In today’s music scene, electronic dance music (EDM) is most widely represented in the form of artists like The Chainsmokers and Zedd, who produce a more pop-influenced style of EDM—but the trance subgenre is still alive and thriving. Award-winning DJ and producer Paul van Dyk proved this on Saturday, May 13, when he and the opening acts Alex M.O.R.P.H. and Heatbeat successfully filled Montreal’s New City Gas. The venue, a large industrial warehouse-type structure, was crowded by people both on the floor section and in the V.I.P. booths which line both sides of the venue.
Having growing up in a city whose main claim to fame is the promise of a stable career in government, running into old high school friends in Montreal has become quite the common occurrence. This past Wednesday, I once again found myself running into an old pal from my hometown. Like most instances, the encounter took place at a bar. Unlike other occasions, however, I was there to take part in their album launch.
On what was the tenth leg of his Secret Garden Tour sponsored by Red Bull, Jazz Cartier took over Le Belmont on May 3 and put on a performance that perfectly captured the high octane spirit of his music.
Although the show started an hour late, Jazz Cartier, J.I.D, and Levi Carter gave the sold-out crowd the madness they came for.
Perhaps this is simply an effect of the indie-scene filter bubble I’m floating in at the minute—the reverb-addled echo chamber that encourages me to skip any and every song that doesn’t start with a chip-packet crackle of feedback and some sweet, jangly, twangy arpeggio—but I’m convinced (hyperbole alert!) that we are currently experiencing a shoegaze revival. The Shoegaze Revival. Slowdive are back, Ride are back; in the last few years, we’ve had new albums by My Bloody Valentine and Swervedriver after hiatuses of 15-20 years.
It was a Saturday night in April, and I was getting ready to go out a little later than expected. But despite my overwhelming laziness, I put on my ripped black jeans and a cute striped t-shirt. I had my little bag and my little notepad and was ready to hear some new music for a change. With a 20-minute walk under my feet, I made it to Casa del Popolo and was feeling more exhausted than before. Nevertheless, I made my way through the restaurant and to the back doors where the night’s entertainment was playing.
The 1990s and early 2000s were a heady time for us all. It was the last time where radio ruled supreme, and as such, a band was made or broken whether they could get a coveted rotation slot on stations. This also was an interesting time for bands in North America, as what became popular in Canada due to Canadian Content requirements and what the United States pushed could sometimes make for a situation where an immensely popular band in Canada was scarcely heard of in the US. Case in point: Matthew Good Band, a group of British Columbians whose albums netted them 14 Juno nominations which include two wins for "Best Group" and "Best Rock Album" for Beautiful Midnight in 2000.
On Monday, March 27, The Courtneys, Monomyth, and Mouth Breather played a stacked show at Bar Le Ritz. All three bands have recently dropped new music, and played a mix of fresh tracks and old favourites. The Parc Extension bar was bustling with a warm and eager crowd for the three Canadian slacker pop bands.
Back at it here again with another concert review! Monday, March 20 welcomed Alestorm at the Corona Theater, and man was I excited to get my pirate mood on. Upon arriving, I checked at the back of the venue hoping to meet the band but, sadly, none of the members were there.
Once I managed to get inside, I ran for the front as fast as possible and secured my spot and land ho!
Crowds flooded into the Bell Centre on the evening of Saturday, March 18. As the beer flowed and the seats filled, the arena became wired with anticipation. Getting the crowd going indefinitely were the opening two acts: Susto, and the born to rock, Kaleo, who really know how to put on a show. The production value really excelled, sending vibrations into your bones. Icelandic born and bred, Kaleo offered unforgiving vocals and heart-pounding tracks, sending the crowd into frenzy, especially when it was time for “Way Down We Go.” Bravo, boys.
On March 15th, KANPE held it’s 5th annual Karnaval, with the one and only Arcade Fire headlining the event. Co-founded by Regine Chassagne, principal member of Arcade Fire, KANPE is an organization that works in Haïti to help those who are facing extreme financial poverty. Meaning “Stand Up,” KANPE helps vulnerable families to reach financial autonomy.
The evening started off slow with myself making my way to the venue, feeling really excited. Since the Stade Uniprix is a fairly new place, I had no expectations on how it was going to be; how big it was or how many people it could hold. Getting off at De Castelnau metro station, I noticed people were looking for the way to get to the venue, and I just followed the crowd. As soon as I saw the stadium, a huge line had already started since doors had opened and it was endless. I was thinking to myself, “holy cow, this is gonna be huge.”
Even though faint rumblings of the band’s reunion had been creeping down the grapevine from Hamilton, never did I think I would be fortunate enough to see Simply Saucer LIVE in concert. So many proto-punk heroes and trailblazers from the golden age of wild and weird rock ‘n roll are either six feet under, or scattered ashes. Lou Reed is dead. Jimi Hendrix is dead. The Asheton brothers are dead. Rob Tyner, Fred ‘Sonic’ smith, and Michael Davis—all dead. But Edgar Breau and Simply Saucer are very much alive, and after their performance at Le Ritz PDB back in February, I can personally attest to this fact.
This Monday, two CJLO contributors, Genaro Peña Cruz and Paul Brown, had the chance to see Black Joe Lewis & The Honeybears as they performed at La Sala Rossa, as part of the Montréal en Lumière festival going on until March 11. Here’s the story of one single show, told by two different music lovers.