1 comments May 15, 2008

Broken Social Scene

Canadian rock collective, experimental outfit and critical darlings, Broken Social Scene, have always been just a little bit too squirrelly for me.

Having said that, though, there are a couple of their tunes that take pride of place on my all-time-most-favourite-songs-ever-ever-list.

When they get it right, Broken Social Scene come close to transcendental.

A song that might begin with an unusual rhythm and complicated time signatures will suddenly open out into a sprawling, mesmerizing soundscape transporting the listener far, far from the madding crowd.

And who could ask for more than that, really?

Here's "Frightening Lives" and "F--ked Up Kid" from the album Spirit if..., (which is, in fact, the first in the Broken Social Scene Presents series, which aims to showcase the solo efforts of different BSS members -- in this case, founder Kevin Drew).









[Broken Social Scene - MySpace] [Amazon]

2 comments May 12, 2008


Crystal CastlesDeus


Sometimes the iPod's shuffle feature throws up the most weird and wonderful juxtapositions.

How about Crystal Castles' "Courtship Dating" followed by dEUS' "Suds and Soda"?

Pure brilliance.

Toronto's Crystal Castles have been getting a lot of ecstatic press lately, and deservedly so (in my most humble opinion).

I've seen lots of reviews by blokes raving about how the Atari sound takes them right back to their game-boy-geek adolescence. It's a "I-
guess-you-had-to be-there" kind of thing, and since I wasn't, I don't get it. But I take their word for it.

For me, Crystal Castles suggest some kind of f*cked up, magnificent mélange of Sleater Kinney, Le Tigre and Soulwax.

They're their own trip, though, no question. So if you haven't yet, you should leap on the ride!

As for dEUS, they're old favourites. And somehow CCs' "Courtship Dating", with its shouted, call and response chorus segues perfectly into the see-sawing intro and shouted, disjointed verses of "Suds and Soda".

Go figure.









[Crystal Castles - MySpace] [dEUS - Band website]

Update: Seems CC are in a bit of hot water of late, for liberally pilfering samples from a community they'd previously denied any knowledge of. (Thanks to my anonymous commenter for the tip.) There's a good breakdown over at Create Digital Music of the controversy, along with an interesting discussion and examples of the offending songs.

3 comments May 8, 2008

Fuck Buttons


People go crazy for summer here in Montreal.

Windows are thrown open, pale, sickly faces are lifted to the sun, and clothes are removed in a most reckless and arbitrary manner.

We creep out from our slovenly, smelly little nests and slowly unfurl in the warmth.

People are happy. They smile at strangers in the street. Everyone is all hail-fellow-well-met. The world is full of endless opportunity.

At the beginning of every summer, I join the rest of Montreal in this collective, dizzy exhalation of joy.

Sadly, it lasts barely a moment.

My summer bubble of amnesia bursts abruptly, and I remember -- with clenched fists and an ever present snarl -- why summer in Montreal is an awful time for grumpy old misanthropes (like me).

Summer means construction.

It means every man and his dog decides they have to fix their rotting balconies and sinking driveways and collapsing roofs.

And god forbid that construction crews start at 9 a.m. like every other civilized profession.

No. Construction crews start their day at 4-fucking-a.m.

Alright, I concede: that may not be strictly true. But when you're fast asleep at 7 a.m. and woken by what sounds like a truck backing up in your living room, pipes dropping from several stories into your bedroom, a band saw in your kitchen, and men yelling at each other in your bathroom, it feels like 4-fucking-a.m.

Disorientated and disgruntled after this less than auspicious wakeup call, you weave off to work on the bicycle you pulled out of storage at the beginning of spring.

You've decided it'd be a great idea to risk life and limb by entering the insane and unpredictable world of Montreal's roads, where, daily, pedestrians, cyclists and drivers try to kill one another through various staggering displays of inattention.

(The season has barely begun, and I, for one, have already kissed the asphalt. A jay-walking pedestrian stepped blindly off the pavement, I slammed on the breaks -- and flew right up and over the handlebars. Quite spectacular, really. The bruises are only just starting to fade.)

Having braved the roads once again at the end of your work day, you stagger into your apartment and collapse on the couch. You sip your lemonade and enjoy the breeze and think how nice it is to have escaped the madness outside.

You're startled from your reverie by a blood-curdling scream.

It's a child screeching, full-throated, at the top of her lungs. My god, is she being garroted? Is someone trying to remove her eyeballs with a fork?

You leap from the sofa and bolt onto your balcony, looking around wildly for the source of the noise, so you can run and help.

Down on the street below you see some neighbourhood children. They are playing on the grass. They are being watched over by a guardian. The screaming-banshee-child is one of their number. She lets one loose every minute of so.

You can only stare in abject horror and wonder: if you'd made that kind of noise when you were a child, your mother would've garroted you.

While you're gazing at this perplexing scene, a neighbour from the opposite apartment block comes out onto his balcony. (You could probably spit on his shoes, your balconies are that close together.)

As you glance over, you see him whip out some kind of mouth organ piano thing.

He begins to play. Tunelessly, as far as you can make out.

Now you're staring in open-mouthed consternation at your neighbour.

Number one, he's a grown man, why is he playing this fucking toy? Number two, what makes him so certain that everyone within a two mile radius wants to hear him play his fucking toy?

Right about now your nerves are at snapping point.

You stomp inside.

Once you threw open your windows to feel the warm, refreshing breeze.

Now all you want to do is slam them shut on this mayhem.

Which is not an option, of course, since in no time at all you would be sweltering in a hellish oven, consumed by indignation and ire.

Ah summer.

What power you have to make us suffer and like it.*

If I could set the experience of a Montreal summer to music, it would have to be Fuck Buttons' "Sweet Love for Planet Earth".



Oh, sweet, sweet irony.


[Fuck Buttons - MySpace] [eMusic]

*Russell Baker


2 comments May 5, 2008

The Do


Discovery of the day: The dø vs. Heyday.

The who?

Anyway. Big sound. Fuzzy, galloping bass, anguished vocals -- it's like the Knife collided with Röyksopp in a dark alley way, got carnal, and had a love child (long lost twin, rumour has it, of Mika).

Dance music this fun should be a crime.




[the dø - MySpace] [Amazon] [Heyday - MySpace]

4 comments April 28, 2008

Cat Power


Cross Bones Style was the first song I ever heard from Cat Power (aka Charlyn "Chan" Marshall).

I came across it on Matador Records' 10th Anniversary Anthology, Everything is Nice.

This best-of disc was f**king amazing in and of itself -- you couldn’t throw a stone (or swing a cat) without hitting one awesome act after another.

Yet, even nestled as it was amongst songs from Pavement, Bardo Pond, Sleater-Kinney, Mogwai (to name but a few), "Cross Bones Style" -- with its odd staccato drum beat and elegiac, keening quality -- stood out by a mile.

Nearly a full decade later it still feels truly fresh and original to me. Outside of time, somehow.

Listen to that voice.

It sounds as though it's been cured in whiskey and wine and tobacco. In sorrow and heartache and too much knowledge of too many things in too short a time.

All these years, I never knew what Chan Marshall looked like. I’m not sure how that’s possible in this age of the interwebs, but it’s true. Judging from her voice, I’d always imagined her to be older: a kind of grandmother of rock, à la Patti Smith. (To clarify, it's not that I thought she sounded old, per se. But more that her voice had a kind of lived in quality. It seemed to speak of experience and a hard-earned wisdom.)

Imagine my shock, then, when I saw her video recently for "Cross Bones Style":




How do you reconcile that face with that voice?

It's paradoxical and confusing and I guess somehow perfect for an artist who has always managed to surprise, bewilder and charm us.

Her voice is as ageless as her art.










(And I added "Nude as the News". Just because.)

[Cat Power - MySpace]

0 comments April 22, 2008

Charlotte Gainsbourg


I chanced across the following video recently thanks to (of all people) that mad old bird Camille Paglia.

It's a duet between Charlotte Gainsbourg and Étienne Daho, live, on French TV.

It looks like it's been lifted directly from 1972, is cheesy as hell, and I think it's magic-pants. Their performances are so relaxed and unaffected -- light-years away from the absurd bread and circus acts deemed "music entertainment" by our southern neighbours.

I love the word-play in this song, with the constant repetition of the suffix "if", and the way Gainsbourg and Daho's voices perfectly compliment one another.

And Gainsbourg, in this video, is ... dare I say it: Hot.

There I said it.

She is utterly understated and unpretentious and authentic, yet she is smokin', and somehow a thousand times more sensual than, say, this.

Watch:



To paraphrase a good friend: "Unlike North America, Europeans can still make pop that isn't complete shit."

Amen.




This post inspired by the effervescent and incorrigible Dorothy Snarker and her Tank Top Tuesday. Merci Ms. Snarker.

0 comments

Cars and Trains


Cars & trains is the electronic music project of Oregon-based Tom Filepp.

Think, if you will, Andrew Bird (via his live Fingerlings recordings) mashed with Four Tet.

I'm a great one for reductive comparisons, but suffice it to say, Cars & Trains is a glorious, intricate mess of contradictions.

The sound is at once folky and organic, but with a heavy glitch-beat aesthetic. It manages to feel both nostalgic and pastoral, while somehow encapsulating the loneliness, agitation and alienation of urban environments.

That may seem ambitious (and perhaps even improbable) but Filepp pulls it off.

His is a highly distinctive, original voice. Expect great things.

Here's "That reoccurring dream where I'm always..."









[Cars & Trains - MySpace] [Become a fan on Facebook]

You can download a number of free Cars & Trains tracks from the Circle into Square website.

1 comments April 14, 2008

Bobby Mcferrin


What's the first thing that comes to mind if someone says the name Bobby McFerrin to you?

If you're anything like me, you probably find yourself thinking, "Oh, that guy."

The one who gifted the world with THE MOST ANNOYING SONG OF ALL TIME.

You know the song I mean. The one that must not be named.

A few years' back, when I was living in Thailand, I was out and about at the giant Tower Records downtown (remember Tower Records?), and on pure impulse I bought a world music disc -- one of those best-of jobbies. You know, as you do.

And the last song on the disc was a track called "Circlesongs Six".

Rhythmic, soaring, utterly hypnotic -- I fell madly in love with it.

Guess who it was?

Right.

Bobby McFerrin.

The album, Circlesongs, from which the song takes its title and joins a cycle of eight, is a recording of spontaneous vocal improvisations sung by twelve singers and McFerrin.

Three basses, three tenors, three altos and three sopranos create the vocal textures around which McFerrin weaves his solos. He eschews words, in favour of repetitious syllables of sound. No instruments. Voice and vocal percussion only.

I've long since lost the CD.

Hadn't thought about that song in years. Something triggered my memory of it recently, (though I can't think what it was now. There's irony for you.)

Anyway, I had to hear it again, so I pur-chased it.

Here's "Circlesongs Six":







0 comments April 12, 2008

L'indice


Sometimes you randomly stumble across an artist who makes you sit up and pay attention, tout de suite-like.

You find them, sans hype, sans information, and they blow your mind so thoroughly you immediately want to run out and tell everyone you know.

L'indice is just such a discovery for me.

All I know about this bloke is that his name is Vincent Blain, he's based in Montreal and has worked in the past with artists like Navet Confit, Lynda Lemay and Alexandre Champigny.

He's also up as a semi-finalist for this year's edition of Francovertes (for which I wish him all the merde).

I don't know how to describe his music. Sonorous electronica? Extraordinarily accomplished?

Well, anyway -- listen, you can decide -- here's "Petite épopée" and "Deux sang" from Démo:









[L'indice - MySpace]

0 comments

Pascale Picard


Please let me clarify: Pascale Picard is not annoying.

Far from it.

I would, in fact, be more likely to use adjectives like: "Charming". "Talented". "Hot" could be another one. (Well, what? I'm just saying.)

"Annoying" is, of course, the title of one of Picard's songs from her debut album Me, Myself and Us.

Picard is one of the rising stars of the Quebec music scene (her album went platinum mere months after its release), and although her sound verges on being a little too mainstream for my personal taste, I believe she has enormous talent and appeal. I hope and she and her band manage to crack the wider North American (and European) markets.

Her biggest single is probably the lovely "Gate 22", and watching the video, I couldn't shake the feeling that she looks like a cross between Anika Moa and the Quin Sisters. (Her music is much closer in style to Anika Moa, than Tegan and Sara, though.)


Anika MoaTegan and Sara



The tune "Annoying" has a harder, rockier edge than the majority of the tracks on Me, Myself and Us. The cascading guitars and out-and-out vitriol make it, by far, my favourite track on the album.












[Pascale Picard - MySpace] [The Pascale Picard Band website]