Gig: "Optical Sounds' Back to Cool Party"

"Optical Sounds' Back to Cool Party" (feat. The Hoa Hoa's / The Disraelis / The Peelies / Planet Creature

Rolly's Garage. Friday, September 11, 2009.

Perhaps it's fitting for Optical Sounds to throw a party in a garage, given their bands' common musical ground. It also works out well for a crew — as much a state of mind and statement of solidarity as a record label in the old-fashioned sense — that's looking to find some interesting places to play outside of the usual bar atmosphere. As such, Optical Sounds is quickly becoming a trademark of quality in Toronto not just for psychedelic-minded garage pop, but also purveyors of good old-fashioned "happenings".¹

A welcome relatively early start time on a workday, I cruised down Ossington to Rolly's Garage just before nine. For that extra touch of authenticity, a battered car door was leaning against the stairwell just inside the entrance. There was a decently groovy light show set up and a generally sweet ambiance. The only real setback for this as a venue is the lone bathroom available.² Things were running somewhat late as the crowd filtered in. Optical Sounds honcho Robert Gibson was pacing about like the father of the bride on the wedding day — the planning all done, but still fretting a bit and looking for something to do. He busied himself with going around the room, lighting incense sticks — and leaving them burning, leaving Femke Berkhout of The Hoa Hoa's to follow behind and blow them out so they could smoulder away.

First up were Planet Creature, the most recent addition to the Optical Sounds family. A five piece (getting some extra vox from Femke Berkhout) that fit well in the same figurative garage as the label's other bands, but do bring their own thing to the table. At this point, the band is a slightly ramshackle unit whose pop sense connects to a few diverse elements: the first song had vague country echoes, but mostly there were new-wave suggesting snake-y guit lines and fuzzy chunks of organ-y keyb. Driven by the Clare Anderson's urgent drums, the band played an entertaining seven-song set, gaining strength as they moved along, plenty harmonies sealing the deal. A little rough around the edges, but not in an unpleasing way. Worth checking out.

Listen to a track from this set here.

Next up were The Peelies visiting from Montréal, an, urm, appealing combo who brought the exuberance of a shy smile to rockin' bilingual tunes. Working in the same broad musical terrain as Planet Creature, the quartet recalled, say, a less-noisy Vivian Girls. In fact, there were some places where the guits could have used more drive and the tempos some juicing up, but when it came together, it was solid. A good vibe.

Listen to a track from this set here.

I expended most of my cleverest adjectives the last time I saw The Disraelis, so perhaps now suffice it to say they are quickly becoming one of my fave local bands, effortlessly churning out sets that are fabulous sounding without ever veering into sterility. Credit the warm blanket of Colin Bowers' guitar insulating against Cameron Ingles' dark-hour-of-regret laments. The all-male trio played compact versions of "The Bitter Ash" and "Secret" before stretching out on the last couple numbers. A blissful half hour — that new EP can't get here fast enough!

Listen to a track from this set here.

And then, to wrap things up, a trip with The Hoa Hoa's who played a relaxed, floating set of lysergic pop. Perhaps sounding a bit less urgent than I've heard them in the past, this just meant more time to enjoy the ride. A half hour focusing on their forthcoming album, including cuts like "Grew Up on The Seeds", "Vinyl Richie" and "Blue Acid Gumball", wrapping up, as advertised, just after midnight.

Listen to a track from this set here.

After the bands, the Garage party was continuing, but I was getting sleepy and made my way out. A fun night and a good event. Word is that Optical Sounds is doing a Halloween party, so keep your eyes peeled for that.

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¹ Or "events", as they are known to the less hip.

² Of course, there are several quiet alleyways in the nearby vicinity — hmmm... maybe that's why local residents are growing leery of the Ossington strip's recent explosive growth as an entertainment destination.

Gig: Daps All-Ages & No Shame Afternoon Extravaganza

Daps All-Ages & No Shame Afternoon Extravaganza (feat. Ruby Jean & The Thoughtful Bees, Lightmares, Spiral Beach, Times Neue Roman, Pick A Piper, Laura Barrett)

Rolly's Garage. Saturday, June 20, 2009.

Despite a late night before, managed to get up on Saturday and head down for this all-ages matinée. The fact that it was put on by the capable folks behind the No Shame and Daps All-Ages series made it feel like the quality control had been taken care of and some good bands guaranteed.¹ Plus, I was interested in checking out the venue, a converted auto repair shop, on the happenin' Ossington strip. It was grey and drizzly out, but by showing up in time for the first act I managed to avoid the full-on rain that came a bit later.

It was also worth the early start to catch Ruby Jean & The Thoughtful Bees, a Halifax DOR outfit fronted by Rebekah Higgs. I'd seen Ms. Higgs in her solo incarnation at a CMW showcase in '08, and had vaguely enjoyed her tunes but wasn't particularly struck by them. So it was a surprise to see the magnetism that she unleashed in this context. Sampling and manipulating her own vocals, Higgs led the three-piece backing band (guit/drums/beats and effects) through an energizing set of 80's-flavoured dance rock.² She even stepped in front of the monitors to challenge the slight crowd at hand to get into it and dance. Good songs, good energy, and a lot of fun.

The all-ages element felt in effect for Lightmares, a young trio out of Sudbury who played a quick, five-song set of energetic rock'n'roll. Bassist Nicholas Millard — a dead ringer for Dennis the Menace — sounds like he's absorbed a Four Seasons compilation³ and put it to good use with his falsetto backing vox behind guitarist Jamie Millard's leads. The band bashed out their tunes with gusto, and it sounds like they're starting to get a handle on the songwriting process. Worth keeping an eye on.

Listen to a track from this set here.

In the original announcement the next band up was Swirling Shores, listed as "An unforgettable showcase of fearless performance style and sophisticated songwriting skills". Given that there's a million bands out there I've never heard of, it didn't seem strange that that didn't strike a chord, although as it turned out, I was apparently the only one not in on the open secret that this was an undercover show for Spiral Beach, concealing themselves from the NxNE authorities. So, after having seen them the night before and being entertained beyond my expectations, it was a nice turn to have a chance to reinforce my new disposition. Opening up with an improvised goof to call bassist Dorian Wolf to the stage, the band played a half-hour set that semi-overlapped with the previous night, although the first part of this show had more of a gently swirling vibe until kicking things into dancing gear with "Made of Stone" and "Dominoes". All told, the sort of lucky chance that really turned me around on the band.

A pleasing change of direction after that, with hip-hop crew Times Neue Roman taking over. Consisting of Rob Bolton's raps backed by live keys and DJ augmenting their well-produced tracks, the band had a variety of musical flavours, ranging from electro to reggae.⁴ I'd broadly put Bolton's flow into the broad category of "post-Eminem" — though to say much more would put me seriously out of my depth and probably reveal my ignorance about contemporary rap music. The band did a good job of bringing it live, with the keys and turntables adding a spontaneous feel, and the crowd that had assembled by this point were fully appreciative. They even had a fair number of fans out, calling, at set's end for a track called "Hands" to cap things off. I had no expectations coming in, but was fairly impressed.

Listen to a track from this set here.

Next up were the rhythmically intense Pick A Piper, with two drummers at the centre of a frenzied squall, towering over the guitar and bass in front of them. The songs were built up from pre-recorded synth lines and juxtaposed the tribal pummeling against more gentle and rhythmic elements. I recognize the band's talents, especially in keeping two drummers going full-bore without them stepping on each other, and having strongly defined dynamics allowing the songs to build up and ease off. There were some undeniably good moments when everything simmered nicely in a groove, but sometimes I got the impression that, with the drums pounding away, there was no other gear to shift into. A powerful band, but not necessarily with a strong power over me.

The show was completed with the highlight of the afternoon, a set from the always-awesome Laura Barrett, playing solo but bearing a fancy new bass pedal.⁵ Playing a mix of old and newer material, she managed to charm those hearing the songs for the first time as much as the older hands. By the second song, most of the audience was sitting down and paying close attention. In a spontaneous moment, during "Robot Ponies" Rebekah Higgs started to throw in some harmonies and was quickly invited up front for a do-over duet version. The set closed with the lovely "Deception Island Optimists Club", ending a most pleasing afternoon's proceedings.

Listen to a track from this set here.

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¹ Not to mention the work that had gone into the funky art decorating the space. And the barbeque.

² Revealing cover: Paula Abdul's "Cold Hearted".

³ Or possibly a whole lotta Weezer.

⁴ Though I wouldn't've picked them as a bunch to have a band name based on a font joke. I wonder if anyone has broached the issue of them starting a beef with noise-punks Times New Viking?

⁵ And also bearing biscotti, showing that entertainer's knowledge that the surest way to an audience's heart is through their stomach.