It’s been three years since my last POP experience, so I headed down to the Rialto Theatre last night without knowing what to expect. As soon as I entered the POP Montreal opening party, I immediately felt at ease. The vibe was inviting, intimate, and full of that specific kind of excitement that fills the air at the beginning of any festival: you can’t wait to discover the next great thing.
After looking through our press swag bags, dancing to the DJ, and absorbing the atmosphere, Joe and I left the opening party. We headed down Parc, making a stop at the Crying-Laughing show at Espace Pop. In the old days I never used to see anything but music shows, so this year I’m trying to expand my horizons and see more of what the festival has to offer.
Joe and I eventually made our way to Sala Rossa, where our first music show of the night was Dany Laj & The Looks. While not groundbreaking by any means, they are a very fun rock n’ roll band that got our show watching off to a great start.
Then we were meeting a friend for a drink across the street at Casa Del Popolo, so Joe and I decided to check out the music there. Honestly I wish we hadn’t. Raf Wilcot seemed to try a little too hard to come off as the brilliant tortured artist, when in fact his music was tame and uninspired.
What changed my mood was heading to La Vitrola to catch their last two shows of the night. I was immediately charmed by Moscow Apartment, a teenage girl band from Toronto. They were just so sweet and had such great stage banter you couldn’t help but fall a little bit in love with them. They reminded me a bit of First Aid Kit, and I wish them all the success!
We ended off the night by going from one extreme to the other. After the sweet folk-pop of Moscow Apartment, Laura Sauvage came swagerring onto the stage, demanding that we get the hell off our seats and come rock out. They played a shorter set then scheduled because their drummer had to run off to another show, but what they did play was full of punk rock energy that got everyone at the small venue dancing. It definitely inspired me for all the rocking that’s still to come!
* Featured image of Laura Sauvage by Stephanie Laughlin
Rejoice indie music fans for today marks the beginning of this year’s installment of Pop Montreal! For those of you who suffer from option paralysis I give you my deepest sympathies because, as usual, there’s just so many shows to choose from.
Even just looking at their schedule can send shivers down the spine of someone who wants to see and do it all. Last week Stephanie Laughlin gave you her picks for what to see and this week it’s my turn.
In order to streamline my choices and prevent my head from exploding, I’ve narrowed it down to these four categories: The Hidden Gem, The Top Venue, The Top Headliner, Best Overall Show.
Keep in mind that this list is far from extensive, completely biased to my musical tastes and prepared without any thought for the logistics of how someone would attend shows that overlap with each other time-wise. This is just a jumping off point for five days of hipster heaven.
One of the many (many, many) hidden gems of Pop is POSTDATA, the solo project of East Coast indie rocker Paul Murphy more commonly known for his work in Wintersleep. They’ll be at O’ Patro Vys on Thursday to headline a show featuring Caveboy, Art D’Ecco and Strangerfamiliar.
This part-time project might not get big time attention but after listening to a few tracks I’m baffled as to why. The songs are well crafted, the lyrics are interesting and there’s an accessibility to the music that should interest people with different musical tastes.
POSTDATA perform with Art d’Ecco and Strangerfamiliar Thursday, September 27, 8:30pm at O Patro Vys, 356 Mont-Royal Est. Tickets are $13
With so many bands to choose from I knew I had to cheat and pick a whole venue. One of my highlights every year is heading over to my favorite dive Barfly to check out a bunch of bands that you probably don’t know and normally wouldn’t find there outside of POP.
Thursday, Friday and Saturday night they’ll be running shows there with packed lineups for only ten bucks. It’s a sma… urrr I mean “intimate” venue that always has a rock and roll vibe. I once saw a guy on stage there playing the cello and it still felt rock and roll for some reason.
To go with the low ticket price, it’s also got the most affordable drink prices of any of the venues in the fest. Add all that up and there’s a good chance it will be packed on all three nights so get there early if you can.
Usually the bands aren’t as well known but if you’re feeling adventurous and want to explore some new music this is the best place to be. This year I’m looking forward to getting to know Toronto based indie rockers Goodbye Honolulu who are headlining on Thursday.
Barfly is at 4062A St-Laurent
While this is a highly unoriginal choice, I’ve decided to put Montreal indie rock royalty Wolf Parade on this list as the top act because of the sheer volume of shows they have in this year’s fest. They’ve taken up residence at Sala Rosa from Thursday to Sunday, so whichever night you plan on heading out, they’ll be waiting for you.
Sometimes picking between a bunch of bands you’re not super familiar with can be a bit tedious, if you just want to go out and be assured of a good time, this is the best option. They’re even hosting an after-party on Sunday the 30th at La Sottorenea for those of you who just don’t want the fest to end!
Another of the more established acts in this year’s fest is Blitzen Trapper who have been combining indie rock with country and folk influences since 2000, often to critical acclaim. The Portland-based quintet will be supported by three great local acts John Jacob Magistery, El Coyote and Corey Gulkin on Saturday night at Le Ministère: Salle St-Ambroise.
This is my vote for the show with the most solid lineup top to bottom. Event hopping at POP can be fun, especially on a Saturday night, but if you’re not in the mood for that, give this show some serious consideration.
Blitzen Trapper, John Jacob Magistery, El Coyote and Corey Gulkin perform Saturday, September 29, 9pm at Le Ministère – Salle St-Ambroise, 4521 St-Laurent. Tickets are $15
* Featured image from Goodbye Honolulu’s Typical video, via YouTube
On September 26th, Pop Montreal returns with another five days of music, film, panels, and visual arts. It’s been a few years since I’ve attended this very Plateau/Mile End festival, but I already know I’m going to have a good time. Because unlike other bigger festivals where you’re drawn to check out what you know, at Pop you’re guaranteed to discover a whole slew of new exciting artists you’ve never heard of before.
Here’s my list of what I’m most looking forward to checking out at Pop Montreal 2018:
Ever since I first heard the song I Love Rock n’ Roll as a teenager, I was drawn to the badass that is Joan Jett. This year as part of Film Pop, the festival will be screening a documentary by director Kevin Kerslake about the legendary feminist punk rocker. I’m also looking forward to attending the screening at the newly opened indie/art house movie theater Cinema Moderne on St-Laurent.
Wednesday, September 26, 8pm, Cinema Moderne, 5150 St-Laurent. Tickets $12
While rap music isn’t usually my thing, I was so drawn by the music video for Elegance by New York artist Kilo Kish that I officially have added her show to my must-see list. While researching Kish I discovered that Pitchfork recently dubbed Elegance one of the best songs of 2018, declaring “Building from the stream-of-consciousness style that characterizes most of her catalog, Kilo Kish turns her racing thoughts into crackling electricity.”
Wednesday, September 26, 11pm, Piccolo Rialto, 5723 Ave du Parc. Tickets $20
My favourite part of POP. The festival has these fairs year-round now (if you’re friends with a Plateau gal, you’ve undoubtedly been dragged to one of these events), but the biggest of them all is always during the main festival in September. For three glorious days, you can shop for prints, jewelry, food, makeup and clothing. So come watch hipsters gather in their natural habitat, and leave with a cute new print to hang on your wall!
September 28-30, Eglise St-Denis, 454 Laurier Est. Schedule
Molly Nilson is a Swedish pop singer that, according to Pitchfork “does ennui like no one else.” That combined with her 80s music sound has me excited to see what she does onstage. I would love to tell you more about her but she doesn’t have much of a social media presence… which kind of only makes me want to get to know this artist more.
Thursday, September 27, 8:30pm, Bar “le Ritz” P.D.B., 179 Jean-Talon Ouest. Tickets $16.50
In between film screenings and shows, I plan on checking out the many art shows that are also happening during Pop. Here’s just a sampling of the ones I’m most excited for:
OBORO and White Frame co-present Où sommes-nous, an exhibition by Judith Albert, Katrin Freisager, Dana Claxton, and Nik Forrest. These four established artists open and disrupt our knowledge of space and time, bringing into question the line between reality and illusion through poetry and resistance. (info)
Art POP is collaborating for the very first time with the Association of Visual and Media Arts Masters students (AEMAVM) of the Université du Québec à Montréal to co-present POP Pavillon, AEMAVM’s annual group exhibition showcasing the work of 11 exciting, emerging artists. (info)
Centre Clark presents a new exhibition by Shana Moulton, an artist who creates evocatively oblique narratives in her video and performance works. In Whispering Pines, the artist presents art pieces combining an unsettling, wry humor with a low-tech, pop sensibility.(info)
* POP Montreal 2018 runs September 26-30. Full schedule available at POPMontreal.com
** Featured Image: Screengrab from Kilo Kish’s Elegance video
POP Montreal 2016 came and went with a blast of exquisite music, a frenzy of new friends and old faces, and a pleasant haze. Here is a highlight reel gleaned from the morass of sights, sounds, and smells that descended upon Montreal this past weekend.
Nothing was left up to the imagination with Seth Bogart. This underground LA pop diva sensation blew the minds off everyone in the room, with his unabashed physicality, wry satirical lyricism, and explosive performativity. The hilarious video content was nearly as captivating as his outfits, which he changed three times!
John Cale performed in a very fitting venue: the aged and mysterious Rialto Hall. You can feel the passage of time sitting in the upper portion of the theatre, just as you can feel the passage of time in Cale’s mysterious calmness.
Perhaps surprisingly, what was most striking about his performance was its contemporary relevance. A mixture of live and electronic drums provided the basis for exquisite synthesizer tones and a guitarist who played more sounds than notes.
Holy Fuck came to party, and they took us all with them. Never before has an instrumental band been as captivating as this quartet of feisty Torontonians, excited to share a new LP with the world after a six-year hiatus. Nothing was lost in the interim – in fact, the group has only sharpened their tones even more; made those arpeggiated grooves even smoother; those lengthy breakdowns even tighter. Check them in your city if you can, for undoubtedly you will dance.
Back at the Rialto Theatre, I witnessed the transformed sound of Angel Olsen, a fairy-folkster turned rock’n’roller. Her band looked cute in their 50’s style suits, but the real catch is Angel’s voice, which carries a worldliness that belies her young years no matter what band arrangement she performs with. She put aside the guitar for a couple of keyboard ballads, sending the crowd away into the night with catchy melodies reverberating in our ears.
Drawing from the darker shades of new-wave, these brothers brought a captivatingly sinister energy to the tiny L’esco stage. One cannot help but be fixated by the singer Thomas, who manages to convey the brooding skepticism of a Nick Cave figure in all his glory. Every phrase was spat out with the vigour and charm of a street urchin turned art student, or visa-versa.
If you don’t know Peggy Hogan (aka Hua Li) yet, then get with the program. This dynamic local hip-hop artist and rapper is one-of-a-kind excellent. Performing with collaborator Gloze on programmed drums, Peggy slid smoothly through a healthy batch of heavy hip-hop with consummate ease, delivering her verses’ lines with dexterity and force. It’s always a pleasure to see someone act out their confidence and skill in a physical way, and Peggy sure knows how to get down with her beats.
I hope everyone’s saved up a little money and a lot of energy because tonight marks the beginning of the most frantic week of concerts this year, a.k.a. Hipster Christmas, a.k.a Indie Music Mayhem, a.k.a. the 2016 installment of Pop Montreal. From September 21st to the 25th most (if not every) small and medium sized music venue in and around the Plateau/Mile End will be hosting an unbelievably large and varied collection of artists.
To preview this fest in all its diversity is altogether impossible so we haven’t tried to. These are simply a few options that stick out as highlight to us at FTB. You might want to go check out the full schedule and reach your own conclusions but be warned, if you have option paralysis this might be your worst nightmare.
There’s just so much to do and so little time to do it in. My advice to newer fest goers is to pick something and stick to it, you could spend half the night walking back and forth trying to find the right show.
I know you want to find the “it” show but at Pop there’s actually several “its” going on simultaneously, so just get out there and pick one. To not overwhelm you, here’s three to get you started on your search.
IMTL Day Party and Brunch with Lakes Of Canada + Fleece + Nova + KyAzma
One of the more unique shows that happens at Pop takes two things that aren’t normally known to work in tandem, Sunday brunch and rock concerts, and for the fifth year in a row ignores convention and puts them together. An all-you-can-eat buffet for $7 is a steal in its own right but then you add performances by Lakes Of Canada, Fleece, Nova and KyAzma, who will be debuting their latest music video for The Circle, and this becomes a highlight show in this year’s fest.
Indie Montreal allows you to buy tickets in advance through their website and I strongly suggest that if you plan on attending you do that. It’s not hard to foresee this show selling out, the lineup alone should bring a lot of interest and when you combine that with the best brunch deal on The Main you’ve got packed venue written all over this.
Lakes Of Canada, Fleece, Nova and KyAzma play Divan Orange, 4234 Boulevard Saint-Laurent, Sunday, September 25th, 12:00pm (Doors at 11:30am), $7 in advance and at the door, ticket through indiemontreal.
Nanimal + Girl Arm + Pins & Needles + Laureate
If you’re looking for a great rock show at the best dive rock bar in town then head down to Barfly on Thursday night and check out Nanimal, Girl Arm, Pins & Needles and Laureate. This concert should be a hot sweaty mess of tightly packed individuals, like most Barfly events are, so save the fancy outfit for another night and wear the jeans, t-shirt and dancing shoes to this one.
This show is on our highlighted list for a second reason, my “sources” inform me there might be a special guest appearance during Nanimal’s set. Someone who can certainly be considered part of Montreal’s indie rock royalty might be hitting the stage right before your eyes.
Nanimal, Girl Arm, Pins & Needles and Laureate play Barfly, 4062 Boulevard Saint-Laurent, Thursday, September 22nd, 9:30pm (Doors at 9), $10.
CJLO BBQ with Wiklow + No Aloha + Joyce N’sana + Guy Madonna
If you liked the idea of combining food and music but think Sunday morning’s a bit too groggy a time for that then perhaps you’d prefer Thursday afternoon’s free BBQ over at Quartiers Pop. This event is being put on by the good people over at CJLO, begins at 2pm and features Wiklow, No Aloha, Joyce N’sana and Guy Madonna.
Before people start going crazy over the “free BBQ” aspect it’s important to point out that the entrance and music is free, I’m pretty sure you’ll have to pay for your own beer and hot dogs. There’s no such thing as free beer, you know this, accept it, move on, you still get to see four great acts for free.
Wiklow, No Aloha, Joyce N’sana and Guy Madonna play Quartiers Pop, 3450 Rue Saint-Urbain, Thursday, September 22nd, 2:00pm, free.
One of the best things about any festival is the opportunity to discover something new. Before any new festival starts, I do my research as to who’s playing and what the buzz-iest acts are. But I also enjoy throwing my plan out the window to give something a try I know absolutely nothing about. Sometimes it’s a monumental disaster (aka the posts that never get written), other times it’s a delightful surprise.
Thankfully last Friday at Petit Campus I experienced the later. Kitty, Daisy and Lewis are a British band whose talent is immediately recognizable. First and foremost, the band is the definition of stage presence. The ladies walked out in matching sparkly body suits and a fiery red pantsuit. The gentlemen all wore suit and ties.
And as they smiled broadly and danced around the stage, I gave a sigh of relief. What a treat not to see yet another indie rock band where four white dudes stand uncomfortably in place on stage.
The natural chemistry that the band has on stage isn’t hard to decipher; they’re family. Literally. The aforementioned Kitty, Daisy and Lewis are all siblings. Their back-up band when they’re touring? Mom and Dad. Even Grandpa comes up and plays the trumpet for a few numbers. You wish your family was this cool.
Their music has a wide range of influences, from R&B to rock n’ roll to swing. It makes sense that they would shift influences to suit whoever takes over the reigns as lead singer. While mom and dad stayed put as back-up musicians throughout the set, Kitty, Daisy and Lewis seemed to play musical chairs each number as they all took turns either singing, playing guitar, piano, or drums.
My favourite of their numbers was the Lewis led “Baby Bye Bye”. I look forward to downloading their music and getting to know this band better in the future.
On Saturday night I headed back to the Rialto for an evening of punk rock. The headliners for the evening where the American punk band and riot grrl inspiration Babes in Toyland. I’d never heard of the band before last week, but my curiosity was peaked when I heard the band was inspiration for other girl bands like Sleater Kinny.
When you think of punk rock/grunge you half expect the musicians to look bored and annoyed to be there. I was grateful that Babes in Toyland didn’t play to that stereotype at all. They gushed about how The Rialto was the most beautiful venue they’d ever played.
The band also talked about how someone in the audience had bought a ticket to their show they had to cancel twenty years ago when they couldn’t get across the border. After said audience member produced a ticket as proof, the band laughed and promised to sign the ticket after the show. The whole moment really showed that this band has an audience that loves them, and they love ’em right back.
Babes in Toyland may be a punk band/grunge band, but there was nothing sloppy or unorganized about this show. They went on stage at exactly 10 pm and performed a tight one hour set. But just because these ladies are professionals doesn’t mean the music was in any way lame or commercial. As the audience members pounded back beers and started moshing, these ladies rocked loud and hard. And what’s more punk rock than that?
Thursday marked the second day of POP Montreal, and it was arguably the best day for electronic music lovers. Kaytranada, a Haitian-born, Montreal-raised producer who is known for his groovy, R&B infused dance music, played his second sold out show in Montreal at the SAT.
Since the start of his career in 2010, Kaytranada has been able to cultivate his own unique sound that differentiates his music from other producers, which has allowed him to not only draw in thousands of loyal fans from Montreal and across Canada, but also grow rapidly as an intentionally recognized producer.
I attended some Kaytranada shows a few years ago, back when he was opening for bigger producers and playing at smaller club-type venues, like Le Belmont. The setting was intimate, and everyone who attended was there for the music. I knew this wasn’t going to be the case on Thursday, simply based on the fact that this was a sold out show at the SAT, which is a sizeable concert venue.
Planet Giza and Graves were the opening acts of the show, and the crowd loved them. Or maybe they were just really stoked for Kaytranada. Before the opening acts were even over, I had a layer of sweat all over my body from how crowded and hot the space had become. I was already nervous about how I was going to be able to withstand that level of heat for the rest of the night.
Once Kaytranada came on, everything went wild. I became a human sandwich, pressed hard in between people in the crowd. Kaytranada started his set with one of his classic tracks, and continued his set with catchy beats that just make you want to dance.
The problem was, you couldn’t dance because there was simply no room for it. Every couple of minutes, an intoxicated person would push through the crowd, falling on the people around him or her, trying to get as close to the front as possible.
It was hard to immerse myself in the music when I found myself caught in the middle of all of this. Kaytranada seemed to be okay with this though, because at one point during his set, he took the microphone and said “this isn’t a concert, it’s a party!”
Kaytranada played a good set, but I wouldn’t say it was spectacular. He played many of his older songs, which I enjoyed, but there were definitely points in the night where I had trouble telling the difference between one song and another. This may have been a result of his staple sound that can be found in most of his music, or because I wasn’t able to immerse myself enough into the show.
It disappointed me when I realized that much of the crowd was not there to enjoy the music, but simply for the hype that Kaytranada has become. I’m thrilled for him to have found fame and success, and he definitely deserves it. Despite that, I’ll forever miss those raw, intimate shows he was able to play before he became a mainstream musician.
As a long time fan of Kaytranada who went to the show for the music, it was difficult to fully enjoy myself. However, I have no doubt that those who went to the show to party had an amazing time. I wish Kaytranada the best with his career and I will continue to support his music, but I can’t say I am planning to ever go to a Kaytranada show again.
This past Wednesday I sauntered on over to St-Urbain street to pick up my POP Montreal press pass. If you’ve never been ‘popping’, I can understand how one might be wary about the expenses surrounding such an endeavor. But I’d encourage anyone in Montreal in September at least to drop by Pop headquarters.
I began my POP 2015 experience by wandering around the free activities HQ has to offer including art shows, panels, and of course, music. As I shoved a hot dog and beer into my face like the classy lady that I am, I was entertained by Montreal Band Nancy Pants. They’re a perfect hybrid of pop and punk sensibilities, or “dirty pop” as my friend Google tells me they like to be called.
Whatever labels they give themselves, the band was giving it their all and clearly very excited to be there. I would recommend giving their single Happy a listen, and I look forward to seeing them again at some point in the future. Sadly that was my extent of music on the first day, because well when you’re in your thirties and have to get up at 5:30 a.m. for work, sleep becomes more appealing than a party.
I continued my Pop adventure on Thursday night by doing one of my favourite activities; seeing a movie. While one wouldn’t naturally associate a music festival with film, Film Pop (movies with a clear musical influence) has been a part of the festival for a long time (since the beginning? Now I’m ashamed at my clear lack of knowledge about Pop history). The film I saw was about this small Montreal band, you may have heard of them – Arcade Fire.
The Reflektor Tapes is footage that was taken of the band during the course of their latest album, 2013’s Reflector. The film cuts back and forth as the band conceives, records and tours the album. I went into the experience hoping to get some sort of insight into what a monumental task it must be for band with that level of fame to work and tour an album.
If you were hoping for the same, I believe the expression I’m looking for is “you’re shit out of luck.” The Reflektor Tapes is far more an art film then documentary. Not that I didn’t enjoy the screening. The film is beautiful to look at, and its high energy leaves one feeling oddly inspired even though you don’t quite understand what you just watched. It perfectly complimented what followed the screening.
Fueled by the energy of the screening and dance party that followed, I wandered down St-Laurent. After the high-art vibe of Arcade Fire at The Rialto, I was in the mood for something a little trashier, and settled on my favorite hole in the wall, St-Laurent bar Barfly. While I was kind of hoping for some punk band I could mosh along to, instead I was treated to the low-key French folk singer Clemence Freschard.
At first listen her songs are silly and simplistic. Chees and Crackers. Freschard crooned to the shamefully small crowd at Barfly. But then, as the song progressed, you become totally enchanted with her style and she hooks you in. Freschard was in fact a perfect way to close off a night of Pop, and I hummed her addictive choruses all the way home.
Born Ruffians kicked off POP Montreal this past Wednesday with an energetic, intimate show at La Sala Rosa. The show was the first of many for this Canadian indie band’s RUFF tour, during which they plan to play across Canada, in the US, the UK, and Europe.
The tour celebrates the release of their new album, RUFF, which will hit stand on October 2nd. RUFF is the band’s fifth studio album, and the first one they will be releasing since their last album, Birthmarks, in 2013.
I was lucky enough to have a chance to chat with Luke Lalonde (vocals and guitar) and Mitch Derosier (bass) about their experiences since becoming an internationally recognized band in the indie rock world.
Sisi: You guys are from Midland, Ontario, but now live in Toronto. How was the transition of being from a smaller town to playing in larger, more metropolitan cities?
Luke: It all happened when we were 18 or 19, and time just moves differently at that point. We went through many changes in life, like moving out of our parents’ house, going to school for a year, and then dropping out to do music full time, and eventually going on tour. Life felt so momentous.
For me, there was definitely an adjustment period that I didn’t realize I was going through until I started looking back now, ten years later. I was having a lot of personal issues that were hard to deal with, and I was very hard to be around. I just kept my head down and kept going, and it wasn’t until about five years later when I popped my head back up and realized, ‘woah, that was kinda rough.’
Mitch: It didn’t feel like there was much of a transition, because everything happened too fast. But in reality, there really was. You just don’t really have a choice in the transition, because everything we were doing as a band was things we had to do. We didn’t really have a choice but to deal with the craziness of it all.
Sisi: When was the moment you guys realized you finally made it as a well-known band? How did it feel?
Luke: To me, it feels like that’s always happening, and we continue to grow and strive for more and more. For a band like us, we never hit that level of Arcade Fire success, where it’s just guaranteed sold out shows everywhere you go. But we’re also not toiling away in obscurity. We do enough to make a living and tour comfortably, so that always leaves us really appreciating everything we have.
I think it’s a good thing, because sometimes you see people get fame, and they get really fucked up once it goes away. We don’t have fame, we have this thing that you just appreciate but not come to expect.
Mitch: Other bands may think the same way we do, but I feel like we’re such a self-conscious band. We reflect a lot on what we do, and we’re learning from our experiences.
Sisi: You guys have a new album coming out on October 2nd, called Ruff. I went on the website watchruff.com and stumbled upon a very special countdown, where 1.3 million photo frames are played over the course of a month until the date of the record release. I thought it was a super creative idea. What inspired you guys to have this?
Luke: John Smith, the guy who helped us put the video together and directed it; it was his idea, really. We wanted someone to help us pull a bunch of creative ideas together and to be the creative director for this album, so we sat down with him and brainstormed.
We have full control over the sound and lyrics of the album, but we wanted something visual that could tie it all together. We wanted something really hypnotic and dreamy, but we also wanted to creep people out and make them laugh simultaneously. It was kind of David Lynch inspired, but with a bit more humour.
All the vignettes are different scenes, and they all kind of escalate and get crazier as the month goes on. It’s essentially 12 hours of footage, slowed down to a month.
Sisi: Does the theme of the countdown reflect on the theme of the RUFF?
Luke: Well, not really. This album is a lot more personal in a lot of ways, so maybe if being too personal is creepy, then maybe.
Mitch: Maybe not creepy, but its darker. I feel like [Luke] was being very straight up and was coming from an honest place when working on this album. As he said, it’s a lot more personal. We were looking for something that made our audiences feel the record in a different way, it wasn’t just going to be another pop rock record, you know what I mean? There’s something else to it compared to what we’ve released before.
Sisi: What was your favourite public event you attended as a band, aside from live shows?
Luke: We did this series of videos with Matt Johnson, a Toronto based director/writer/actor. He did this web series a while back called “Nirvana the band the show.” For before Birthmarks came out, we did these in the studio videos, where Matt acted as the producer. He basically just improved for a few hours and pieced it together. It turned out really funny and it was a good time.
Mitch: Another funny thing we did together was attend the Junos. It was such a weird experience, because we never expected to be there. It never felt like that kind of thing we thought we would be recognized for. We always felt like we were catching up to other Canadian bands, so it felt like we didn’t totally belong there.
We didn’t expect to win, which we didn’t. It was a fun thing to experience as a band because we’re not a band that goes to award shows, like ever. It felt like a funny accidental thing.
Luke: It felt surreal to be walking around people like Jim Cuddy and Fred Penner. It was a crazy experience. It was weird and it was an anomaly, but it was fun. You don’t think they’re paying attention to you, so it was like “oh, you noticed us?”
Sisi: After a long, stressful day, what kind of food would you crave for if you could have anything in the world?
Luke: Mine is really lame… A salami sandwich. It’s not like I want to indulge, it’s just what I want. With some crackers, hummus, and some cheddar cheese. And maybe also some pea soup.
Mitch: I was raised eating potatoes, so I love roasted potatoes. Sometimes I crave Kraft Dinner as well.
Luke: Yeah, usually at 3 in the morning. Aside from that, I guess I would want something really expensive, like a really nice cut of Kobe beef.
Summer may be fading into fall, but turn that frown upside down my fellow Montrealers. We live in a city where there’s so much more to the season than back to school and Instagram pics of pumpkin spice lattes. September means it’s time to POP!
For its 14th edition, Pop Montreal is offering five days’ worth of panels, art fairs, music and movies. Here in no particular order are some of the things that I’m most excited for during Pop 2015:
The Reflektor Tapes
Offers a scrapbook-like documentary about the making and touring of Arcade Fire’s 2013 album Reflektor (Sep.17th at Rialto Theatre, 8pm). Fingers crossed Arcade Fire makes it to the screening!
The Noisy Locomotive
A Montreal string-band that seems like they’d be a perfect fit for Folk Fest or a drunken night at Grumpy’s. And while they’ve likely played both, I’ve never seen them at either so now POP’s my chance to check ‘em out. (Sep.18th at L’assommoir, 8pm)
Everybody’s favourite craft fair is back! This year 140 different artisans will be selling their clothes, accessories, graphic novels and so much more. (Sep.17th-20th 160 Saint-Viateur)
This rock band from Calgary has a feel of a modern day Joy Division. Their Self-titled EP was shortlisted last year for the Polaris Music Prize. (Sep.18th at Fairmount Theatre, 9:30)
Babes in Toyland
A riot grrl band of the first order, these ladies from Minneapolis went on to inspire bands like Sleater-Kinney and Jack-Off Jill. (Sep.19th at Rialto Theatre, 8pm)
Pop Montreal runs from September 16th– 20th. For more information about events, shows and tickets, make sure to check out the Pop Website
POP Montreal and Arts & Crafts present: The Cribs + Farao + Absolutely Free + invités – Saturday September 19th 2015– Théâtre Fairmount – Montreal – Doors 8:30 PM / Show 9:30 PM- $18 in advance / $20 at the door
POP Montreal, Debaser, E-Tron and Analogue Addiction present: The Beverleys + Fet.Nat + Hilotrons + Boyhood + Mono No Aware – Wednesday September 16th 2015 – l’Escogriffe – Montreal, Doors 7:30PM / Show 8:30PM, $10 at the door
POP Montreal and Indie Montreal present: Static Gold + Po Lazarus + First You Get The Sugar + Corinna Rose – Thursday, September 17th, 2015 – L’Hémisphère Gauche (221 Beaubien East) Doors 8 pm / Show 8:30 pm Tickets $10 in av / $12 at the door
POP Montreal, Loose Fit Collective and Annie present: New Fries + Steve Jr + Towanda + JLK + In Hock – Thursday September 17th 2015 – Brasserie Beaubien – Doors 8PM / Show 9PM – $10 at the door
TOP 5 EVENTS NOT TO MISS
5. Puces POP presents: The Puces POP Arts & Crafts Fair Thursday, September 17th to Sunday, September 20th, 2015 160 St-Viateur East – 2nd floor Thursday – Friday: 5 pm to 9 pm Saturday – Sunday: 11 a to 6 pm Opening party Thursday at 5 pm
4. Art POP, CKUT and Archive Montreal present: Montreal Shows 1965-1975: Posters, Photos and Ephemera Wednesday, September 16th to Sunday, September 20th , 2015 Vernissage: Wednesday, September 16th, 6 pm POP Quarters (3450 St-Urbain) Wed – Thu – Fri: 11 am to 8 pm Sat – Sun: 11 am to 6 pm – FREE!
3. POP Symposium and The Indigenous Studies Program at the McGill
Institute for the Study of Canada present: Indigenous Beats Friday, September 18th, 2015 POP Quarters (3450 St-Urbain) Talk 11:30 am – FREE!
2. Kids POP presents: Film Animation Workshop Sunday, September 20th, 2015 POP Quarters (3450 St-Urbain) Workshop 11 am to 1 pm Ages 6 and up, registration required. Email firstname.lastname@example.org with child’s name and age – FREE!
1. Film POP and CISM present: Showgirls (Paul Verhoeven | USA, 1995 | 131 min.) – 20thanniversary screening! Friday, September 18th, 2015 Cinéma L’Amour (4015 Saint-Laurent) Screening 11:59 pm – Tickets $10, on sale August 28th
POP Montreal was just bananas this year. There was so much to see: parties and weird late nights out with the camera. I am only now, after nearly 5 days, keeping anything like normal hours.
The week started off with a party over at POP central— place was packed when I rolled up on the late side of 7. There were bare lights strung above everyone’s heads downstairs, which made it all a little overt. I headed upstairs where the sub 60 bass was coming from. On the top landing it was dark and I turned the corner right into the last tune of the Young Paris set. I was feeling it, so I stuck around at the jam for a minute afterword and talked about RUN NDG t-shirts with some random guy.
On Thursday night, I went and checked out that LOC-NAR set at Casa del Popolo. I took Chose Bottine with me — his niece (Tess) plays keys in various projects including LOC-NAR. Now having done a preview of the band already based on my interpretations of their recordings, I was very interested in checking out their set. I was intrigued by the lo-fi style and the strange time signatures. Secondly, this band had a bit of a buzz. Lotsa cool people involved.
The place was packed so I cut hard for the front row so I could photo the group, kind of hard to get balanced for a shot, though! I found Chose Bottine again and just sunk into listening as a musician. The band is really tight, and I don’t mean tight in 4/4 time either. Tonally and energetically this band moves from pop to metallic in a single composition very fluidly. I was also struck by how progressive the tunes were. Nothing dull about how these guys proceed.
Chose Bottine and I were quite impressed. Go check out LOC-NAR live.
Woke up for school feeling like that translucent piece of egg in the pan—
Went downtown Friday night to catch Yoni Wolf. Got totally sidetracked by a few tribespeople and ended up somewhere else. I arrived extremely late and somewhat unbalanced! La Vitrola was bumping with that strange Why? hip hop flavour. No one is as weird on the mic as Yoni Wolf. You got to check him out if you’re unaware. Werd.
The week was wild, the parties were lush and surreal. And I for one sacrificed a few brain cells. But yo! What a job, and what a magical time with my friends covering these acts from Montreal and abroad. The Unicorns closed the week and they get their own article. Shabang!
Like how much more epic of a close could POP Montreal come to? I myself had been up for 40 straight hours and was dressed to the nines, Ray Bans way past dark, you feel me!? I went downtown early with my best friend and chilled out in the ConU ghetto. Epic clouds at sunset. We were excited, plus it’s one of her favorite bands of all time. The girl had a super rare Unicorns shirt on— I felt a great sense of accomplishment just getting there and being awake!
So we got to Metropolis half way through the Light Fires set. I’ve written about Light Fires before— she’s dressed in drag and she kicks ass. Totally at peace up on the stage with nothing but high-hipped cut-offs, a halter top, pumps and her ipod. Light Fires makes really catchy beats and her stage presence is palpable, her witty quips and sex appeal on heavy display. We went and stood right beside the backstage exit, which is about 20 feet back from the stage. I was not getting in that pit, would have died. Between sets, Light Fires came out and I stopped her to say that the show was banging. Such a nice person. Do check out her jams.
The Unicorns, man! They came out in all their glory, still good looking and still tight as a cornrow. They had this cheesy loop of 90s screen savers being projected behind them. I’ve since had a conversation where someone said they weren’t feeling the backdrop, but I feel like it was in keeping with the band’s sardonic aesthetic.
There were a lot of people in the place at the start of their set. Because the band is “from” Montreal, and because they hadn’t played here in more than 10 years, the crowd was full of anticipation and even a thread of anxiety. Like, what if this band I’ve kept on a pedestal all these years shits the bed right now?
The sheets stayed good though. Everyone in this three piece sings and everyone excluding the drummer plays bass, keys, guitar. I love seeing a band of multi-instrumentalists, the trading off between songs, just the ability to own more than one instrument on stage is something for which I have a great respect. In no way did they disappoint. Although the set wasn’t long, it was full of bangers from the Who Will Cut Our Hair When We’re Gone? album.
Nothing misplaced sonically. There is this observation, though— I could tell that they had rehearsed the shit out of this performance, they knew exactly what they were about. But I also felt a kind of rigidity to their renderings of the tracks, that waver of variation or improvisation wasn’t really coming through and that’s because they probably don’t jam every week, right!?
We were thoroughly impressed. The end was cool in that they did three encores that were one chord strums then a walk off stage. Just when the crowd was getting antsy, they took the stage with I was born a Unicorn. My friend turned back smiling and I knew that we were having a moment. That’s what it’s about. Yeah, the band was good, and generally the shows I cover are sharp and enjoyable. It’s all about living the magic, touching that feeling of being infinite intimately?
So, yeah— it got mystical, perhaps fittingly. We did make it to our respective homes, and God knows I needed serious nutrition and sleep— just so you know I’d do it all again if I could. That’s my take. Keep it flavourful, till next time. Peace.
It’s always a thrill to watch Ty Segall perform. A truly talented, earnest West-Coaster who churns out guitar-driven psychedelic tunes more often than some of us change our sheets, he deserves every bit of praise he gets. Not only does Segall live up to the hype, but every time I see him live (this weekend marked the fourth), he surpasses himself and somehow steps it up a notch. As the venues get bigger, so do his power and devotion grow.
The night started off with The Nymphets, a band I’ve heard tons about but have never gotten around to seeing. The trio is comprised of a brother and sister on guitar and drums, respectively, and a friend on bass. Hailing from Montreal, they’ve toured extensively since their beginnings a decade ago, opening for bands like Jay Reatard and CPC Gangbangs.
They warmed the crowd right up tearing through some hard, fast tunes at a feverish pace. Their particular brand of punk is infused with a late 70’s/early 80’s British influence, veering from sweet to frenetic punk à la Buzzcocks in one quick, swift beat. Their set ended with a tune sung by drummer Johanna Heldebro, her voice jumpy due to her drumming, a perfectly intentional decision that illustrated the Nymphets’ frenzied sound and style so accurately. Thoroughly enjoyable, wholly appropriate, and I think the guitarist might have winked at me.
La Luz’s Damp Face EP has been on repeat at my place all summer, the perfect soundtrack to accompany a mending heart. It’s hazy, dreamy, and makes me wanna slow dance, my head tightly nuzzled in a dude’s shoulder, while we sway side to side.
The band only got together a year ago in Seattle, and already they’re making waves. Their surf-inspired brand of rock’n’roll has a dreamy, hypnotic quality, and though the mood they evoke is one of longing, it’s anything but desperate –it’s steady; it’s patient; it’s knowing. Their music is worthy of any spaghetti western worth its salt. Somewhere, someplace, Franco Nero is cracking a shit-eating grin.
Onstage, the girls are magnetic. Singer Shana Cleveland’s intimidating gaze and her twang-y guitar licks commanded our undivided attention. The girls are skilled, and have a fresh take on a style so familiar it could easily bore – but their grasp of it is so fierce, they make it their own.
I had no doubt the band would hook the crowd, with a sound reminiscent of a cowboy disappearing into the distant sunset at the end of a searing hot day in the desert, but I was struck by their complicity with one another. The girls share a connection that is rare for a band who’ve been together such a short time. They’re a playful bunch who were evidently having as good a time as anyone else – keyboarding Alice Sandahl even took a stage dive towards the end of their set – and were obviously stoked to be opening up for Ty Segall.
A cowboy eventually rolled onto the stage to present Ty Segall Band, claiming they’d recently escaped an alien abduction. Though the veracity of this story is questionable, it’s undeniable that Ty Segall is one of the most talented contemporary musicians, across all popular genres (in my opinion, this isn’t even up for debate). His style is heavily influenced by a variety of genres, yet is inimitable. His shows are raucous, and this time was no different.
The band pumped out song after song from their most recent album, Manipulator, with a couple of throwbacks to Twins and Slaughterhouse. Their energy bordered on unhealthy: drummer Emily Rose Epstein pounded her kit like a maniac, carefree yet focused, while Ty and the boys forcefully tore their instruments to bits with force. Highlights included an all-too-brief reminder of the greatness that is the Rocky Horror Picture Show, jumping from “Science Fiction Double Feature” to “Time Warp” and onto “Touch-a, Touch-a, Touch-a, Touch Me” in a hot minute.
The band demonstrated their true allegiance to punk ethos when Ty stopped playing mid-song (as the rest of his band continued) to disapprovingly stare down a security guard trying to get rid of a kid who was stage-diving, and motioned for him to get off the stage while shaking his head, then picking up in the middle of the song. The crowd went ballistic, with kids stage-diving and body-surfing throughout the entire set, and a large pit going. As is the band’s habit, the encore featured a cover, Motörhead’s (or Hawkwind’s, Ty’s favourite band) “Motörhead” this time, ending with “Girlfriend” off Melted, a personal favourite.
My only gripe is that I wish the set had lasted longer – I could watch these guys play for hours. I left the show feeling like a teenager, speechless and in awe. It’s almost difficult to describe the excitement, both from the crowd and the band, and I feel sorry for those who missed this: you really had to be there.
* photos by Bianca Lecompte (click on first image to open gallery)
Hey yo POP Montreal— treat me like a pirate and give me that booty. That’s the hook for Flossy’s new single. The guy is on some next level shit right now. I strolled down the wet Plateau streets with the freshest girl I know to catch the Turquoise Jeep set at Club Lambi. I was ready for whatever, like who goes to see Flynt Flossy, right!?
We chilled in the alleyway for a bit, took some flicks and got faded. Pure trap bass was just slamming in the building. Shaydakiss and A-Rock took turns spinning the opening set— they had snifters on the table beside the ones and twos, the place was crunk up. There were some pretty fly dancers on the floor, this one dude was leaning back way under the limbo stick. A throng of girls in AA tights were dipping that shit low too! I don’t know if you’re up on what Flossy’s been doing since Turquoise Jeep, his label, started dropping albums back in 2010—
The sexualization of women is rampant and there’s a super cheesy aesthetic to the lyrical content. These guys that form the Turquoise Jeep crew, Whatchyamacallit and Yung Humma and Flynt Flossy are constantly rapping about sordid encounters with live women. Sounds like a train wreck, no? But yo, trust me, these tracks are so stupid that it’s actually funny. The tracks almost feel like parody. Now, I don’t think Flossy’s as self-aware and pointed as Ween. But there is a shrewdness to embodying something you’re making fun of, marketing it and taking it on tour. Plus, the beats really bang.
At one point each of the members chose a girl from the audience and had them come up on stage— But yo! These girls got mad lap dances, dudes were grinding all up on these poor girls’ faces. Flossy’s turned the place out. I’m not saying none of those ladies enjoyed it though. The show was just live with strange outfits and dank beats, after an hour I had to dip and walk the streets— photos in the after-rain are so reflective.
If you don’t bump Flynt Flossy once a week just to get low and laugh then you slipping. And also peep that video for “Treat Me Like A Pirate”. It’s all American Appeal and thick gals wining as the beat rolls out.
I cannot impart to you how dope this band is. If you don’t have these guys in your rotation you need to get them in it right now. The Unicorns are a Montreal trio, well they came from out west; but recorded and lived here during the height of their buzz. It’s Nick Diamonds, Alden Ginger and drummer J’aime Tambeur. These dudes put out one of the best tricky lo-fi indie pop albums you ever heard:
They disbanded after a super stressful tour in 2004. But the impression left by their releases is far reaching— these guys are one of the sickest underground groups to ever come out of MTL, and honestly probably Canada.
After the break-up some members went on with different projects. One of these is Islands. Another gem of an act. I can’t say enough about the musicianship of the players in these bands:
These guys in The Unicorns are on some next level shit: wild syncopated drums that are rusty and ragged or quiet as smoke, always a new variation.
This progressive tendency plays out in every composition, and that’s why every tune is fresh as hell. The tracks move but are sad and plaintive and pretty. It’s worth mentioning, too, that all the band members can sing and write. I’m not exactly sure on the band’s process, but whoever’s behind the words has some sharp pen game.
So, yeah! They got back together quite recently and are slated to play this year’s POP festival! Like Wha?— I’m so going to that. Sep. 21, 8:30 at Metropolis. Check me there if you’re D…