It was a packed bill Friday night at the House of Targ with Doc Hopper, Steve Adamyk Band, Audio Visceral, Laureate, and Matt Charette all gracing the stage.
Doc Hopper—the headliner for the evening—is a 90’s punk band from the North East US named after Doc Hopper, who was the owner of Doc Hopper’s French Fried Frog Legs chain of fast food restaurants in The Muppet Movie. As a bonus, Mikey Erg, of the Jersey pop punk legends The Ergs!, is currently playing with the band as they tour, which was quite anawesome surprise.
They played a solid fast hitting set of pop punk which took me back to my younger years of the late 90s when I was just discovering this style of music. Now, I never really listened to Doc Hopper other than a few songs on some mix CDs (remember those?!) but they had a sound that I was always very fond of. The song that really caught my ear and stuck with me was “She’s a Coke Head,” which is not the most uplifting of songs I know, but it was damn catchy. I also loved that the lead singer and guitarist gave a shout out to Punchbuggy, an infamous local punk band from the 90s, and asked if Scallen was at the show and then said “he is probably actually sleeping at this time, actually all our friends are old and tired.” There was a pretty excited group of folks who were moshing and dancing for much of the night. I don’t think they really knew any of the bands, but were just there for a good time. It was a lot of fun to see and definitely upped the energy in the room.
Steve Adamyk Band joined on stage by friends and former members during their set at the House of Targ in Ottawa.
The Steve Adamyk Band were on fire as always, bringing their local punk rock to the stage. The three-piece band opened with a new song which sounded great and they played another new song later in their set, which hopefully means we are getting new Adamyk on wax soon. Steve Adamyk is one of the most prolific punk rockers in the capital so you never really know what you’ll get as a set list, but on this night we got the aforementioned new songs, a bunch of tracks off his 2016 release Graceland, including favourites “Carry on” and “Swallow you whole,” as well as some deeper dives into the back catalogue. It was awesome to watch him play “I Fought for the U.S.A.” and have Dave Williams of Crusades and Black Tower, and former Adamyk band member Davey Quesnelle jump on stage to sing along. Adding to the moment was the fact that Davey was working at the time and was still sporting his perogie making apron. Good times were had by all for sure.
Audio Visceral dressed to chomp and rocking out at the House of Targ in Ottawa.
Steve Beauchesne, owner of Beau’s and guitarist of Audio Visceral, took to the stage sporting a sweet Pacman suit. Audio Visceral is made up of Steve and two other Beau’s employees. Yeah they make some of the country’s best beer and still find time to be in a pretty cool punk band. Some people have too much talent…but I digress. Once they finally got started (damn it Garry!) they powered through their first six songs without really taking a break, except maybe to have a sip of Lug Tread. They played a hilarious song called “I Suck” which doesn’t appear to exist online anywhere but the lyrics had me in stitches. Hopefully the fact that they are playing this new song and a few others means a second album is in the works. I know us fans will certainly drink it up…
Laureate playing at the House of Targ in Ottawa.
Pop-punk foursome, Laureate, from Montreal, were the first full band to play on this night. The band beautifully builds off of vocal harmonies between guitarist Giancarlo and bassist Erin, who essentially share the role of lead singer. This is complemented by some intricate guitar work by the other guitarist, who at times brought me back to the finger picking ways of screamo and heavier bands, particularly when they tap out the strings on the neck. It was fun to watch and he was really rocking out. The band’s set featured a minor setback when the bass started phasing in and out. Members of Steve Adamyk Band were quick to try to help, fiddling with the amp and providing a new patch chord. In the meantime Erin powered through, and what could have been a disaster really allowed us to focus on their impressive and really tight harmonies in the absence of the bass. This band needs to play Ottawa more often given that Montreal is not that far, and their sound really fits in with a lot of what is happening in this city. Check them out, especially their new record Landmarks and get ready to sing a long at their next show.
Matt Charette kicking things off Laureate playing at the House of Targ in Ottawa.
Opening things up was something completely different than the rest of the show. Matt Charette, a singer songwriter from Boston, played more folk and country than punk rock with his acoustic guitar and harmonica. Now don’t get me wrong, I’m not complaining as he has an awesome voice, is a great story teller, and certainly has some punk rock running through his veins given his lyrics and the Black Flag cover he chose to play. This was his second ever show in Canada, the first one being the night before in Toronto, and someone decided to play a trick on him and rewrite his setlist. The “custom” list included all covers by bands such as Nirvana, Metallica, The Cure, and Dead Kennedys. While he did play some covers, his original tracks were great. I especially liked “City Streets.” All in all, this night was chalk full of great bands and great times.
House of TARG, a timeless venue that brings all sorts of people together through pinball, perogies, and concerts, held one deafeningly loud and soulful show on the night of November 9th. The lineup held a promise that the show would be one that the audience wouldn’t forget, unless they were drunk off their asses—and it delivered.
Opening with a roar was Black Oak Decline and they didn’t fail to capture the attention of the crowd and drive a new energy that I hadn’t seen in the atmosphere before. With precise and quick scales and solo work for the guitar. It’s quick and hard to follow but if you just let yourself listen, you get swept up in the emotions the music drives. It’s numbingly loud and sure to leave your ears ringing for the next two and a half days, which is something I can vouch for.
The bass is sludgy and grimy. There is nothing, absolutely nothing clean about the sound of this band. The bass is played almost like a guitar in the sense that there’s a lot of scales and jumping around within the basslines. But it’s deep, you can feel it rumble in your chest, and shake the floor. It over-driven and powerful and holds structure all while being the least structured seeming part.
The drums embody heaviness to them and they’re cold and distant. They resonate with you the longer you listen to them. While they do follow the rhythm, they also tend to veer off and create a unique space for themselves, straying from the conventional path. The make the songs sound full and create an atmosphere to get lost in. There are moments where it seems that the drums lead because of their sheer force.
The vocals are ragged, almost torn, they’re strained to the max but in such a way that it’s not unpleasant to listen to. They leave you in awe. I don’t typically enjoy intense screaming of lyrics throughout songs entireties but this band has showcased how to properly execute it without being overbearing and without overwhelming the audience. Whether it’s the stylings of the screaming itself or how it blends into the rest of the music, I can’t say. All I can say is that raw emotion is thrust into every single note played and sung. It’s something the band clearly enjoys doing and their presence is well known once they step on stage. It’s not overwhelming or in your face, but the band isn’t afraid to get up in it.
The second act was Pyrrhon who blew the crowd out of the water. The sheer energy presented found a way to take over the room completely. They find a way to take death metal and turn it into an artwork that entrances you and leaves you wanting more after they’ve finished up their set. The movement across the stage, seeming minimal on House of TARG’s stage, was very forward and the body language emits intense emotion.
The drumming is aggressive, almost confrontational. It leaves you in absolute awe and lets you feel the intense emotion that may course through the band. It’s almost in disorder and sounds rather distressed but it’s certainly not at a tempo that just everyone can keep up with. Perfect for head banging, the beat slows down and speeds up, keeping it interesting and allowing those listening to really get a feeling for the bands style. The beats come off in quick succession one after another most time and it’s common to hear rolls on the snare drum.
Dylan’s guitar playing is dissonant and angry. The distorted and overdriven sound was a staple for this band. With controlled feedback to add to the messy sound, it really grabbed your attention and ripped you right out of any preconceived notions on what the band would sound like live. With heavy power chords and added tremolo it brought the guitar parts to life and almost embodied them as something otherworldly. It breaks order and creates a balanced chaos with the drums and vocals.
Doug the vocalist pours every ounce of his being into what he’s screaming and it shows. With the way he moves around to how he controls his screaming, it fall absolutely nothing short of impressive. High and low notes interlace and destroy every preconceived notion of what harmonies should be. His vocals are not meant for the background, they deserve the fullest and uttermost attention due to the sheer heavy and weighted vibe it gives off.
The bass is a distorted, disorganised mess that somehow ends up being unified with everything else. It’s assertive and demanding but doesn’t let down in the least. This component, tied in with the drums are what rattle the core and entrance you, leaving you wanting to hear more. The scales played are not simple but they’re played with such an air that it’s made to look almost effortless.
Next up was a band by the name of Yautja who originate from Nashville, Tennessee. Their sound dissonant in terms of instruments however when it comes to vocals, prepare to be swayed by the cloudy heaviness that they possess.
The guitar providing intensive and strong power chords that are part of a masterpiece of its own. No sound goes without purpose. Pushing boundaries with the much lighter contrast that the guitar provides to the vocals while maintaining a heavy presence impressed me to no end and will continue to beckon attention. It keeps you on your toes and doesn’t let the stressed feeling go all while holding its own unconventional structure. The guitar vibes with a whole different frequency and it sticks out.
The vocals take a drastically different turn. Deep, in your face, and raspy. The lead singers aren’t afraid to strain any vocal cords, or to scream their hearts out to the crowd that’s more than willing to listen to the beautifully constructed chaos. The songs are held together, it seems, by a thread. In this case it would be the vocals, placed in just the right places. Any sense of convention is otherwise completely obliterated.
Tremolo effects rang through the bassline without hinting at any ounce of mercy. It hits you in the face forcefully without even laying a finger on you. A strong prominent bassline is a good bassline to me, and even better the sloppier and more pronounced it is. It’s nothing short of impressive and captivating. It’s hard to follow so you just let yourself embrace it and listen. It rattled the floor, and there wasn’t part of me that could deny it. I wholeheartedly believed that being so close to the bassist along with amps and speakers would give me arrhythmia. The bass folds into each song, crashing into the guitars like a wave during a brutal storm.
The literal crashing is brought by the drums and creates the effect of everything nearly falling apart. It’s everything that you want to hear from the drums when immersing yourself in metal. Heavy hits falling onto the snares and toms, relentless crashing of the cymbals, and pure energy radiating off the drummer, it’s hard to ignore. While the drums intertwining with the guitar and bass parts makes the whole thing sound as if it’s imploding on itself, it holds it’s backbone and creates something the bassline can lean on without overpowering it.
Inspiration ripped from Black Sabbath, Judas Priest, and Iron Maiden, Montreal’s own The Great Sabatini took the stage and created a loud and fitting end to the high energy night. They incorporate different genres and roll it into what can only be described as a sludgy doom metal. With aspects of what’s considered a musical canon and heavier gauge strings for the guitars and bass, energetic, aggressive but warm drumming, and the riotous screaming, the members create a sound that while containing sporadic elements, is so solidly unified that it’s impossible not to listen to.
The guitar parts which are played by Rob and Sean challenge and push boundaries, and with their new material, which is yet to be released, you hear the distinct tones overlapping in a confusion of sound that one tries to make sense of. It pushes your ear and begs you to deconstruct it because it’s so masterfully done. The soloing that Rob brings forth is some of the work I admire most. It’s skillful, distraught and slurred together, full of life and soulful aggression. Keeping up with him is a task but he puts every ounce of his being into it. He pours his heart into it and you can tell that with every note he plays is his pride and joy.
People always say that there’s a sparkle in someone’s eye when they’re doing something they love, and that passion was definitely behind Rob’s eyes.
Sean pours his soul into his screams and he gives it his all. It doesn’t go unnoticed, and besides his riffs and enraged power chords, this is what gets the crowd going. He jumps right to it—cut the bullshit, this is what it’s about. The progression of the higher notes keeps the crowd on their toes and the contrast provided by Rob brings them back down. Personally, and this comes as a great shock believe me, I would pick seeing The Great Sabatini over Metallica in a heartbeat. It’s progressive, gritty, and grimy.
The drumming Steve provides is one that that leaves you with very high expectations for other drummers. He’s outstanding with incredible control over the sound he wishes to produce. Sometimes warm, other times cold, loud or toned down, he has total control. His drumming has character, almost alive in its own way and everything you thought you knew be damned. It was deafening and powerful, enforcing the message behind every song. It will not only blow your mind but also your eardrums. It’s just the right amount of hysterical and yet its incomparable to any other drummer I’ve seen or heard.
Joey might as well have bumped the bass up to an 11 because it’s dominating and rips your attention towards it whether it’s isolated or incorporated into the self-imploding sludge. The fact that it’s frenzied in most songs is what sets the tone and it truly adds depth to the performance. Beautifully channeled and timed, the bassline could do no wrong. It pushed and it pulled creating an individual soundscape that would be thoughtfully incorporated into the overall experience the band created as a whole.
If you asked me to come see a legendary band with you on a night where the four bands I spoke of were performing, I’d have to object. Shocked? So am I but they fall absolutely nothing short of talented and driven with a sound that will leave your ears ringing for days to come. They’re all deeply underappreciated bands that created vivid soundscapes that you’ll find yourself immersed in once you give them a listen.
When you see the familiar name on a concert poster stapled or taped to a street sign, take note when and where these bands are performing because I guarantee that you’re not going to regret it in the least bit. Your ears might object to it the next morning (and in the long run), but in the moment you’ll be wanting to hear more. There will always be Bandcamp, but trust me, no justice will be done to these wonderful bands. Their shows are a must.
This year’s edition of Arboretum Festival was something special. Each year the organizers find new ways to captivate audiences and provide the ultimate community-oriented experience. Whether on Albert Island surrounded by the humbling rapids of the Ottawa River, or bringing Sloan and their ravenous following under one tent, Arboretum Festival has given us music fans some memorable moments over the years.
The organizers tried something completely different this year, and it was unlike any other festival most of us had ever been to before. First of all, the location moved once again. The wonderful people at Rideau Pines Farm welcomed the idea of hosting Arboretum on-site with open arms and were tremendously accommodating. Just twenty minutes outside of Ottawa in North Gower, ON, Rideau Pines Farm proved to be a near-perfect choice as a site.
While Ottawa prides itself on being a hub for music festivals of all kinds—large or small—one might get the sense that there are too many festivals trying to do the same thing. Well, that wasn’t the case with Arboretum Festival,
Art installations, neat lighting, and multiple stages in interesting locations made country folks out of us city dwellers for a couple nights. Although the Pond Stage got washed out with mud, the Bang Bang Barn (yes, in an actual barn) and Forest Stages filled that void nicely. There were even a few secret shows by Her Harbour and Toronto’s Giant Hand in the hang out area behind the food truck, both of which were intimate and set appropriately under the shade of umbrellas and trees for all to experience. People picked fruits and veggies, stoked their campfires, and soaked in the breathtaking sunset on the horizon over the fields.
They also scaled back the lineup and food options. Having a single food truck with rotating vendors kept things simple, and on Saturday night I had the opportunity to gorge myself with a Pork & Octopus hot dog from two six ate and two portions of delicious perogies from House of TARG. I’m a big guy, ok? Oh yeah, and the farm’s corn was the best I’ve had in years. While the food was top notch, one improvement would be for them to have more food options or at least one more truck. Many of us got caught watching TOPS and Deerhoof in line waiting (albeit with a great view) as the prep couldn’t quite keep up with demand. Props to the workers for handling the pressure well, it was worth the wait.
Beyond The Pale was the local beer sponsor, and I couldn’t get enough of the Pink Fuzz. While beer prices were a little higher than years passed ($7/$8 for a tall can), those who enjoy delicious cold craft beer certainly get what they pay for. It might have been nice to have a few options that weren’t as hoppy for those who enjoy a lighter ale, but most people seemed to keep coming back for more.
The lineup featured some incredible musicians, too. A transcendental and unforgettable performance by NYC’s Le1f was a highlight of the entire weekend. Toronto’s Yamantaka//Sonic Titan cranked up the energy and dawned on the stage with typical face paint, electrifying audience members for the entire set. Cedric Noel and Gianna Lauren were backed by some members of Pony Girl at the Forest Stage, and blew minds as folks arrived off the shuttle buses. Boyhood took the barn by storm by playing a rare and powerful set which included new songs never before heard. Deerhoof lived up to their legend, playing a jaw-dropping headlining set which featured incendiary guitar parts and complex arrangements across the board. These are just some of the sets that stood out—each brought something exceptional to the experience as a whole.
All in all, this was the Arboretum which organizers had envisioned from the start, and that fans had been craving. This quaint, yet exciting gathering of individuals felt good, really good. Let’s do it again.
Check out our photographer Els Durnford’s gallery from both nights below.
Busted limbs, broken noses, and a little bit of blood on the face is nothing out of the ordinary for Ottawa’s party punk rockers New Swears. They’ve just released a video for the track “Dance With The Devil” off of their new record And The Magic of Horses, and they crank up the gore factor to 11. That’s why we love them, along with the fact that their music will incite a party anytime, anywhere it is played. And The Magic of Horses is the band’s third full-length album, and their first with Dine Alone Records to be released June 23rd. The 10-track album is sure to be chock-full of summer party anthems with dirty melodies that beg to be blared in backyards across the country, which should go perfectly with the smell of barbecue smoke and pissed off neighbours.
The video’s timely release today also coincides with the Ottawa Senators’ first game of the NHL Conference Semi-Finals, a game which will surely have the streets packed with booze-filled hockey lovers. While we all hope the Sens avoid the kind of injuries that the band sustains in the video, we certainly wish them the best. Get amped up for the game and watch “Dance With The Devil” below, just make sure the kids are out of the room.
Don’t miss the New Swears Weekend happening at House of TARG June 23/24, they’re going full force with two record release shows back-to-back. Tickets available here.
House of TARG is one of those unique places that makes you feel at home when you walk down the dingy basement stairs. The room was probably about a billion times hotter than it should be and only got worse through the night. That being said, it didn’t discourage people from having a party.
“How does one make a punk show out to be a party?” one asks. Well, the answer to that is simple, booze, good tunes, and lively bands that either know what they’re doing or have no idea what they’re doing but do it well. That’s exactly what went down on the 7th April, and of course, continued until the early morning of the 8th.
When my best friend and I walked in, we were greeted by Matias who then introduced us to a long-term Showbox writer, Eric. He also introduced us to Eric’s girlfriend, and both were exceptionally kind to the two of us. After some conversation, we headed to find a table and patiently await the show to start.
Robots! Everywhere! was the first to perform and he put on an acoustic set which reminded me very much of a band by the name of AJJ. He sang about sports, going to the park with his daughter, and terrible dates. Phil does not take himself very seriously, which is something that you don’t see very often in the music scene, and much less in a punk music scene. He embraces forgetting the words to a song with no shame and jokes around with the crowd, even looking at a notebook he placed on the floor to remind himself of what songs to perform. Through the night, with friends there to support him, a smile did not leave his face. He even performed a song that he doesn’t perform live and he let us in on a little secret; it’s because his girlfriend is typically at shows and well, the song is called “Call Me Some, If You Are Looking for a Time”. The song consists of the lyrics “If you are ever bored and you want to get married… call me.” And yet he is not. He brought forth an energetic show, one that would remind you of summer camp where you’d gather around the fire and sing together, just way better and with a little more yelling. Seeing Phil live is well worth your money if you don’t take yourself too seriously, or even if you do, you can’t help finding his music infectious.
I wish I had the time to talk to Phil after his set, however, Telecomo took the stage immediately after and who was I to complain? Telecomo brought a more serious vibe to the bar, opening with brand songs that I couldn’t find anywhere on the internet yet. They completely shifted the mood. Not only did they make it feel like they belonged playing in bars due to their sound, but they made you feel like you were in your friend’s garage, watching their band go at it with heart. I found every song infectious and the composition was incredibly well done. I have also never in my life seen a bassist move around as much as Gary did. His basslines shook the floor with its power. I have always deeply admired strong basslines, and Gary’s blew me away. It’s something that really added to the songs and the experience.
The third last song Telecomo played was “I Met You.” It reminds me so much of a song from my childhood and yet I can’t for the life of me figure out which one. This is probably one of the reasons that I have a strong love for that song. They played their last two songs, “For Sale” and “Lipstick” then began to pack up after their very heartfelt thank you. Their drummer and friend, Pat Johnson, was revealed to be working double time because he was also the drumming for Steve Adamyk Band that night. He seemed very modest and began to shake his head when a round of applause was asked to be given for him.
I managed to talk to Adam and Gary after they performed, who were both incredibly sweet people. They even talked to me about my photography and Gary mentioned how he tried to “muck it up” for me, and hoped I got some good shots. They were very genuine people and even asked for my social media. After that I went to find Phil, which Matias kindly directed me to, and I managed to exchange some info with him. Phil, if you manage to talk to him, is a sweetheart. Not only did he make sure everything was alright, but he kept checking in with my best friend to see if she was enjoying the show and if she was okay. This wasn’t something we asked for, but it was certainly much appreciated. His friend chimed in and even told us that we had very nice smiles and that although we occupied the table that he had been eyeing all night, he couldn’t be mad at us for it.
Telecomo will be releasing their debut LP For Sale in June, it is a must-have and will be available on vinyl as well.
As things began to settle down, Steve Adamyk Band began to set up. I was pretty excited to hear them live for the second time because their recorded stuff doesn’t do this band justice. When do CD’s, LP’s, or cassette tapes ever do a band justice though? They opened with “Through My Fingers” and really threw themselves into the music. Pat was going at the drums with every ounce of energy that he had within him. Later that night I learned that he had broken something close to sixteen drumsticks, and two kick pedals because that’s how rock and roll works. I even managed to snag a photo where his drumstick is breaking. Their sound is pop punk with a dash of fuzz added to it. Their energy got people on their feet and dancing, and got me bobbing my head to the fast pace of their songs. Unfortunately, on this night they were a trio as opposed to their usual foursome but their delivery was still spot-on despite this fact. They talked to the crowd and all in all were incredibly friendly people. If you want to listen to a song of theirs that will for sure get you on your feet I highly recommend “False Teeth.” It’s a little gloomy sounding at first, but it picks up fast and gets you moving with a strong baseline that draws the song together.
Talking to Steve was a pleasure. Not only was he thankful for the photos I was taking, he spoke to me about how he loves talking to people who were born and raised in Ottawa and even talked some about how Ottawa is a home to many bands they’re friends with, officially and unofficially. We spoke briefly, but in that time we spoke of the local music scene. These guys have a passion for music that’s so clearly written on their faces, in performance, and in conversation. After thanking Steve for the time he gave me, I headed over to Matias as I got very excited about a photo of Steve Adamyk Band that I took. It is by far my favourite photograph of the night and I knew I could not wait to send him the photo. I needed to show him there and then.
There was a wait period between Steve Adamyk and B.A. Johnston. The whole vibe suddenly shifted, whether it was because it was the opening act or because a significant amount of people immediately flooded towards the front, I don’t know. All I really knew about B.A. was that he makes a joke out of everything and anything, and that in his shows he includes a performance art component to it which most people don’t actually consider an art. Watching this man perform was incredibly absurd. Not that it was bad by any means, it was just incredibly strange. I’d never seen anything like it in my life. Not only did he wear three sweatshirts, but at the very beginning of the show, he ripped a pair of Velcro pants off. His humour consisted of not understanding how an iPhone 5c (his Walkman) worked, and writing songs with very oddly specific names. He had even written a song about GST cheques. Besides that, his humour gave off the vibe of Hamilton, Ontario (so he claims), which is where he’s from. He went around the crowd belting out lyrics in his hoarse voice and crushing beer cans on his head whenever he was handed one.
His sound can only be described as something you’d hear from video games from the 80’s, with a mix of pre-programmed beats, synthesizer, and a few acoustic songs. His guitar is a clear indication of the type of act he puts on. A modge-podge of various bits and pieces stuck on, and stickers littering the old thing. There were even carvings in the face of his guitar, and even a metal pick guard somehow stuck on to it. If you paid close enough attention, you could see his feet floating above the ground from time to time as he played. He later claimed to be “a forty five year old man whose only pleasure is forcing people to drink Sourpuss”.
His act went on well past 1 a.m. and although I didn’t stay for the last few songs, I guarantee that there was a lot more drinking, dancing, and singing going on as the show came to an end. I got a cab home and Matias made sure my friend and I stayed safe, walking out in front of TARG with us.
The night was overall filled with great people, fantastic music, and most of the vibes were incredibly positive. Everyone was incredibly friendly and grateful, no matter how drunk or tipsy they were. The live music allowed the room to surge with energy, and as soon as the bands played everyone crowded around TARG’s stage.
If you’re looking for lazy punk, garage punk, punk with some fuzz to it, or folk punk with a side of comedy, this was the lineup for you. And if you want and incredibly wild night with no regrets (except for that headache you’ll be sporting), come on down to see these incredibly talented artists next time they play.
As soon as I walked down the steep black stairs and into the basement that is Ottawa’s very own House of TARG, I wasn’t only greeted by the lights and noises of the pinball machines but by the familiar faces of the members of The Great Sabatini. Before the event began, I was introduced to Jack (Jack Moves) and mainly stuck around either him or Rob (The Great Sabatini) and once the clock struck 8:40, so the show began.
Jack Moves opened, bringing a tremendous amount of talent to the table, and setting the standards high. With only a loop station at his disposal, I questioned what the performance would be like. I was pleasantly surprised, however, and Jack looping over his own voice was unlike anything I’ve seen before. Every song was built up from scratch and on the spot despite having already written and recorded them for his album. What was the most impressive was the capabilities that he possessed when creating specific sounds for the song he would perform, from the beat to the melody line, everything came from his voice. There were falsettos he later turned into harmonies and even layered certain lyrics over others. He was quick on his feet and certainly did not miss queues. Live looping is a make-or-break thing, and Jack has certainly made it.
His quick rhymes and whit payed off when it came to his lyrics and the sound effects created. With lots of small technical specs, it was important to stay on top of what was being done, and the sheer efficiency that I saw was beyond comprehension. The performance fell nothing short of jaw dropping and his creativity, when it came to producing specific sounds, certainly came in handy. If you listened to any of his music without knowing how it was being produced, it would have you fooled into believing it was created with synths.
After I had gotten all my photos and Jack had ventured to his merch table, I stopped to speak with him. Through the whole night, he was a very pleasant and modest person. You could throw a conversation at him about curling (which was discussed prior to the show) and he would engage in it. Unfortunately, conversation became a difficult task once The Great Sabatini ripped out some powerful chords and drumbeats for a quick sound check. With the very strange string of sounds and words uttered into the microphone, Steve made it known that something absolutely wild was about to go down.
I’m not typically the kind of person who throws myself into death metal shows and has the time of my life. I’m the kind of person who’s selective about their metal bands, and I certainly make sure they’re fantastic live and check their supporting acts but as soon as I saw The Great Sabatini were playing TARG, I shot a message to Matias about coverage. Maybe it was because they were inspired by some of the greatest metal bands that have existed and carried a very intense yet well-crafted sound, or maybe it was how friendly they were all in all the last time I showed up to one of their shows. To be frank, I’m still not sure which it is.
This time, I left my earplugs at home (although there is a small part of me that regrets that because I’m sure to lose my hearing by the age of twenty-five, I also don’t regret it all that much). I heard the solos much clearer this time around, and although the drumming was deafening (thank you Steve), it added many dimensions and really created that powerful and angry sound you find in death metal. The bassline stood out and there wasn’t a member of that band who didn’t become one with the instrument they were playing, and even though each one of the men screamed the lyrics into the microphones, they didn’t fail to keep up with their expertly crafted songs. Their setlist, handwritten but clearly well selected fell nothing short of impressive and made sure you got lost in the music no matter which band you meant to go see that night. Everything managed to meld together so well that you’d think it was done by someone who’s been known as a professional for the past twenty years. Both instances where I’ve seen them, they’ve blown me away (and this time my hearing).
The last performer of the night was a band called Swarm of Spheres. Truth be told, until a few nights ago, I hadn’t even heard of them but as a band that was described as something between sludge and stoner rock, I wasn’t entirely sure what to expect. All the information I had about them was either about the genre they played or that Mark McGee was an incredible drummer – the best some had ever seen. These two facts certainly were made apparent when the time came for them to perform. The trio took the stage with such ferocity they might as well have blown the low ceiling off of TARG. Mark went at the drums like Dave Grohl did back in his Nirvana days but despite how loud he was, his technique was mastered. The bassline, thanks to Andrew Rashotte, was incredibly strong and prominent throughout each song which is probably one of the factors that really drew me into the sound this band was producing. That bassline, and everybody in the room, buzzed with energy despite the show drawing closer to midnight than anticipated. Jay Chapman shred on the guitar and his string bends were skilfully placed. He clearly had a knack for intense bends and he got right back into the songs he played after executing them without fault.
After much hard work, sweat, and good laughs in between, the night drew to a close. When I had the time to actually step back and look around I noticed that a good portion of the crowd was composed people from other local bands who came out to support their friends, some were fans, and some were just at TARG to enjoy the live music but sneak in a few games of air hockey during the sets. I found a few people, and spoke to them including Steve, earning a pat on the back from him and being told that he had yet to use the photos of them I took back in February. After this, I slowly made my way out but not before stopping to say goodbye to Rob. Despite the influences of the band and how metal they might look, I guarantee they’re the sweetest people. Rob made sure I stayed safe and in touch, ending the night with a pleasant note of “friends don’t say goodbye, they say see you later.”
Music festivals don’t just grow on trees. Whether it’s a small-scale boutique festival like Sappyfest or a large-scale behemoth such as Osheaga, festivals are the end product of a whole lot of teamwork, labour hours logged, blood, sweat – and sometimes tears.
When Garett Bass decided to move forward with a new music festival called Bangers & Mash, he knew it wouldn’t be a simple undertaking. His first rodeo was 2015’s FOLK IT ALL Festival, a packed night-long event at The Rainbow which saw a number of heavier folk and country acts hit the stage, including headliners The Jerry Cans. But 2017 offered a new opportunity to bring together musicians that share a common funky thread – soul music.
“After seeing momentum build this past year, I feel like it’s a now-or-never moment to put these bands in the spotlight and help people realize the level of talent we have here,” explains Bass. “I felt like it was time to do something similar to FOLK IT ALL for the soul music scene here, which I’ve been in entrenched in for the better part of the last decade.”
The idea took form last year when Bass and his wife went to Blakdenim’s CD release at Mavericks, where a number of bands and DJs were showcased in a small amount of time. They did short and punchy sets, all acts shared the backline, there was an MC handing out prizes in between, and afterwards they reveled in how incredible and efficient it was.
“So I decided to do a soul festival where bands play their ‘bangers’ – I thought, ‘let’s get as many acts as we can into one night with the simple rule of playing only their best songs and then getting off stage as quickly as humanly possible.”
As a member of Ottawa’s own Slack Bridges, and a past member of bands such as Steamers, Tea For the Voyage, and Mackenzie Rhythm Section, Bass is no stranger to the stage. However, organizing is a different beast altogether, so he made sure to gather a team of dedicated organizers to help him from the start.
One crucial member of the team is Ed Lister, a musician himself and founder of London Gentleman Records. Lister is a member of Chocolate Hot Pockets, Thrust, Eru-Era and an impressive Chaka Khan tribute act, and has joined forces with existing bands such as The Hornettes and The Split.
“I chose Ed to run his own stage, because he’s been the number one instigator of action and collaboration in our soul scene,” Bass says. “Ed moved here from the UK a few years ago, he plays in more acts than I can count and has helped encourage collaboration between artists all over Ottawa.”
While there are some collaborations occurring in town, it’s difficult to define a particular soul music “community” in Ottawa. There are festivals such as Ottawa Explosion, Arboretum Festival, and Megaphono that act as a crucial hub for musicians to coalesce. However, there has been a gap between the soul music fans and the musicians themselves – a gap which Bass means to fill.
“Just look at The Souljazz Orchestra shows, which have been sold out and for years. People trust anything those guys put out. The Jazz Fest late night series has been a huge success for people who love to dance to live rhythms such as Snarky Puppy, Dirty Dozen Brass Band and Tennyson. Sharon Jones played here over half a dozen times to crowds of intense fans. Our most successful local nights are generally funky DJ nights such as Double Barrel or Timekode where people can go dance to DJs spinning soul music in its most authentic form – the 45 record.”
“Places like Irene’s and Bar Robo have picked up and have started weekly/monthly nights of funk jazz, and Mike Mikkelsen has been using his connections to host lots of local live and mixed soul music at Kinki’s Kitchen. Yet, I find the weird thing is that some of these bands still don’t know one another, there’s little collaborating within a genre that is historically built on collaboration.” All that to say, it’s clear that there’s no shortage of love for soul music in the capital.
Bangers and Mash will take place on the evening of March 18, and have two stages at two adjacent venues – Black Squirrel Books & Coffee and House of TARG – that will operate simultaneously. Live music and DJ sets will be staggered between each, giving concert-goers the option for either.
The impressive local lineup includes Mackenzie Rhythm Section, The Hornettes, Slack Bridges, Tropikombo, DJ Magnificent and DJ Zattar at House of TARG, while Chocolate Hot Pockets, Mack & Ben, Blast From the Sun, DJ Jas Nasty and The Full Time Groove hold the fort at Black Squirrel Books & Coffee.
“Basically anytime there’s a DJ on at Black Squirrel, there’s a band playing at House of TARG, and then it flips,” Bass clarifies. “We’re going to recommend that people plan their night well, as there may be times when one of the two venues is at capacity. Fortunately, there’s lots of amazing stuff to see!”
Bangers & Mash will take place on March 18, ticketing and event information can be found at www.bangersmashfest.com. This article appears in the March Edition of Ottawa Beat newsprint in the OSBX column.
Century Palm will take you on a time warp and are happen to be swinging into town this week.
Century Palm was initially formed by vocalist/guitarist Andrew Payne in 2014 following the dissolution of garage-rock cult favourites, Ketamines. Ketamines featured 3/4ths of the eventual members of Century Palm (Paul Lawton, Penny Clark, Jesse Locke and Payne). Members also play(ed) in Tough Age, Zebrassieres and Dirty Beaches. Needless to say this talented group has a pretty impressive resume.
The band has certainly moved well beyond the garage sound of their past bands. Century Palm will take you back 20 or 30 years with new wave and post-punk musical styling that many like me have missed dearly.
Ahead of their show at House of Targ Saturday night, we chatted with the band about their evolution from Ketamines to Century Palm and their retro sound. Have a read below and travel back in time Saturday night (info here).
Beyond the different sound, what is the major difference between Ketamines and Century Palm?
Paul Lawton: Ketamines was a studio project with a rotating cast of players, Century Palm has always felt more like a hard-slogging band. Ketamines as a collab between myself and James Leroy, who I had been making music with since the 90s. Century Palm is (more or less) more of a collaboration between an entire band, it is a great deal more collaborative than Ketamines ever was.
Andrew Payne: Although I played in Ketamines for a year I didn’t write any music for the band. For me, Century Palm is a continuation of my last songwriting project, Zebrassieres, which was based in Ottawa when I lived there from 2009 to 2012. The main goal of Zebrassieres was to make people question the need to be serious, logical and mature. With Century Palm, I’m taking a stab at being serious, logical and mature. Both paths are valid ways to approach life.
Often when bands breakup, they get back together for high paying reunion gigs, not form another band with many of the same members. What brought you together to make music again?
Paul: I think that Ketamines might come back around at some point. It’s confusing – the version of Ketamines with myself, Andrew, Jesse and Alex dissolved after a stupid and highly charged cross Canada tour where we were doing Ketamines AND Zebrassieres with the same lineup. Andrew basically quit on a 30 hour drive home from Chicago to Toronto, I think that tour kind of broke us. Ketamines went on with Jesse on drums, and then Andrew formed Century Palm, and we basically all got back together again, without me as the ruthless uncaring leader, and it was instantly kind of better.
Andrew: The people are all great, I just wanted to make my own music and do something different than before.
Getting back to the sound, Century Palm sounds like something from the last century, more of a late 70s and 80s vibe to it. How did that come to be?
Andrew: I like the sweet spot in there when punk-influenced-bands were getting more creative, and right before a lot of those same bands started losing their edge. It was a time when everything was more bold, dark and stylish than the present. The fashion was distinctive and daring. The movies were full of slime, and actors would say, “Shut up, pukoid.”
Paul: I think we are victims of “overdocumentation” as Simon Reynolds says in Retromania. When I started playing in hardcore bands, we were basically influenced by whichever 7”s we could get in distros, or from the back of MRR or whatever HeartattaCk was into, but then filesharing just made musical eras and genre distinctions obsolete. In our van we are as likely to listen to WIRE as we are anything modern.
I heard recording this album was a lengthy process? Can you speak about the road from your last EP to your debut LP Meet You?
Paul: We recorded our first two EPs at Royal Mountain Studios with Nyles Miszczyk, roughly about a year apart – 2014 and then 2015. I was personally super happy with how it turned out. Then we moved into a real studio on the East End that we were sharing with U.S. Girls and Slim Twig, and I still had all my recording gear from when I ran Mammoth Cave Recording Co., so we just decided to take our time. Mixing was making me crazy, so we offloaded our mixing to Mint Records superstar Jay Arner, and so that allowed me to focus on crafting vibes.
We re-recorded most of the songs a few times until we were happy with it. I probably spent 1000 hours in there making sonic layers with everyone. It was fun, but we already have a second LP worth of songs and we moved out of that studio, so that will force us to go back to a real studio. I personally loved working with Nyles so we might try and make that happen again.
I like both singles, “King of John St” and “Then You’re Gone” for very different reasons, but “Then You’re Gone” really jumps out at me and shines on the album. Could you tell me a little bit about the song please?
Andrew: Then You’re Gone is about that moment you find out a friend, or anyone close, has passed away. It captures that helpless, spacey feeling where all you can do is question life while the reality of the news sinks in. When Penny’s synth solo kicks in, it takes me away to another dimension, which is a perfect response to the song.
You have played Ottawa a few times before, what is one or some of your favourite memories of playing the nation’s capital?
Penny Clark: My favourite time was at Ottawa Explosion where we got to play that super hot cave bar and it ruled.
Paul: We just like playing to a city of people that actually care about supporting bands and dancing and going off.
For people who have never seen you live before, what should they expect at House of TARG?
Andrew: They can expect to see new songs newer than our new album.
Jesse Locke: TARG has an amazing collection of pinball machines and my personal favourite game, Ice Cold Beer. Try the dessert pierogies too!
One of the new Ottawa bands I’m most excited about this year is Mushy Gushy. Why? Those who know me will tell you I’m a sucker for punchy garage pop tunes, and for me, listening to Mushy Gushy is comparable to waking up on Christmas morning when you’re 12-years-old and finding a brand new Nintendo 64 under the tree. Earlier this year we premiered their debut EP Tight Snake, and threw a wild EP release party at Bar Robo that sold out almost immediately. These fellas have figured out how to write music that people love to hear.
Well, they’ve done it again. Teasing a new album on the horizon, Mushy Gushy have released a brand new track called “Schemestress,” their first new song since the release of Tight Snake earlier this year. It was recorded at Swell Studios in October 2016 and shows the band letting loose for the recording. With a hook of gold and just enough crunch to please the masses, “Schemestress” begs you to dance, scream, and sweat. Mushy Gushy might just out-do themselves with their upcoming sophomore release, and it’s clear that they are showing no signs of slowing down.
Check out the video below, and don’t forget to see Mushy Gushy play it live on November 17th at House of TARG as they share the stage with Mad Ones and Ornaments.