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CMW 2016: early Wednesday at Drake One Fifty and Adelaide Hall – 4th of May 2016

 
By on Tuesday, 17th May 2016 at 2:00 pm
 

Most of the band performances at Canadian Music Week (CMW) 2016 wouldn’t take place until after the sun went down. However, conference delegates and anyone else curious were welcome to partake in a series of free late afternoon shows at an outdoor stage outside Drake One Fifty, a chi-chi restaurant and a bar a mere block away from the hub of convention activity at the Sheraton Centre Toronto hotel. On Wednesday, I made it just in time to for all three acts and while it was chilly, it was sunny, and with CAN$5 Bud Light and sangria, a good time was had by all.

Woodes CMW 2016 at Drake One Fifty Wednesday

First up on this afternoon was Melbourne-based producer, singer and songwriter Elle Graham, who performs under the name Woodes. The tall blond 23-year old with amazing braids cut a dramatic figure in front of her small table of synths and controllers. I really enjoyed Graham’s vocals, expressive yet also fragile in their beauty. Paired with her syncopated beats such as on her track ‘Daggers and Knives’, she gave a winning performance.

Axel Flovent CMW 2016 at Drake One Fifty Wednesday

For a different change of pace, Woodes was followed by entertainment from a chillier locale on the opposite side of the globe from Oz. Axel Flovent is from a Northern fishing town in Iceland and during his short set at Drake One Fifty, he cracked jokes about the sun not shining (much) back home. Judging from the titles of his songs like ‘Snow’, he clearly has a fixation on the inclement weather of his homeland. Check out a live performance of the song below to fully appreciate the warm, gorgeous tones of Flovent’s voice. I imagine his singer/songwriter style will do very well in the UK and America.

[youtube]https://www.youtube.com/watch?v=HkWAPrdLY5s[/youtube]

Violet Skies CMW 2016 at Drake One Fifty Wednesday

Welsh singer/songwriter Violet Skies closed out Drake One Fifty’s afternoon programming. We here at TGTF are no stranger to her music, as we covered her at the Monday night Trackd and at the Friday afternoon Cerdd Cymru / Music Wales showcases. Her silvery-lilac hair was stark against her usual black garb, which was less flowy and outrageous and more street than in Austin. Her setup at Drake One Fifty was stripped back from her usual live performances. What hadn’t changed was her soulful vocal delivery and her cutting lyrics from her personal life, including a cutting commentary about a past horrible boss in ‘Liar’.

After a quick dinner and an unsuccessful queueing up for a ridiculous ice cream at Sweet Jesus (I mean, seriously, look at these monsters), it was time to finally see a band from England. As many of you who have met me in person know, England has always felt more like home to me than America ever has. I feel most connected to the North, and when I saw a band from the North East that Martin had covered for us at Deer Shed a few years ago, I knew I had to go and represent. Smoove and Turrell, purveyors of “Northern coal music” with plenty of soul thrown in for good measure, were to perform live at Adelaide Hall.

Smoove and Turrell CMW 2016 at Adelaide Hall Wednesday

Delaying their set by half an hour allowed more punters to filter in to the city centre venue, much to the delight of John Turrell, who admirably led the Tyneside band through a series of groovy numbers that got punters’ arses shaking. I mean, how could you not get into it as their band’s keyboardist was playing his Nord with his feet? However, there was plenty of music west of the city centre for me to partake in during the rest of the evening.

 

Deer Shed Festival 2013: Day 2 Roundup

 
By on Monday, 5th August 2013 at 2:00 pm
 

Saturday at Deer Shed Festival 2013 dawns bright and sunny again, and the search for sustenance before the day gets properly going commences. Now, on that topic, a word about Thomas the Baker. The esteemed purveyor of sweetmeats was on target for being absent this year, for reasons unknown. But at the last minute, their attendance was announced, to the delight of those of us who consider a cheese straw and a sausage roll to be a delicious and satisfying snack. And Thomas does the best in the business. But the real highlight of their range is quite the definitive Yorkshire curd tart, the reference for all other boulangers to aspire to. The place wouldn’t have been the same without them, so as a personal favour, please can Thomas and Deer Shed never part? Thanks.

Blood Relatives continue the Scottish flavour which continues throughout the weekend. They are a very young four-piece from Glasgow trading in summery, jangly tunes, who wouldn’t be out of place on Edwyn Collins’ Postcard Records. Along with deep-fried pizza and brutalist council estates, it’s the sort of thing that Glasgow churns out seemingly without effort. First and only single ‘Dead Hip’ sums up their sound – all chiming guitars, intertwining vocals and clever wordplay. Lovely to listen to, and the perfect way to ease into a long day of music, but perhaps their chip-off-the-old-block stylings mean they need a few more releases before they can stand apart from the immense back catalogue that their part of the world carries. (3.5/5)

Moving from Scotland’s west to its east coast, the four young lads that make up Bwani Junction bat away various technical problems to deliver an energetic, good-humoured set of funky guitar pop with chiming, trebly, afrobeat-inspired guitar overlay. Latest single ‘Papa Candy’ actually gets pretty heavy in places, whilst maintaining a surreal edge (“The milkman is evil,” anyone?) There’s a hint of ‘London Calling’-era Clash in their mashup of styles – the backbone of punk is ever-present, the world music influences keep things fresh, but their essence lies in observational songwriting in the vein of Arctic Monkeys. A great find. (4/5)

Spring Offensive are no stranger to these pages; we reviewed them just over a year ago when they were touring single ‘Worry Fill My Heart’. Back then they seemed destined to be the next big band to come out of Oxford. Today… is it my imagination or have they perhaps lost a bit of their sheen? The WWII threads have been all but abandoned; today there’s less of a sense of genuine menace and portent that they are capable of at their best. Losing a superb bass player into the ravenous clutches of Gaz Coombes can’t have helped matters. Although it may all be down to the incongruity of it being a sunny afternoon at a family festival, a point acknowledged when they launch into ‘The River’, a particularly maudlin affair with the chorus “I suggest you slide into the river / like the rat that you are”. Hello children, everywhere. Nobody else does a sense of modern despair like Spring Offensive, as they evoke grey clock-watching employees and care-worn lovers with ease on ‘52 Miles’. All told, Spring Offensive not quite firing on all cylinders is still of a level of quality that many bands would envy. (4/5)

Zervas and Pepper are a Welsh singer-songwriter duo – you may have heard their latest single ‘Jerome’ being promoted by Lauren Laverne on her 6music show just the previous day. An atmospheric slice of country rock straight outta the 1970s, ‘Jerome’ is named after the eponymous Arizona town, a place which neatly summarises the music’s windswept desolation. The obvious reference point for the combination of acoustic and electric guitars, and the mid-tempo vibe is Neil Young’s ‘After the Gold Rush’ period; there’s a touch of psychedelia in the spacey reverbs and multi-layered backing vocals that previously Young had the exclusive rights to – not anymore! What’s most impressive is how genuine the sound of giant-sky Americana being conjured actually is, considering the protagonists aren’t from round those parts. ‘Somewhere In The City’ is a brilliant primer as to the power of Z&P – a beautiful acoustic guitar intro, those fantastically widescreen vocals throughout, and even a flute solo all add up to a beautifully atmospheric piece as good as anything released in the 1970s by proper Americans in big cowboy hats. (4/5)

To Kill a King’s Ralph Pellymounter proudly strides onstage wearing a Brudenell Social Club t-shirt – a badge of honour that obliquely declares the band’s city of origin, and also pays homage to the cult music venue nestled in terraced Leeds suburbia which continues to play an important role in the development and support of local bands. In which category To Kill a King are the latest, and perhaps one of the best. In Pellymounter, they have a deeply charismatic, if unusually-bearded frontman, whose infectious smile and direct eye-contact enchants the audience from the very beginning.

Musically, TKAK are from the stable of Noah and the Whale (close your eyes and it could be Charlie Fink on vocals), and (whisper it) Mumford and Sons, but dispense with the cod-folk stylings of the latter in favour of a far more contemporary approach. The majority of debut album ‘Cannibals With Cutlery’ is played: something like ‘Funeral’ (perhaps a nod of gratitude to Arcade Fire there?) has the radio-friendly sheen of melody and climax of the aforementioned megabands, but still manages to carry a reasonably complex message; ‘Besides She Said’ manages to be romantic without ever resorting to saccharine sweetness. If everyone who owned a Mumford’s CD replaced it with something by To Kill a King, the world would be a better place. (4/5)

I’ve discussed the importance of The House of Love elsewhere on this site (read the retrospective here), so I won’t go into too much detail here. Suffice to say that Guy Chadwick looks older than one would expect, and could do with a decent manicure. Terry Bickers has lost nothing of his legendary guitar skill, and could pass for a close relative of Bernard Butler both in looks and playing style. Perhaps it’s simply the power of familiarity, but the old songs sound stronger and in a way fresher than the post-reformation material. Time hasn’t dulled the power of an anthemic ‘Shine On’, and ‘Beatles and Stones’ works brilliantly live. Much as with Edwyn Collins, I suspect a neutral listener may not appreciate the portent of it all, but in its proper context, any performance by The House Of Love is special. (4/5)

It’s fair to say that Darwin Deez is hardly a household name, so perhaps an odd choice for headliner. But if there were any doubts as to his ability to carry a top billing, a few blasts of virtuoso guitar work instantly dispel them. Deez specialises in funky, jazz-inflected ditties with witty, observational lyrics and regular forays into complex fretwork. Comparisons with Prince are to a certain extent valid: they both share an ability to conjure a potent blend of funk, soul and rock, even if Deez doesn’t quite aspire to the vast artifice that is ‘Purple ‘Rain’ live. Neither does he carry the massive ego: everything is deported in a humble manner, even when at his highest level of fret-shredding. An ambitious choice of headliner for a Yorkshire family festival, but an inspired one – in his 90 minutes, Deez really does turn in a wide-ranging performance; yes, heavy on the guitar but also carrying a full-on party vibe, which gets the crowd all worked up for… (4/5)

DJ Smoove is the production brain who, along with John Turrell, make up the creative heart of Tyneside funketeers Smoove and Turrell. After their live set earlier on in the day, Smoove is back for a two-hour DJ set of old-school tunes, to keep the crowd (mostly dads who have escaped the family tent for a bit of out-of-hours boogieing) going into the small hours. And thanks be to the God of DJing, because Smoove brings to the party those increasingly rare accessories – a pair of turntables and several circular black plastic discs commonly known as records, which I believe are still used occasionally by those who learned their DJing trade before the advent of CDs and the various digital shenanigans commonly seen on a DJ’s desk. Smoove totes a couple of decks and a mixer, nary a Macbook in sight, and his set is all the better for it. His set ranges through soul, funk and house, blended with beatmixing and proper vinyl scratching that’s simply world-class. He may not be a household name, but DJ Smoove is a class act on the decks. (5/5)

 

Preview: Deer Shed Festival 2013 (Part 2)

 
By on Thursday, 27th June 2013 at 9:00 am
 

We’ve already previewed the extensive small- and big-kid friendly activities available at Deer Shed Festival 2013, but what of the music? Featuring full 2 days of music (Friday evening, Saturday all day, and Sunday afternoon), and a smattering of stages, this isn’t your run-of-the-mill enormo-fest, and is all the better for it. The entire card is quality, but here we run down some of the highlights of Deer Shed 2013’s music offering…

Friday night sees a clash-tastic triumvirate of triumphant talent. Edinburgh festival favourites Tubular Bells For Two take over the In The Dock stage all night – for those who haven’t heard, TBFT are Aussies Daniel Holdsworth and Aidan Roberts, who have taken it upon themselves to recreate Mike Oldfield’s multi-layered masterpiece Tubular Bells in its entirety, complete with a home-made set of the eponymous melodic percussion. An inspired booking, and a rare opportunity to catch TBFT in the fresh air.

Gaz Coombes proved with his diverse work with Supergrass that he’s one of the finest songwriters of his generation; his solo album ‘Here Come The Bombs’ superbly reinforced that reputation. He’s just put out a new double-A single: ‘One of These Days’ is a typically bittersweet string-enhanced 4 minutes of slow-burning goodness, marking an intriguing move into gentle electronica stylings; ‘Break the Silence’ is a more upbeat synth-led stomper with hints of Supergrass’ superb 2004 orphan release ‘Kiss Of Life’. Which all bodes well for the second album which is rumoured for imminent release.

In a fairer world, Gaz Coombes would be the highlight of the evening. But if Coombes’ star is still developing, Edwyn Collins’ is a full-on supernova. There’s no need to go over the old ground of his medical history (if you need the details, see here), suffice to say that Collins’ personal story is as remarkable as his music. His 2010 LP ‘Losing Sleep’ gathered my Writer’s Choice for a Mercury nomination that year; this year’s release ‘Understated’ continues his output of smart pop-soul, hinting obliquely at his trials, but mostly simply affirming the human condition in matchless, witty style. A true legend, revered warmly by industry and fans alike, and a great way to wrap up Friday night at Deer Shed.

Saturday afternoon is folky and soulful. Tynesiders and Craig Charles favourites Smoove and Turrell (John Turrell is the male voice of Charles’ Fantasy Funk Band) are perfectly timed to get the crowd into a groove; Zervas and Pepper soundtrack dreams of shimmering open plains and dusty roadhouses; To Kill a King purvey that keening, yearning folk-rock sound that has such broad appeal these days that will surely make them a highlight of the day for many.

Elsewhere, Spring Offensive bring their suave Oxonianisms to the In The Dock Stage. If you like atmospheric, emotive guitar music, and wish you had seen Radiohead live before they released ‘The Bends’, the Spring Offensive are not to be missed. Neither are The Phantom Band, whose sound genuinely defies classification. There’s detailed multi-movemented arrangements, pepperings of atonality, a touch of ‘Green’-era R.E.M., and even the hint of properly heavy guitars on occasion. Very difficult to describe, which means that they’re very clever indeed. Worth being acquainted with beforehand, but will reward the effort live.

Darwin Deez has a lot to live up to – the punditry casually bandy around names like Beck, Prince, and Hendrix whenever he’s mentioned. Yes, Deez displays a loose, carefree obscurantism that Beck would be familiar with, but there’s little evidence of the epic sweep of Prince, or indeed of Hendrix’s Stratocaster majesty. Perhaps his live show will answer the doubters. But most excitingly of all, Saturday night finds The House of Love on the main stage. Surely the most underrated band of the pre-Britpop era, The House of Love’s self-titled meisterwerk contains future echoes of The Stone Roses, James, and both Oasis and Blur, and without whose influence British pop music would surely have taken a different, and undoubtedly inferior, path. Despite such achievements, in comparison with their peers they remain relative unknowns, with founding member Guy Chadwick carving a second career fitting sash windows. The story of the band is no less remarkable than their music, featuring personal acrimony, heavy drug use, mental problems, countless spin-off side projects, and the inevitable ritual burning of banknotes – enough to fill a decent book, one would imagine. Will The House of Love find their final redemption in their reformation and release of new material? Will Deer Shed be where it all finally comes together? One waits with bated breath.

After the excitement of Saturday night, Sunday is wind-down day. The Unthanks bring to life the North-East’s history of heavy industry and hard living with ‘Songs From The Shipyards’, and band-of-the-moment Public Service Broadcasting (who we caught last month in Newcastle) offer a similarly historical yet rather more lighthearted take on this island’s history with their audiovisual tour-de-force. On the main stage, we have chilled-out ambience from AlascA, knowing ensemble wittiness from Moulettes, and the acoustic finale belongs to the avuncular King Creosote, who has a challenge on his hands to match the vertical, punch- and love-drunk ambience of last year’s Cherry Ghost set.

If it had escaped your notice, this is just part of what’s on offer at Deer Shed Festival this year. Take a look at my Part 1 for a roundup of the crazy catalogue of activities to lose yourself in. Tier three tickets are still available from from the official Web site – but probably not for much longer!

 
 
 

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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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