Wednesday December 16, 2009
Thursday December 17, 2009
The Burning Hell
Taking its name from a religious tract, The Burning Hell has been slithering around in the muck in one form or another since the dawn of the millennium. Fronted by the moderately agoraphobic songwriter and occasional history teacher Mathias Kom on electric ukulele, The Burning Hell currently features between one and twelve people, depending on the night. The variable lineup promises a very different show every time: sometimes loud, sometimes quiet, sometimes rock, sometimes roll. Always folk, never anti. Quirky? Maybe. Cute? Never.
The latest Burning Hell album, Baby explores the joy and pain of being born into this world gone wrong. Combining happy little melodies and depressing Old World fatalism, the music of The Burning Hell is sure to make you smile and want to give up.
Wax Mannequin was born in the smoke and industry of Hamilton; a damaged, underdog town; a perfect breeding ground for strange, variant things. Incorporating folk, scrappy prog-metal and a tireless creative ethic, Wax infused his local influences with road-broken experience to forge something unsettlingly new. Solo (accompanied by heavy devices and an angry, nylon-string guitar) or band-backed (with Mark Raymond on bass and Aidan Campbell on percussion), Wax Mannequin has toured incessantly within Canada over the past six years, with more recent forays into Europe and Australia. Wax Mannequin now finds himself a forerunner in a strange new movement: roaming recluses and attention-seekers–solo-performers, equipped with laptops, damaged instruments and decaying minivans, making new sounds, informed by hard travel and rough living. Wax’s thought-provoking live performances and acclaimed recordings have garnered the fervent support of the creative underclass in his home country as well as a burgeoning international reputation. After a comparitively sedentary half-year year of close-to-home travel, teaching grade two students and recording with Andy Magoffin, a wiser, drunker Wax Mannequin emerges. He readies himself again for the glories and pitfalls of the trans-Canada, and the trans-atlantic. Wax’s new release Saxon marks a gritty return to the psych-folk roots of this rambling iconoclast.
Diamond Rings is an emotional outlet for Toronto based artist and musician John O. (lead singer for The D’Urbervilles) His lyrically evocative pop songs are composed with a stolen MIDI keyboard, borrowed laptop, and second hand guitar.
Valery is a well-educated musician hailing from Toronto, Ontario who released her second album, entitled Avalanche to Wandering Bear, earlier this year. Anchored by her skilled proficiency as an excellent jazz pianist, this wonderful record is a study in pop dynamics, as its composer plays around with stylistic expectations, producing something fresh and vibrant.
By Divine Right
All Hail Discordia! In the mid to late nineties Canada was experiencing an indie rock renaissance. Before the internet drew the international focus northward to the likes of Arcade Fire and Broken Social Scene a handful of Canadian bands were building an exciting sound, something altogether unique from the rest of the world. They were creating new labels, new zines, touring coast to coast inspiring hundreds of Canadian kids to do the same.
At the epicenter of this churning bubble was By Divine Right. Centered around the psychedelic song writing of Jose Contreras, By Divine Right’s line-up was ever evolving. Ranging between tight pop perfection and all-out noise hysteria, the line up bolstered the talent of some later year musical crusaders such as Broken Social Scene’s Brendan Canning and Feist, members of The Meligrove Band, and Holy Fuck’s Brian Borcherdt.
Mutant Message is By Divine Right’s first new record in five years and is quite possibly their best yet. Recorded at home and in rural studios of Jose Contreras’ new locale of Mono Mills, Ontario, Mutant Message offers a ‘no fat’ extra trim collection of ten perfect pop songs. While sonically it ranges from stripped-down acoustics to orchestral layers of guitar psych, every song finds an unapologetic way to explore and re-affirm the celebration of love and life.
Here’s a bunch of words to describe Julie Doiron: happy, positive, hopeful, excited, and especially, rocking. Yes, you’re reading that right. In the past, people were used to reading things like sad, quiet, acoustic, thoughtful, and reflective. That all changes with her latest disc, I Can Wonder What You Did With Your Day. Meet the new Julie Doiron.
Julie Doiron’s always been pretty easy to figure out. More than any other songwriter, you can tell exactly what’s going on in her life, as she lays it all out in her lyrics. She’s direct, and painfully honest, but she can’t help it. “I just sing about what’s happening,” she admits, resigned to her style. “I don’t know how to do anything else. I don’t know how to write any other way. I’ve wanted to…I’ve tried! Because sometimes I feel like maybe I shouldn’t be so direct, but I don’t know how.” In the past, listeners have shared in the heartbreak of loneliness, the break-up of a band, the grind of raising young kids, and the dark fears anyone can slip into during a relationship. While the direct approach is still all over this new album, this time she’s almost the happiest woman in town.
Julie began her career in music in 1990 at the age of 18 in Moncton, NB, playing bass in Eric’s Trip, one of the most revered Canadian indie-rock groups ever. The first of many maritime Canadians signed to Sub Pop, Eric’s Trip found international recognition until their break-up in 1996.
The Skeletones Four
Unknown to most, The Skeletones Four – Andrew Collins (guitar, vocals), Evan Gordon (bass, vocals), Jordan Howard (guitar, vocals), and Johnny Merritt (drums) – have begun to slowly claw their way from the musty catacombs deep below the city of Guelph, Ontario.
Their debut album, AAAAAHHH!!! (released in March of 2009), an assemblage of songs recorded over the course of several years, promises to cause even the most hardened of hearts to break down in uncontrollably joyful weeping.
While the recordings feature a healthy dose of electric and acoustic string instruments, analog synthesizers, saxophones, and moaning ghost choirs, The Skeletones Four have boiled the music down to its essence, in order to deliver the songs to your ears in their skeletal form.
Gregory Pepper & His Problems
hi, my name is gregory pepper. i like to record pop music and make low art. people think my stuff is “experimental”, but that’s just because i don’t really know what i’m doing. the new record is called with trumpets flaring. there’s lots of singing and drumming, but no trumpets.
i’ve also produced hip-hop tracks for awol one and noah23, as well as touring with fellow indie rockers islands and cuff the duke, though right now i’m working on a new album called the great depression with fellow fake four artist factor.
Wednesday December 16 & Thursday December 17, 2009
The Ebar 41 Quebec St. Guelph
Doors at 9:00 PM BOTH NIGHTS
All-ages/Licensed BOTH NIGHTS
$8 with non-perishable food item / $10 without
SEPARATE TICKET CHARGES FOR EACH INDIVIDUAL NIGHT
musicprogramming [at] gmail [dot] com
UPCOMING KYEO/CSA SHOWS:
THURSDAY JANUARY 14: CLUES & ETAOIN SHRDLU @ Ebar – 10:00 PM $8 w/food donation /$10 – AA/LIC
THURSDAY FEBRUARY 18: IAN BLURTON+HURON=HAPPY ENDINGS & THE SAD CLOWNS @ Ebar – 9:00 PM $8 w/food donation /$10 – AA/LIC benefit for: www.outontheshelf.ca