DOXX ripped the stage apart on Wednesday night at Pressed when they opened with “Human Waste CEO” and that set the tone perfectly for the rest of the night. Fast paced, loud, aggressive, and high energy the bass lines Jeff plays are enough to shake the floor. It’s quick, timed, and it dominates. It demands your attention and doesn’t let it go. No two baselines are remotely the same.
Britt’s guitar playing is distorted, messy, and angry much like Sofia’s screaming. It adds a depth and sometimes choppiness to the songs but in a way that doesn’t make a song seem cut off. It completes it instead.
The guitar combined with Kieran’s drumming is what gets the crowd head banging, and moshing to the music. The drums come out as hostile and dynamic with much use of the snare and there isn’t a song that doesn’t use the loud crashing of the cymbals. This creates a balance in each of the songs.
Sofia, lead singer of DOXX, in the zone at Pressed in Ottawa.
Sofia’s vocals are impressive not only because she screams the songs, but because they’re rough around the edges however still maintain a smooth finish to them. She puts all the emotions she can muster into the words and what comes out of her is an incredibly big sound despite her being “short and stompy”. The lyrics hint at socio-political views that tend to be skewed and then rage against them in fashion that isn’t all that contained. The bitterness and resentment is clear but it’s presented in a fun and enjoyable manner that gets everyone eager to hear the next masterpiece that’s to be belted out.
DOXX is a must see Ottawa band that’s sure to kick some energy into you and get you thrown into a pit of punks. They don’t fail to amaze and they certainly bring a certain je-ne-sais-quoi to the shows they play. Ultimately, if you’re looking to enjoy some raw emotion, and a band that can pack a punch within their music, DOXX is the band you want.
John of Radiation Risks going full zombie or passing the mic to a fan to sing with him…you be the judge.
Radiation Risks knew how to play not only their instruments, but the crowd as well. They drew everyone in from the second they stepped on stage, and despite being more behind the scenes when off stage, they own a heavy stage presence. It’s hard not to pay attention to them. They tore open the crowd by getting right into their songs, no elaborate intros, nothing. Raw exuberance flowed through lead singer John and into the crowd. Every scream, every staggered movement fueled the crowd and got them more excited.
The guitar contrasted itself between heavy and light, high and low notes, solo work and chords and this was certainly a key aspect in putting the rhythm in people’s feet. It’s intricate but sometimes sloppy, melding with the deep warm thrum of the prominent baseline. There wasn’t a note that was missed which was incredibly impressive considering Nicky would constantly be moving and jumping around.
The baseline shakes you and you feel it in your heart. It jumps out of the music and stands out, begging to be noticed. There isn’t a single way you could miss the bass. It’s violent in a subtle way and it’s messy, blending in to the noise. The best way to describe it is pounding, and it rattles your heart right in your rib cage really making you feel what’s being played.
The drumming is rushed, slurred but clear. It makes perfect sense and of course there’s the thrashing sound of the cymbals, cool and cold. A variety of rudiments and beats play through one song interchangeably which adds a dimension that isn’t often found and better yet, it helps meld each song into the next. How that could possibly work is up to you to determine when you hear their sweet tunes.
Lead singer of Fried Egg delivering the goods at Pressed in Ottawa.
The last band to take the stage, with much spitting, was Fried Egg. Their sound is heavy and distorted all around and everything flows together to create a harsh edge to the sound produced. The vocals are choppy, fragmented and loud and they fall nothing but short of deep and raspy. The screaming is impressive and it tugs at my curiosity as to how the singer hasn’t torn up his vocal cords. Of course, this isn’t at all what I would have expected from a band called Fried Egg, but I guess everyone gets a surprise every now and then.
Irritated and cold power chords cut through the air and make their way to the ears of those listening. It’s enough to feel it in your feet and to get people trashing around, especially when in combination with the bass and drums. They’re in harmony with the fierce baseline but also tend to veer into their own world filled with pick scratches and wild effects that you’d only find at a show such as this one.
The bass picks up quickly and can only be described as progressive and fiery. It’s heard above everything when it’s being played and it creates a warmth within the song so that it can provide a counter to the cold that the guitar brings.
Setting the high energy and fast pace are the drums. With beats being played and quick and well plotted fills adding space and urgency to the music, the drumming couldn’t get better. The drummer goes hard and I’m surprised that the drumsticks hadn’t broken that night while he was playing. The drumming commands the beat that your body moves to, it’s the soul of the songs.
Whether you’re spectating from the sides or right dead in the middle, you’re going to get at least somewhat thrown into the mosh pit despite your best efforts to steer clear.
All the bands set the standards of punk gigs high and they certainly didn’t disappoint. They all radiated sheer talent that they’ve managed to contain and let out in a constructive and creative way that everybody can enjoy. They wooed the crowd and made every performance intimate and personal and they made a point to get a little too close for comfort. If ever you see the scribble of “Fried Egg”, “DOXX”, or “Radiation Risks” on a poster around town, or on a Facebook event, cancel all plans and make your way down. You’ll probably have a better time with them anyway.
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.
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.
I’ve said it before, and I’ll say it again—one of the most rewarding parts of this job is discovering new artists making music in town. That is certainly the case with the young and aspiring singer-songwriter named Christine Jakel, who I crossed paths with at Bar Robo last year when she played with her other project, Grace Note. Her talents are immediately impactful, and draw listeners in like a tractor beam through the headphones or on stage. As someone with a degree in classical voice from the University of Ottawa and lifelong piano training at the Royal Conservatory of Music, Christine’s kind and modest demeanour struck me as endearing given the sheer level of skill and experience contained within her. Thus, I took a mental note and made sure to keep an eye on her music-related ventures.
Fast forward a year or so, and Jakel announces that she’s releasing a solo EP called Satellite Moons, once again at Bar Robo, on September 30. It came as no surprise, and it seemed to only be a matter of time before she explored her solo songwriting in a formal studio setting. While I’ve only heard a couple songs off of the upcoming EP, my initial impression is that she has a musical “sense” about her that is well beyond her years. The songs weave between genres and influences, as certain polarizing elements of jazz and folk are somehow drawn together and melded with one another in her songs.
Her vocal prowess is put on full display, as Jakel seamlessly reaches the highs and lows of her octave—and everything in between—with laser-sharp precision. The rest of Satellite Moons is sure to contain more treats for us to hear. In the years to come, Ottawa should prepare itself for Jakel’s inclusion into a group of local women such as Kathleen Edwards, Catriona Sturton, and Lynne Hanson, just to name a few, who have consistently shown that they are a force to be reckoned with in the Ottawa valley and beyond.
I caught up with Jakel this week in advance of the Satellite Moons EP Release, which takes place at Bar Robo on Saturday, September 30th at 8 pm. She will be joined by Mike Giamberardino (drums), Szymon Szańczuk (bass), Dean Watson (electric guitar), and Charlotte Esme Frank (harmonies) on stage, along with opening acts Grace Marr and David daCosta. Tickets are $13, and include a download code for the album. Find more information here.
Interview with Christine Jakel
Can you talk a bit about how has music been a part of your life growing up?
Both my parents took it upon themselves to expose me to music growing up. My dad has been obsessed with jazz ever since I can remember and used to play jazz guitar in his spare time. There are some artists whose CD’s are deeply ingrained into my system from having listened to them so often: George Benson, Chet Baker, Diana Krall, Miles Davis and Oscar Peterson, to name a few. I’ve probably heard Autumn leaves thousands of times because my dad used to practice it relentlessly. He was also the one who introduced me to Joni Mitchell, now my main source of inspiration for songwriting. Her song Big Yellow Taxi was the reason I started playing guitar. Wondering Where the Lions are by Bruce Cockburn was the next song I learned. He was another artist that I heard a lot of growing up because of my dad. My mom was the one who made sure I was taking classical piano lessons starting at a young age and shortly after we moved to Ottawa, she enrolled me in an arts high school (De La Salle) where I chose the voice program and subsequently became actively involved in its various vocal ensembles, while being trained as both chorist and a soloist.
You explore many sounds and themes in your music. What is most important aspect you focus on when composing a song?
For me songwriting always begins with lyrics and melody. The song craft and the overall message of the song are as important to me as the music itself. This is also what I listen for in other artists’ music. I find that I am most drawn to songs that are cleverly thought out but also genuine and direct. This is what I aim for when composing my songs. Overall atmosphere, chords and instrumental riffs come are there to enhance those elements.
What was the Shot in the Dark experience like for you? Can you describe it for those who may not know?
It felt great to be a part of something that I knew was contributing to the local music scene in a positive way. Not only did I get one of my own songs recorded and filmed for the first time, but I had the chance to hear and meet so many talented local artists that I never would have discovered otherwise. In a way it acted as a spring board for me as a newly emerging musician because it led to more opportunities for shows and collaborations.
The performance itself was unlike anything I have ever done before and I don’t think it’s one I’ll be forgetting anytime soon. When I came on, Dean made the call to remove all amplification and to bring the audience close in around me, so there was zero background noise and I could feel everyone watching and listening to me intently. It was terrifying in the best way (I don’t think I’ve ever felt so exposed), and I couldn’t be happier with the result! (video available below)
What reaction or emotion do you hope to evoke from those listening to the new EP, Satellite Moons, for the first time?
I hope that anyone listening finds something they can relate to in my songs and feel moved or inspired by even if it’s just in a small way. I also hope to send an empowering message to other women out there who may feel intimidated or out of place taking up space or making themselves heard in the music scene. From what I’ve seen, the industry could really use more female representation. Knowing this reality is partly what fuels my work. Furthermore, I would love for people to perceive the depth in my songs and to hear beyond something that’s “cute” or “pretty.” Those are two words that I’ve been called my whole life, that bother me when they are used in a belittling way (whether intentionally or not), and that I’d like to break free from at least in the context of my music. This is why I’ve made sure to include some angry songs on the record.
Do you have a memorable concert experience that you can recount that perhaps influenced your music?
This past March I had the opportunity of seeing The Staves play live at the Bronson Centre. I was floored by how polished their performance was and by the wide range of soundscapes they managed to create using their voices and various instrumental skills. What I particularly like about them is that they stray from the traditional lead-singer vs. band setup. Each member plays an equal part in the singing and the balance between their voices shifts from one song from the next in fascinating ways. Their sound is very much contingent upon them gelling as a team. For me, the experience of hearing them opened doors to new realms of possibility when arranging music, which made me want to go home and write songs immediately.
Is there one venue or city that is on your bucket list to play? Why?
I am open to the possibilities of where my music might take me. Playing music is what makes me happy. Whether it’s in a noisy bar or the NAC or at an intimate gathering, I am grateful for any opportunity to share my work, the more unexpected the better! Short term, however, I do currently have my sights set on Megaphono. I have so many good memories from attending the festival as an audience member and it seems like something I’d like to experience and be a part of, hopefully as a performer this year.
What’s the next step for you musically?
In the next year I am hoping to gain regular instruction at guitar and to lock in a few more hours of practice per week than I usually do. Everything I know so far, I taught myself, besides the odd trick I picked up from my dad and my uncle, and there is so much I have yet to learn about the instrument. This would give me a whole lot more to work with when writing songs, which I intend to continue doing as much as possible. My goal is to have enough songs written by next summer to be able to start on an album. I already have a few on the go.
Ottawa’s pop-punkers The Superlative recently put out a new song “Where We Left Off,” their first release in a year.
Fans of The Superlative’s past music will quickly find themselves rocking out again with the new track. You can certainly tell of some musical growth, but the biggest progress seems to be lyrically with the new music being a little more serious in nature.
We caught Kiel Burwell (Guitars/Vocals) to chat about what the band has been up to, their new song and whats next.
Interview with The Superlative
So it has been a little over a year since we got new music from you guys. What have you been up to?
We have been working hard on new music, stage performance (lights show, etc…), and playing as many shows as we can this past spring and summer. A few notable ones were opening for Hedley to over 20,000 people at an international fireworks festival. And also getting nods from Sublime With Rome and their management. We have been trying to build the band up and up as we do every year. And like every year, there were ups and downs.
What is the story/inspiration behind the new track “Where We Left Off”?
Where we left off is a lyrical collaboration between our singer Charles and myself (as is usually the case). The song is centered around the idea of how everything in modern society makes us so in a rush that we forget where we’re at sometimes and it in turn affects everything around us in so many negative ways. The song is basically about taking your time and working at things, and how slow and steady can win the race.
The whole collection of songs for this series will (for the most part) be about how modern upgrades in in our society being a blessing, but also how lazy, dumb and selfish it’s making a huge portion of society. How everyone’s attention span seems to be shrinking more and more each day.
In the past you have generally released an album at a time not just a single like this. What is your plan with Harmful Distractions?
We make music for ourselves first and foremost. That’s not to say we don’t want to adapt to modern ways that people listen to, purchase and share music. We see a lot of bands just putting out single songs that have no plan of being a full album at the end, and that’s cool, but also kind of sucks… We aren’t the first band to try something like this, but we definitely feel we have some unique aspects to what we are trying to do.
Majority of the time the guys and I listen to full albums, but sometimes we like a mix for while we are working, hanging out with friends and more… So we can see where music lovers are adapting to playlists and the convenience (but not artist payout) of streaming services. So we figure over the course of the year, if we release songs here and there for people to pick up on and see if they like each of them, it will give them more time to grow fond of each song… Hopefully enough to buy a physical record we will release at the end of the HARMFUL DISTRACTIONS series.
We also want to make a statement to people to love your smartphones, laptops, tablets, VR systems and more, but step the hell outside sometimes and leave them behind. Go do something that disconnects you from society for a few days or a week. Revert back to the way it was in the days when you couldn’t just shoot your friends a text to see where they were. Go out and explore your neighbourhood and see if you can find their bikes in a friends yard to know where they are at… you might realize what it’s like to be an independent thinking, attentive, human being…
You guys have developed a reputation of making some pretty hilarious music videos. Should we expect videos for these tracks?
Hahaha. We just shot a video for the song that will follow this one in about three weeks time. We invested in audio/video gear and are doing all that by ourselves now too. We love making goofy videos and being dorks for sure… However after the success of our last video (getting onto Exclaim, Blank TV and Alternative Press), it was a serious theme about suicide prevention, we kind of realized that maybe constantly making funny videos isn’t the best idea if we are trying to be taken seriously. I will hint that the next video will show how close we are as friends (no we aren’t naked…get that out of your head), and the brotherhood we have built with each other through the power of music and art. We want to make a video for “Where We Left Off,” but the idea we have is something we have to do some research on and maybe we can pull it off. We love our friends that do work for us, but we are very DIY if no one has noticed.
What is next for the band and when can locals get a chance to hear some of this new music live?
We have a few shows coming up in the fall and winter around Ontario and Quebec. Otherwise we will continue to work with our good pal Mike Poisson at Mike Poisson Recordings on the rest of the material for this song series. More new merchandise design, spring and fall show booking/festival applications, the usual band building necessities. We are really starting to see a lot of activity from fans all over the place and it’s pretty surreal, so we are talking to management and booking agent options and seeing what’s right for us.
We currently have 2 songs fully ready to release and are in the studio throughout October to do more. One of those songs is “Where We Left Off,” so there’s one left in the chamber. The entire record is written, we are just perfectionists and choose to take our time writing and recording everything, so we can have what we feel is the best product in the end.
Sam Coffey & the Iron Lungs headlined a great show at the Dominion Tavern Wednesday night which featured opening sets by locals Saint Clare and Mushy Gushy.
Sam took to the stage wearing his standard issue jean vest with Sam Coffey & the Iron Lung patch on the back over a a bedazzled jumpsuit, which I later learned was actually part of an Ace Frehley costume. The band is touring celebrating the release of their new self-titled album which they released after signing with Dine Alone Records.
They opened with two tracks off the excellent new record, “Ragnarock” and “Judy.” I love the new stuff, I really do, but was very glad to see they didn’t forget about their first album and the song that made me fall in love with them a few year ago, “Gates of Hell.” The track is a kick-ass rock n’ roll song with a sprinkle of old school, some claps and sing-a-longs, it is the near-perfect song.
Another highlight of their set was their song “Voicemail,” which is about Ottawa’s very own Gary Voicemail aka Ian Manhire of such great bands as The White Wires, The Sedatives, and more. If you have never seen these guys, shame on you. They are a great rock n’ roll band through and through and even better guys.
Same Coffey and the Iron Lungs rocking out at The Dominion Tavern in Ottawa.
Setting the stage and filling the stage was Saint Clare, a 7-piece band from Ottawa. The band has been making waves in Ottawa with their energetic live performance and great releases. They have such a dynamic horn section (sax and trombone) which adds so much to their music, especially on their 2016 single “Cheatin’.” And I don’t know about you guys, but I just love watching a trombone player strum along like a guitar when they aren’t playing.
Taking the importance of the horns even further is their physical arrangement on stage, which had the brass right next to the singer/guitarist, one on each side, putting them at the forefront. I don’t know if I’ve ever seen that anywhere else. The band as a whole is great and I love what they are doing, but I must say the brass really makes them stand out in the crowded rock n’ roll world. There were definitely some new songs during their set so hopefully we will get something new soon to sink our ears into.
Saint Clare bringing the brass and the fuzz at The Dominion Tavern in Ottawa.
Opening the night was Mushy Gushy, a four-piece butt-rock band who are also from Ottawa. I’ll never truly know what butt rock is but Mushy Gushy make you want to bob and dance on every track. I mean this as a compliment—they were the perfect opening band and got the energy pumping. They did not waste any time playing three songs straight without breaks to get everyone in the zone. They then took a very quick break to say who they were and plug their new tape called More Butter and then quickly got back to business playing the wicked track “Trap” off of said tape. Not a lot of talk and a lot of good rock is key when opening a show. Also it is hard to go wrong with songs named “Fucking Awesome” and “Bodybreak.” Eat your heart out Joanne McLeod and Hal Johnson.
Mushy Gushy kicking things off at The Dominion Tavern in Ottawa.
The cool air has arrived in Ottawa, and brings with it the whispers of autumn. What better way to celebrate the harvest and changing of the leaves than a new album from Ottawa heavy-hitting folk rockers Jack Pine & The Fire? The group’s new record Left To Our Own Devices will be released this weekend, and I got a sneak peek into the nine-track effort.
Ottawa native Jack Pine (a.k.a. singer/songwriter/producer Gareth Auden-Hole) grew up in the city, but admits that his heart belongs to the northern wild. It’s appropriate that the band’s name comes from the recognizable ragged tree that was made famous by Canadian artist Tom Thompson. The band’s music continually maintains a strong connection with the wilderness, with subjects such as rushing rivers, sleeping under the stars, solitude, and the metaphorical lone wolf scattered throughout. The new album genuinely feels like it could have been conjured up and recorded in a cabin 500 kilometers away somewhere in northern Ontario.
Left To Our Own Devices incorporates the band’s trademark americana-folk inspired sound dipped in Ottawa valley twang. More than any of their previous records (which I also enjoyed thoroughly), Devices offers a more complete picture of who this band is and what they have to offer. There’s a tug-of-war between the past and present on this record, as it recalls the great folk songwriters of days gone by while offering a modern take to listeners—one that could draw them in and keep them close while Jack Pine’s story is told (probably around a campfire).
The warm sounds of Martin Newman’s upright bass provide a tender, yet sturdy backbone for the album’s more restrained tracks such as “The Run Down” and “Lone Wolf,” but his fancy finger-work is also unleashed in tracks like “Seven Generations.” Mike Essoudry’s percussion brings forth the foot-stomping element that we all know and love, and is sure to have fans clapping along to fun songs like “Credit River” during live performances. Stuart Rutherford’s twangy resonator is truly enveloping, and recalls the distant bluegrass influences that surely helped inform their music, blending seamlessly with the fiddles and guitars.
All in all, Left To Our Own Devices is a great accomplishment. It contains inspired musicianship and instrumentation, captivating themes and songwriting, and has mountains and valleys of energy that elucidate how dynamic this band really is. Jack Pine and The Fire have shown, once again, that they are masters of their domain and that they’re more than just a gritty folk-rock band with strings.
Be sure to catch Jack Pine & the Fire at Irene’s Pub this Friday, as they get set to release ‘Left To Our Own Devices’ to the world in full. Tickets are $15 adv/door and can be purchased at Irene’s Pub, Compact Music, The Record Centre, and their PledgeMusic Store here.
As summer putters along with the end in sight, there are a few music events that we here in Ottawa still have to look forward to. One of those happened this past weekend, a weekend that was packed full of shows and festivals. Hopped and Confused was a two-night event that happened at the Mill Street Brew Pub, a spot many of us know for it’s refreshing beverages, but not generally for music events.
It doesn’t take a genius to know that craft beer and live music go together like PB & J, and Dine Alone Records curated a stellar lineup of artists over the two days. The lineup consisted of The Trews, Tokyo Police Club, Yukon Blonde, Said The Whale, Dilly Dally, Sam Coffey & The Iron Lungs and Ottawa’s own Hollerado and New Swears.
Our photographer Els captured some great shots of the event, check the gallery out below.