonight in Wakefield. Ticket information can be found here, and at $10 each, it’s a steal.
Masks. Clouds of smoke. Decked-out pickup trucks. Skulls. These are all reasons to love Ottawa surf-punk queens Bonnie Doon.
But there’s so much more to them than that. Their brand of fuzzed-out, bass-heavy sludge-rock is meant to captivate audiences and shock the senses. Their energy, weirdness, and overall “we do whatever the fuck we want” attitudes are what really define this group as something special.
Bonnie Doon’s latest album Dooner Nooner (released on Record Store Records) is an acid trip through and through, and will take you from heavier face-punching tracks like the opener “Haunted Life,” to wild lo-fi experiments like the closer “B-Hole.” Their latest video for “Now or Neverish,” which premiered on Clash Music this week, is probably unlike any you’ve ever seen—and it comes just in time for Halloween. Take a dash of classic surf rock, a pinch of doom, and a swig of spiked punch, and that’s what “Now or Neverish” feels like spinning on the turntable. But, you need to see it to believe it.
Watch the new video for “Now or Neverish” by Bonnie Doon below. Produced by MAVN.Stream and purchase Dooner Nooner here. Be sure to catch Bonnie Doon live at House of Targ on October 10, along with Weaves and Organ Eyes. Ticket info here.
Casual Hex presented a show at Pressed that brought forth good tunes and good times last week. With a line up like Steve’s Job, So Sensitive, Tough Age, and Jay Arner, there was always dancing, singing, some banter, and the very few strange mishaps here and there throughout the night.
Opening with a calmer vibe, but not closing off the same way, was Steve’s Job. Despite the few shows they’ve played, this one being Steve’s 4th job, they really harnessed an energy from what they’re doing and hold a very specific stage presence that’s hard to ignore. Subtle and loud, indie but with kick of a new flavour, the band makes the show fun and positive. Guitars light and airy with a good strong baseline and vocal harmonies that range from monotone to expressive. The band is a sight to see and one to listen to. Banter is always included!
Not only that but the band recently began using a chorus pedal and they have it down. It creates an emphasis on verses and lyrics, forming the effect of the band surrounding you completely. You get lost in the soundscape that these incredibly talented individuals create, and it draws you in differently every single time. They’re silly, fun, and they’re the perfect mix of something melancholy and their own upbeat summer sound. I’ve mentioned it before but if you’re going on a road trip, roll down your windows, turn up their tunes, and just listen to the music these people make. It swept the crowd away with its elegance, sweet talked it with its grace and air, and of course got them swaying to the sweet melodies produced. There is absolutely nothing this band can’t get the crowd to do. They’re loud, light, airy, and overall provide great tunes and sweet times for all friends and spectators alike.
The Pixies effect is used by many bands but keeps coming back as a unique and outstanding trait in music. So Sensitive captured this vibe, fusing indie and rock together in a progression of loud, to quiet, to louder. Despite it being their first show, the group is composed of former members of BB Cream and members of Deathsticks. The band brought an air confidence with them, mouthing words to their own songs when only one person would sing and they would dance around while performing. It is grit, but polished grit, and quite frankly the solos played over simple chord progressions seemed so much more complicated than they actually were. Bands that manage to turn simplicity into a beautiful and complex soundscape never fail to blow me away because they’re taking so little and creating so much.
So Sensitivehas a stage presence that seems to push others to let loose and get lost in all the intricate tonality of each and every composition the group has come up with. Each is unique but tied together in a similar sense, often with the shift in mood or pace. They have a solid sound with the power and volume that screams rock. Soft vocals add to that smooth sound that recalls The Pixies’s Kim Deal, and really set a mood for the show.
My best advice is that you look out for the next show they play and head on down to hear some very sweet and joyous tunes that will be sure to get you moving and smiling.
Tough Age, a Toronto based indie rock band, took the stage not too long after and from the very first note had the crowd hooked. The crowd moved in waves, pumped their fists in the air, danced, and sang along to this high energy band. The vocals were in no way clean or polished. That set the tone completely and added a sense of looseness and comfort to the atmosphere.
The bassline is quick and prominent, and the guitar follows up right behind, the two instruments creating harmonies that get you hooked and dancing. The raw passion that is used to play the bass and guitar are absolutely insane. Tough Age play with such fire that within the first few minutes of the set one of the strings of Jes’s guitar snapped and he ended up playing through a song with five strings.
The drums are quick and prominent. I didn’t see a moment where Jesse wasn’t smiling. Despite the rhythmic pattern being continuous through certain songs, it didn’t stop him from playing with his whole heart or from breaking a drumstick. There’s much use of the cymbals and this creates a new layer to the songs that wouldn’t normally be found. The fills are perfectly placed and there’s just enough to keep each song interesting but not overly complex. There’s depth and thought placed into it but it’s loud and proud.
Tough Age fall nothing short of a must-see band. If you haven’t seen them, you’ve probably heard of them… and if you haven’t even heard of them, well, now you have.
They’re a high energy band with lots of passion for what they do.
Jay Arner, a psychedelic new wave sounding band from Vancouver was the one to headlined the show. The harmonies the member created where smooth and layered with precision. Close to what the Arctic Monkeys have done and continue to do but with more of a Joy Division meets The Smiths vibe. They grab at your attention the moment they step on stage. From the instruments to the way they dress, there isn’t anything that doesn’t get you itching to hear their tunes.
The vocals are soft and beyond their generally flat sound, there’s an evident play of tones. Jay creates an almost soft spoken effect while singing and harmonizing with the rest of the band. This adds unspoken feeling and power to the songs despite keeping a mellow resonance.
Synths are used for effects that pull you in and make you feel like you’re floating through space, the drums keep you in the loop and provide you with a beat to move to. Fast, slow, with intricate fills or without, the drumming falls nothing short of fast paced and muddled together. This is done in such a way where it sounds clean despite the fact that the cymbals were being hit with a fair amount of power.
Spacey, lost, colourful—this is what the sound makes me think of. You’re floating in zero gravity, dancing as if nobody is watching, just completely in time and tune with the music. It takes you in and captures your attention because it’s not something that is often found in music in this day and age. The band kicks it old school in terms of sound and brings a nostalgia forward that you weren’t even aware of.
All the individuals are incredibly talented, and each band brings its own unique styling to the shows they play. It’s never a repetition of the same sounds or progressions and the banter is always different. It ranges from untraceable, unlikable websites to self-depreciating jokes and general thanks for supporting the bands. So make sure to get yourself down to Pressed for some wicked shows by some wicked cool and talented individuals.