Touring: Broken Social Scene with Do Make Say Think

I think it's quite obvious to anyone that we here at WHYH are quite the Broken Social Scene fans. We also have quite the soft spot for their instrumental relatives Do Make Say Think. If you haven't clued into that by now, then you have been living under a rock, therefore we do not wish to deal with you; good day.

Now for the rest you: the tour dates for Broken Social Scene's and Do Make Say Think's tour have been announced. The ending of this tour brings on a break for BSS (although, not an ending, they assure us), and is the first glimmer of life we've had from DMST in a while (well, that's not counting their announced then quickly cancelled tour, after Justin broke his collarbone).

However, among all this good happy music news, there is bad news. Horrible news. Tragic news. This tour, of two bloody brilliant Canadian bands, is only in the US.

...I suppose that isn't such bad news for the Americans, but, for us Canuks? Devistating. Which is why we must indulge ourselves in songs from these two bands. I've some BSS goodies for you all, and then some album tracks for DMST.

Broken Social Scene:
7/4 (Shorelines) [an early version of the song; some would call it the original. I think it stands on its own.]
Stars and Spit [a mashup of Stars and Sons and Lover's Spit from the 7/4 single]
Ibi Dreams of Pavement (A Better Day) [live on NPR's world cafe. Thanks to the kind folks at b(oot)log for this file!]

Do Make Say Think:
107 Reasons Why [from Winter Hymn Country Hymn Secret Hymn]
End of Music [from & Yet & Yet]

Enjoy. And if you're going to be in the states while they're touring, do yourself a favour and check them out. I promise you won't regret it.

Covers: Beatles

Okay, this is just a quick post. A very quick post, but it must be done!

Lately I've been obsessing over Slow Runner. There will be a more indepth post on them in the near future (read: when I get my next paycheque and can afford their cd - yay massive overtime!), but this cover of the Beatles' song I've Just Seen a Face is... well, it's pulling at those ol' heartstrings.

Slow Runner - I've Just Seen a Face

This track is labelled as being taken from This Bird Has Flown: A 40th Anniversary Tribute to the Beatles' Rubber Soul. According to amazon.ca, it's not. However, I'm linking the cd anyways, as Rubber Soul is quite possibly my favourite record ever (although, that's blatently a lie, it's not, but it's way up there.) and just look at some of the artists on there... Sufjan Stevens, Ben Harper... definately worth checking out.

Live: Calgary Folk Fest, Part 2

Elliot Brood - picture taken by Mariella Villalobos (c) July 2006

Part Deux: Elliot Brood, and the arcane magical nature of "folk" music

Day two of Folk Fest was, basically, same procedural layout as the day before; things kicked off in the afternoon, though this time there were other acts in addition to the mainstage. For which, we all must thank whatever higher power is out there. O_o

This means, of course, that we tried to avoid the mainstage as much as possible, going out to watch Elliot Brood's show at the Sunterra Stage, far on the distant fringes of reality. No kidding. O_o You had to walk across half the park, and under a bridge, and perform many arcane ceremonies of unusual nature in order to reach it. >.>

The show itself, however, was definitely worth it. Even if we missed most of "Second Son" due to the ridiculous nature of reaching the stage, the rest of the songs were just as wonderful to hear live. Though you won't find any crazy stage antics here, the boys of Elliot Brood play with a sort of straightforward earnestness that's both charming and endearing. Less desperation than I've seen in other bands, and while desperation is definitely something incendiary to watch onstage, the fact remains that these guys really don't need it. The music itself is, while not exactly laid back, a kind of dusty, solid presence that just seems to want to jam out, labels be damned. Plus, their drummer plays suitcases. SUITCASES. COME ON!

The mainstage itself, however, was a bit of a letdown in the way that...well...to be fair, we had just watched Feist and Broken Social Scene create magic there the evening before. By comparison, having Bedouin Soundclash and Macy Gray to look forward to is akin to eating at the most amazing restaurant ever, then being hauled off to eat at Earls the next day.

There were unexpected surprises, of course, like the previous day. Robbie Fulks, for example, and Jeff Healey's Jazz Wizards were actually quite enjoyable...though by far not the kind of music I usually listen to, I know when to surrender and admit that, yes, it doesn't have to be "rock" to kick ass. Though rock would kick my ass to hear me say that. >.>

Also a surprise were the in-betweeners: especially Kris Demeanor and Chantal Vitalis. It was only later, however, that we would learn of just how decent these guys were...but that, of course, is another story. In the mean time, we just figured that, yeah, they weren't that bad...better than that unfunny comedian from the day before, anyway.

At this point, however, Bedouin Soundclash took the stage; from our perch on the haunted/cursed picnic table near the gates (inside joke, don't ask), we listened and realized two things: one, DAMN they wish they were Bob Marley, and two, it's such a shame that they're the ones who wrote "When The Night Hears My Song". Though not a bad band...well...personally, I just have to say that I find myself, once again, on the outside of understanging indie tastes. Here is a band that many people, friends of mine who have introduced me to WONDERFUL bands or whose opinion I usually highly respect, are crazy about...and I just can't see the attraction. It's like the flurry of attention around Gnarls Barkley, or the 'Fork's obsession with the Pipettes, or Liars. Sure, I understand that people like it...a LOT of people like it...but it just doesn't make sense to me the HUGE deal that is made about these artists. Every time you read something written about them, or see the overwhelming numbers of people tuning in, you get the impression that somewhere, someone thinks that these bands will save music from the jaws of oblivion.

As if they were all Spencer Krug, or something. Keh. >.>

In any case, the band finished playing...and we then proceeded to run out the gates as fast as the gravel road would permit. See, our location was a strategic one. Regardless, we almost didn't make it; the strains of Macy Grey seemed to chase us down, across the bridge and down into Eau Claire Market like the plague of dark locusts. You know...those ones that eat your soul.

I'm kidding, of course. That was a close one, though.


Next: Part 3, in which we meet Feist and Elliot Brood, and discover the evils of wisdom tooth removal.

Teitur

I was going to hold off on this post until Ju finished her Folk Fest recap, however, somewhere along the way I decided not to. Impatience always wins, you see.

Teitur is from the Faroe Islands, which are somewhere between Norway and Iceland - the sheep islands, they're called. Now, I find this highly amusing, as the folk pop Teitur creates is so calming, it can calm you to the brink of sleep - just like counting sheep!

Har har, oh, the humour.

I have some songs for you from Teiturs first major album, Poetry & Airplanes, which was released in 2003. Since then he has dropped his old record label (Universal), and released Stay Under the Stars, but only in Scandinavia so far.

To me, Teitur is that warm cup of tea on a cold evening, or the cold drizzle of rain while the sun is still shining. He creates a soft sound, which just melts away everything hanging on your heart. Maybe this is why I can't drag myself away from his music long enough to listen to anything else. But that's enough from me, lets get to the music!

From Poetry & Airplanes (2003)
01. I Was Just Thinking
02. Sleeping With the Lights On
03. Poetry & Airplanes
[ buy the album from amazon.com]

Keep an eye out for Stay Under the Stars, which will be released in North America later this year. Until then, you can buy it here.

Live: Calgary Folk Fest, Part 1

Funny how a chance to reflect can make you realize just how much things have changed in a year. In this case, the reflective shiny time surface of doom being Folk Fest. For one thing, one year ago, we didn't even know there WAS a Folk Fest in Calgary. And even if we had...well, folk still tends to conjure up images of old guys in ZZ Tops beards and the occassional hippie holding hands around the ol' Bob Dylan shrine.

Not that that doesn't happen now, of course. But now, what with all those sound experiments happening in Indie music, you'd be shocked and appalled to learn some of the acts which have managed to sneak in under the 'folk' label. Or, I guess, in our case, pleasantly surprised.


Part Un: Feist, and Malfunctioning Societal Grouping (if you want to get technical)

Day one basically consisted of adjusting to the fact that we now might be classified under the label of "folkies", and waiting in seizure-inducing excitement to see Feist and Broken Social Scene. There were other acts lined up, of course...but we suck in the way that we didn't even bother checking out if they were any good beforehand. >.>

As luck would have it, though, they were actually much more enjoyable than expected. First was Frigg, a Finnish/Norwegian/Celtic-sound ensemble that opened up the event nicely by getting everyone into the listening mood. Then Dan Bern; Dylanesque vocal style, with witty songs figuring many recognizeable cultural icons such as Marilyn Monroe, Hitler, Jesus, and Kurt Cobain. Specifically Marilyn Monroe. XD Niyaz followed, with Iranian/electronic fusion music that, though definitely cool, provoked the argument whether or not caring bongos makes one automatically cool (I still maintain that I'm right: though they are cool when played well, they don't, in fact, guarantee you such status Xp).

Finally...the moment of truth. Leslie Feist took the stage, whereupon the next 45 minutes or so were spent in rapturous wonder at how someone could possibly encapsulate so much awesome without breaking some law. So much so, actually, that she was called back for an encore (one of the only artists throughout the weekend to achieve such recognition.

And last, but not least...Broken Social Scene. Ahhh...what really needs to be said about them that hasn't been shouted enthusiastically from the tops of mountains? Though I am still fiercely determined to see "Windsurfing Nation" played live one day, I am perfectly content with the fact that every other song selection seemed to be a favourite of mine. From the energetic strains of "Major Label Debut (fast)" to "Almost Crimes to" to "Ibi Dreams" to "Fire-Eyed Boy", there wasn't a single moment where us "Scenesterer than Thou" indie kids didn't have to fight the urge to dance. I kid, of course...>.> We gave in.

So very, very easily. XD

Next Up: Day 2, whereupon we discover that the guys in Elliot Brood are wickedly cool, that it really is too bad that "When The Night Hears My Song" was, in fact, written by Bedouin Soundclash, and we escape Macy Grey by the skin of our teeth.

Music in movies: C.R.A.Z.Y.

Trying something new, isn't that just spiffing. Anyways, an integral part of any movie is in the music. Music can change the entire feeling of a scene - cue example.

Two people in bed. Picture it. No really, actually picture it. A man, and a woman. The woman is sleeping. The man is awake, looking at her.

But what's in the background? If the music has a soft, romantic lilt to it, then he's not about to crush her world. However, if it's some sad ballad, odds are they're not going to be in bed much longer.

Lets not get too off track here (or is it too late for that?). There have been some amazing soundtracks out over the years - everything from Footloose, to The Breakfast Club, to Garden State. With this new feature, we're hoping to look at some lesser known movies (since, we do claim to look at indie bands >.>) and hopefully find some killer soundtracks. And I can't promise this will be a regular feature, but then again, what really is?

C.R.A.Z.Y.

It's a story of two love affairs. A father's love for his five sons. And one son's love for his father, a love so strong it compels him to live a lie. That son is Zac Beaulieu, born on the 25th of December 1960, different from all his brothers, but desperate to fit in. During the next 20 years, life takes Zac on a surprising and unexpected journey that ultimately leads him to accept his true nature and, even more importantly, leads his father to love him for who he really is. A mystical fable about a modern-day Christ-like figure, "C.R.A.Z.Y" exudes the beauty, the poetry and the madness of the human spirit in all its contradictions.

Summary written by Jean-Marc Vallée

I grabbed that summary off IMDB, since it was ever so thoughtfully written by the director, Jean-Marc Vallée. Now, for anyone wondering, "French director? Does that mean French film?" yes, yes it does. But on the DVD, it's completely subtitled in English. A bonus for all you Anglophones out there.

The music in the movie is absoutlely vital. The music really shows Zac growing up, and the relationship with his father. Now, that doesn't seem possible, until you listen to it. However, the music will also stop this movie from being well known - as far as I know, it hasn't been released in the States due to copywrite issues. Which, is completely understandable, solely from the three songs I'm sharing with you.

From C.R.A.Z.Y.
01. Patsy Cline - Crazy
02. David Bowie - Space Oddity
03. Rolling Stones - Soundtrack for the Devil
[buy the movie from amazon.ca]

And, here's a strong recommendation to try your hardest to see this movie. And if you're not convinced yet, here is a review that should get you there. Enjoy!

Marit Larsen

Mandolins, harmonicas, and banjos - oh my! Marit Larsen creates a folk-pop sound akin to what you'd get if you mixed Iron & Wine with P:Ano, with a dash of Sufjan for good measure.Hailing from Lorenskog, Norway, Marit Larsen made her first splash in the music biz in 1999, at the young age of 16. Together with Marion Raven, in the pop group M2M, they fought with acts like Michelle Branch and Vanessa Carlton to bring a more organic feel to the bubblegum pop that was dominating the masses at the time, by writing their own songs, and playing their own instruments. We all know how that movement went.

Fast forward 7 years, and we find Marit Larsen emerging from the hiatus she had been on since M2M's split in 2002. She's abandoned her bubblegum roots in favour of a more folk- country tinged sound. The irresistable melodies are still there, floating along with banjos, a mandolin, harmonicas, a cello...the list goes on. Larsen has created her own type of folk-pop, which is worthy of being anyone's guilty pleasure.

Under the Surface was released earlier this year, and so far, it is a Norway only release. The album ranges from being moody, and sensous ("Poison Passion", "Solid Ground") to sparky and fun ("Only a Fool", "The Sinking Game"). If there's such thing as the perfect pop record, Larsen has created it. But don't just take my word on it, listen for yourself:

From Under the Surface:
01. Don't Save Me
02. Only a Fool
03. Solid Ground
[buy the album from zailor.no, site in Norwegian]

That's all for now, kids -- enjoy!

Elliott Smith and Nick Drake

Now, who hasn't heard of Elliott Smith? No one important, that's for sure. However, we've still deemed it necessary to spread The Word.
Elliott Smith's fourth album was also his first on a major label. XO was released in August of 1998, and this is a must have album. I can't even coherantly speak about it; so I'm going to let the songs speak for themselves.

From Elliott Smith's XO:
01. Tomorrow, Tomorrow
02. Baby Britain
03. Bottle Up and Explode!
[buy XO from Amazon.ca]

Now, for Nick Drake. His third (and final) album is Pink Moon. It was recorded all in one evening, the only dubbing being added piano. It is a very emotional album, which must be experianced. It's the sort of cd for a rainy day, or a lonely moment. Drake's deep voice can sooth, but it can also rouse up emotions. Again, this is a must have cd.

From Nick Drake's Pink Moon:
01. Road [m4a]
02. Parasite [m4a]
[buy Pink Moon from amazon.ca]


I'm going to second all of Ju's apologies for the lack of posting for a while, but as she said, she was in Seattle; I've been doing school (oh, math is evil) and then Phil is MIA.

Enjoy!

Live: Sonic Youth

Anyone who hasn't given up on this blog...god bless you. It's been a long stretch with no updates; that last Flashback is starting to grow mould, I think...Phil hasn't written anything new since about the time I realized that Raine Maida used up all his talent years ago (trust me, it HAS been that long). In fact...he might seriously be dead.

We're looking into it. >.>

Despite the questionable life status of the founder of WHYH, however, we have decided to push onwards. We have also decided to continue his neverending battle against Pitchfork, or "The Devil", as he used to say (Ohoh, we sure had some good times...we'll miss him, we will). That's another story, however, and completely irrelevant to the remainder of this piece.

The point of all this, I suppose, and one which I would have rambled over to eventually, was that Sonic Youth will never play Alberta. Ever. So, following that whole Mountain & Muhammad visiting each other in some random arrangement analogy, I took a trip down to Seattle to watch the 'Youth rock it up at the Moore Theatre. And ohoh, is that city wonderful and beautiful and everything I could have imagined it to be. However, that's ALSO not the point of this article. Let it just be said that my suitcase came back twice as heavy, full of music-ey goodness. (Wipers Rarities 45", anyone?)

Despite the fact that their name might now be considered ironic (Ohoh, youth...), the band was absolutely incredible. Whatever Pitchfork said about Rather Ripped, the album plays incredibly well live...thus proving that once again, those jaded critics have their heads up their rear ends. (Philip's dying wish WILL be carried out, dammit!)

Even though they only played two older songs, the crowd was still nothing less that ecstatic about the whole show, which was wonderfully executed and incredible to watch. Especially the 10-minute noise-collage that constituted the end of the second encore. XD (You haven't lived till you've seen a guitarist drop the guitar on its head in order to coax feedback, while another drags it around upside down on the floor, the bassist fiddles with the rig, and the drummer just goes ahead and holds it all together while doing his own thing.)

After the show, I stuck around and got to talk with Lee and Thurston for a while...and I really have to say this straight for anyone that might have any doubts: they were nothing short of incredibly friendly, down to earth, and totally cool. After how long they've been onstage, and hearing people tell them how amazing they are, it's definitely a feat to be so approachable.



So, to sum it all up, Seattle might be the greatest city ever built, Awesome Colour opened for the 'Youth, and were quite good (what a tough opening gig, though...>.>), Sonic Youth rock so hard that I think I have bruises just from listening to the awesomeness live, and Thurston and Lee might just be the coolest people since the guy that invented sliced bread.

So, all around, good times on the whole. Well, minus the Phil being dead part...the fight against indie elitism will continue in his memory, and we'll miss the big guy.

Well...if we ever get around to it. Probably.

Flashback [June] : Dinosaur Jr.

Dunosaur Jr. - History

They say it better, and in more detail (FAR more detail >.>) than I could ever want to muster in my slackerness. XD

But really, what that long and involved history seeks to communicate is this: Dinosaur Jr. were not only fricking awesome, different (at the time), and LOUD...they were important. Looking back, it's easy to see that more than just about every other "grunge" band given nods of recognition (they really weren't, but what really WAS 'grunge', anyway?), Dinosaur (they only tacked on the Jr. after being sued by the skeletal remains of bands like Country Joe and the Fish/Jefferson Airplane calling themselves The Dinosaurs) really brought the 'hardcore' to the table. They were good. They were an influence on just about every band that came out of the area after. They brought us names like J Mascis and Sebadoh (J was the guitarist/vocalist/composer; Sebadoh was founded by Bassist Lou Barlow). And they never really had much mainstream commercial success, but since when has that been a measure of how good a band is? XD


Here's some tunes for your listening pleasure. (Sure, it's not like seeing these guys live and feeling the blistering volume...the wall of sound...the bleeding...but who knows? Maybe if you turn up your speakers really, really loud...):

Dinosaur Jr. - Little Fury Things
Dinosaur Jr. - Out There
Dinosaur Jr. - In a Jar