Volcano Choir Concert Report

Volcano Choir at The Phoenix September 8

Volcano Choir, the side project of Bon Iver's Justin Vernon, played in support of their excellent new album, Repave. Opening for them were Sylvan Esso, a band with a complicated connection to Justin Vernon. While both members of this duo are in folk bands, this project is definitely of the category of electronic dance music. Sylvan Esso presently only have one single out, "Hey Mami/Play it Right." They used a combination of layered vocals and bass-oriented electronics to create upbeat groove music. The crowd, who seemed to be mainly polite folk fans, were initially reticent but warmed up to the heavy grooves and singer Amelia Meath's (of Mountain Men) friendly banter and awkwardly enthusiastic dancing. Overall, a promising duo who got a better than average reception for an unknown opening act.

Volcano Choir immediately counteracted the friendly demeanor of Sylvan Esso by playing in almost total darkness for the entirety of the set. Fortunately, a nice backdrop of what may have been a winter forest and some very effective lighting provided some visual stimulation. The crowd seemed to mainly be Bon Iver fans looking to see Vernon in a smaller venue, so when his shadowy figure emerged onto the stage, the crowd freaked out. At six members, they were a fairly large group who created a varied array of sounds

The group mainly played songs from Repave. Bolstered by Vernon's powerful, unique voice as well as the tight but experimental band, the songs sounded even better than on record. "Byegone" was especially dramatic in this setting. They also played a few unreleased songs, which saw the group pursuing a more rock-oriented direction. One song especially was very reminiscent of the first Bloc Party album. Vernon's voice is amazingly versatile, easily moving between ballads, rock songs and meandering quasi-raps. They ended the first set with a rocked-out version of the Bon Iver song "Woods", renamed "Still" for Volcano Choir, which was very well received by the crowd. Generally, they offered a surprisingly exciting show, though some of the more experimental tracks meandered and it would have been nice to see the band.

Journey - A Heartbreaking Game of Staggering Genius

Journey on PS3

To date, I have kept this an exclusively music blog but Journey has compelled me to make an exception. This brief experience of an atavistic pilgrimage has changed the way I think about video gaming. With beautiful visuals, stunning music, smooth mechanics, perfect multiplayer and genuine emotional impact,  Journey provides an experience of absolute beauty and depth.

The visual style of the game is unique and supports the vagueness of the narrative. The protagonist appears to be dressed in religious garb on what seemed to me like a futuristic pilgrimage to Mecca. The protagonist intermittently interacts with a group of larger entities dressed similarly, except in all-white. The visual style and use of symbols suggests a fusion of Sumerian and futuristic elements. There is no concrete plot information provided. This creates a dream-like effect that allows the players to imbue the journey with their own narratives and meanings, led by the use of music and sound.

The use of music greatly enhances the emotional impact of the journey. Every significant moment or transition is accentuated by shifts in the score. This impact is most powerfully felt during the climax of the game where this shift corresponds to a shift in the player's state of mind. The music, while beautiful, is never distracting or overwhelming. In fact, the music would be hard to describe unless paying close attention, combining classical, ambient and middle-eastern motifs. Here is the end-credit song.  The sound effects are fairly minimal, with sounds of wind and various chimes. The simplicity of the music and sound effects is reflected in the game's mechanics.

The mechanics of the game are simple but effective. Much of the game is spent simply pushing forward. What interaction that is there is simple but effective, largely centred around jumping and flying. The mechanics are gradually opened up over the course of the journey. Most objects that you encounter serve to facilitate your progression and the level of challenge offered is fairly low. The only obstacle or antagonist is a mechanized dragon, which, while unnerving, doesn't significantly obstruct your progress. These mechanics are further enhanced by the multiplayer.

I am generally not a big fan of online multiplayer as I feel it can detract from the immersion that a game offers. For this game, the subtle use of multiplayer enhances the immersion. Other players slip in and out of the journey and, instead of introducing an element of competition, they allow you to share the emotions stirred by the journey. Players can only communicate with each other through blips of light and sound. The best interaction offered is that, through the blips of light, players can allow each other to briefly fly. Early on, coordinating this ability offers the only significant challenge of the game that, when mastered, offers a profound sense of satisfaction and togetherness. The climax of the game, which I won't spoil, increases its emotional impact through the presence of another person.

The emotions triggered by playing this game and sharing this experience are difficult to fully describe or comprehend. I felt a strong feeling of well-being and openness after finishing that is unlike anything I have ever felt from a video game.  As a work of art, Journey is uniquely powerful and could have great therapeutic value, even for those who would generally not enjoy gaming.

Depeche Mode Concert Report

Depeche Mode with Bat for Lashes at Molson Amphitheatre September 1

Depeche Mode killed it again! After having seen them in 1998 and 2001 and having heard their excellent new album Delta Machine, I was expecting a good show but Depeche Mode were in exceptionally good form for this concert. Their combination of amped-up renditions of their songs, over-the-top theatrics and crowd participation, combined with a perfectly curated setlist make them an unbeatable live experience.

Bat for Lashes provided a solid and atmospheric appetizer for the main course. Singer Natasha Khan's powerful voice carried throughout the amphitheatre, making her hard to ignore. Their band setup was interesting, with a cello and various unusual forms of percussion. They ended their set with their signature song, "Daniel". Overall, they were very good but their subtle songs and complex arrangements were not an ideal fit for an opening band in such a large venue. I would love to see them play as a headliner in a venue like Massey Hall.

Depeche Mode opened with two songs from Delta Machine and the crowd's reception to the new tracks was very positive. Behind me was a reasonably drunk guy who only seemed to know the new songs and was loudly singing along to the lyrics for only these tracks. It was immediately clear that the band's intensity has only grown in the past decade. Singer Dave Gahan began to disrobe fairly early on in the show and began to work his stripper moves, especially during excellent new track "Should Be Higher". This track ended with a very awkward failed attempt at a sing along. His voice has a booming quality that is ideally suited for a large venue but he has also developed the higher range of his voice recently.

The set continued with a perfect balance of classic tracks like "Walking in my Shoes" and "Black Celebration" with more recent tracks like "Precious" and "A Pain That I'm Used To". Martin Gore showed off his increased guitar skills, while the drummer punished his kit with a surprising number of drum solos.  As it started to rain, lead songwriter Martin Gore took the stage for a beautiful piano and voice rendition of "But Not Tonight" and new track "The Child Inside". While he is not as charismatic as Gahan, his voice is just as powerful with perhaps a greater range and the crowd responded well to his songs.

As the show progressed, the crowd participation increased. Dave Gahan gave the crowd the opportunity to sing the choruses for "A Question of Time", "Enjoy the Silence" and "I Feel You." At the end of Martin Gore's rendition of "Home", the crowd engaged in an impromptu singing of the coda to that song. For the final song, "Never Let Me Down Again", the crowd fully committed to the slightly ridiculous but awesome arm swinging that has become a signature for the song, leaving the crowd completely exhilarated after two hours of greatness.