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Matthew Good Band @ Corona Theatre, March 18th 2017
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.
If I may make an aside as to the importance of college radio for a moment, as a teen living in the US in a time where internet was slow and largely fragmented: I only heard about this band when a DJ at my local college station (WIXQ 91.7) played the last track off of the Juno winning album. I was immediately hooked. From there, as I was looking at the used section in my local music store, I saw the CD for $1.99, and being a cheap frugal person, I thought that was a pretty good (pun) deal.
Since then, the law of diminishing returns on Matthew Good has been at play, so when I heard he was going to be performing "Beautiful Midnight" for this tour, I decided to reclaim a lost time.
With that in mind I trekked to the Corona to get a good nostalgia fix.
First up, let me talk about Craig Strickland, who I only got a few songs of his set. Simply put: it was fine. Nothing too spectacular, not bad, totally acceptable. I know that's not an in-depth review of the performance, but honestly anything more is just for word count.
After that and one slightly out of place opera intro piece, the familiar cheerleader beginning of "Giant" began. From then on, the show was a trip down memory lane as Matthew Good and whatever band of musicians he has doing the rounds on this tour went through the tracks of the album, doing faithful renditions of such favorites as "Hello Time Bomb," "Load Me Up."
This show was, however, not without its faults. Between a good chunk of songs, Matthew went on long extended talk breaks which weren’t necessarily a deal breaker—I used to watch Behind the Music like any good 90s kid—but these were not long dissertations of the songs, just long musings about being a Canadiens fan or his love of bourbon. Not all were without merit though, as he did stop to honor the memory of Chuck Berry who had passed away earlier in the day.
Of course, I would be remiss if I didn't mention the funniest part of the evening. Somewhere during the set, the guitarist went to grab a drill to play with (because reasons) and the tech who handed it to him gave him the drill with a big floppy dildo at the end. In true band fashion, this was chucked into the audience, which I both secretly hope and don't hope slapped someone in the face mainly for the pure ridiculous story that would provide.
The band also ended the show at 10:45 p.m. after a three-song encore. Now, I'm not a person to tell a band how to do their job, but 15 minutes is at least three songs you could have fit in to try to round out some of the other notable songs from your repertoire that could have made someone's night, and not taking advantage of that felt like a missed opportunity.
Still though, the hits outweighed the misses, and I walked away from the show surprised and pleased that I enjoyed it as thoroughly as I did. Also, it gives me great pleasure to know that someone in the city of Montreal gets to utter the phrase, "Oh yeah, I managed to get a dildo from a Matthew Good show."
NEWS FOR MONDAY, APRIL 3RD 2017
Hosted by Patricia Petit Liang
Stories by Jeremiah Ho, Karl Knox, Michael Foldvari & Aloysha Nowlin
Produced by Patricia Petit Liang
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LOCAL
By Jeremiah Ho
A young woman from Mont-St-Hilaire says that police failed to investigate her domestic violence case from last year, when her ex-partner attempted to run her over with his car.
According to CBC News, police had never contacted the woman to follow up or document evidence of the crime.
She was only contacted two months later when Crown Prosecutors received the empty file.
NATIONAL
By Alyosha Nowlin
The police sergeant who tasered Sammy Yatim during a confrontation in Toronto is being charged with police misconduct.
According to CBC News, Sgt. Dusan Dan Pravica tasered Yatim after another officer had shot him for refusing to drop the knife he was wielding.
Pravica claims Yatim tried to get up after being shot, but witnesses agree that he had been completely incapacitated.
NATIONAL
By Karl Knox
A humpback whale has been trapped in thick ice near the Newfoundland fishing village of Old Perlican for several days.
According to CBC News, that the Whale Release and Strandings group told reporters that there was little that could be done to assist the whale.
Locals and experts agree that for now, the only thing they can do is leave the whale alone.
INTERNATIONAL
By Michael Foldvari
Ongoing landslides in South-Western Colombia have left hundreds of people dead and thousands homeless.
According to BBC News, the landslides were caused by torrential rainfall and overflowing rivers.
Political officials and scientific experts say that human-created climate change and deforestation created the conditions for these disasters.
CJLO'S METAL SHOWS GET A BRAND NEW LOOK! PART 2
After inspiring a bunch of CJLO shows to turn toward the darkness, Metal March has officially wound to a close for yet another year. Now that Approachable April has begun, some of CJLO's heaviest shows are doing their best to reach out to the rest of the community, and lure unsuspecting victims listeners in through a cuddly rebranding initiative.
Last year, Sublime State of Doom, The Noisy Loft and Burnt Offerings took the leap, commissioning me to create logos for their shows that would attract new listeners. This year, three more shows from CJLO's metal lineup were up for the challenge.
Turn On the Darkness starts us off. The filament bulb and cute script makes this logo comforting and accessible for all ages. While the color scheme might be somber, what ultimately shines in this logo is the underlying environmental message that is so important to host Philiam.
Next is Grade A Explosives, whose host Andrew was especially intent on conveying that his show isn't just about music, but also about blanketing the world with positive, loving messages. Bust out your Coachella flower crown, and have every atom of your mind blown!
Finally, Patrick from Into the Coven had only one directive: to show the world how fun and fashionable black metal really is! What better way to let people know than with this fresh, flirty new logo? His show's tie-in doll, Totally Trv Kvlt Barbarie is coming soon!
Of course, CJLO has several additional heavy shows that manage to stealthily hide under the red "rock/alt" label on the CJLO schedule, including mine. Who knows, perhaps some of them might be interested in a future rebranding?
The Courtneys, Monomyth, and Mouth Breather @ Le Ritz, March 27th, 2017
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.
Up first, Mouth Breather made the big bustling bar feel as intimate as your friend’s basement. The Montreal locals play a smooth melange of groovy psychedelic rock, with a healthy serving of jazz influences. In the final number, the band brought Shawn, the singer’s brother, on the stage, and ripped into an early 2000s style R&B number, with perhaps a touch of Soul Coughing’s lyrical style. Their new single “Mysteries of Nature” was released that night via their Bandcamp page.
Monomyth, originally from Halifax and now residing in Montreal, play unselfconscious and laid back rock and roll. They sound like the Nerves, if they formed a shoegaze band amidst the era of 1950s doo-wop. The guitar licks are sweet and sticky—like popsicle juice melted on fingers—and the vocals are whimsical—like a drive on a hot summer evening. They played plenty of tracks from Happy Pop Family, their latest offering, including the subtle ballad “Re:Leased Life (Place 2 Go),” as well as a rare rendition of their dreamy single “Patsy.”
Finally, Vancouverite band The Courtneys ended the night with an upbeat and sunny set. They would fit perfectly on a mixtape between Canadian power pop classics Plumtree and Sloan. The crowd was swaying along joyously, forgetting that they weren’t in fact at a summer cottage party, but at a bar on a wet March night. Bassist Sidney Koke was enthusiastic that she could see the band’s van from the stage. “Last time we were here, our van got broken into while we were on stage,” she explained. They played tracks from their sophomore LP II with energy, including “Tour” and “Silver Velvet.” They gave no sign of letting up, despite Montreal being their 13th stop on a month long North American tour. They were a wonderful conclusion to a great lineup.
The whole night was upbeat and lively, like a welcomed reminder that summer is very near. The show was definitely a rager, even for a Monday night.
You can find the fresh tunes of Mouth Breather, Monomyth, and The Courtneys on their respective bandcamp pages.
NEWS FOR FRIDAY, MARCH 31ST 2017
Hosted by Patricia Petit Liang
Stories by Jeremiah Ho, Michael Foldvari & Patricia Petit Liang
Produced by Patricia Petit Liang
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LOCAL
By Patricia Petit Liang
Ex-Montreal mayor Michael Applebaum was sentenced to 12 months in prison and 2 years of probation on Thursday.
According to CTV News, Applebaum was found guilty of 8 counts of corruption, fraud and conspiracy for collecting tens of thousands of dollars in bribes.
Applebaum did not offer an apology for his actions.
NATIONAL
By Jeremiah Ho
An improvised explosive device exploded and started a fire near the entrance to Saskatchewan’s provincial courthouse in Saskatoon on Wednesday.
According to CTV News, police are investigating the explosion as a possible case of domestic terrorism.
There were no injuries in the explosion, and the courthouse was reopened on Thursday.
INTERNATIONAL
By Michael Foldvari
Venezuelan president Nicolas Moduro is under criticism following governmental reorganizations that allowed him to act without congressional approval on Thursday.
According to Reuters, world leaders claim that Moduro is dangerously undermining democracy.
Moduro claims that this is another example American and international imperial power attempting to topple leftist governments.
Vinyl Review: Shake Shook Shaken by The Dø
Album: Shake Shook Shaken
Artist: The Dø
Year: 2014
Label: Cinq 7
Tested On: Grado Black – Realistic Lab 400 – Luxman R-1050 – Dynaco A-25
This album came out three years ago, and so I admit I’m a little behind the times. For all I know, you’re already aware of the monumental talent that is The Dø. What can I say; I’m living in the 60s. To be fair, Shake Shook Shaken is an album I’ve been meaning to get my hands on for some time now, and when a highly unlikely sequence of events brought it once again to my attention, I figured I would quit procrastinating. After all, I knew there was at least one song on the album worth recommending to you lovely people.
My first reaction when I played this record was that it sounded a bit more anaesthetised than I had remembered from radio play. The songs in question, however, I hadn’t yet heard. It wasn’t until “Lick my Wounds,” a song with which I was familiar, that I noticed the record was pressed at 45 rpm and that I had to up the speed of my record player in order to hear the music as recorded. No mention is made of this anywhere on the sleeve or on the record itself, and so I can only conclude that this is a cheeky little stunt on the part of the band—brilliant. As a matter of fact, the music actually sounds pretty good at the reduced speed; how generous of them to give me two versions of the same album!
Musically, this is just about the catchiest thing I’ve ever heard. Olivia Merilahti’s otherworldly and cascading vocal hook that is the chorus of “Anita No!” is nothing short of breathtaking, and “Despair, Hangover and Ecstasy” can at times be exquisitely intense. European indie pop has certainly earned a permanent place on my radar. This music hits you right where you love it, and has evoked a deep emotional response from me; the fact that I bought this record on the first day of spring is just the kind of beautiful coincidence I’ve been waiting for. Lamentably, though, the quality of the vinyl pressing really leaves something to be desired.
Where a well-made LP will outshine even high-res digital audio in terms of sophistication, colouration and warmth, these discs seem to somehow suck the life out of their own music, and this is a real shame. Whether some jaded employee sprinkled powdered sugar on the stamper, or whether the folks at Siamese Squid simply opted for the cheapest vinyl they could get their hands on, the result is pretty disappointing. All four sides are marred by eternal sibilance, and the imagery is tepid and static. Disc one came with a warped edge that, though not exactly catastrophic, might be difficult for the eccentric recluse to ignore. If it wasn’t for the tongue-in-cheek bonus album that results from the record’s unorthodox playback speed, I would have been just as happy with a CD, which, by the way, is included when you buy the vinyl.
Frankly, I would have been disappointed to have bought this record if its euphoric aesthetic and incendiary musicianship didn’t completely make up for the lax quality control that marks its pressing. Fortunately, they do. If the bonus of having a haunting and lethargic second version of the whole album is the kind of thing that turns you on, then buy the LP; if not, just go digital. Whatever you choose, do try and get your hands on Shake Shook Shaken. To ignore this album would be to do yourself a great disservice.
Alestorm @ Corona, March 20th, 2017
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!
The first band that went on was Distoriam—the legendary Distoriam! Walking on with their folk outfits, it was really cool to see them as they were getting all into character. They put on a incredible performance, and interacted a lot with the crowd. They opened up with "Hymn to Mead," their anthem, and everyone was so into it; lots of headbanging and crabcore was going on in the crowds. They were great as openers, and I was super proud of them for making it and playing with Alestorm. Their amount of professionalism and showmanship showed, and Distoriam need to keep on doing what they do on stage at this point because they will go far and do wonderful things in their career. I am proud of Distoriam, one of my favourite local bands, kicking ass and showing how much a local band can do to play a professional show. Good job guys!
Next up was Aether Realm, who I have noticed changed their style quite a lot recently. They have more of an melodic death metal approach than the Viking-like of their earlier roots. The newest songs I heard were quite good, if I say so myself, and have elements from Soilwork and a little bit of Ensiferum—a bizzare combination, but they managed to our their own spin to it. I really liked how they were full of energy, and the moshpits were a bit rough on this when I was in the front row. Highlight of the set was "Swamp Witch," one of my favorites.
Then came the main event which was Alestorm. Alestorm has been a band I've been following since their early days, when I was in highschool and they were one of the first bands I got into. I knew Alestorm before they even got popular. (That's right, you heard it here first folks.) Cued in the epic music that goes along with their intro, and it turned into a dubstep intro with a 8-bit theme to it which was hilarious along with an announcer introducing the band.
Alestorm opened up with "Keelhauled" and immediately, the mosh pit stated. It was a little bit weird to see them open with "Keelhauled;" I thought that they would play it during the middle of the set, but it was a cool opener. Alestorm showed a lot of charisma during their flawless performance throughout the night. Chris interacting with the crowd for a good majority of the time was quite fun, and he was cracking up jokes. I never thought I'd be going super crazy and headbanging the whole entire night, but during "Wenches and Mead," it was the most epic thing ever and that was a highlight of the set. Everyone was going crazy for the song and people were crowd surfing.
Sadly the show had to come to an end soon. The encore began and they played "1741," which was much more epic and brilliant live compared to the album version. There was a lot more attention put on details in the performance and you could tell that the band members were really enjoying playing it.
Then came "Captain Morgan's Revenge," the song they always play last. Chris asked the audience to open the pit up for a wall of death and it was the most huge wall of death I've ever seen. It was great to see them play this song because this is also one of my favourites. I've never in my life heard an audience get so into the song and overpower the vocals in a smaller venue like this, but it was a cool moment when everyone was singing the chorus.
This show was phenomenal, and I'm glad that Alestorm came back despite the visa issues they had in October which could not get them in the country. If I had time to see the same show again, I totally would go. Don't miss out on this!
The Lumineers & Co. rock the Bell Centre! - March 18th, 2017
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.
As the lights died down and the crowd began to buzz with excitement, sending loud cheers and thunderous applause as they preface their set with a recording of Fleetwood Mac’s “The Chain,” building with percussion, The Lumineers started the show. The lights dropped and the curtain rose, and The Lumineers kicked into “Submarines,” and both the band and the crowd never looked back. “This is a tremendous amount of people to come out to a show,” said singer/guitarist Wesley Shultz as the Bell Centre lit up with audience lights, allowing the band to eye the arena with admiration and joy. Shultz was wonderfully engaged with the audience as they transitioned into their signature hit off their self-titled 2012 debut album, “Ho Hey,” willing the audience to sing along. “I want to hear your voices,” and yes he did, as thousands of people proclaimed the lyrics towards the stage.
The Lumineers are undoubtedly a live band—and in a live environment, their short, simple, and concise lyrics excel, with expert instrumentation and musicality fulfilling an arena with sentiment. They move effortlessly through popular tracks, “Cleopatra,” “Gun Song,” and the athematic “Dead Sea,” offering touching anecdotes about the inspiration behind the tracks. Leading uninterrupted into an intimate and stripped-down set at centre ice, the band showed their ability as musicians, using just a stand-up bass, cello, a three-piece drum kit and an acoustic guitar, running through a further five songs. The whole set up created a very intimate performance, with the reminiscent feel of the Fleetwood Mac opening made by the band, showcasing the strong and unforgiving vocals of frontman Shultz and in particular cellist/bassist Neyla Pekarek. The setting is only amplified by the cell phone flashlights in full force in the audience.
Concluding the show, the band returned to the mainstage, powering through favourites “Angela” and “Ophelia,” covering Tom Petty’s “Walls,” before finishing with a melancholic piano solo of “Patience.” The crowd cheered and rumbled into applause as the band respectfully headed straight into a three-song encore, demonstrating an interesting, dark and twisty interpretation of Bob Dylan’s “Subterranean Homesick Blues,” before concluding with a foot-stomping sing-along of “Stubborn Love,” closing the show with contemplation and admiration for the crowd. Shultz uttered, “the only reason we are here is because of you. So thank you.”
And, we thank you!
Ode to "You Suffer" by Napalm Death
Press play.
YOU SUFFER BUT WHY?
In just a blink of an eye, it’s over. You’d think with all the time I managed to save by listening to this single track, I would spend it on something much more constructive. But no, I want to hear it again.
YOU SUFFER BUT WHY?
Why? Good question. I wanted to see if the lyrics actually lined up with what Nik was actually yelling. Sounds more like “you-aghhh” to me.
Maybe I should listen to it again.
YOU SUFFER BUT WHY?
I wonder what it means. Was there any context to what he’s asking, or is it just a general question? Can this suffering be stopped? Or do I choose to suffer? Very existential. I suffer therefore I am.
YOU SUFFER BUT WHY?
The world’s shortest song. Well deserved. One point three one six seconds long. The Guinness Book of World Records had to give it to them. Just the mental image of those stuffed suits with their high-tech stopwatches having to listen to side A of Scum cracks me up. This Guinness goes out to them.
YOU SUFFER BUT WHY?
I also love how an entire generation of musicians picked up this song and ran with it. What might have been a joke to the original writers became the blueprint for noisecore bands to come. Sure, they can try to write a shorter song, but we all know they are just imitators. The Guinness Book of World Records doesn’t care about your no name band.
YOU SUFFER BUT WHY?
I think it’s even more hilarious that none of the people who first recorded this song are actually in Napalm Death now. I guess you gotta keep the legacy alive.
YOU SUFFER BUT WHY?
Whoa. Somebody actually took the time and slowed the song down by 800 times to see what it sounds like. God bless the Internet. Just sounds like white noise to me. Some white noise I wouldn’t mind listening to if I ever fall asleep. It makes me feels so zen.
YOU SUFFER BUT WHY?
The original is still better. When I Google search this song, there aren’t too many entries expanding on why somebody would write a song like this. I wonder if my thoughts about it would show up on the first page if someone ever ends up publishing this garbage.
YOU SUFFER BUT WHY?
Why? Why am I still writing about this song? I’m clearly putting more thought into it than Napalm Death did when they first wrote it. So why? Why am I wasting so much time talking about it? I suppose there’s millions upon millions of essays on minimalist art that completely miss the point by blathering on and on about an artist’s single stroke on a blank canvas. I am no different from those art historians.
YOU SUFFER BUT WHY?
I’m definitely not the first person to write more than I should about this song. YouTube comment sections are full of guys laughing about how it took them longer to write their comments than for the song to play. Then there that one guy with the ironic “too long, I’ll listen to it later” comment. Genius. Almost as genius as—
YOU SUFFER BUT WHY?
Sorry. Had to hear it again. Hope it wasn’t too much of a burden of your time. Sorry not sorry.
YOU SUFFER BUT WHY?
Dude. It’s almost 2 a.m. Why am I still writing about this song when I have papers due on much more serious subjects? If I’m going to stay up all night writing, then shouldn’t I be working on something that is a lot more pressing? Seriously, I could be writing about genocide in developing countries right now. Something much more important and more deserving of thought. I could be working to try to change the world for a better tomorrow.
YOU SUFFER BUT WHY?
It’s not that I don’t care about stuff like that. This is just a welcome distraction from the harsh reality. Because the world can’t be changed. Humans are just going to repeat the same self-slaughter as they have for centuries, and no amount of writing from a privileged white boy is going to change that. So why not concentrate on something that’s worth repeating over and over again.
YOU SUFFER BUT WHY?
Why not?
NEWS FOR WEDNESDAY, MARCH 29TH 2017
Hosted by Michael Foldvari
Stories by Michael Foldvari & Patricia Petit Liang
Produced by Michael Foldvari
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LOCAL
By Patricia Petit Liang
3 fires were caused in Montreal on Monday night and Tuesday morning.
According to CTV News, nobody was injured by the flames.
The Sureté du Quebec is investigating these acts of arson and believes they were the result of organized crime.
NATIONAL
By Patricia Petit Liang
The RCMP is investigating the theft of $20,000 worth of canola seeds in Manitoba.
According to CTV News, the thieves stole the seeds from a farm in Glenboro-South Cypress.
The Manitoba RCMP is asking citizens to come forward with any information about the crime.
INTERNATIONAL
By Michael Foldvari
China's foreign ministry is calling for French officials to explain the shooting of 56 year-old, Shaoyo Liu, who was killed by police at his home in Paris on Sunday.
According to Reuters, the police were called to investigate a domestic dispute and shot Liu because he answered the door while holding a pair of scissors.
This shooting comes after months of complaints against French police about unjustified violence.
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