Percussion
Originally uploaded by sfllaw.

Last night, I went out with cpirate, wlach, apenwarr, and his sister. Avery's sister was in town for a few days, so he thought it would be a good idea to show her what the local music scene was like. He invited us along and, I have to say, it certainly was a good idea.

We showed up at Sablo Kafé, which was already quite full by the time we got there. It's a little restaurant in Little Italy that serves a mix of international foods. The front door was blocked by the band, so we went into the little side door and squeezed past the patrons sitting about. A guy was jamming on the keyboard and we looked for a place to sit. There wasn't any.

Avery bought some tasty samosas while we stood about. And then a guy sat down at the drums and started talking. He introduced themselves as the Kalmunity Vibe Collective, a live organic improvised group that essentially jams on a theme. And for this concert, they offered a tribute to hip-hop.

The first set consisted of two percussionists, a bassist, a keyboardist, and a trumpter laying down improvised background for a series of MCs. They'd get up off a bench on stage-left, say their piece and pass the microphone. What could have sounded like a jumbled mess turned out to be quite sensational. Although several of the MCs weren't of the same calibre as their peers, the vast majority had their rhythms down pat.

Just before the break, X-WAM pushed through the packed crowd and showed us an extremely impressive display of beatboxing. The crowd was wild for his vocal tricks and spent the whole while cheering. During the break, we got to step outside of the very small room and got a breath of fresh air. Wow, it was really stuffy in there.

Since it was getting late, cpirate had to leave us, so we said a brief farewell. After the group returned from its smoking break, we went back inside. There were more people than ever, so much that it was impossible to move, let alone dance. We were treated to a duel between a superb tap-dancer and the beatboxer, which was mindblowingly fast. I'm still stunned thinking back on it.

The music transitioned more towards reggae, with rhythmic singing and tons of call-response. A trio stood in front of the microphone and wowed us with their voices. Nomadic Massive showed up to do their thing, which was very groovy A violinist got on stage and played some wicked tunes. In the end, everyone up front was singing and dancing and clapping. And the audience was just flowing right along with it. Connections were being made through music and the mob had become one.

Afterwards, it was smiles all around. We walked out of the warm, warm building and into the night. People were hanging about and chatting, I spent a few minutes thanking the musicians. And then we walked home.

I can't wait to go back again.

Article written for Akachic Records.

Panick and the Silent Folk
Originally uploaded by sfllaw.

A fair while ago, I went to the Green Room to see a free concert. It was a sponsored show, put on by Akachic Records, whom I happen to write for from time to time. I arrived early and sat down in the stifling heat. The bartender brought over a glass of ice water, for which I was eternally grateful.

The room slowly gathered people, some sat in the back benches, while others opted to sit up front. The stage was filled with equipment, two chairs, and some dim lighting.

First up were Panick and the Silent Folk. They're a small band that consists of two muscians, and they're a bit difficult to describe. They have songs that sound like poetry. Matt Risk strummed on his guitar as he sang complex verses with his raspy, straining voice. He was accompanied by Neboysha Rakic who made noisy, electronic effects. The room had filled up by this point and the audience was at attention. Perhaps they were trying to make out the symbolism. I should think.

Pagoda
Originally uploaded by sfllaw.

Pagoda came up next. They're a band that drove all the way up from Washington, DC to play. They seemed to be travelling pretty quickly, as they wanted to leave for Toronto that night.

Their sound is nice and sweet. It's full of slow beats and powerful riffs. Their guitarist played tunes that were strangely melodic and their lead singer has such a beautiful voice when he hits the upper register. You don't expect this at all, since their appearance belies their music. When you see them, you'd totally think they just broke out of gaol.

Pax Nipponica
Originally uploaded by sfllaw.

We had a little break as the people on stage fiddled with their equipment. I took this opportunity to grab a bit to eat, and came back as Pax Nipponica went on stage. Even though their drums were laid down in advance, they were all sorts of catchy. Bruno C. stood by, keeping a watchful eye on the laptop as he played the bass.

Yan T. stood on the edge of the stage and sang softly into the microphone as he played his blue guitar. He's got a pretty voice, which goes well with the soft, touching music. Slightly creepy lyrics, now that I think of it. Pax Nipponica is a little on the poppy side, with Bruno's mussed up hair and Yan's square glasses, they could definitely win hearts and minds.

Their songs were geared towards that, with different arrangements than their CDs. Especially Turn off your cellphone, which was unplugged and much applauded. A very good set indeed.

Article written for Akachic Records.

Audience participation
Originally uploaded by sfllaw.

My friend burst in to my apartment with a CD. "Here," she said as she thrust a CD in my hand, "put this on." Faced with such determination, I did what any person would do. I listened to the CD. And then I bought tickets to a Jesse Cook concert.

He was slotted for four shows at the Montreal International Jazz Festival, all of which were sold out. I surmised this by noting the very long line that snaked around outside Metropolis. People were talking vividly amongst each other while a camera crew walked around interviewing people. The show we were attending was being recorded live for a DVD.

We slipped inside and I found myself a front-row seat. The opening act, Papa Duke, is an instrumental band focused on high-energy gypsy music. It's led by Vasyl Popadiuk, a Ukrainian violinist of exceptional calibre. He was backed by a bass, drums, and wind instruments. Popadiuk was quite the focus of the music, jumping around on stage with his fingers flying across his violin.

He was always urging the audience to participate. Urging them to dance to the music, which was fast-paced and light-hearted. But it was too early in the concert for the people to move. For his last song, he invited someone from the front row to come up and help him play the violin. She stood up there holding the bow, as he sat off the edge of the stage. It was a fun gimmick.

Jesse Cook and Ron Sexsmith
Originally uploaded by sfllaw.

After a brief interlude, the curtains came up again. On stage, Jesse Cook and his band walked on stage and smiled. Then they launched immediately into song. Jesse is a brilliant guitarist who takes his influences from rumba, flamenco, and pop. He chatted with the audience and seemed genuinely comfortable in his own humble skin. It was nice to see someone unflamboyant being happy that he was playing before a huge crowd.

I'm not sure if it was due to this being a live DVD recording session, but his show seemed to follow the same order as the live CD recorded at the Jazz Fest two years ago. In fact, some of the intersong banter remained across the years. But he played with a kind of confidence that was absolutely charming. And since it was a big production, he was able to invite some guest speakers on stage. Like Ron Sexsmith, who sang Fall at Your Feet unplugged. The whole acoustic experience gave a sense of quiet intimacy that doesn't show up in modern rock concerts anymore.

The audience loved him, and so there were multiple encores. But looking about the room, I noticed that we were amongst the youngest people there. It looks like he doesn't write a lot of new material and doesn't do a lot of self-promotion. So his fans are loyal and many, but few of them are new. Still, I recommend picking up his Jesse Cook Montreal record. You'll be pleasantly enchanted.

Article written for Akachic Records.

Edward Ka-Spel
Originally uploaded by sfllaw.

Two Thursdays ago, I found myself sitting in a hot tub, in a backyard, in downtown Toronto. The circumstances leading to this event are interesting, but beyond the scope of this review. We were basking in the setting sun and warm waters when my friend mentioned that he was going to the Legendary Pink Dots concert. A bunch of us got excited and he invited us to come along.

So we towelled off, changed into some appropriately black clothing, and hopped into a waiting van. We drove to Lee's Palace, where there was a small crowd of smokers gathered outside. After the requisite ritual of hand-stamping, we were inside. On the intimate stage stood four well-dressed men setting up their equipment. Loosely surrounding the stage was a decent crowd. Not too big, and not too small.

Their set started with slow, beautiful music. A languid saxophone meshed with the opiate vocals of Edward Ka-Spel. Here was an old Englishman, bedecked in sunglasses, singing with this charming druggy voice. It was like stepping into a dream filled with liquid music and anguished poems.

Niels Van Hoornblower
Originally uploaded by sfllaw.

The sound changed into waves, like an ocean crashing on the beach. Niels van Hoornblower, the saxophonist, changed instruments throughout the set. First to an electric bagpipe. And then to a lovely flute. The bass-guitarist put down his instrument for a song and picked up an accoustic guitar. The range of sound that we heard was just gorgeous.

The crowd, all dressed in black and goth as could be, started swaying to the music. Some of them started nodding their heads in appreciation and tapping their feet. It was a beautiful sight to see. I made my way to the sidelines and caught a couple of photographs. And that's when Soandso hopped off the stage and mingled with the crowd. Every time he blew on his sax, it would light up and hit the faces of the audience.

The end came too soon, even after the extended encore. Afterwards, all of us sat in the van, happy to have been there. Happy to have gone together.

Article written for Akachic Records.

I ducked in to Montréal for another weekend of the St-Ambroise Montréal Fringe Festival. I was in town for a very brief period, but I did manage to catch four shows which I hope you were able to see. If you missed them, it's not too late to catch showings at the Toronto Fringe Festival.

Uncalled For 4: For Forever   (Schedule)   (Photograph)

I always look forward to the improv sketches that we see at the Fringe. And the Montréal improv groups are just phenominal. This is Uncalled For's fourth year of participation and you can plainly see that they're going places. Each time they come on stage, the show is different. For one night, they had a plethora of guest stars. And for another, they did an improvisational musical. They're very good at pacing, timing, and downright absurdity. What more could you ask for? 4/5.

Terrain de Jeux pour Marionnettes   (Schedule)   (Photograph)

Dominique Leroux unrolls herself from a parachute cocoon. It is white and she is dressed in black. From within the folds of cloth, she gracefully wakes her marionette and together they dance. The marionette grows up, explores the world, and then commits an unpardonable crime. The puppetry is so amazing that it looks like dancer and puppet are two completely separate beings. A very sexy show. 4/5.

Drumheller   (Schedule)   (Photograph)

In the small town of Drumheller, people go missing. Darcy Bruce and Leah Bowen create a cast of six, who are entangled in a rural world of dinosaur bones, made-up facts, and religious conversion. Both actors inhabit powerful and explosive characters, which is exciting to see on a small stage. And half of the characters die by the end. 3.5/5.

The Girl with No Hands   (Schedule)   (Photograph)

Talya Rubin returns to Montréal again for another stunning one-woman play. Her capacity to switch from character to character is subtle yet convincing. She retells the classic fairytale of the Girl with No Hands in a way that is as moving as it is enlightening. This is a must-see. 4.5/5.

Article written for Akachic Records.

When the weather gets warm and the sun beats down, Montréal becomes a hotbed of activity. People poke out of the shelter of their homes and rejoice in the streets. One of the surest signs of summer is the appearance of posters for the St-Ambroise Montréal Fringe Festival. The Fringe, if you're unfamiliar with it, is a vast collection of travelling shows that go from city to city. Each year, perfomers are drawn from a lottery and given slots in various cities that host the festival. In this way, shows that would otherwise be impractical to perform are able to play before an audience.

I spent this weekend packing in as much festival as I possibly could. I dashed between venues in an attempt to catch every moment. For your benefit, of course.

Evil is the New Good   (Schedule)

Nile Séguin is a young man with a frank face and a sincere smile. Toting his backpack on stage, his stand-up routine follows his inner monologue of waiting in line at an aeroport. Only he had a pocket full of cash in the meth capitol of California. Hilarity ensues. You should see this. 3.5/5.

The Wonders of the World: Recite   (Schedule)

It's Eugene's birthday which means he gets to do whatever he wants. It also means that cake will be served. Sadly, Eugene lives on a remote island with his grandmother, and they own no radio. So they are rather oblivious that everyone is imminently doomed. It's a very Fringe production in a very Fringe location, which makes it charming beyond belief. Plus they have some very interactive props.

I met up with the cast after their show. Donna, Melanie, and Leo are from Montana and they'd driven all the way up to perform at the festival. Along the way, they've done shows in Portland and Seattle. If you're in Edmonton when the Fringe happens there, you also have to catch their performance. If you're here, what are you waiting for? 4/5.

Pentacostal Wisconsin   (Schedule)   (Photograph)

Ryan Paulson grew up in Eau Claire, Wisconsin. It's a sleepy little place that centres its world around (a) cheese and (b) church. In this coming-of-age tale, Ryan weaves a story of his childhood and how he ended up in New York City, instead of at bible college. If you've ever sung in church, you'll have a good time whenever he picks up his guitar. Great show. 3.5/5.

Word Infirmia: the Criminal Perspectives Project   (Schedule)   (Photograph)

The United States of America has a prison population that numbers over two million inmates. Perri Yaniv has interviewed American prisoners and victims on criminality, experiences, and attitudes towards crime. It's really quite amazing to see him on stage as he re-enacts his interviews, documentary-style. When he turns around, or the lights change, his face and manners transform into those of another subject. Again, and again, and again. Powerfully recommended. 4/5.

My Little Rant   (Schedule)   (Photograph)

In the film based on his life, Stephen Pietrantoni has been turned down for the role of himself. He's not tall enough, handsome enough, sexy enough. Instead of wallowing in bitter disappointment, he goes on a search for identity that involves numerous costume changes and showtunes. Although I love singing to the classic musicals, I'm afraid that it's a vice best enjoyed in private. 3/5.

Jem Rolls Off the Tongue   (Schedule)   (Photograph)

Jem returns to Montréal after garnering rave reviews last year. He's a slam poet from Edinburgh who has a way with words that's passionate and playful. I've really never heard anyone with such wonderfully crisp enunciation. But don't think that his erudite diction is beyond your comprehension. You'll have a blast. 4.5/5.

This Fairytale is Not Working Out   (Schedule)   (Photograph)

Red, the little girl from the fairy tale, is having a nervous breakdown. Modern dance combined with American Sign Language tells a story with movement, both figuratively and literally. Seven dancers from inFluxdance take over the stage in a series of short, sweet vignettes.

I spoke with the choreographers, Rose Beauchamp and Alysia Woodruff, after the performance. Rose does Laban Movement Analysis and Alysia is fluent in sign language. So it was natural that someone versed in a language of movement, and another fluent in a moving language would collaborate. The end result is spectacular. 4/5.

Article written for Akachic Records.