Shanies: EP of the Year

Alright, I'm the first who's happy to admit when my gut is wrong... especially when it results in one of my favourite bands returning to full form. I had my concerns about this band when they suffered a huge blow by losing half of the amazing female vocal equation that made up their sound. I had even bigger concerns when their drummer, part of the founding duo and the hard stomping drive behind the group, left to start a family.

I had my concerns, but this fall, they were put to rest.

When Little Foot Long Foot released their EP, Woman, my mouth was silenced and my jaw was dropped. Part of the difficulty with LFLF losing both Caitlin Dacey and Isaac Klein was that so much of the sound and pressure now rested on the shoulders of frontwoman Joan Smith. The band did struggle for a little as they settled into their new sound, however, in my opinion, their true transformation was when when Smith was able to step up and own the role... and own it she did.

Woman comes across as an album that stands in opposition. Sonically and lyrically, it seems to represent a backlash to a world, and even a music scene, that has traditionally been a boys game. Though far from being meek, apologetic, or conciliatory, Smith's songs cut through your speakers like this is the way that music has always been and has always supposed to be. It can't have hurt to have The Trews Colin MacDonald producing, but at the end of the day, it was the power trio of LFLF that pushed forward these 5 incredible tracks - each could be a single of it's own on a different day of the week.

In short, one of my favourite Toronto bands is back, in a way that makes me question whether they even left. Maybe it wasn't them... it was me.


-So I've stopped playing games someone else told me to play

NXNE: Here for a Good Time

I'm old now. I'm busy with work. I love music, but I've become picky and jaded with time. But fine... I still do a bit of NXNE this year. However, not for the conference's sake, but for the bands... for the music.

Even if it means I'm paying $15 a venue to see the bands that I could see for $5 on any other night since I'm refusing to brand myself with a bracelet.

I digress... while a tame night from my perspective (and by comparison to my previous NXNE outings), the sound emanating from the bands I saw was anything but tame.

After basically drooling all over The Blue Stone's album last fall and coming just short of proposing to them, it became a damnable shame that I would miss every TO show they had for the longest time due to work, travel or some other asinine thing. However, finally, I was able to descend upon the Windsor duo at the Hard Luck bar.  I'll get the negatives out of the way first - the evening's sound guy was apparently a deaf man mid-seizure and I was sad to see the guys only play 1 or 2 songs from the album which I coveted so. HOWEVER, for a 2 piece, these guys still churned out a solid set of groovy, sexy-infused, heavy blues tracks that had an early night, sober Toronto crowd still nodding their heads in elated satisfaction.

Immediately following, Little Foot Long Foot took the stage. While once again pushing through sound tech issues, it was good to hear how LFLF's sound had evolved since the edition of Jeff Heisholt on the keys. I had some initial concerns about the new lineup, however, it's just taking time for the new 3 piece to find their sound together, write together and evolve together.

However, my evening was made when I sprinted up to Lee's to see the inaugeral show of Sir Blurton's new project, Public Animal. An unholy combination of C'Mon, Tricky Woo, Bella Clava and the Lying Cheats - Public Animal may have become my favourite new band within about 3 minutes of having my eardrums pounded by a wall of sound.  I won't say anymore - just go see them tonight at the Bovine at 1am.

-May my ears ring forever

Shanies: Concert of the Year

2012 was an absolute wrecking ball of a year in terms of live shows. I dropped a ridiculous amount of money on tickets and saw even more shows for free through playing a ton with the Rogues before we split. This was the year that solidified Toronto as one of the best music scenes I've ever experienced. We still need to work on surgically removing the pole from most audience member's asses, however, in terms of the line ups and the venues in this city, she can't be beat.

NXNE is always a fun time, partially for the ability to putz around downtown TO, peeking into random bars and stumbling across interesting new bands.  However, this past year, I went against tradition on a Saturday night and parked myself at the Bovine for what I can now definitively state was one of the best shows of my life, surpassing a 2007 Pop Montreal line-up that I thought would never be toppled. This show also helped push the Bovine past the Hideout as my favourite TO venue (the upgraded sound system & new layout this year made all the difference).

The line-up was unquestionably a huge element of the incredible night, piecing together some of my favourite local bands (Romeo Liquor Store, Organ Thieves, The Mercy Now, Little Foot Long Foot & Flash Lightnin'). Add in a dash of some of my favourite friends in the world, a healthy dose of beer and a Toronto crowd that was stacked with people wanting to let loose and have some fun... and we've got a party. The night would be the first time I saw Romeo (a band I'd been tracking for 3 or 4 years) live, the last time I would see LFLF play with Caitlin, my introduction to the Organ Thieves, and an always-fun opportunity to see Darren from Flash Lightnin peel paint off the walls as he strutted across the bar.

It was one of those perfect nights, and just like after the 2007 Pop Montreal BSL show, I don't know if I'll ever see anything like it again.

Honourable mention goes to Refused @ Sound Academy - after waiting a decade, it was worth every second of the wait.


-You don't have to love me, but you've got to love this lullaby.

A Week of Concerts, Vol. 2

Should I have recovered days ago? Of course, but where's the fun in that? I still have a small sniffle and feel like my brain is trying to expand it's way out of my nostrils, however that didn't stop me from completing one of the greatest weeks of live music in recent memory.

I last left you on Wednesday night when I was sat at home, licking my wounds in anticipation of crazier things to come. Thursday contained a fair promise of free CASBY tickets, however, shit luck would stay shit and they never would pan out.  As such, I instead spent the evening drinking and playing video games with my brother from another mother at Get Well.

Friday, however, was to be a little more upbeat. Ben, Eddy and I converged upon Lee's Palace (again) to see Little Foot Long Foot (again) and White Cowbell Oklahoma (again). Diemonds were playing somewhere in there too, but... meh?

This was the first time I'd seen LFLF since the departure of Caitlin Dacey on vocals / keys who was focusing on her mainstay, Bella Clava. While the foot was their usual pleasure to see, their sound did suffer with the absence of Dacey. New addition Jeff Heisholt brought a strong, soulful presence to the keys, however, it will take some time for the new lineup to find their balance and sound. I will miss the dual-sirenesque blend of Smith's and Dacey's voices blaring out painful harmonies from songs like "Missing the Point." However, I'm excited to see where the new configuration will take this band and hope that their sound will continue to evolve in the right direction.

Then along came White Cowbell. Just fucking wow.  Word's can't quite describe the full experience of this band's live show, however, let me take a shot. Combine 3 parts guitar, 1 part bass, 1 part keys and 1 part drums with a man of questionable sanity brandishing 2 chainsaws, a grinder, a blowtorch and, of course, a cowbell. Throw in a couple of burlesque dancers, Jager ice sculptures, flying toilet paper and an injury lawsuit just waiting to happen and THAT's what I call a party. I'd tell you more, but you know what... just go see them live sometime. You'll thank me later.

I awoke the next morning with an empty wallet, a ringing in my ear and the hangover equivalent of a 10 galleon hat. After struggling my way through the day, I found myself once again in the clutches of a live venue - the Horseshoe Tavern.

I don't say this enough, so let me say it again: I fucking hate the Horseshoe. Amazing bands inevitably will play there, however, the layout is terrible, the sound is mediocre at best and the crowd is typically comprised of rock-poseur assholes looking to be spotted listening to independent music without giving two shits about what they're actually hearing.

Now that I've got that out of my system, I can sing the good praises of Daylight for Deadeyes. I hadn't seen the boys play since they opened up for my band's album release over a year ago.  Much to my delight, they played a very upbeat, heavier set that did well to warm the crowd and set the tone for even more amazing things to come.

Flash Lightnin' may be the band I have seen live the most during the summer of 2012 - and this is including my own band. However, no matter how many times I see this whirlwind of rock n roll live, I continue to be captivated by Darren Glover's mastery of his Les Paul and the incredible cohesion the entire band has achieved. Jay was seeing them for the first time and it took 3 people to help pick his jaw up off the floor. What was particularly impressive was continuing this level of rock dominance even while having to deal with the drunkest man in Canada - you had to be there.

Finally, I could begin winding my week down as one of my favourite bands of all time, Wide Mouth Mason, took the stage. Allow me to gush for a moment - I love my life and there are few people in this world that I would ever trade places with.  However, if only to attain such musical perfection on both the guitar and vocals, I would become Shaun Verrault in a heartbeat. The whitest, soulful bluesman you'll ever see tear a stage apart, Verrault makes it look easy.  Whether he's singing like a gospel choir across 3 octaves or peeling paint off the wall with his guitar, Verrault's live presence solidifies him as one of the greatest Canadian musicians to ever live. Oh, and in case you'd been living under a rock, it helps that WMM recruited Gordie Johnson on bass about a year ago.  No big deal.

After this, it was a mere hop, skip and a jump to Grossman's blues jam on Sunday night and a groggy Monday morning. Fortunately the week ahead only has 2 concerts. Let me know if I'll see you at Fink at the Garrison on Wednesday or Change of Heart at the shoe (fuck) on Friday.

-You were never the cornerstone of me

One for the Ages - Bovine Sex Club NXNE

When people ask me what my greatest show of all time is, I am fortunate to have a knee-jerk reaction response.  In 2007, I saw a Pop Montreal line-up at Bar St. Laurent 2 that set the bar for live music for years to come. It was the combination of incredible bands, a great space, lots of beer and an X factor on the night that just made it incredible. While I need to give it a few days to settle in, last night's NXNE showcase at the Bovine is currently in competitive form to take down my long front-runner.

The night opened with Romeo Liquor Store, a band I'd been following for 2 or 3 years since stumbling upon them online. They've been around for almost a decade and I had thought they weren't gigging any more. Having to carry the load of an early set and a smaller crowd, RLS still put up a high energy set of in-your-face, no bullshit rock. Throwing in a Misfits cover and playing songs from their old and new repertoire, the Bovine's cherry was thoroughly popped for the night and she was ready for an evening she wouldn't soon forget.

Organ Thieves took over at 10pm, and were a decent surprise. I'd heard their name floating around for a while and had probably even listened to some of their recorded stuff, but this was my first time seeing them live.  They had a solid gritty rock sound that made me think of the Gaslight Anthem. Songs were great and you could tell by their tightness that that this was a band who'd put in their dues playing live. That said, what impressed me the most was the chops of their lead guitarist, Dave.

Oh and how the fun continued once The Mercy Now took over. Every time I see this band live, their sound gets tighter, their songs get better and their stage presence gets even more over the top. Kidnapping two girls who can't have been legally allowed in that bar, the boys rocked their way around, and off the stage with go-go dancers in tow. Russ' voice sounded like he'd been eating sandpaper and still amazingly keeping on key, the dual flanking of David Viva and Adam Burnett ripped through the air all the while with Lee Rogers struggling to hold this force of a band together with his mighty crashes.  It was beautiful, it was loud, it was rock.

Now, what favourite show of mine would be complete without the blues rocking of Little Foot Long Foot? The trio was as together as I'd ever heard them and Joan managed to play through an entire set without breaking her guitar over the head of the moron who was gangster-dancing along on stage. As Iain put it, "if you're too dumb to realize you're being mocked...get off the stage." Still, dancers aside LFLF brought the rock and lifted the room with the powerful duo of Joan and Caitlin's sirenesque voices. Don't worry Isaac, you still kicked ass and destroyed many ear drums.

AND LET THE BOOGIE BEGIN! Ladies and gentlemen, Flash Lightnin. Please allow your jaws to ease onto the floor. No matter how many times I see this band live, 2 things always happen: my body looses control to the boogie beat emanating off the stage and I get the urge to give up playing guitar after watching what front-man Darren Glover can do with the thing. He doesn't so much solo as he does dance with his guitar musically through each song and physically around the bar. Friends were wanting to leave, but I insisted we stayed to the end, knowing full well that FL would close with an ever-changing version of Hobo that always leaves me wanting more.

At 2pm there was a secret band.... but I didn't care. I wasn't about to let some wild card ruin my night of rock, so we left, grabbed late night lunch next door at Shanghai Cowgirl and cabbed our drunk asses home. Yeah, that was damned good night.

-Pure and unconditional; feels so untraditional; help me get my feet back down

CMW - Schedule 3

Let's do this... again...and again... and again...

9pm - CATL @ Comfort Zone
10pm - The Noble Rogues @ Duffy's Tavern
11pm - Biblical @ Bovine
12am - Starvin Hungry @ Bovine
12:15am - Little Foot Long Foot @ Underground Garage
(yes... I have a clone... or I'm going to flip a coin)
1am - Flash Lightnin @ Bovine
2am - Ian Blurton + Huron = Happy Endings @ Bovine
3am - Rockyard @ Hideout








Sweet merciful crap, tonight might kill me.

The Ski-Masked Ones

Here we have a band that I've been meaning to blog about for months and yet just now stumbling around to it. Call me lazy, call me uninspired, call me Susan if you so please. The dog did not eat my homework, I did not get stuck in traffic, you were not talking to evil Shane before (wait a sec... now I'm confused by the blog title)... I just plain forgot to do it.

 And that's a damned shame for all of us, since Bella Clava kicks your and my ass alike.

I stumbled across this band after being introduced (read: having my mind blown) by Little Foot Long Foot back in NXNE.  Caitlin Dacey, in addition to providing keys and backing vocals for LFLF, also fronts Bella Clava as her mainstay.  The organ gives their sound a similar feel to LFLF but with less blues and a whole lot more in-your-face rock.  Steve Suitte makes a solid argument for riff rock God.  Originally from Thunder Bay, this quartet moved to Toronto and lucky for us, they seem to be here to stay.  Check out their video for 'Food for Cannibals' below or go to their bandcamp to download a free song and check out the rest of the album.

-Giver, who do you take from?