RSS

When entering the Balattou, one encounters a perplexing scene. Strangely angled mirrors outline the back of the stage, distracting one’s eyes towards a reflective fractal of musicians playing and a crowd seated in wonderfully curved little booths. The stage is framed by monolithic speakers, far exceeding the necessary decibel level for the room. Above remain mountings for what I’m fairly positive used to be erotic dance poles. The young crowd does not fit the place, drinking pina coladas and Molson Ex, layered in wool and leather, and topping toques. Perfect setting to be mesmerized by the magnificent droning pop trio, Saxsyndrum.

    Nick Schofield, on drums and synthesizer(s?), and Dave Switchenko, on saxophone and scary looking blinking machines, build a wall of samples, synth pads, and feedback loops, to act as the backdrop on which which the trio can wail. A.P. Bergeron comes to life in beautiful falsetto, seated and barefoot as to more easily manipulate his reverb pedal knobs, bellowing airily like Eddie Vedder at his best (say what you will about Pearl Jam, but the man can sing). In moments of intensity, he leaps into action, bopping to the striking dance rhythms. Switchenko’s sax howls in swaying delay as he squats and bounces emphatically, only pausing between songs to pull his red mane of hair into an uncooperative pony tail. Bergeron, after moments of giving the performance everything he’s got, collapses back in his chair in apparent exhaustion, only to once again holler in ecstatic mania. He and Switchenko get in each others faces and harmonize in perfect connection. Their set finishes, and after a quiet moment of thanks, I bolt to catch the last metro home with their tasty new 7” single, Up to You.

Computer Sourire is delighted to premiere Degrees of Freedom’s first track in nearly thirty years “Metal Flesh” on the upcoming show this Tuesday December 6.

Vice & Versa was the perfect setting for last night’s 5 à 7 performance. One can chat, sip any of their 32 beers on draft, and munch on deliciously pretty burgers or appetizers with friends. But this is not a review of Vice & Versa, but rather the band who played the quaint venue, Chairs.

Clearly playing to the small room, the band established a subdued feel and comfortable volume, while maintaining the drive of a band cut loose. Ian Jarvis, the band’s frontman and singer, talksang like a man somewhere between Jeff Tweedy and Tom Petty, the resonance of his voice punching through walls of trebled-out guitar hooks, feedback, glitched-out synth pads, and droning saxophone wails, all engineered by the talented multi-instrumentalist Matt LeGroulx. The rhythm section was tight and felt more like a jazz band, with gentle ratatats and bass lines acting as the chair on which Chairs sits. Even the bartenders were grooving to the beat. Their sound varied, from sincere psychpop songs to hypnotic drawn out prog-rock jams.

The show finished early, for sleepy Sunday afternoon sippers and music goers to head home, watch a movie, and still get to bed at a reasonable hour.

Hosted by Patricia Petit Liang

Stories by Michael Foldvari & Patricia Petit Liang

Produced by Patricia Petit Liang