Hogtown Harmonics Volume IV

In this edition I will share two rare albums, both related to Toronto weirdo rock heroes DD/MM/YYYY.

DD/MM/YYYY

Last Friday, August 21st, a momentous musical occasion took place as Toronto's own math-rock synth-spazzers DD/MM/YYYY played a "secret" set consisting entirely of songs from their first ever release, the very limited (150 copies) EP, The Real World Is So Unreal, which actually was a split with now-defunct hardcore/noise outfit Panserbjorne.

2004 saw a far different version of DD/MM/YYYY. This was before they played with Blood Brothers. This was before they toured North America and Europe. This was before they graced the cover of NOW. In fact, The Real World Is So Unreal features a lead vocalist who is no longer even in the band, Jonathan Macias (his current band, Revolution Love, makes me chuckle a little...get a load of that promo shot). Although DD/MM/YYYY has never been a band to hide behind subtleties, this first EP is quite a kick in the pants in comparison to later releases. It is an abrasive blending of shouting/screaming vocals, hypnotic riffs, and spiky synth.

Yes, the production is pretty bad, so you'll have to turn up your volume and ignore the graininess. However, it is a charming, quick listen and was both a literal and figurative blast from the (not too distant) past when performed last week.

The Real World is So Unreal

A Newfound Interest In Connecticut

Although a close listen to The Real World Is So Unreal reveals the groundwork for the evolution of DD/MM/YYYY we hear on this year's Black Square (which, I believe will stand as one of the best releases of the year), current DD/MM/YYYY members Matt King and Mike Rozenberg were once in a band that some might label (for better or worse) as emo.

No, A Newfound Interest in Connecticut were not the type of emo The OC popularized (and turned into a stereotype....and an insult for that matter). Newfound Interest wrote moody, melodic, bittersweet songs. They have a depressing, "emo" undertone, but songs generally are slow building and crescendo in an uplifting, triumphant way. They take cues from post-rock, post-hardcore, and yes, emo—but in this case I am referring to pre-OC emo, like The Promise Ring, Jawbreaker (before their Pete Wentzification), and The Appleseed Cast. Like The Real World is So Unreal, Newfound Interest is a blast from the not-too-distant past as well and reminds me of my first days of University, when I was a little cocky to cover up for how morally conflicted I was at the time. I shall stop there, though—I'm starting to sound a little emo.

Tell Me About The Long, Dark Path Home

Your self-serving words are arresting compliments

You've imprisoned yourself with inflated ego,

Filled with embellished adjectives

Self-description; self-deception

We all waited with baited breath—

You seemed like such a catch

Treading just beneath the surface

Flaunting your fins

Now you live within a box,

Perched high as it may be,

Light will only shine on you

Once someone pries you free

Jaguar Starship

I have found myself lamenting as of late over the state of music. This year has been a disappointment overall in terms of releases. Bands I used to enjoy and respect have put out lackluster albums (Taking Back Sunday, Thrice, Manchester Orchestra, Cursive, Thursday) and the current musical trends (I'm sure you're quite familiar with my mixed feelings about lo-fi, but what is this emotronic shit?) confuse and scare me. I feel like an old man who is afraid to leave his front porch because sinister looking kids are playing hacky sack on the corner.

One of my favourite bands of all time, Brand New, is about to release their fourth album. I am nervous. Obviously I am anxious to hear said album, but I am also concerned that it will be a grand letdown. Based on the first single "At The Bottom," I am alarmed. The lyrics are disappointing. I'm not quite sure why Jesse Lacey is vocally insistent on affirming that he is from the backroads of Tennessee (as opposed to Long Island). The sing-song chorus leaves a bad taste in my mouth—something god-awful and sugary sweet like cream soda. I will wait until I hear the album in full before I make any concrete judgements, however. Also, I will wait until that point before I shell out 30 bucks on a ticket to their November show at Kool Haus.

I recently wrote about Gabe Saporta and his downward spiral into self-aggrandizing pop-hipster irrelevance. As I perused the myspace page of a band I had high hopes for, I was painfully reminded of Saporta.

The fellows in this photograph are Johnny Whitney and Cody Votolato, members of Jaguar Love and former members of another of my favourite bands of all time, Blood Brothers. Jaguar Love started as a project featuring Jay Clark, formerly of Pretty Girls Make Graves, on drums and a touring bassist and keyboardist. Clark departed around the new year and instead of replacing him and venturing on, Whitney and Votolato decided to refine the band's sound to a more electronic one and simply play as a duo.

Interestingly, when I saw the full-band version of Jaguar Love last summer I was rather underwhelmed. They lacked the wit and edge of Blood Brothers and it didn't help that they were playing with The Faint. Not my scene, to say the least. However, the idea of them now touring as an electronic duo and playing songs from the first album "a bit different....almost like we remixed them" makes me sick. Also, look at them. What self-indulgent douchebags.

In more positive news, the other half of Blood Brothers, Past Lives, are nearly done recording an album. If last summer's Strange Symmetry EP was any indication, this album will be just the ticket. Please don't let me down Blilie et al. Please.

Hogtown Harmonics Volume III

For this edition of Hogtown Harmonics I will focus on two bands I first saw play together last fall, but who have both been on the Toronto scene for more than a few years.

The Guest Bedroom

I have to say, when I first saw the The Guest Bedroom I was blown away. Vocaslist/guitarist Sandi Falconer has a powerful, almost intimidating voice (and a pretty badass name to match) that commands your attention. She also has awkward yet endearing stage antics and, just when you think you can let your mind drift, occasionally breaks out a saxophone solo. Yes, there is always a saxophone within an arms reach on stage. Whether deliberate or not (I suspect the latter), Falconer succumbs to robotic dancing during instrumental breaks that to the untrained eye appear to be mechanical spasms that happen to be on beat. Do not confuse this robotic dancing with the "way cool" robot dance that the rapping fellows do, Falconer's movements are as caucasian as can be.

Like in the majority of bands fronted by a female, the rest of the band is just filler. In this case I do not suggest so because Falconer has an overly strong, sexy stage presence. Besides the robodance and sax "shredding," Falconer does not say or do much on stage and generally dresses like "one of the boys" (tshirt and jeans). In TGB's case, the other members are filler because they don't do a whole hell of a lot. They do little to cause one to take notice—they barely even move.

Nearly five years have passed since TGB's first show and over the course of their career they have played with several notable Toronto bands: The Diableros, Spiral Beach, 10000 Watt Head, Creeping Nobodies, Huckleberry Friends, and Ancestors. Hell, they even made a video with medium-profile director Scott Cudmore.

As for on record, I do not have as many complimentary things to say about TGB. Last year's Treading Water/Blowing Smoke EP received lukewarm reviews from Toronto weeklies NOW and EYE. Each song has good intentions, from the indie roll-call intro of "Planted" to the waltzy jump of "Stranglehold," but I find that each track fails to build on the main hook put in place and loses me. Structurally, each song runs a touch too long (something I usually never say) and, especially in the case of "Planted," could do with one less verse or chorus.

Treading Water/Blowing Smoke EP

Ancestors

Not to be confused with the Ancestors from Los Angeles, Toronto's Ancestors pack a loaded fist of influences, primarily from 80s hardcore and 90s grunge. Yes, the Jesus Lizard comparisons are plentiful upon first listen. However, Ancestors' songs tend to be more concise than those of The Jesus Lizard, though I do understand the comparisons.

On the particular night I happened to see both The Guest Bedroom and Ancestors, I rather preferred the former. However, on record, I find the latter to be far superior. Perhaps I wasn't paying close enough attention or perhaps they simply were off that night, but I found Ancestors to be disappointing that evening at Sneaky Dee's. However, after seeing subsequent performances that faired far better and listening to their two EPs, Ancestors have won me over. Along with METZ, Ancestors are doing their part to ensure that early 90s musical aggression is alive and well in Toronto.

Nightfall 7" (2009)

Ancestors EP (2007)

I find it necessary to guilt my reader(s) a little with this disclaimer: The purpose of these Hogtown Harmonics posts is to highlight some of the finest (and some of the more mediocre) bands that are making waves in the Toronto scene. I am attempting to promote my fellow artists and introduce web-gazers to some fine bands, many of whom I know personally and consider to be honest, hard-working musicians. If you like what you hear, I urge you, come to a show, buy an album, a tshirt, a pin, something. As I know from my own musical experiences, every little bit goes a long way and there really is not much money in the music industry, especially for the bands I will be showcasing. The majority of these musicians also hold crumby dayjobs to supplement their income, live in shared housing, and can only afford price-brand beer.

health-related pun here

Los Angeles has churned out a handful of highly influential DIY bands over the course of the past couple of years: No Age, Abe Vigoda, Mika Miko, BARR, and Silver Daggers. Besides their punk-inspired, DIY aesthetic, something else all these bands share in common is that they got their start at LA's now-infamous The Smell. One band that stands out from The Smell pack is HEALTH. If they are not already, HEALTH is sure to become a household name by the end of 2009. They have toured with NIN (and are about to again on NIN's "final" tour), gained quite a bit of exposure opening for Crystal Castles last year, and are about to release a sophomore album that is quite a bit more accessible than their debut. What makes HEALTH stand out from their peers at The Smell is the fact that their recordings are far from lo-fi. You can hear the instrumentation, as it has not been soaked in reverb. Also, their songs are not particularly catchy and, as the new album demonstrates, often go above and beyond the 4-minute mark.

HEALTH's debut self-titled album had a few tracks that clocked in at under a minute and were droning noise soundscapes, as well as longer "proper" tracks that were often rather disjointed and involved a lot of stop-start time changes. All this makes the album difficult to follow for the more casual listener. Get Color has vocals on nearly every song, which makes a big difference to those who don't quite "get" instrumental music, and slightly more coherent sound structures. Essentially, HEALTH tend to create what could be a computer-generated loop, but with live instrumentation (not unlike Animal Collective or, dare I say, Holy Fuck). However, unlike other analog electronica-type bands, HEALTH have more of an edge, a more intense live show, and are ultimately more interesting. Sure, they look like your average "hipsters" (clad in v-neck Ts and white-stringed American Apparel hoodies), electro madman Pictureplane is the opener for their upcoming tour, and they've been mentioned in Vice, but HEALTH are more than just some disposable hipster sensation. For starters, the variance in rhythm is difficult to dance to. Songs often explode into heavy bursts of noise that may incite some pseudo-moshing. Other songs are subdued sound collages with barely audible, echoing vocals. My point is that HEALTH are too musically talented, experimental, and complex to simply be a hipster fad.

Hey, speaking of The Smell, No Age is releasing an EP this fall. It is quite a bit more subdued than their past efforts and, quite frankly, not that great. Not to suggest it is terrible, it is just somewhere in between, causing me to lack much of an opinion. Enjoy?

HEALTH - Get Color

No Age - Losing Feeling EP

Hogtown Harmonics Volume II

Before proceeding with volume II, I find it necessary to guilt my reader(s) a little with this disclaimer: The purpose of these Hogtown Harmonics posts is to highlight some of the finest (and some of the more mediocre) bands that are making waves in the Toronto scene. I am attempting to promote my fellow artists and introduce web-gazers to some fine bands, many of whom I know personally and consider to be honest, hard-working musicians. If you like what you hear, I urge you, come to a show, buy an album, a tshirt, a pin, something. As I know from my own musical experiences, every little bit goes a long way and there really is not much money in the music industry, especially for the bands I will be showcasing. The majority of these musicians also hold crumby dayjobs to supplement their income, live in shared housing, and can only afford price-brand beer.

Little Girls

When conducting a casual Google™ search for Toronto lo-fi bedroom project cum post-punk blog sensation Little Girls, I may have ended up on a Toronto Police Department "suspected pedophile" list. Thankfully, Google filters out child pornography and other smutty search results (though searches for porn staples like "black cocks" and "puffy nipples" bring up some excellent XXX sites). My point is that despite their blog buzz, it is hard to find very much info on Josh McIntyre's Blank Dogs-inspired project, at least through a simple Google search.

I find the band's name to be somewhat problematic for a few reasons:

1. It makes me feel a little strange to say it
2. When telling friends of the band, they are always initially skeptical or feel I have given them an opening to make a joke about pedophilia
3. There is not anything ironic about naming your band Little Girls—it does not make us rethink the naming process and/or the sociological implications of a name (I sincerely doubt that anyone, upon first hearing of Little Girls, expects the band to be comprised of little girls, nor will they find it very ironic that a band of grown men is called Little Girls)
4. Did I mention it makes me feel a little strange to say it?

Anyway, moving beyond my own hang-ups, as far as lo-fi goes, I find Little Girls to be rather unique. No, not because they actually stand out too much amongst their peers with sonic originality—the vocals are still drenched in reverb, the instrumentation is rather elementary, the songs rarely elapse the 3-minute mark. What makes Little Girls stand out is their live show. Generally, lo-fi bands are disappointing live. Wavves is a drunken temper tantrum-filled disappointment, Vivian Girls bore the shit out of me, No Age is always vocally off key. I find more often than not that the recorded vocals of these types of bands are buried beneath so much reverb because the vocalists simply aren't that good.

Little Girls actually are better live than recorded, which is a pleasant surprise. To begin with, the majority of the percussion on the two EPs I've heard consist of drum machine loops. Using real drums live (despite how mediocre the drummer is) gives the songs a new intensity. Furthermore, considering that Little Girls is entirely McIntyre's project and he wrote and played all the parts on record, it is nice to see a full band playing the songs so well and not looking too bored while doing so. What really makes Little Girls a solid live band, though, is McIntyre's stage presence. He bops around and lets the music take hold of him, even almost dancing on occasion.

Tambourine EP

Thrills EP

Like it? Buy it here.

Contempt: Gabe Saporta

The idea of starting a band based solely on the fact you have been asked to record a song for a movie soundtrack baffles me a little. What's worse is when the movie is Snakes on a Plane (fun fact: Did you know that Snakes on a Plane was originally going to be called Pacific Air 121 and star Benjamin McKenzie...you know, Ryan from The OC?). What's even worse is when you keep this band and its ridiculous name years after the fact and release god-awful "ironic" songs that really just latch onto current popular musical trends but pretend to be ripping this music a new one.

Gabe Saporta was once the vocalist/bassist for New Jersey pop-punk quartet Midtown. Over the course of their existence, Midtown put out three proper albums, an EP, and a couple of split 7"s. Nothing would compare to their final album, 2004's Forget What You Know, which broke away from their usual emo-inspired pop-punk (though not too far away). The album had a certain amount of depth, with songs not simply about relationships. The few songs on the album that are about relationships take on a darker, psycho-sexual tone that again stands out from what their contemporaries were singing about at the time.

By no means is Forget What You Know a masterpiece or one of the greatest albums of the 00's, but it marks a shift amongst a handful of bands from that period who attempted to transcend pop-punk and create more meaningful music—Deja Entendu, anyone?

That being said, what the fuck is Cobra Starship? Gabe Saporta's post-Midtown project practically nullifies everything Midtown accomplished with Forget What You Know and essentially sets humanity back about 75 years. Also, Gabe Saporta looks and acts like such a self-important hipster asshole in his new band.

Forget What You Know