I’ve now seen Deerhunter four times (previously 1, 2, 3) in just under eighteen months and, man, I will just never tire of seeing those four guys live. Even though this current tour sees the band playing a relatively fixed setlist (not sure why), they still managed to make last night’s gig at the Rickshaw Theatre seem pretty much on the edge of total chaos.

Being a big fan of Halcyon Digest I was thrilled that the band dug deep into that record on stage last night. Unsurprsingly, a lot of the new songs were even better live including Don’t Cry, Memory Boy and pretty intense renditions of both Helicopter and He Would Have Laughed to end the main set. Even Lockett’s songs (Desire Lines and Fountain Stairs) were more vibrant on stage and his voice adds a nice counterpoint to Bradford’s tones.

My minor quibble of the evening was the inclusion of only one song off Cryptograms (Hazel St.) but since I’ve seen a lot of that record live in the past I wasn’t that disappointed. There wasn’t even that much of Microcastle but what we got was mind-blowing (namely an epic Nothing Ever Happened and mini-epic Little Kids). Special mention must also be made of the current arrangement of Rainwater Cassette Exchange (download below): new drumbeat, new guitar sounds…it’s practically a completely new song. LOVED it.

The encore ended with a rather extended take on Fluorescent Grey that was the closest the band got all night to falling off the edge. Bradford was clambering all over the stage and abusing his guitar but the band came together again to end on a really powerful note. Great to hear something off that EP as well.

So yeah, another memorable Deerhunter gig. And I already can’t wait for them to come back to Vancouver.

Setlist
Desire Lines
Hazel St.
Don’t Cry
Revival
Never Stops
Little Kids
Memory Boy
Rainwater Cassette Exchange
Fountain Stairs
Nothing Ever Happened
Helicopter
He Would Have Laughed
———
Cover Me (Slowly)
Agoraphobia
Fluorescent Grey

The band recently played Washington D.C. and the gig was recorded by NPR. You can stream the show here. It gives you a pretty solid indication about what the current tour is sounding like. From that gig I’ve uploaded the previously mentioned version of Rainwater Cassette Exchange the band are currently playing. It’s awesome.

Download
Deerhunter – Rainwater Cassette Exchange (live in Washington DC)

When Gotye quietly released Like Drawing Blood in early 2006, I very much doubt Wally de Backer envisioned the kind of runaway success (both commercial and critical) the record would accumulate over the next 18 months. Over four years later then…and the pressure is on.

The first single from Gotye’s forthcoming (in early 2011) new album has a lot of work to do. It not only has to reintroduce Gotye to the masses but also, unlike last time around, live up to the hopes and expectations of fans.

So what has Wally done with Eyes Wide Open? Well, it sounds much less sampled-based than much of Like Drawing Blood…just way more organic. Wally’s voice sounds pristine and that relentless roll of the drum just carries you along through the song’s all-too-short, atmospheric three minutes. It’s perhaps Wally de Backer’s most “pop” moment thus far. And it’s fantastic.

Download
Gotye – Eyes Wide Open

Check the video for Eyes Wide Open below.

Sidenote: Whenever I hear Gotye or The Basics I miss my time in Sydney.

Here’s the least surprising music thought of the year: the new Black Mountain record, Wilderness Heart, is best described as “bad ass” (you could describe the album cover the exact same way). While not as lengthy or as dark as their last record, Wilderness Heart might just be the heaviest this band has sounded. Almost certainly my favourite Vancouver record of 2010.

Download
Black Mountain – Old Fangs
Black Mountain – The Hair Song

The band will be playing a pair of shows in Vancouver in the not too distant future with the also awesome The Black Angels (who have themselves released a great record this year). The first date sold out so a second show was just added and is now on sale.

The Dropout Boogie Tour
featuring Black Mountain and The Black Angels

Commodore Ballroom – Tuesday, November 30
Commodore Ballroom – Wednesday, December 1

It’s tough when a band plays an absolutely monumentally unforgettable show as Broken Social Scene did at the Metro in Sydney in 2006 – every time I see them now I compare them back to that special night nearly five years ago. I’m doing my best to not do that right now because, from a completely neutral point of view, last night’s Broken Social Scene gig in Vancouver (their first of a two-night stand) was truly excellent.

From 10:40 until 12:45, Broken Social Scene demonstrated why they are one of my very favourite bands and one of the most entertaining live acts around. You’re just never quite sure what’s going to come next once Kevin Drew, Brendan Canning, Andrew Whiteman, Charles Spearin, Justin Peroff and the rest of the gang get in full flight.

But it was the unexpected surprises last night that I think I’ll remember most: the perfect execution of their quieter, ballady material. Lover’s Spit, for instance, was remarkable…I’ve never heard it done better. It began with just Kevin alone on stage at the keyboard for a few verses; then Charlie Spearin began adding some fluttering trumpet, while Whiteman played a very restrained harmonica that Canning accentuated with a melodica. It was just beautiful and totally different from how I’ve seen it done in the past. I felt much the same about Anthems For A Seventeen Year-Old Girl. Charles Spearin even busted out the banjo! The song was gorgeous and Andrew Whiteman’s wife Ariel provided some great vocal support for Lisa Lobsinger.

The inclusion of the ambient Guilty Cubicles from Feel Good Lost was the first time (I think…maybe in 2003 I caught a song or two) I have ever seen anything played from the Broken debut. Sweetest Kill and All To All, both from this year’s Forgiveness Rock Record were other “quiet” spots in the gig, both providing a new type of sound in the Broken Social Scene set. All To All, one of Lisa’s best vocal outings of the night, was particularly effective live as its finale burst to life on stage.

BSS-regular Lisa wasn’t the only female vocalist last night, however. As previously mentioned, on numerous songs Andrew Whiteman’s wife Ariel joined proceedings. In fact, on Almost Crimes, she took the co-lead vocal with Kevin and absolutely belted out every line. I doubt I was the only one thinking that she would fit in just fine with Lisa as a regular member of the group as Almost Crimes was one of last night’s finest moments.

Over the course of the two-hour gig the band played most of Forgiveness Rock Record (only omissions: Chase Scene, Highway Slipper Jam, Sentimental X’s, Me And My Hand) and it’s easy to see why: the variety of sounds on the record are indicative of what a Broken Social Scene live gig is like. From Whiteman’s lead vocal take on Art House Director through Canning’s Pavement-esque Water In Hell to the powerful explosions and fantastic guitars of World Sick, the new stuff is best heard on stage. Romance To The Grave, another FRR track, was a bit of a surprise in the set…until you remember that lead Sam Prekop of The Sea And Cake was around (they are opening the BSS tour) to provide his vocals.

In fact, The Sea And Cake (I missed 99% of their set) helped out a lot. John McEntire (also of Tortoise fame) not only produced Forgiveness Rock Record but he was also up on stage for most of last night’s gig providing added percussion and Archer Prewitt helped out on guitar for a few songs. The band was rounded out by David and Julia French on horns meaning there were between 6 and 11 people on stage at any one time. While some may long for the days where the band could tour with Metric, Stars, or Feist at will, Broken Social Scene certainly have a huge group of talented friends ready to help keep the juggernaut running.

The power of that juggernaut was perhaps best exemplified in the insanely awesome back-to-back pairing of KC Accidental and Meet Me In The Basement. Meet Me In The Basement was extended to accommodate birthday wishes to Justin Peroff behind the drums but I think the song could have gone for half an hour and no one in the crowd would have minded. Just…YES.

As the final notes of Ibi Dreams Of Pavement faded out and Kevin Drew bid his farewell to Vancouver I immediately began regretting not having tickets to the second show tonight.

Broken Social Scene. Always. Yes.

Setlist
World Sick
Texico Bitches
7/4 (Shoreline)
Fire Eye’d Boy
Forced To Love
All To All
Stars And Sons
Cause = Time
Sweetest Kill
Art House Director
Romance To The Grave
Anthems For A Seventeen Year Old Girl
Guilty Cubicles
Superconnected
Almost Crimes
Ungrateful Little Father
KC Accidental
Meet Me In The Basement
Lover’s Spit
Looks Just Like The Sun
Water In Hell
Ibi Dreams Of Pavement (A Better Day)

Photos here. As an added bonus I finally got to meet @gotsound last night. We’ve seemingly been following each other back and forth between Sydney and Vancouver the last few years.

On Saturday night, hometown heroes Japandroids played the Rickshaw Theatre on Hastings before a very raucous and passionate crowd. While the set didn’t deviate too far from the last time I saw them, Brian and Dave once again put on a hell of a show. Playing most of last year’s Post-Nothing as well as two of this year’s singles including one of my favourite songs of the year, Younger Us, the band hit the stage hard and didn’t let up until every last drop of sweat had been wrung from their hands. And I’m sure I’m not the only Vancouver music fan who could pretty much listen to Sovereignty’s chorus being bellowed from a stage every rainy Vancouver night.

Setlist
The Boys Are Leaving Town
Art Czars
Rockers East Vancouver
Wet Hair
Younger Us
Heart Sweats
Darkness On The Edge Of Gastown
Crazy/Forever
Sovereignty
Young Hearts Spark Fire
To Hell With Good Intentions

Photos here.

A QUICK NOTE TO STAGE INVADERS
If you manage to make it to the stage during a band’s set and you DO NOT turn around and dive back into the crowd, you are lame. I’m looking at you, All Four Guys Who Made It On Stage During The Band’s Final Song, Danced For A Sec, Then Calmly Walked Off Stage.

What made the above all the more embarrassing is that the gig was being filmed for a DVD release in the future and your lameness may forever be documented and mocked ceaselessly. The only thing lamer is being the old guy standing back from the “moshpit” with his arms crossed holding his jacket (me).

Due to the Canuck opener I missed PS I Love You’s set and the beginning of Ladyhawk’s performance. But what I caught of Ladyhawk I really enjoyed and they reminded me I really need to give Shots more regular spins. Japandroids and Ladyhawk…definitely two of this city’s finest.

Download
Japandroids – Younger Us
Ladyhawk – STHD

The Georgia Straight just posted this video from the gig.

While Mansun broke-up years ago and their legacy is virtually non-existent, I still really enjoy their records, especially the first two. Their impressive 1997 debut, Attack Of The Grey Lantern spawned the hit Wide Open Space which seemed to actually overshadow the accomplished album it came from (at least here in North America). The following year the band followed their debut with an absolutely bonkers record called Six.

To call Six ambitious…well ambitious doesn’t even come close to covering it. Pretentious, sprawling, dense, funny, and proggy only begin to describe the scope of Six’s sound and lyrical content. While I fully admit that the band probably miss the mark as often as they hit it with this album, I can’t help but feel that this record was not heard by enough people at the time and appreciated by far too few people now. I don’t think I even know anyone else that owns this record.

Fittingly, Six was reviewed by Pitchfork’s most ridiculous (former) writer, Brent DiCrescenzo, who like many others, seemed to have trouble nailing down the record despite giving it a very positive review:

Seemingly influenced by comic books and hallucinogens, Six skitters from chugging power- chords, to intricate hooks, to Pink Floyd wandering, to Tchaikovsky samples, to lip- licking swagger. At times they can come off like a frightening cross between the Pixies, T Rex, and Yes. If you give Mansun the benefit of the doubt, and assume they’re not being completly serious, Six entertains immensely, chock-a-block with every element of modern rock. The fusion sounds so weird and seizure- inducing that it sucks you into its pretentious, mascara’d maw.

AllMusic was also more or less positive at the time:

And, make no mistakes, Six is frequently dazzling, since Mansun skillfully melds classic prog and pop styles with contemporary ideas, including a healthy portion of electronica. It’s a head-spinning listen, especially the first time through when it’s impossible to tell where it’s going or where it’s going to end. That feeling doesn’t quite let up on repeated listens, either, mainly because the record is so dense with impenetrable ideas — ideas that are confounding even when you think you understand where Paul Draper is going with the entire thing.

Despite it’s mostly positive reviews, when the album was finally released in North America (seven months after its initial UK release) it featured modified artwork, an altered tracklisting, two songs cut altogether, and the radically different single version of the title track. It wasn’t until a few years later that I finally tracked down the UK version and was able to hear the album as it was supposed to sound.

I still don’t know what the hell is going on through most of Six. The lyrics are full of amazing images and subject matter (Winnie The Pooh, Scientology, Sky News, cancer, etc) but piecing it all together is difficult. Maybe that’s part of the reason I still love going back to Six…in fact I actually still listen to it regularly. Between its Big Ideas and it’s exhilarating and enthralling music, Six is an album I have never grown tired of. And those records are few and far between in the grand scheme of things.