NXNE 2113 Reviews;
Wednesday;
The Normals ~ Cherry Cola's Lounge;
The Normals were part of the tiny Montreal punk scene back in the late 1970's and early 1980's but like most bands of that era they were short lived, little recorded and less traveled. So this was their Toronto debut after getting back together two years ago, although drummer Chris Howe did play with New-Wave dance band Rational Youth in the mid-to-late 1980's. The Normals were firmly in the Ramones/Buzzcocks/Undertones school of short, fast pop-punk and they haven't lost a step since then, closing with a Buzzcocks cover. They have a new cd of material written back in their heyday but recorded now. They also have another new dc coming out of live tapes from 1978 so they would seem to be more busy than they were the first time around. Nothing like striking while the iron is hot. At any rate they will most likely return, perhaps in the fall so stay tuned.
THE NORMALS ~ "NOISY NEIGHBOURS" & "MASOCHISTIC MAN";
The Standstills ~ Cherry Cola's Lounge;
Yet another two piece guitar/drums male/female duo playing riff heavy blooze rawk. They're OK and if you like this sort of thing you'll like them. After a few songs or so my mind starts to wander though.
THE STANDSTILLS ~ "BLACK BETTY";
Thursday;
Social Distortion ~ Dundas Square;
NXNE always have at least one classic punk band at Dundas Square; Iggy, X, Descendents, Devo. Social D are different in that they have been to town a few times so it's not as much of an event, which may explain why it wasn't nearly as crowded as past years. After suffering through the jam packed and sweaty Stooges show I'm not likey to complain about this. Still Social D are always a solid live band and Dundas Square has better live sound than you might expect. Over the years the sight-lines have been cluttered up by obnoxious corporate ads and booths shilling for cell-phone plans just like punk never happened. Watching Mike Ness run through his rote "I was a punk before you were" stand-up routine makes me wonder if it did.
SOCIAL DISTORTION ~ "BALL AND CHAIN";
Public Animal ~ Lee's Palace;
This is Ian Blurton's new band, it's not that different from his last band, C'Mon. All 1970's riff heavy grunge-boogie although this time he has added some keyboards and more varied dynamics for his strongest band since Change Of Heart.
White Cowbell Oklahoma ~ Lee's Palace;
I'm always a little surprised that this one-joke novelty band is still around after a decade or so. True, they've cut way down on the shtick and I'm convinced they can really play but I'm not convinced they have more than a couple of actual songs. I can't help but notice that their best songs date back to their first album which is never a good sign.
WHITE COWBELL OKLAHOMA ~ "SHOT A GAMBLING MAN";
The Supersuckers ~ Lee's Palace;
The OTHER self-proclaimed "World's Greatest Rock & Roll Band" really have turned into The Rolling Stones, or at least The Faces. Even more than Social D, a band they resemble. Both are somewhat rootsy Rock & Roll bands that started out as straight forward punk bands, both have experimented with more traditional country rock with some success but where Social D seem like they're following a script Ness wrote years ago the Supersuckers still seem more heartfelt in their boogie, if noticeably less successful and iconic. Rather like The Faces.
THE SUPERSUCKERS ~ "BORN WITH A TAIL";
Friday:
The Downbelows ~ The Opera House;
The Downbelows were one of the Queen Street old school punk scene of the 1990's along with The Sinisters, Son Of Bronto, Dear Departed, Cheerleader, Throbbing Hoods and Plasmablast, and like all of those bands they recorded one fine record before their inevitable disintegration. Why do shitty bands live forever? At any rate they got back together a little while back and have been in the studio but there's nothing like an invite to open for Black Flag to motivate a band to get busy. They were rock solid and they were able to make the cavernous Opera House reasonably club-like which is no easy task. I'm having them down to the CIUT studios in the summer to do a recording session.
THE DOWNBELOWS ~ "WALK INTO THIS";
Genetic Control ~ The Opera House;
A 1980's Montreal Hardcore band who last played here at the long, lost Larry's Hideaway which shut down circa 1987 so it's been awhile. I'm not to familiar with their material but they seem like a basic pre-thrash hardcore band of the era. They were tight enough but I thought their songs lacked the dynamics of the best of their ilk. Including The Downbelows for that matter.
GENETIC CONTROL ~ "URBAN COWBOY";
Organ Thieves ~ The Opera House;
I've never heard of this local band and I don't know how they scored the choice spot opening for (Black) Flag. Their post-hardcore/reggae/funk was well done enough and they are certainly good musicians but they are rather sleep inducing and really didn't belong on this bill, especially since The 222's were playing the same night for a crappy opening spot at Lee's Palace. Why do these music fests always have these kind of booking fuck-ups?
Flag ~ The Opera House;
That would be Black Flag to you. At least Black Flag minus Greg Ginn (who is not on speaking terms with anybody by this point) and Henry Rollins, who'se not an original Flag anyway. I am always a little surprised how many people don't know that but I swear it's true. In fact the original Black Flag singer was Keith Morris who had some sort of falling out with Greg Ginn (who hasn't) after one ep and left then later went on to from The Circle Jerks. He was replaced by Dez Cadena for the next few albums. This line-up contained both Morris and Cadena along with original bassist Chuck Dumbowski and drummer Bill Stevenson who played in Black Flag for awhile in between stints with the Descendents and All, along with a guitarist borrowed from All. I figure that's an authentic enough line up to run through the entire pre-Rollins cataloge otherwise known as "all their best stuff before Greg Ginn decided he was some sort of fusion guy". It's always good to remind the younguns what hardcore used to sound like before thrash-metal crossover and all those various grind-crust bastard children with their widdly-widdly guitar solos and cookie monster vocals. The band was as tight and polished a machine as you expect from these old pros and while some complained that Morris was mostly stationary he sounded in good voice as was Cadena. And it's not exactly resonable to expect a guy in his fifties (seriously) to be stage diving anymore anyhow. It was a typical Opera House gig; great sightlines (assuming you were in the balcony) and crappy sound. The high ceiling doesn't make anybody any acoustic favours but the view looks like the back cover of the first Cramps album with a full panoramic view of all the attendent carnage at stage front.
BLACK FLAG ~ "RISE ABOVE";
BLACK FLAG ~ "THIRSTY AND MISERABLE";
Saturday;
White Lung ~ The Horseshoe;
Another new neo-garage buzzband. White Lung have plenty of energy and even some charisma but they play every song at such a warp speed that none really standout, and singer Mish Way's high pitched yelp doesn't help. Needs more seasoning. I should have stuck around for Danish band Iceage but the Shoe was so packed (I assume for headliners Fucked Up) that I left to get some air then couldn't get back in, but since I was planning on heading down to Cherry Cola to catch 222's later that night anyway I strolled that way.
Waxy ~ Cherry Cola's Lounge;
Billed as "Psychedelic", which can mean any number of things, not all of them good. In this case it apparently means "hippy-grunge-jams that could never have shared a stage with the 222's back in the day". At one point the singer announced they were going to play some "blues". At that point the ghost of Howling Wolf marched in, smacked them upside their heads then grabbed their beer tickets and stomped off muttering something about "Stupid White People". And I missed Iceage for this shit? That these guys actually drove up all the way from Palm Springs, California shows just how clueless they were.
The 222's ~ Cherry Cola's Lounge
The 222's were the other first wave 1970's Montreal punk scene at NXNE so of course they were scheduled on different days since putting them on the same bill would make too much sense. The 222's had a slightly longer and more successful run than the Normals and had a more charismatic singer and slightly more poppy sensibility but other than that they are both firmly in the Buzzcocks/Undertones school and have managed to age well. They have also been in the studio and have a new cd comming out.
THE 222'S ~ "I LOVE SUSAN";
THE 222'S ~ "COME TO ME COLD";
Showing posts with label NXNE. Show all posts
Showing posts with label NXNE. Show all posts
Tuesday, 2 July 2013
Saturday, 23 June 2012
NXNE 2012
Thursday June 14
NXNE now starts with some films on Monday, but you can't really pick up your press pass until Wednesday so I missed a few worthy films. I did pick up my pass on Wednesday but didn't get around to seeing anything that night. So we start off with;
Bad Religion (Dundas Square);
Bad Religion is one of those classic punk bands the appeal of which has always escaped me. Don't get me wrong, I think they are a good band and all, tight and consistent, and I respect their integrity in founding a label (Epitaph) which played a pivotal role in bringing punk to the masses without selling out. But I have always found them basically faceless. Perhaps this is not entirely their fault, we can hardly blame them for the fact that so many other punk bands lifted their sound. But at the same time they never came up with a real distinctive sound like their contemporaries The Offspring, or an ability to develop and grow creatively like Green Day. Their refusal to do interviews doesn't help either. At any rate I was happy to head down to see them at Dundas Square. Until I got there. The Dundas Square shows were always an uncomfortable experience, having to stand for hours on a crowded concrete square hoping to get a brief glimpse at the band on stage while being constantly jostled and sweated on is no longer my idea of fun. NXNE has blithely made this even more of a trial by expanding the drinking tent and worse by cramming the square with merch tables like it's a flea market in Istanbul without the charm (or food). And by merch I don't mean band merch like t-shirts, CD's and posters. That wouldn't take up much space at all. No we are talking about giant booths for the likes of Sprint or Verizon, which nobody there would have the slightest interest in and who do not exactly suffer from lack of exposure. I mean seriously, is anybody really going to take time out from a concert to compare cell phone plans? Is a potential customer off the street going to push his way through the crowd to do so? The booths have also gotten larger this year, with metal superstructures and roofs just to make sure that they block everybody's view. I ask you is it asking too much not to have corporate ads everywhere? Just to make doubly sure they annoy the largest number of people they also chose to place the booths not only along the sides of the stage but ringing around the front as well, thus not only blocking the view of anyone behind them but also hemming in those in front. If there had been some sort of stampede for any reason people could have been killed in the crush of such an enclosed space. Oh well I guess it's a small price to pay in the name of youth oriented product placement. It's soooo punk rawk mannn! All this made it seem more crowded than Iggy Pop two years ago even though there were less people. Not that I'm blaming the band for this of course. They sounded fine, played a long set and I even caught a brief glimpse of them once or twice. Just a glimpse mind you, enough to make sure there was actually a band on stage rather than just a backing tape.
BAD RELIGION ~ "AMERICAN JESUS";
Glory Hound (The Bovine);
After leaving Dundas Square I made a beeline to the Bovine too catch the Nils but I actually got there early enough for the openers. Gloryhound are from Nova Scotia I think and are a fairly bombastic hard rock band who are tight enough but nothing special.
The Nils (The Bovine);
Of all the stories of Canadian bands that should'a made it but didn't The Nils were the most cursed. A Montreal punk band from the late eighties formed by two brothers Carlos and Alex Soria that I grew up on. Their first two indie eps are still among the very best Canadian punk of the era, or any other. At the time they were bandied about as Canada's answer to the Replacements. Unfortunately their only major label album was a disappointment and they soon broke up. A couple years back Alex killed himself while in the midst of a comeback attempt. Eventually Carlos decided to struggle on with some sort of lineup and recorded a new album. They only played a few of their early songs here which I can sort of understand but found disappointing, especially the hurried way they whipped through them. Their newer songs are OK, their cover of Neil Young's "Everybody knows this is nowhere" was pretty cool though.
THE NILS ~ "FREEDOM";
Revolvers (The El Mocambo);
I was getting pretty tired so after taking a much needed munchie break I wandered down to the El Mo. The Revolvers are a local noisy garage band, or a garagey noise band, whichever. I don't actually recall their songs but they were pretty good at the time.
Bleached (The Silver Dollar Room);
Note to the Black Belles and the Dum Dum Girls (see below); garage punk should have more than one tempo, preferably fairly fast. Another all-girl garage buzz band this year. Bleached pay less attention to looking cool and more to being a good old fashioned rock and roll party. The fact that the band is led by two sisters, Jessica and Jennifer Clavin, from a previous band, Mika Miko, certainly helps. They have the experience and confidence not to worry about their chic outfits and just rock out. They also have better songs (and more of them) and they play better as well. They are also more comfortable and fun on stage. Turns out a little experience really does matter.
BLEACHED ~ "THINK OF YOU";
Friday June 15 2012;
FILMS;
Ja Javla Metal; The story of Swedish Heavy Metal;
The title says it all really; all things metal from Sweden from Yngvwie Malmsteen (sorry that should read Y,,,,,, J Malmsteen, wouldn't want to get him confused with all the other Yngvwie Malmsteens out there) and Europe to Bathory and Candlemass to Entombed and In Flames. With the focus on the 1980's and early 1990's and done in a methodical just-the-facts style that offers no flash but probably appeals to the metal fan's latent desire to be taken seriously. And now I know more than I ever thought I needed to about Swedish Metal.
CANDLEMASS ~ "BEWITCHED";
My father and the Man in Black;
Did you know that for from the 1960's to the 1980's Johnny Cash's manager was a Jewish guy from London, Ontario? Me neither. Sol Holiff was his name and he was almost a stereotype of the sort of Jewish businessmen (often with little or no entertainment experience) who became managers, record label owners, film moguls and comic book publishers in the early to mid twentieth century. He was a serious, sober, hard working, suit wearing, humorless, hard nose who devoted himself to client 24/7 and treated his family like despised employees. He felt bad about though and after he killed himself a few years ago he left behind a whole store room of documents, photos and tapes that his alienated son use to base this movie on. It provides a more nuanced story of the enigmatic figure of cash than "Walk the line" while also giving us a deeply personal family as well. It's self indulgent of course but given the subject matter it gets away with it.
JOHNNY CASH ~ "HURT";
Music;
The Coppertone (The Horseshoe);
Fronted by Toronto based Amanda Zelina's big voice and 1970's stadium guitars Coppertone conjure up obvious comparisons like Heart, Suzi Quartro, The Headpins and Toronto (the 80's band that is). There are certainly plenty of worse role models lord knows.
The Black Belles (The Horseshoe);
The latest buzzband are an all girl garage four piece from Nashville via Jack White who dress up like Go-Go Morticia Adams with matching long black hair and top hats and black lipstick and eye liner. They look great of course and I can certainly see the appeal of four cool goth garage chicks. Just like the Dum Dum Girls last year. Unfortunately I found their one tempo, three chord drone a little dull after a while. They are going to have to change it up a bit. Just like the Dum Dum Girls. Bonus points for their trudge through a version of the classic Nickerbockers' 60's nugget "Lies" which may not be nearly as good as the original of course but was still kinda cool.
THE BLACK BELLES ~ "LIES";
Andre Williams & The Sadies (The Horseshoe);
As one of the last men standing of the classic R&B era we should be amazed to have Andre still alive let alone fully active. Not only performing but recording new material as well. Considering the dissolute life of drugs he led for the last fifty years he is lucky to be alive at all, let alone capable of doing a show in the summer heat. He knows it to, delivering a nice little speech of thanks to those (like the Sadies and Toronto audiences in general) who kept the faith while he got into rehab. By all accounts he has been fully on the wagon now for a couple of years and he does look healthier and more alert than in years past. The set was not very long but he kept out a good energy level. Of course having a quick mid-set pimp gear costume change probably helps but if anyone can pull off that sort of vanity move it's Andre. As per usual the Sadies provide their usual empathetic backing making the whole "Andre Williams sings cow-punk" concept seem natural. To be honest Andre's voice is pretty much shot by now but he was always more of a presence and a composer/arranger than a pure singer anyway. At any rate as one of the last guys of his era still around and capable of still doing adventurous work that appeals to those younger and hipper than your average oldies crowd Andre owes it to us to keep on truckin'.
ANDRE WILLIAMS ~ "SWEET LITTLE PUSSYCAT";
The Reigning Sound (The Horseshoe);
Led by former frontman for North Carolina's garage vets The Oblivians (and briefly Toronto's Deadly Snakes) Greg Cartwright, gave a short class in neo-garage. Short punchy three chord songs? Check. Catchy choruses? Check. Hummable solos? Check. Farfisa borrowed from Dell Shannon? Ditto. A modicum of variety so that all the songs don't sound exactly the same? Got it. Granted they look a little paunchy but I do hope the Black Belles were taking notes.
THE REIGNING SOUND ~ "Can't hold on";
Saturday June 16 2012;
Films;
Jobriath A.D. (NFB);
This is a requiem for a lightweight. In the early 1970's Jobriath was New York's answer to David Bowie. His complete and utter failure was proof that most Americans had never asked the question after all. Everything that Bowie did Jobriath went even further. Bowie wore make up and dresses? Then Jobriath would wear tights and jester makeup. Bowie sang about space and declared he was from Mars? Jobriath wrote space operas and claimed he was from Heaven. Bowie dabbled in the theater? Jobriath would use ballet and performance art of the most ridiculously overblown type. Bowie would rely on wildly bombastic hype? Jobriath would have billboards you could practically see from Mars. Bowie had an egomaniacal manager with delusions of grandeur? Jobriath could find an even shadier megalomaniac manager. Bowie claimed he was bisexual? Jobriath shouted he was rock and roll's first "true fairy". It was all too much, especially for America circa 1973. He put out two big budget albums on Elektra and even with massive publicity and a television appearance they both sank without a trace. And that was that. He was washed up in his early twenties. He would end up years later playing Cole Porter tunes in a piano bar. When he died of AIDS in 1983 it went unnoticed. Even the gay community didn't care, they had disco by then. Of course like all artists who fail completely he has gained a small cult following with the likes of Morrissey, Klaus Nomi and Jayne County. And he was certainly not without talent. A classically trained pianist and composer/arranger he had total creative control of everything and manged to get the likes of Led Zeppelin's John Paul Jones, Disco diva Gloria Jones and Richard Gere into the studio. The results are thoroughly competent pomp rock not wildly dissimilar to some of the contemporary work of Bowie or Queen. With the notable absence of a catchy single for radio. He also had never been in a band before, or played a single gig. His only prior experience was a stint on a production of Hair and a few promising demos. Since he had built no audience of his own his management decided to blast their way on to the charts in one rush with the most expensive and overblown ad blitz ever seen for an unknown act. Of course it went down like a lead balloon with rock jocks and critics who had much more power in those days and who deeply resented this preening poseur who had paid no dues. Naturally once it was clear that there was no likely hit single they attacked like hyenas on a wounded gazelle. As might have been expected the record company was not exactly pleased with the amount of money spent on the fiasco either and after it met an even more obscure death they dumped him. In explaining his short whirlwind career the film explains the fiasco by pointing out the delusional publicity and the homophobia of middle America but gives the impression that he could have otherwise made it or that he was just ahead of his time. When he finally went out on his one and only tour he finally figured out how to perform and win over an audience. If only Elektra had given the second album more support. If only radio and the media had given him a second chance. He could'a been a contender. I disagree; I say the whole project was wrongheaded from the start. The film is as blissfully unaware of the changing currents in rock and roll in the mid seventies as Jobriath himself was. At the same time he was sitting in New York working out plans for a massive rock opera and attending chi-chi parties with Warhol there indeed was a scene happening in New York that would change rock forever. But it was happening over at the Bowery and it is impossible to picture him at grungy CBGB's. The bloated pomp rock of Jobriath was a painfully out of touch with punk as Emerson, Lake and Palmer, Yes, Uriah Heep or the Moody Blues. Without his having the fallback of having had previous hits and a legion of fans to rely on. Even Bowie and Queen spotted that trend and retooled their look and sound. What was Jobriath going to do? It's true that in just a few years there would be an actual underground with a network of clubs, indie labels, zines and campus radio that would have been more open. But he doubtless would have little desire to be part of such a low rent scene. For Jobriath it was the big time or nothing. He got nothing. And he was unable to figure out a way back. The movie is a thorough and interesting story of a puzzling figure from an different era. I did not leave it becoming a fan but I did feel sympathy for his hopeless crusade to take rock in exactly the wrong direction at the wrong time. Lord knows we've had worse, even in the 1970's. He could have at least lived long enough to appear in "Velvet Goldmine".
JOBRIATH ~ "I'MAMAN";
Slaughter Nick for president (NFB);
Remember a cheesy TV crime show from the 1980's called "Sweating Bullets"? Featuring a private eye named Nick Slaughter and set somewhere in the tropics and basically combined the drama of "Miami Vice" with the suspense of "Bay Watch". I vaguely recall seeing it one or twice, probably in reruns. At any rate it turns out that it's combo of endless summer and bloodless violence made it a huge escapist hit in Serbia at the very time that people were taking it to the streets to bring down the Slobodan Milosevic regime. So much so that Nick Slaughter became a symbol of freedom for millions of Serbs. All this somehow happened with the real Nick Slaughter, Canadian actor Rob Stewart being completely unaware until a Serbian punk band who wrote a song about invited him to Serbia. This film is about that trip. It's a tribute of sorts to the power of pop culture, no matter how trivial.
Marianas Trench (Much Music stage);
On my way to get some food I passed by the Much Music stage where Marianas Trench were rehearsing for their MMVA awards appearance. They weren't wearing their full on stage clothes and makeup so they looked slightly less emo. They also had some black female backup singers which is something all pasty white bands like to do to show they're aware of their "roots". You know, like Motown and stuff. This is assuming Motown had pasty white emo kids with silly hairdos doing souless kiddie stadium rock. Mind you given that those twits from LMFAO are actually Barry Gordy's offspring I wouldn't put it past them.
Shellshag (The El Mocambo);
A loud guitar/drums two piece from New York. Two piecers are an inherently limited genre and Shellshag do not transcend those limits, but they don't embarrass them either.
Limblifter (El Mocambo);
Limblifter were a moderately popular Vancouver band from the mid-nineties era of post grunge indie guitar bands. Apparently the mid nineties are now officially retro enough to justify a reunion. I have only a vague memory of them from back then but they were pretty good here straight forward and unpretentious. Although as is usual with this type of band I can't actually remember any of the songs. The fairly large crowd, who seemed to know all the songs were pleased though.
LIMBLIFTER ~ "VICIOUS";
Meanwood (Rancho Relaxo);
I haven't heard of these guys before even though they're local. They are a pretty cool cow punk with a female singer who can shout with the best of them and the occasional banjo when they want to open up a big can of white trash. They must gave been pretty good to convince me to stay in the always sweltering Rancho. Worth further investigating.
Les Breastfeeders (El Mocambo);
I was pretty worn out by this point and ready to call it a week but not before seeing Montreal's best Ye-Ye garage band. They've been mining this vein for a while now but they always make it seem like it's the newest thing. And they are Ye-Ye enough to always bring their A game no matter how late or small the crowd. There was no too-cool-to-sweat posing for them. Les Breastfeeders were so lively (not to mention well dressed) that I almost forgot it was 2am. Then I went home to sleep.
LES BREASTFEEDERS ~ "400 MILES";
No I did not go to see The Flaming Lips on Saturday. I thought about it, but after coming out of the two movies I saw it was about 9pm and I absolutely had to get something to eat, and a bathroom, definitely a bathroom, or else. By the time I finished a much needed if meager meal it was around 10pm. I still could have made my way down to Dundas Square but after the thoroughly annoying experience of Bad Religion the first day (ie crowing and sightlines blocked by corporate ad booths) I basically said screw it since I knew the crowd would be even bigger for the Lips on a Saturday.
NXNE now starts with some films on Monday, but you can't really pick up your press pass until Wednesday so I missed a few worthy films. I did pick up my pass on Wednesday but didn't get around to seeing anything that night. So we start off with;
Bad Religion (Dundas Square);
Bad Religion is one of those classic punk bands the appeal of which has always escaped me. Don't get me wrong, I think they are a good band and all, tight and consistent, and I respect their integrity in founding a label (Epitaph) which played a pivotal role in bringing punk to the masses without selling out. But I have always found them basically faceless. Perhaps this is not entirely their fault, we can hardly blame them for the fact that so many other punk bands lifted their sound. But at the same time they never came up with a real distinctive sound like their contemporaries The Offspring, or an ability to develop and grow creatively like Green Day. Their refusal to do interviews doesn't help either. At any rate I was happy to head down to see them at Dundas Square. Until I got there. The Dundas Square shows were always an uncomfortable experience, having to stand for hours on a crowded concrete square hoping to get a brief glimpse at the band on stage while being constantly jostled and sweated on is no longer my idea of fun. NXNE has blithely made this even more of a trial by expanding the drinking tent and worse by cramming the square with merch tables like it's a flea market in Istanbul without the charm (or food). And by merch I don't mean band merch like t-shirts, CD's and posters. That wouldn't take up much space at all. No we are talking about giant booths for the likes of Sprint or Verizon, which nobody there would have the slightest interest in and who do not exactly suffer from lack of exposure. I mean seriously, is anybody really going to take time out from a concert to compare cell phone plans? Is a potential customer off the street going to push his way through the crowd to do so? The booths have also gotten larger this year, with metal superstructures and roofs just to make sure that they block everybody's view. I ask you is it asking too much not to have corporate ads everywhere? Just to make doubly sure they annoy the largest number of people they also chose to place the booths not only along the sides of the stage but ringing around the front as well, thus not only blocking the view of anyone behind them but also hemming in those in front. If there had been some sort of stampede for any reason people could have been killed in the crush of such an enclosed space. Oh well I guess it's a small price to pay in the name of youth oriented product placement. It's soooo punk rawk mannn! All this made it seem more crowded than Iggy Pop two years ago even though there were less people. Not that I'm blaming the band for this of course. They sounded fine, played a long set and I even caught a brief glimpse of them once or twice. Just a glimpse mind you, enough to make sure there was actually a band on stage rather than just a backing tape.
BAD RELIGION ~ "AMERICAN JESUS";
Glory Hound (The Bovine);
After leaving Dundas Square I made a beeline to the Bovine too catch the Nils but I actually got there early enough for the openers. Gloryhound are from Nova Scotia I think and are a fairly bombastic hard rock band who are tight enough but nothing special.
The Nils (The Bovine);
Of all the stories of Canadian bands that should'a made it but didn't The Nils were the most cursed. A Montreal punk band from the late eighties formed by two brothers Carlos and Alex Soria that I grew up on. Their first two indie eps are still among the very best Canadian punk of the era, or any other. At the time they were bandied about as Canada's answer to the Replacements. Unfortunately their only major label album was a disappointment and they soon broke up. A couple years back Alex killed himself while in the midst of a comeback attempt. Eventually Carlos decided to struggle on with some sort of lineup and recorded a new album. They only played a few of their early songs here which I can sort of understand but found disappointing, especially the hurried way they whipped through them. Their newer songs are OK, their cover of Neil Young's "Everybody knows this is nowhere" was pretty cool though.
THE NILS ~ "FREEDOM";
Revolvers (The El Mocambo);
I was getting pretty tired so after taking a much needed munchie break I wandered down to the El Mo. The Revolvers are a local noisy garage band, or a garagey noise band, whichever. I don't actually recall their songs but they were pretty good at the time.
Bleached (The Silver Dollar Room);
Note to the Black Belles and the Dum Dum Girls (see below); garage punk should have more than one tempo, preferably fairly fast. Another all-girl garage buzz band this year. Bleached pay less attention to looking cool and more to being a good old fashioned rock and roll party. The fact that the band is led by two sisters, Jessica and Jennifer Clavin, from a previous band, Mika Miko, certainly helps. They have the experience and confidence not to worry about their chic outfits and just rock out. They also have better songs (and more of them) and they play better as well. They are also more comfortable and fun on stage. Turns out a little experience really does matter.
BLEACHED ~ "THINK OF YOU";
Friday June 15 2012;
FILMS;
Ja Javla Metal; The story of Swedish Heavy Metal;
The title says it all really; all things metal from Sweden from Yngvwie Malmsteen (sorry that should read Y,,,,,, J Malmsteen, wouldn't want to get him confused with all the other Yngvwie Malmsteens out there) and Europe to Bathory and Candlemass to Entombed and In Flames. With the focus on the 1980's and early 1990's and done in a methodical just-the-facts style that offers no flash but probably appeals to the metal fan's latent desire to be taken seriously. And now I know more than I ever thought I needed to about Swedish Metal.
CANDLEMASS ~ "BEWITCHED";
My father and the Man in Black;
Did you know that for from the 1960's to the 1980's Johnny Cash's manager was a Jewish guy from London, Ontario? Me neither. Sol Holiff was his name and he was almost a stereotype of the sort of Jewish businessmen (often with little or no entertainment experience) who became managers, record label owners, film moguls and comic book publishers in the early to mid twentieth century. He was a serious, sober, hard working, suit wearing, humorless, hard nose who devoted himself to client 24/7 and treated his family like despised employees. He felt bad about though and after he killed himself a few years ago he left behind a whole store room of documents, photos and tapes that his alienated son use to base this movie on. It provides a more nuanced story of the enigmatic figure of cash than "Walk the line" while also giving us a deeply personal family as well. It's self indulgent of course but given the subject matter it gets away with it.
JOHNNY CASH ~ "HURT";
Music;
The Coppertone (The Horseshoe);
Fronted by Toronto based Amanda Zelina's big voice and 1970's stadium guitars Coppertone conjure up obvious comparisons like Heart, Suzi Quartro, The Headpins and Toronto (the 80's band that is). There are certainly plenty of worse role models lord knows.
The Black Belles (The Horseshoe);
The latest buzzband are an all girl garage four piece from Nashville via Jack White who dress up like Go-Go Morticia Adams with matching long black hair and top hats and black lipstick and eye liner. They look great of course and I can certainly see the appeal of four cool goth garage chicks. Just like the Dum Dum Girls last year. Unfortunately I found their one tempo, three chord drone a little dull after a while. They are going to have to change it up a bit. Just like the Dum Dum Girls. Bonus points for their trudge through a version of the classic Nickerbockers' 60's nugget "Lies" which may not be nearly as good as the original of course but was still kinda cool.
THE BLACK BELLES ~ "LIES";
Andre Williams & The Sadies (The Horseshoe);
As one of the last men standing of the classic R&B era we should be amazed to have Andre still alive let alone fully active. Not only performing but recording new material as well. Considering the dissolute life of drugs he led for the last fifty years he is lucky to be alive at all, let alone capable of doing a show in the summer heat. He knows it to, delivering a nice little speech of thanks to those (like the Sadies and Toronto audiences in general) who kept the faith while he got into rehab. By all accounts he has been fully on the wagon now for a couple of years and he does look healthier and more alert than in years past. The set was not very long but he kept out a good energy level. Of course having a quick mid-set pimp gear costume change probably helps but if anyone can pull off that sort of vanity move it's Andre. As per usual the Sadies provide their usual empathetic backing making the whole "Andre Williams sings cow-punk" concept seem natural. To be honest Andre's voice is pretty much shot by now but he was always more of a presence and a composer/arranger than a pure singer anyway. At any rate as one of the last guys of his era still around and capable of still doing adventurous work that appeals to those younger and hipper than your average oldies crowd Andre owes it to us to keep on truckin'.
ANDRE WILLIAMS ~ "SWEET LITTLE PUSSYCAT";
The Reigning Sound (The Horseshoe);
Led by former frontman for North Carolina's garage vets The Oblivians (and briefly Toronto's Deadly Snakes) Greg Cartwright, gave a short class in neo-garage. Short punchy three chord songs? Check. Catchy choruses? Check. Hummable solos? Check. Farfisa borrowed from Dell Shannon? Ditto. A modicum of variety so that all the songs don't sound exactly the same? Got it. Granted they look a little paunchy but I do hope the Black Belles were taking notes.
THE REIGNING SOUND ~ "Can't hold on";
Saturday June 16 2012;
Films;
Jobriath A.D. (NFB);
This is a requiem for a lightweight. In the early 1970's Jobriath was New York's answer to David Bowie. His complete and utter failure was proof that most Americans had never asked the question after all. Everything that Bowie did Jobriath went even further. Bowie wore make up and dresses? Then Jobriath would wear tights and jester makeup. Bowie sang about space and declared he was from Mars? Jobriath wrote space operas and claimed he was from Heaven. Bowie dabbled in the theater? Jobriath would use ballet and performance art of the most ridiculously overblown type. Bowie would rely on wildly bombastic hype? Jobriath would have billboards you could practically see from Mars. Bowie had an egomaniacal manager with delusions of grandeur? Jobriath could find an even shadier megalomaniac manager. Bowie claimed he was bisexual? Jobriath shouted he was rock and roll's first "true fairy". It was all too much, especially for America circa 1973. He put out two big budget albums on Elektra and even with massive publicity and a television appearance they both sank without a trace. And that was that. He was washed up in his early twenties. He would end up years later playing Cole Porter tunes in a piano bar. When he died of AIDS in 1983 it went unnoticed. Even the gay community didn't care, they had disco by then. Of course like all artists who fail completely he has gained a small cult following with the likes of Morrissey, Klaus Nomi and Jayne County. And he was certainly not without talent. A classically trained pianist and composer/arranger he had total creative control of everything and manged to get the likes of Led Zeppelin's John Paul Jones, Disco diva Gloria Jones and Richard Gere into the studio. The results are thoroughly competent pomp rock not wildly dissimilar to some of the contemporary work of Bowie or Queen. With the notable absence of a catchy single for radio. He also had never been in a band before, or played a single gig. His only prior experience was a stint on a production of Hair and a few promising demos. Since he had built no audience of his own his management decided to blast their way on to the charts in one rush with the most expensive and overblown ad blitz ever seen for an unknown act. Of course it went down like a lead balloon with rock jocks and critics who had much more power in those days and who deeply resented this preening poseur who had paid no dues. Naturally once it was clear that there was no likely hit single they attacked like hyenas on a wounded gazelle. As might have been expected the record company was not exactly pleased with the amount of money spent on the fiasco either and after it met an even more obscure death they dumped him. In explaining his short whirlwind career the film explains the fiasco by pointing out the delusional publicity and the homophobia of middle America but gives the impression that he could have otherwise made it or that he was just ahead of his time. When he finally went out on his one and only tour he finally figured out how to perform and win over an audience. If only Elektra had given the second album more support. If only radio and the media had given him a second chance. He could'a been a contender. I disagree; I say the whole project was wrongheaded from the start. The film is as blissfully unaware of the changing currents in rock and roll in the mid seventies as Jobriath himself was. At the same time he was sitting in New York working out plans for a massive rock opera and attending chi-chi parties with Warhol there indeed was a scene happening in New York that would change rock forever. But it was happening over at the Bowery and it is impossible to picture him at grungy CBGB's. The bloated pomp rock of Jobriath was a painfully out of touch with punk as Emerson, Lake and Palmer, Yes, Uriah Heep or the Moody Blues. Without his having the fallback of having had previous hits and a legion of fans to rely on. Even Bowie and Queen spotted that trend and retooled their look and sound. What was Jobriath going to do? It's true that in just a few years there would be an actual underground with a network of clubs, indie labels, zines and campus radio that would have been more open. But he doubtless would have little desire to be part of such a low rent scene. For Jobriath it was the big time or nothing. He got nothing. And he was unable to figure out a way back. The movie is a thorough and interesting story of a puzzling figure from an different era. I did not leave it becoming a fan but I did feel sympathy for his hopeless crusade to take rock in exactly the wrong direction at the wrong time. Lord knows we've had worse, even in the 1970's. He could have at least lived long enough to appear in "Velvet Goldmine".
JOBRIATH ~ "I'MAMAN";
Slaughter Nick for president (NFB);
Remember a cheesy TV crime show from the 1980's called "Sweating Bullets"? Featuring a private eye named Nick Slaughter and set somewhere in the tropics and basically combined the drama of "Miami Vice" with the suspense of "Bay Watch". I vaguely recall seeing it one or twice, probably in reruns. At any rate it turns out that it's combo of endless summer and bloodless violence made it a huge escapist hit in Serbia at the very time that people were taking it to the streets to bring down the Slobodan Milosevic regime. So much so that Nick Slaughter became a symbol of freedom for millions of Serbs. All this somehow happened with the real Nick Slaughter, Canadian actor Rob Stewart being completely unaware until a Serbian punk band who wrote a song about invited him to Serbia. This film is about that trip. It's a tribute of sorts to the power of pop culture, no matter how trivial.
Marianas Trench (Much Music stage);
On my way to get some food I passed by the Much Music stage where Marianas Trench were rehearsing for their MMVA awards appearance. They weren't wearing their full on stage clothes and makeup so they looked slightly less emo. They also had some black female backup singers which is something all pasty white bands like to do to show they're aware of their "roots". You know, like Motown and stuff. This is assuming Motown had pasty white emo kids with silly hairdos doing souless kiddie stadium rock. Mind you given that those twits from LMFAO are actually Barry Gordy's offspring I wouldn't put it past them.
Shellshag (The El Mocambo);
A loud guitar/drums two piece from New York. Two piecers are an inherently limited genre and Shellshag do not transcend those limits, but they don't embarrass them either.
Limblifter (El Mocambo);
Limblifter were a moderately popular Vancouver band from the mid-nineties era of post grunge indie guitar bands. Apparently the mid nineties are now officially retro enough to justify a reunion. I have only a vague memory of them from back then but they were pretty good here straight forward and unpretentious. Although as is usual with this type of band I can't actually remember any of the songs. The fairly large crowd, who seemed to know all the songs were pleased though.
LIMBLIFTER ~ "VICIOUS";
Meanwood (Rancho Relaxo);
I haven't heard of these guys before even though they're local. They are a pretty cool cow punk with a female singer who can shout with the best of them and the occasional banjo when they want to open up a big can of white trash. They must gave been pretty good to convince me to stay in the always sweltering Rancho. Worth further investigating.
Les Breastfeeders (El Mocambo);
I was pretty worn out by this point and ready to call it a week but not before seeing Montreal's best Ye-Ye garage band. They've been mining this vein for a while now but they always make it seem like it's the newest thing. And they are Ye-Ye enough to always bring their A game no matter how late or small the crowd. There was no too-cool-to-sweat posing for them. Les Breastfeeders were so lively (not to mention well dressed) that I almost forgot it was 2am. Then I went home to sleep.
LES BREASTFEEDERS ~ "400 MILES";
No I did not go to see The Flaming Lips on Saturday. I thought about it, but after coming out of the two movies I saw it was about 9pm and I absolutely had to get something to eat, and a bathroom, definitely a bathroom, or else. By the time I finished a much needed if meager meal it was around 10pm. I still could have made my way down to Dundas Square but after the thoroughly annoying experience of Bad Religion the first day (ie crowing and sightlines blocked by corporate ad booths) I basically said screw it since I knew the crowd would be even bigger for the Lips on a Saturday.
Friday, 2 July 2010
NXNE Review 2010
So far I have been to every NXNE and CMW since the first ones and this year was certainly one of them. Actually I do think that they have put more effort into the lineup for NXNE this year both for bands and films, they also extended the schedule to cover both Wednesday and Sunday on either side of the weekend. To bad I didn't get my pass until the Thursday and so missed The Eagles of Death Metal and The Blue Van. Which means I kicked things off with....
Thursday June 17;
10pm ~ X ~ Dundas Square
Been looking forward to this even before I heard it was going to happen. X, with Billy Zoom, haven't played outside of L.A. since the 1980's so I've actually not seen them before. Damn if it wasn't a rock solid as you could have asked for. Dundas Square is not exactly the most intimate venue but the sound was decent all things considered. Billy always manages to look like he is the happiest person in the room while still looking like the coolest, which is harder than you think. And he played like a well oiled machine. Ditto for D.J. Bonebrake and John Doe. Xeane looked healthy too which was nice. The vocals were a little ragged of course but that was always one of their charms.
12am ~ Elliott Brood ~ The Horseshoe
I haven't seen them for awhile and it was kind of a sort set but they manage to make their goth-grass work as a foot stomping crowd pleaser. Their other stuff sounds more like Neil Young & Buffalo Springfield.
1am ~ The 222's ~ The Bovine
Another old school punk band reuniting for another kick at the can. This one's from Montreal and is a good example of basic pre-hardcore punk. Nothing special but solid.
2am ~ The Junction ~ The Horseshoe
Your basic indie guitar type band. It's OK but nothing that sticks in my mind five seconds after it's done.
3am ~ The Soft Pack ~ The Silver Dollar
One of the "surprise" TBA guests. The Pack, from San Diego, do a full on noisy guitar fest with driving bass lines and a whole lotta feedback. Cool. Worth seeing again. Friday June 18;
10:30pm (approx) ~ Flatfoot 56 ~ The Hard Luck Bar
OK not really part of NXNE but what the Hell. I had the choice between getting crammed into the show to see Mudhoney, Man or Astroman and the Poisoned Arrows or going to the Hard Luck for the Brains. I chose the Brains, hadn't heard the openers Flatfoot 56. They are a Dropkick Murphys type Celtic Punk band with a bagpiper and mandolin player. Unlike some other bands of this type, like umm... the Murphys, you can actually hear the mandolin and piper, and they are actually really good players,especially the mandolin. They did a cool cover of Screaching Weasel's "Cool Kids", with bagpipes yet!
12am (approx) ~ The Brains ~ The Hard Luck Bar ~
The best Psychobilly in Montreal (if not Canada) are back with a new cd. I've seen them plenty of times and they always pretty much do the same thing, but they do it really well. Actually there was one new thing, a version of "Rock this town" using the mandolin player from Flatfoot 56 that really should make it to the next Brains cd, and probably will.
2am ~ The Schomberg Fair ~ Rancho Relaxo ~
This country/goth combo were not as rootsy as their cd, but then again I only got to see a few songs.
3am ~ The Cheap Speakers ~ Rancho Relaxo ~
A solid somewhat 60's ish guitar rock trio worth further exploration.
Saturday June 19;
9:30pm ~ Iggy and The Stooges ~ Dundas Square ~
I figured that a free Stooges show (with the return of James Williamson, something we never thought would happen) would be insane, turns out it was worse than that. Dundas square was jam packed with every freak in the city including unfortunately the two groups I most hate to see at punk shows;
Exhibit a) The Drunken Frat Boy/Jock type who take any chance to do their Drunken Frat Boy/Jock mosh which basically the same as the thing that football players do before they head out to the field where they grab each other by the shoulders and bang their heads together, except now they get to do that to much smaller people who aren't wearing helmets cause it's "punk rock man!" To them I say; "Die you assholes! Go back and listen to those gangsta rap songs about date rape like you usually do. Fuck off already!"
Exhibit b) The Hard Core Squeegee Punks, some of them are ok and even funny enough, but then there's those ones with their "we're punker than you" attitude and their "we're too punk to bathe" look, all encased in black leather and spikes no matter how hot it is. Always shoving their way through the crowd and daring anyone to speak up and give them an excuse to beat somebody up. To them I say; "Die you assholes! Go hang out with the frat boys, you have more in common than you'd like to admit. Fuck off already!"
Anyway the crowd was so dense and packed that I and others around me had to take it on faith that that was in fact Iggy up there and not just a backing track since it was literally impossible to actually see anything at all. So much as I would have normally would have enjoyed touching base with all the folks I ran into that I haven't seen in ages I had to get out of that sweaty frustrating mass. So I wandered over to the side and climbed over a railing and behind the drinking area to get to stage left where some other folks had gotten the same idea. At last it was possible to see the band since they never moved from the front of Rock Action's drum kit the whole time. Occasionally Iggy himself would shimmy his way over as well and accept the accolades from the smaller crowd at the side. The first few times this happened some people who had all-access passes to be further up on stage left would all stand up and block our view, until some guys started chanting "Down in front! Down in front!" After a couple of times some of the pass holders heard this, turned around, and then actually sat down! To which I say;
"Cudos to you Sirs and Madams; You're a class act."
Did I mention that they did most if not all of raw power along with other stuff from the first two albums and the sound was, all things considered pretty good? Well it was. And that Iggy is still a sweaty, shirtless, toned, leathery, lizard king? Well he is. And the Stooges still kick ass.
11:30pm ~ Moneen ~
Who booked this mess? Who decided to put the Darlings of Chelsea on while the Stooges were playing elsewhere thus guaranteeing that none of their fans or friends would show? I'm surprised the band even showed up, I wouldn't if I were them. Then they put on Moneen, a dreadfully dull indie type band of the type that Sonic Unyon used to sign back in the day, to bore the fuck out of everybody. Actually that's not entirely true as they do have a fair number of sappy fans who immediately left as soon as Moneen did so they wouldn't be contaminated by the Zeros and their old school punk. Kids these days I swear.
12am ~ The Zeros ~ The El Mocambo
Thank you NXNE for putting The Zeros, Stark Naked & the Fleshtones, Drive Like Maria and Man or Astroman on AT THE SAME FUCKING TIME IN COMPLETELY DIFFERENT FUCKING CLUBS! It wouldn't be NXNE with out some piece of randomly stupid booking. On top of which the Man or Astroman gig was one of their secret T.B.A. gigs which was announced via Twitter and gave out THE WRONG FUCKING TIME! Nice one. Anyway.. where was I? Oh right, the Zeros. They are yet another "legendary punk band of the 1980's", this time from L.A. where they were considered "The Mexican Ramones". Actually they had more in common with the Undertones or Teenage Head but what the Hell. They were still looking and sounding pretty well preserved too. This was actually their first gig in Canada ever and they are planning on coming back.
1am ~ The Gin Riots ~ The El Mocambo ~
This vaguely 1960's like Soft Boys type guitar band are getting some good press from England which is in short supply of such bands of late. They were ok but they really didn't belong on this bill though so I'm willing to give them another chance.
2am ~ Porcelin Forehead ~ The El Mocambo ~
And we have another "Legendary Punk band from the 1980's" this time from Ottawa which was not exactly a punk hot spot then or now. Although they were billed as a "hardcore band" and were apparently on a few hardcore comps back in the day (which I may or may not own), they are really a pretty straight up punk band. Not spectacular but solid enough.
2:20am ~ The Darcys ~ Rancho Relaxo ~
They sounded good from the street with a swirling psyche wall of sound, but the Rancho is a notorious sweatbox during the summer, especially when it's packed, which it was. So I got the Hell out of there. Sorry.
2:30am ~ Comanechi ~ The Silver Dollar ~
The hot new thing out of England is a two piece noise band with a cute Japanese girl drumming and yowling incoherently while her male guitarist partner grinds out two chord metal thrashes. He also had a hairdo that literally covered his entire face the entire time so that I actually couldn't tell if he was also Japanese or not until the end. Answer; No. It's energetic live but pretty much of a piece and we'll see if it has any staying power.
3am ~ The Winks ~ Rancho Relaxo ~
An art rock/performance art four piece from Montreal with an electric mandolin, stand up bass, cello and drums; no guitars please, we're art rockers. The girl singer also wore a lacy fairy costume. I only stuck around because I almost never get to hear an electric mandolin. Too band they don't have any songs to go with it.
3:20am ~ The Strange Boys ~ The Silver Dollar ~
Another solid roots rock band from Austin Texas, are there any other kind? I only saw a few songs, including a version of Dusty Springfield's "Son of a preacher man" which was pretty cool. Worth checking out again.
Sunday June 20;
10pm ~ Ali & The Dts ~ The El Mocambo
An Irish band that evokes the Commitments? That's too easy. Actually they're ok but I don't know if we really need a throwback to the pre-punk pub rock r&b of the 1970's. On the other hand we could do much worse and no doubt will. Much much worse.
11pm ~ The DGB ~ Rancho Relaxo ~
A three piece grunge band from Lindsay, Ontario where they apparently remember grunge. Does anybody here remember grunge? No? Oh well.
12am ~ The Archives ~ Rancho Relaxo ~
Another perfectly competent indie guitar band that I couldn't remember anything about once I got home. But I was pretty tired, otherwise I would have gone down to the Bovine for Sixxxer. However I did find one of their cds at the Stooges gig.
1am ~ Sleep For The Night Life ~ Rancho Relaxo ~
An all insturmental jam band that I was too bored to stick around for so I went home, NXNE over and out.
Films;
"You Left Me Blue; The Handsome Ned Story" ~
A loving documentary of the founder of the roots rock scene in Toronto in the 1980's until his death in 1987 before he had a chance to finish what would have been his debut album. He woulda been a contender damn it. There should be more footage when the home version comes out and it's worth seeing for anyone who loves the old Queen st. scene.Also has footage from the Handsone Ned Tribute show I helped put together and stage managed back in 2007 so there is an ever so brief glimpse of me stage left at one point, blink and you'll miss it.
"The Blank Generation" ~
Ivan Kral's ultra crude black and white document of the 1970's New York punk scene shot at the time, most of the major and several minor players are here filmed on stage with completely out of synch sound. However no Suicide though or Velvets which is too bad. It's not currently available but I actually have copy of this already and mentioned it to Ivan Kral (who was there), turns out there are a few bootleg copies floating around.
"X;The Unheard Music" ~
A straight forward "making of" doc originally done back in the 1980's the film makers were convinced that X were going to be the next big thing. They were wrong but because they thought so they did a thorough job so we have a good document about X unlike so many of their contemporaries.
"Search and Destroy; Iggy Pop and The Stooges Raw Power" ~
One of those "making of" docs that they make for VH1. Iggy and James Williamson are quite articulate and thoughtful and the talking head experts don't distract which is a bonus. Unfortunately they didn't get to interview the late Ron Asheton and David Bowie. Although Iggy does allow that the notoriously muddy mix of "Raw Power" wasn't Bowie's fault after all.
"Superstonic Sound: The Rebel Dread" ~
A documentary about Clash manager, film maker and DJ Don Letts who turns out to be a great interview. He's the guy on the cover of the first Clash album facing down the police, it turns out he was actually running to get out of the way but what the Hell.
"Visual Alan Audio Vega" ~
A mercifully short, out of focus, absurdly incoherent interview snippet with Suicide front man Alan Vega filtered through enough feed back and distortion to induce migraines. I know that Suicide used to do the same thing kinda but that was still annoying. On the other hand it did conjure up memories of Chris Twoomy's Industrial Video Roadshow.
Note I sadly missed "Circa 1977; The Diodes" part of which was actually shot on my radio show so I really should get around to that, and I also manged to miss out on Man or Astroman, Mudhoney and Drive Like Maria (twice each!) as well as the Poison Aeros and The Blue Van. I can't be everywhere you know.
Thursday June 17;
10pm ~ X ~ Dundas Square
Been looking forward to this even before I heard it was going to happen. X, with Billy Zoom, haven't played outside of L.A. since the 1980's so I've actually not seen them before. Damn if it wasn't a rock solid as you could have asked for. Dundas Square is not exactly the most intimate venue but the sound was decent all things considered. Billy always manages to look like he is the happiest person in the room while still looking like the coolest, which is harder than you think. And he played like a well oiled machine. Ditto for D.J. Bonebrake and John Doe. Xeane looked healthy too which was nice. The vocals were a little ragged of course but that was always one of their charms.
12am ~ Elliott Brood ~ The Horseshoe
I haven't seen them for awhile and it was kind of a sort set but they manage to make their goth-grass work as a foot stomping crowd pleaser. Their other stuff sounds more like Neil Young & Buffalo Springfield.
1am ~ The 222's ~ The Bovine
Another old school punk band reuniting for another kick at the can. This one's from Montreal and is a good example of basic pre-hardcore punk. Nothing special but solid.
2am ~ The Junction ~ The Horseshoe
Your basic indie guitar type band. It's OK but nothing that sticks in my mind five seconds after it's done.
3am ~ The Soft Pack ~ The Silver Dollar
One of the "surprise" TBA guests. The Pack, from San Diego, do a full on noisy guitar fest with driving bass lines and a whole lotta feedback. Cool. Worth seeing again. Friday June 18;
10:30pm (approx) ~ Flatfoot 56 ~ The Hard Luck Bar
OK not really part of NXNE but what the Hell. I had the choice between getting crammed into the show to see Mudhoney, Man or Astroman and the Poisoned Arrows or going to the Hard Luck for the Brains. I chose the Brains, hadn't heard the openers Flatfoot 56. They are a Dropkick Murphys type Celtic Punk band with a bagpiper and mandolin player. Unlike some other bands of this type, like umm... the Murphys, you can actually hear the mandolin and piper, and they are actually really good players,especially the mandolin. They did a cool cover of Screaching Weasel's "Cool Kids", with bagpipes yet!
12am (approx) ~ The Brains ~ The Hard Luck Bar ~
The best Psychobilly in Montreal (if not Canada) are back with a new cd. I've seen them plenty of times and they always pretty much do the same thing, but they do it really well. Actually there was one new thing, a version of "Rock this town" using the mandolin player from Flatfoot 56 that really should make it to the next Brains cd, and probably will.
2am ~ The Schomberg Fair ~ Rancho Relaxo ~
This country/goth combo were not as rootsy as their cd, but then again I only got to see a few songs.
3am ~ The Cheap Speakers ~ Rancho Relaxo ~
A solid somewhat 60's ish guitar rock trio worth further exploration.
Saturday June 19;
9:30pm ~ Iggy and The Stooges ~ Dundas Square ~
I figured that a free Stooges show (with the return of James Williamson, something we never thought would happen) would be insane, turns out it was worse than that. Dundas square was jam packed with every freak in the city including unfortunately the two groups I most hate to see at punk shows;
Exhibit a) The Drunken Frat Boy/Jock type who take any chance to do their Drunken Frat Boy/Jock mosh which basically the same as the thing that football players do before they head out to the field where they grab each other by the shoulders and bang their heads together, except now they get to do that to much smaller people who aren't wearing helmets cause it's "punk rock man!" To them I say; "Die you assholes! Go back and listen to those gangsta rap songs about date rape like you usually do. Fuck off already!"
Exhibit b) The Hard Core Squeegee Punks, some of them are ok and even funny enough, but then there's those ones with their "we're punker than you" attitude and their "we're too punk to bathe" look, all encased in black leather and spikes no matter how hot it is. Always shoving their way through the crowd and daring anyone to speak up and give them an excuse to beat somebody up. To them I say; "Die you assholes! Go hang out with the frat boys, you have more in common than you'd like to admit. Fuck off already!"
Anyway the crowd was so dense and packed that I and others around me had to take it on faith that that was in fact Iggy up there and not just a backing track since it was literally impossible to actually see anything at all. So much as I would have normally would have enjoyed touching base with all the folks I ran into that I haven't seen in ages I had to get out of that sweaty frustrating mass. So I wandered over to the side and climbed over a railing and behind the drinking area to get to stage left where some other folks had gotten the same idea. At last it was possible to see the band since they never moved from the front of Rock Action's drum kit the whole time. Occasionally Iggy himself would shimmy his way over as well and accept the accolades from the smaller crowd at the side. The first few times this happened some people who had all-access passes to be further up on stage left would all stand up and block our view, until some guys started chanting "Down in front! Down in front!" After a couple of times some of the pass holders heard this, turned around, and then actually sat down! To which I say;
"Cudos to you Sirs and Madams; You're a class act."
Did I mention that they did most if not all of raw power along with other stuff from the first two albums and the sound was, all things considered pretty good? Well it was. And that Iggy is still a sweaty, shirtless, toned, leathery, lizard king? Well he is. And the Stooges still kick ass.
11:30pm ~ Moneen ~
Who booked this mess? Who decided to put the Darlings of Chelsea on while the Stooges were playing elsewhere thus guaranteeing that none of their fans or friends would show? I'm surprised the band even showed up, I wouldn't if I were them. Then they put on Moneen, a dreadfully dull indie type band of the type that Sonic Unyon used to sign back in the day, to bore the fuck out of everybody. Actually that's not entirely true as they do have a fair number of sappy fans who immediately left as soon as Moneen did so they wouldn't be contaminated by the Zeros and their old school punk. Kids these days I swear.
12am ~ The Zeros ~ The El Mocambo
Thank you NXNE for putting The Zeros, Stark Naked & the Fleshtones, Drive Like Maria and Man or Astroman on AT THE SAME FUCKING TIME IN COMPLETELY DIFFERENT FUCKING CLUBS! It wouldn't be NXNE with out some piece of randomly stupid booking. On top of which the Man or Astroman gig was one of their secret T.B.A. gigs which was announced via Twitter and gave out THE WRONG FUCKING TIME! Nice one. Anyway.. where was I? Oh right, the Zeros. They are yet another "legendary punk band of the 1980's", this time from L.A. where they were considered "The Mexican Ramones". Actually they had more in common with the Undertones or Teenage Head but what the Hell. They were still looking and sounding pretty well preserved too. This was actually their first gig in Canada ever and they are planning on coming back.
1am ~ The Gin Riots ~ The El Mocambo ~
This vaguely 1960's like Soft Boys type guitar band are getting some good press from England which is in short supply of such bands of late. They were ok but they really didn't belong on this bill though so I'm willing to give them another chance.
2am ~ Porcelin Forehead ~ The El Mocambo ~
And we have another "Legendary Punk band from the 1980's" this time from Ottawa which was not exactly a punk hot spot then or now. Although they were billed as a "hardcore band" and were apparently on a few hardcore comps back in the day (which I may or may not own), they are really a pretty straight up punk band. Not spectacular but solid enough.
2:20am ~ The Darcys ~ Rancho Relaxo ~
They sounded good from the street with a swirling psyche wall of sound, but the Rancho is a notorious sweatbox during the summer, especially when it's packed, which it was. So I got the Hell out of there. Sorry.
2:30am ~ Comanechi ~ The Silver Dollar ~
The hot new thing out of England is a two piece noise band with a cute Japanese girl drumming and yowling incoherently while her male guitarist partner grinds out two chord metal thrashes. He also had a hairdo that literally covered his entire face the entire time so that I actually couldn't tell if he was also Japanese or not until the end. Answer; No. It's energetic live but pretty much of a piece and we'll see if it has any staying power.
3am ~ The Winks ~ Rancho Relaxo ~
An art rock/performance art four piece from Montreal with an electric mandolin, stand up bass, cello and drums; no guitars please, we're art rockers. The girl singer also wore a lacy fairy costume. I only stuck around because I almost never get to hear an electric mandolin. Too band they don't have any songs to go with it.
3:20am ~ The Strange Boys ~ The Silver Dollar ~
Another solid roots rock band from Austin Texas, are there any other kind? I only saw a few songs, including a version of Dusty Springfield's "Son of a preacher man" which was pretty cool. Worth checking out again.
Sunday June 20;
10pm ~ Ali & The Dts ~ The El Mocambo
An Irish band that evokes the Commitments? That's too easy. Actually they're ok but I don't know if we really need a throwback to the pre-punk pub rock r&b of the 1970's. On the other hand we could do much worse and no doubt will. Much much worse.
11pm ~ The DGB ~ Rancho Relaxo ~
A three piece grunge band from Lindsay, Ontario where they apparently remember grunge. Does anybody here remember grunge? No? Oh well.
12am ~ The Archives ~ Rancho Relaxo ~
Another perfectly competent indie guitar band that I couldn't remember anything about once I got home. But I was pretty tired, otherwise I would have gone down to the Bovine for Sixxxer. However I did find one of their cds at the Stooges gig.
1am ~ Sleep For The Night Life ~ Rancho Relaxo ~
An all insturmental jam band that I was too bored to stick around for so I went home, NXNE over and out.
Films;
"You Left Me Blue; The Handsome Ned Story" ~
A loving documentary of the founder of the roots rock scene in Toronto in the 1980's until his death in 1987 before he had a chance to finish what would have been his debut album. He woulda been a contender damn it. There should be more footage when the home version comes out and it's worth seeing for anyone who loves the old Queen st. scene.Also has footage from the Handsone Ned Tribute show I helped put together and stage managed back in 2007 so there is an ever so brief glimpse of me stage left at one point, blink and you'll miss it.
"The Blank Generation" ~
Ivan Kral's ultra crude black and white document of the 1970's New York punk scene shot at the time, most of the major and several minor players are here filmed on stage with completely out of synch sound. However no Suicide though or Velvets which is too bad. It's not currently available but I actually have copy of this already and mentioned it to Ivan Kral (who was there), turns out there are a few bootleg copies floating around.
"X;The Unheard Music" ~
A straight forward "making of" doc originally done back in the 1980's the film makers were convinced that X were going to be the next big thing. They were wrong but because they thought so they did a thorough job so we have a good document about X unlike so many of their contemporaries.
"Search and Destroy; Iggy Pop and The Stooges Raw Power" ~
One of those "making of" docs that they make for VH1. Iggy and James Williamson are quite articulate and thoughtful and the talking head experts don't distract which is a bonus. Unfortunately they didn't get to interview the late Ron Asheton and David Bowie. Although Iggy does allow that the notoriously muddy mix of "Raw Power" wasn't Bowie's fault after all.
"Superstonic Sound: The Rebel Dread" ~
A documentary about Clash manager, film maker and DJ Don Letts who turns out to be a great interview. He's the guy on the cover of the first Clash album facing down the police, it turns out he was actually running to get out of the way but what the Hell.
"Visual Alan Audio Vega" ~
A mercifully short, out of focus, absurdly incoherent interview snippet with Suicide front man Alan Vega filtered through enough feed back and distortion to induce migraines. I know that Suicide used to do the same thing kinda but that was still annoying. On the other hand it did conjure up memories of Chris Twoomy's Industrial Video Roadshow.
Note I sadly missed "Circa 1977; The Diodes" part of which was actually shot on my radio show so I really should get around to that, and I also manged to miss out on Man or Astroman, Mudhoney and Drive Like Maria (twice each!) as well as the Poison Aeros and The Blue Van. I can't be everywhere you know.
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