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.

Gogol Bordello Concert Report

Gogol Bordello at Danforth Music Hall August 19

Gogol Bordello returns to Canada following their solid sixth album Pura Vida Conspiracy. This was my third time seeing Gogol Bordello, the previous two times following their best album, Super Taranta. I was somewhat less enthusiastic about going this time since their last two albums, while good, seem to have toned down the crazy energy that characterized their earlier work. While the show was front-loaded with my favourite songs, Gogol still captivated the crowd for almost two hours.

This was my first concert at the Danforth Music Hall and I was impressed by the venue and the sound. It is larger inside than it initially seemed, offering good line of sight and crisp sound. The band opened with the excellent opening track from their new album, "We Rise Again". They followed with an amazing trio of songs: "Ultimate", "Not a Crime" and my favourite, "Wanderlust King". The crowd was going crazy pretty much right from the start, with intense moshing and a few crowd-surfers. They continued with a mix of new and old songs but the energy level never fully abated, even during the slower songs. They played their signature track, "Stop Wearing Purple", surprisingly early in the show. For the encore, they played four songs, ending with a furious rendition of Gypsy Punks' "Undestructable".

The band was in excellent form, despite a few lineup changes since I last saw them. They have a new drummer and accordionist, as well as losing one of their female backup singers. Singer Eugene Hutz seems entirely unchanged, yelling every line like his life depends on it and regaling the crowd with various anecdotes. Ecuadorian percussionist and rapper Pedro Erazo has a more prominent role in the band, adding raps and call-and-response interludes to a number of songs. Violinist Sergey Ryabtsev came across as an elderly but virile Russian punk rocker. His violin parts often provide the melodic anchor for the songs while his heavily-accented backing vocals add a unique character, especially for "Stop Wearing Purple". The only complaint I have is that they are a little too willing to drag out the climax for every song. Overall, while Gogol Bordello the studio band has lost some steam, Gogol Bordello the live band more than make up for it.

Akron/Family Concert Report

Akron/Family July 28 at Sonic Boom

This was the latest in Sonic Boom's series of excellent free concert. Over the years I have seen many artists perform at Sonic Boom, including Coeur de Pirate, Broken Social Scene, Thunderheist, Buck 65, Lioness and Courtney Taylor-Taylor from the Dandy Warhols. Typically, these are short, impromptu performances and are often acoustic. The mascot for the recent shows is a small baby who was rocking some stylish headphones to protect his ears from the onslaught. Akron/Family brought a full-on, jam-rock concert to Sonic Boom.

Akron/Family started a little late but delivered over an hour of psych-rock excellence. This was the longest, most complete concert that I have seen at Sonic Boom to date. As they were not playing a proper show in Toronto, they passed on the appetizer and moved straight into the main course. Based on my limited prior knowledge, I believed the band to be a freak-folk ensemble with at least eight members. Instead, this four-piece delivered focused, heavy psych reminiscent of Deep Purple and early King Crimson. While the bassist and guitarist both sang, the bassist Miles Seaton had the strongest voice and sang the best songs. The keyboardist alternated between Deep Purple-ish organ solos and experimental, free-form noise. Their songs mixed psych-rock standbys with loops and chanting to create a trance-like effect.

Despite commenting that they didn't have a chance to sound check, the band was very tight and the sound was loud, crisp and full-bodied. Akron/Family pushed the limits of Sonic Boom's sound system more than any other act I've seen, often reaching punishing volume.

Chico Trujillo Concert Report

Chico Trujillo at Harbourfront Centre July 5

We attended this concert largely on a whim and because it was free but ended up being surprisingly entertained. Chico Trujillo is a band from Chile who combine contemporary cumbia with elements of ska and progressive jazz, with vocals that have the intensity of hip-hop. They formed in 1999 and have gained a considerable following in South America as well as Europe. For a bit of a primer, check out this concert from Austin, Texas. While that show was more subdued than the Toronto one, it gives a good impression of what the band is about. The show brought out much of Toronto's large Chilean community with Chilean flags and jester hats visible throughout the crowd.

The concert was close to an hour and a half, ending as close to the 11pm curfew as physically possible. They played a range of songs, ranging from the traditional to the modern, often including lengthy improvisational passages. Their singer, known as "Macha", spent much of the show off-stage and would return wearing thick sunglasses and looking a bit wobbly. Despite his apparent intoxication (or because of it), he maintained total command of the crowd throughout the set. He would initiate numerous sing-alongs, clap-alongs and led the crowd in a motion that reminded me of pitching a softball. I was able to enjoy and appreciate most of the songs due to the strong melodies despite my extremely limited knowledge of Castilian. The band was extremely tight and was easily able to negotiate numerous time changes. The crowd was one of the best I have ever seen, singing along to the lyrics and awkwardly dancing throughout the set. At the end of the first set, the crowd seemed like they would not accept the absence of an encore, even when one of the organizers tried to speak. The combination of the excellent band, good songs and an amazing crowd made the show a great experience.

Savages Concert Report

Savages at Mod Club July 16, 2013

Savages brought their potent brand of post-punk intensity back to Toronto last night. This was their second visit to Toronto and my second Savages show, following their brief but punishing set at Lee's Palace for Canadian Music Week earlier this year. Savages are based in London while lead singer Jehnny Beth is a singer and occasional actress from France. They play a heavy version of late 70s post punk that sounds like a combination of Joy Division and early Siouxsie and the Banshees. Their debut album Silence Yourself effectively conveyed the power of their live sets and highlighted their songwriting skills. I didn't take any photos due to the band's desire for the crowd to keep their cellphones away.

At over an hour, last night's show was much longer than their CMW showcase. This allowed them to highlight some of their slower tracks as well as playing tracks that haven't been released yet. The best of the new tracks was a lengthy jam based on a simple and hypnotic groove. All of the tracks played emphasized the groups excellent musicianship. The bass in particular achieved throbbing prominence throughout the set while the guitar offered occasionally overpowering squalls of noise and the drums pushed the punishing rhythms. Jehnny Beth is an amazing performer with dance moves that combine the twitchy enthusiasm of Ian Curtis with the aggression of a boxer. Her singing voice is remarkable, reminiscent of Patti Smith or Siouxsie Sioux but more technically proficient than either.

The best songs on the album were, not surprisingly, also the best songs of the concert. While I enjoyed their album, the songs are really meant to be heard live. "I am here" had a bass line reminiscent of U2s "New Years Day" with a building intensity that culminated with some intense screaming from Beth. "Hit Me" was fast, ugly and almost unreasonably heavy. "Husbands" is their fastest and catchiest track. After claiming that they never play encores, they came back on stage for an excellent rendition of melodic highlight "She Will". While their sound is derivative, their approach is so powerful and convincing that their show feels like an entirely unique experience.