Review to follow. A raucous Wavelength show was capped off with a set from Ell V Gore, who have tightened up into a pretty fearsome rock machine. You owe it to yourself to go check them out playing on a bill with No Wave legend James Chance at the Silver Dollar on December 16th.
Also: If the person who turned in my Metropass is reading this, please know that I am sending 1000 psychic hugs your way. You have taught me the true meaning of xmas Soybomb.
*I'm pretty sure before it started that Elliott just called out to the band for the "new one" — but if anyone knows the title to this, please leave a comment!Thanks to a commenter for passing the title along.
Full review to follow. A bittersweet night, with Lorna Wright announcing that this would be the last show for her and Nicholas Hune-Brown. With the shift, the band "retired" some of their Album songs by playing them for the last time, and as one last look back, dug out this early composition, which has recently found its way into the setlists of Hut, vocalist Daniel Lee's other band.
Once again the local consulates and cultural associations of European Union nations got together to throw this festival. With free screenings at The Royal, it's a true gift to our city. In a dark hour of financial insecurity, it's good to have a reminder of the continent's abiding cultural wealth.
A. picked this one, and I admit I was a little dubious going in, as the blurb made it sound like a pretty insubstantial bro-down. And cross-cultural comedy sometimes just doesn't translate (about which, more anon).
But right from the opening suicide montage, this film had an undercurrent of black comedy that I appreciated. (Bonus points for having a hockey gag therein, too.) Set in the snowy reaches of northern Finland, this film certainly felt like it was taking place in real winter, something that movies so rarely get right.
The film is also set against the backdrop of hard times. Protagonist Janne's business went under a few years back, but he's having a hard time getting motivated to find a new job — assuming there's anything to be found. His girlfriend Irina is getting tired of his slacking ways, and asks him if he's not going to get anything else done, could he at least get out of bed and go buy that new PVR so they could watch a movie together when she gets home from work? Failing in that simple task leads to an ultimatum and the titular odyssey: if Janne doesn't come back by morning with a PVR, Irina plans to move out. Given that he spent the money she gave him for beer, he'll have to come up with some cash, too.
That sets up an all-night roadtrip with buddies Kapu and Raisanen that turns out to be a very loose re-telling of the Homeric epic. Along the way there's a Suitor to be dealt with as well as Sirens to avoid. But also blizzards, mysterious Russians and reindeer. The direction of the plot is pretty predictable, but the gags are well-done and there's a lot of laughs here. The characters are a little thin, but the acting solid and by the final deus ex machina I had laughed far more than I was expecting. Recommended.
The festival's site doesn't tell us what format they were projecting it in, but it looked like a poorly deinterlaced third generation videotape that wasn't quite properly converted to NTSC — a blurry mess when blown up on The Royal's screen.
I didn't like the film itself at all, either. A light farce about a PTSD-afflicted former soldier, there was an awkward tone throughout, with the broadness of the characterizations feeling entirely at odds with the unaddressed underlying serious issues. Plus, the movie didn't so much have an Idiot Plot1 as take place in an Idiot Version of Latvia. (I'm sure the real place is far more charming.)
It's too much to describe here. At the film's outset Lapins, traumatized by his experiences as a peacekeeper, discharges himself from the hospital, refusing all "chemical" treatments on the advice of rehabbing celebrity Alise, who sets him up with an apartment in Riga, planning to join him later. This leads to a series of misunderstandings with the landlord, complications with Alise's tycoon ex and a would-be gumshoe taxi driver. Oh, and a couple of police officers, one of whom is cheerfully relaxed about the rules and his straitlaced young partner who nevertheless has some police brutality issues.
Trying to set things up, the film employs an unnecessary flashback structure, and then winds things up to a cavalcade of goofy farcical happenstances. I'm guessing there's some cultural commentary wound into all this, but it's really lost in translation and the jokes fall flat in a series of loud thumps. Production values and a music score on a par with '80's TV just add to the general air of shoddiness, meaning this was ultimately painfully unfunny and a chore to get through. This one was my pick, and it didn't go well: A. came out for this one and lasted about an hour before bailing.
"I think I've been sleepwalking again," Arlene tells a friend. This might explain the predicament that she finds herself in at the film's outset — waking up in a forest beside a dead body. It doesn't help her to understand how she got there, or, more worryingly, What She Might Have Done.
The film follows Arlene through her waking hours — we never see her on her nocturnal excursions, just the bruises and sense of dislocation that follow afterwards. "Closely follows" would probably be a better phrasing here, as the camera is tight on actor Antonia Campbell-Hughes throughout, often tracking her with Dardenne-like intensity. And slowly, the circumstances of that opening scene start to become clear to us.
Director Daily is admirably patient in letting it unfold, drawing us into Arlene's world, which is slowly coming apart — her worries soon reduce her to virtually sleepwalking through her days as well. How do the web of relationships in her village work? What's the nature of Arlene's strange relationship to the dead woman's younger sister?
The key element in pulling us into her general dissociation is the sound design, the film's strongest element. Background noises buzz and overpower the voices around her — to the point where we're no longer sure if some of the noises are in her head or not. The effect brings to mind Lodge Kerrigan's excellent Clean, Shaven — though not taken as far as that film.
The movie was atmospheric and engrossing, and not overly-concerned with its plot, which can be a turn-off for some viewers — and a deal-breaker when it's not done well. But this is well worth seeing.
Afterthought: At this festival, the film was presented with subtitles, which are unnecessary — the accents and local jargon might muddle a few lines, but it's comprehensible on its own.
1Idiot Plot: Any plot containing problems which would be solved instantly if all of the characters were not idiots. (source).
Full review to follow. Celebrating the release of their new album, the band are playing twice more this weekend: Friday, Dec. 2nd at Hiruit Fine Ethiopian Cuisine and Saturday, Dec. 3rd at The Tranzac. Eucalyptus' tropical rhythms are like a warm breeze, just perfect to keep those it's-december-already grumblings at bay.
Full review to follow. Suffering from a cold and weary from travelling, Williams led his band with the raggedy precision of a train constantly at the verge of, but never quite, coming off the tracks. Equal parts Pleased to Meet Me and The Shit Hits the Fans, with saxophone by Joseph Shabason.
As a lead-in to the night's CMW-ing, dropped in to the basement at Sonic Boom. The store did an admirable job in putting together their own parallel mini-festival, with three full days of in-store concerts — a cozy environment to hang out and run into friends and familiar faces.
On this Thursday evening, I managed to catch the end of The Paint Movement — it's been awhile, and I need to catch a full set from 'em at some point — but was there for The Balconies. Since the '09 release of their debut album, they've been building up new material, and they were showcasing it here, leading off with one of their new ones before bringing out the older "Battle Royale". Besides that, there'd only be one more song from the album.
For whatever reason, I think every time I see the band I'm mildly shocked that they're as rock as they are — perhaps in my head I always remember their poppy side that's a bit more prominent on the album. It's also interesting to note that sibling Jacquie Neville — always a dynamic focus on stage — seems to be emerging as a frontwoman for the band even more, singing lead on the first three songs here before brother Stephen took a turn — although, of course, in most of them there's a certain amount of back-and forth. Still, this is a shift that plays to their greatest strengths.
The new songs included "Kill Count" and "Tiger", both sides of what would subsequently end up on a 7".1 With nine songs in thirty-five minutes, this was nearly a full set from the band, and they weren't stinting on the effort, having to pause to catch their breath after a few songs. "We've been hibernating for the winter," Jacquie said, noting they'd been doing more behind-the-scenes work on new material than playing around town. Interestingly, after all the new material, the older "Serious Bedtime" came out less sharp in comparison, the harmonies falling a little flat — although when a band is playing in a record shop, you can never be sure if they can all hear each other as well as they'd like. Still, the newer stuff was delivered with a sharp focus, so that augers well as the band gears things up for their second album.
1 This single has now been expanded to an EP that includes three beefed-up re-recordings of songs from the debut. And underlying the increased role of Jacquie Neville mentioned above, it must be noted that she is indeed the "lead vocalist" on all five songs of the Kill Count EP.
Although this was also the first night of Canadian Music Week, I decided to take it easy, and just head out though the rainy slush to this special event at TIFF's new Temple of Cinema. A free screening, in co-presentation with The Music Gallery, this was a programme of shorts curated by Chris Cummings. Known as Mantler when he performs on stage, when not singing his sad songs Cummings has had a long affiliation with TIFF, as well as an academic background in film. So it's no surprise that his selection of music-related cinema was quite a distance away from the typical music video.
In fact, the films hewed much closer to the avant-garde, with many showing audacious experimentation with both content and form — several, in fact, were pioneering in their use of direct animation.1 Starting with a pair of works by Oskar Fischinger, the programme led off with the self-descriptive Motion Painting No. 1 (1947, 11 min.), with hand-painted animation set to Bach's Brandenburg Concerto2, and the quicker, explosive Allegretto (1936-1943, 3 min.), which was quite sublime.
That was followed by a trio of films by Len Lye, starting with the bold, punchy Trade Tattoo (1937, 5 min.). Apparently commissioned by the British Post Office, even with the zingy references to Industry! and the Power of Correspondence ("THE RHYTHM OF TRADE IS MAINTAINED BY THE MAILS"), this visually audacious Technicolor riot was probably not what they were expecting. Even now, we don't have a good vocabulary for this sort of nonlinear boldness — we tend to quickly slip to lazy drug jokes and trippy, psychedelic references.
Rhythm (1957, 1 min.), which is an editing exercise in exactly that, juxtaposing the flow of industrial work to tribal beats.
And Free Radicals (1958-79, 4 min.) pushed that further into abstraction, employing designs — suggestive of both lightning and dancing figures — scratched directly into the film stock and cut to Maori drumming.
The experimental works of the NFB's Norman McLaren are well-known in his home country, although I wasn't familiar with either of these selections. Synchromy (1971, 7 min.) was visual cinema in the purest sense, moving the film's soundtrack into the visual area, so you are literally seeing what you are hearing. It sounds like it had prefigured 8-bit chiptunes music by more than thirty years.
Synchromy's frenzy is in direct opposition to the beautiful simplicity of Lines Horizontal (1961, 6 min.). Although there's probably a math paper to be written here on its use of standing wave patterns, the best thing is to just blank out a little and flow with this, like a kid watching hydro wires rise and dip from the back seat of a car:
After that minimalist exercise, Larry Jordan's Gymnopedies (1965, 6 min.) felt like a rococo edifice, the headlong rush back into complexity feeling almost florid after Lines Horizontal's rigourous minimalism. Employing cutout animation with a Victorian surrealistic bent, this felt like Monty Python-era Terry Gilliam rushing headlong towards Fantastic Planet. But under the calming influence of Satie's forever-and-always gorgeous piece, it found its own meditative rhythm.
A departure from most of the rest of the programme — and its longest piece — Warren Sonbert's Friendly Witness (1989, 22 min.) had a different sort of formal audacity. This exercise in montage mixed together home movie clips cut (in the first half) to rock'n'roll songs, the combination creating a sort of set of personal references akin to Chris Marker. The quicker flurry of selections preceding it might have lowered my attention span, but not as much of this stuck with me.3
The screening portion ended with one last blast of trippiness. Cecil Stokes' When the Organ Played ‘Oh Promise Me’ (c.1940s, 3 min.) was apparently made as a tool in the treatment of the insane in an era when Bing Crosby was considered calming, if not therapeutic, featuring a brain-melting visual field created "using crystallized chemicals and polarized light" set to Der Bingle's soothing tones.
And in addition to all of this was a short performance after from Cummings, playing a brief solo set with wurlitzer and Rhythm Ace. Although he was obviously inspired by the films he presented, Cummings' music is certainly less abstract, and he had no lack of thematically-appropriate material, leading off with "Author".
"That's sort of my love letter to the theatre," Cummings observed afterwards. " Now, I'll do my love letter to the cinema. [beat] It's called 'Crying at The Movies'". And that was followed by the new "Husbands", based on the Cassavetes film of the same name — both song and film closely observed and vaguely melancholic.4
In a brief Q & A afterward, Cummings talked about his relationship to movie music ("a bit of a lost art") and about having done some film music as a cinema student. Asked about how these experimental films might have influenced his music, he talked about his desire to overcome the plainest sort of narrative: "I'm always trying to find a less linear way of writing a song".
That made for a nice wrap to the evening. Well done all around, it was a thoughtfully-selected programme from Cummings. And as cool as it is that many of these are available on the youtubes, it was really excellent to see these on the big screen, in fine prints tracked down by TIFF. In our over-stuffed information-world, curation matters more than ever.
1 That is to say, they were created without the use of a camera — not to be confused with "direct cinema" in the documentary film sense.
2 I can't find an embeddable video for either of the Fischinger works, but here are links for Motion Painting No. 1 and Allegretto. I'm not quite sure what's on offer with all the manga ads on this site — and apparently, my adblocker is way less effective for Japanese ads. Who knew?
3 I also couldn't find this one online at all, so I couldn't refresh my memory.
4 In Mantler-related news, 2000's debut album Doin' It All is getting a digital reissue, and to celebrate, Mantler + band will be playing the whole thing at a special show next Friday (December 2, 2011) at Holy Oak Café. A one-of-a-kind show that would be well-worth your time.
Full review to follow. As expected, a jaw-dropping display of virtuoso musicality from Kouyate and his band. On the last night of a long North American tour, the band still had enough in the tank to delight the crowd.
Full review to follow. Heartbeat Hotel launched their Intae Woe EP by playing gracious hosts to their friends, with fine sets from Carnival Moon, Foxes in Fiction and Ostrich Tuning.
Full review to follow. Another excellent afternoon down in the Kapisanan Centre, with good music, a nice crowd and a warm atmosphere. Plus, I learned about the true meaning of parols.
Founded as a blog about one curmudgeon's love affair with the em dash, Mechanical Forest Sound has grown to become a community-based archive of local musical culture. Assuming that "independent music" isn't just boys with guitars and "culture" isn't just some sort of pageant, MFS is an investigation of a wide range of artists, reflecting on concerts as shared experiences, acts of citizenship and a chance to get down — fuzzy photographs and clear-sounding original live recordings a specialty.
Current manifestations of this project include Track Could Bend, a monthly concert series featuring "improvised music and weird rock offshoots", presented in a casual environment.
At one point I wrote full-on concert reviews, and for longer I thought I would catch up and write about shows in the past. But these days, because of, y'know, life, do not expect much in the way of full show reviews — but live recordings with blurbs will be posted as quickly after the fact as is feasible.
You can also check out full sets uploaded to the Live Music Archive. [not currently active]
N.B.: All recordings should be available & playable. If you come across any broken links, invisible or non-functioning players, etc, please leave a comment and I will tend to it ASAP.
ALSO N.B.: I'm perpetually on the lookout for a new place to stash my MP3's online. If you know of any place that allows a couple gigs of stuff to be openly linked to for streaming, drop me a line!
All MP3's on this blog are audience recordings shared as a reminder of the excitement of seeing live music. If you are an artist who doesn't want their music shared in this way, please contact me and I shall remove it forthwith.
Is your show missing from this list? Submit it via this form!
Soundstreams Encounters: Nagoya Marimbas [featuring Steve Reich’s "Mallet Quartet" and "Nagoya Marimbas", plus works by Ann Southam and Juri Seo (feat. Kairos Percussion Quartet with Aerin Cho) / Hugh's Room 2026-09-29 (Tuesday). $free with reservation. [more info]
Nick Fraser presents (feat. Max Donaldson [solo] / Nick Fraser/Josh Cole/Nicola Miller) / The Tranzac (Southern Cross Lounge) 2026-09-29 (Tuesday). [more info]
Altered States Artist Showcase (feat. Alex Lukashevsky) / Water to Wine 2026-09-30 (Wednesday). $pwyc. [more info]
ESP Free Jazz Thursdays (feat. Brent Tanemura/Lauchlin Wood/Brodie West/Jake Bikay/Mateos Labbé-Phelan) / Water to Wine 2026-10-01 (Thursday). $pwyc. [more info]
Imaginary North and The AMBiENT PiNG present (feat. Cloud Circuit / Metric Time Ensemble / biG kNiFE) / Annette Studios 2026-10-01 (Thursday). $12.67 (advance) / $15 (door), all ages. [tickets + more info]
Project Nowhere × Burn Down The Capital presents (feat. Horse Lords / Common Earth Mineral / Stefana Fratila) / The Garrison 2026-10-01 (Thursday). $32.31, 19+. [FB event]
Liquid Architecture: Guitar Night (feat. Lex Feathers / Aranya Khurana / Colin James Gibson / Ryan Kinney) / St. Matthew's Clubhouse 2026-10-03 (Saturday). $10 (cash or e-transfer). [FB event]
Lucid Lounge Saturdays (feat. Thom Gill/Matthew Pencer/Philippe Melanson/Edwin De Goeij) / Water to Wine 2026-10-03 (Saturday). $pwyc. [more info]
Live scoring: La passion de Jeanne d'Arc (feat. The New Symphony Orchestra) / The Citadel: Ross Centre for Dance 2026-10-03 (Saturday). $23.85 (advance), $25 (doors). [more info]
Axiomatic Heresy [Jonathan Kay/Kayla Milmine/Alex Fournier/Nick Fraser] / The Emmet Ray 2026-10-04 (Sunday – 5 p.m.). $12. [more info]
PORTALZ album release concert (feat. Marbyllia [Margaret Maria & Bill Gilliam] / Margaret Maria [solo]) / Array Space 2026-10-04 (Sunday). $30 (includes CD). [FB event]
Steve Reich at 90! (feat. Soindstreams) / Koerner Hall 2026-10-06 (Tuesday). $35-$94.75. [more info]
Track Could Bend #121 (feat. Shawn Will / Benny Liquid [Nü Creature + Zachary George] / Nina Boujee) / Wenona Lodge 2026-10-06 (Tuesday). $pwyc. [FB event]
Raybody (Jackie West / Luke Kuplowsky) / Dina's Tavern 2026-10-06 (Tuesday). [more info]
Holy Oak Family Singers Present: Madonna (feat. TBA) / The Tranzac (Southern Cross Lounge) 2026-10-07 (Wednesday – early). [more info]
Andrew Downing Quintet [Andrew Downing/Michael Davidson/Nick Fraser/Aline Homzy/Ted Crosby] / The Rex 2026-10-07–10 (Wednesday–Saturday). $20. [more info]
ESP Free Jazz Thursdays (feat. Brent Tanemura/Lauchlin Wood/Kae Murphy/William Hunt/Mateos Labbé-Phelan) / Water to Wine 2026-10-08 (Thursday). $pwyc. [more info]
Idée Fixe Records 15 (feat. Jennifer Castle / Isla Craig / Cormac Culkeen with Michael Cloud Duguay / Alex Lukashevsky / Kyla Marlena / Potions / Roy / Joseph Shabason / Bry Webb) / St. Stephen-in-the-Fields 2026-10-13 (Tuesday). $26.93. [tickets + more info]
X Avant XXI: Memory Mannnnn, Night 1: Ghost Grain (feat. Ava Mendoza / Andrew Noseworthy & Grace Scheele) / First Unitarian Church 2026-10-14 (Wednesday). $22.14/$27.29/$33.47. [tickets + more info]
Funz Mini-tour/Ur Audio-Visual label showcase (feat. M. Mucci / Bird City / The Golden Funz) / The Keating Channel Pub & Grill 2026-10-14 (Wednesday). $pwyc. [FB event]
X Avant XXI: Memory Mannnnn, Night 2: Flashback (feat. Sonic Bikes / Bilal Nasser & Ensemble) / First Unitarian Church 2026-10-15 (Thursday). $22.14/$27.29/$33.47. [tickets + more info]
X Avant XXI: Memory Mannnnn, Night 3: Ancient Circuitry (feat. Mani Mazinani's Solar Organ Ensemble / For The Youth: Reilluminated) / First Unitarian Church 2026-10-16 (Friday). $22.14/$27.29/$33.47. [tickets + more info]
Diane Roblin’s Life Force (Diane Roblin/George Koller/Tim Shia/Kevin Turcotte/John Johnson/Colleen Allen) / The Rex 2026-10-17 (Saturday – 2 p.m.). $pwyc. [more info]
Experimental Link Series: Strings of Iran (feat. Hossein Behroozinia/Mehdi Rostami/Pooyan Ranaei/Bamdad Fotouhi) / Trinity Presbyterian Church 2026-10-24 (Saturday). $43.63. [tickets + more info]
Zoo Owl (Steve Shiffman & The Land of No / Aedon Bears) / Handlebar 2026-10-24 (Saturday). $pwyc. [FB event]
Burn Down The Capital presents (feat. Trevor Dunn/Karen Ng/Nick Fraser / Colin Fisher/Will Hunt/Jack Johnston/Cal Adam) / Standard Time 2026-10-29 (Thursday). $28.27, all ages. [FB event]
Kieran Daly/Dan Fortin/Philippe Melanson / The Rex 2026-10-31 (Saturday – 11 p.m.). $pwyc. [more info]
Soundstreams Encounters: Violins Unbound [works by André Ristic, John Beckwith, Chris Paul Harman, Parisa Sabet, Ana Sokolović] (feat. Judith Fliedl & Roan Ma) / Hugh's Room 2026-11-02 (Monday). $free with reservation. [more info]
Not Dead Yet presents (feat. Weird Nightmare [Hoopla record release shows]) / Osler Records 2026-11-18&19 (Wednesday & Thursday). $24.94, 19+. [tickets + more info]
Mike DeiCont & Dan Fortin / Sellers and Newel 2026-11-25 (Wednesday). $20 minimum donation. [more info]
Marilyn Lerner & Matt Brubeck / Sellers and Newel 2026-11-26 (Thursday). $20 minimum donation. [more info]
Soundstreams Encounters: Orison [a new music theatre work-in-progress featuring the ondes Martenot] (feat. Daniel Áñez & James O’Callaghan) / Hugh's Room 2026-11-30 (Monday). $free with reservation. [more info]
Musica Universalis (feat. C'est la fête Large Ensemble) / The Tranzac (Southern Cross Lounge) 2026-05-08 (Friday)
Ayal Senior & Friends (feat. Ayal Senior & Kurt Newman / JOYSHAPE / Ryan Dugre / Nick Flanagan) / The Tranzac (Southern Cross Lounge) 2026-05-10 (Sunday)
Cosmic Homeostasis XXXII / The Tranzac (Living Room) 2026-05-17 (Sunday)]
Playscape Emporium: Paint, Play (feat. Duo Cichorium/Constant Yen/ Rowan Campbell/Charlee Wielgoz/Fahmid Nibesh/Joe Strutt/Mira Martin-Gray) / Array Space 2026-05-21 (Thursday)
Wenderly Park (Colin Fisher / Isla Craig) / Le Monde 2026-05-22 (Friday)
Ministry of Phonic Services presents (feat. Ben Rempel & Justin Gunter / Not the Wind, Not the Flag / Doug Tielli & Mike Gennaro) / Bickford Park 2026-05-24 (Sunday)
Life Drawing (feat. Cosmic Homeostasis) / Riverdale Park 2026-05-31 (Sunday)
Prepare the Ground Festival (feat. William Basinski) / Trinity-St. Paul's Centre 2026-05-31 (Sunday)
Track Could Bend #117 (feat. saucering / Colin Fisher/William Hunt/Jack Johnson/Cal Adam) / Wenona Lodge 2025-06-02 (Tuesday)
Ayal Senior & Friends (feat. Ayal Senior/Nathan Yell/Marilyn Yogarajah / David Sait / Nick Flanagan / Nathan Yell) / The Tranzac (Southern Cross Lounge) 2026-06-14 (Sunday)
Andre Ethier (Cows in Rain / Eliza Niemi) / Dina's Tavern 2026-07-05 (Sunday)
Track Could Bend #118 (feat. Ubersuck / Mike Gennaro / Wilderness Adventure Ride) / Wenona Lodge 2026-07-07 (Tuesday)
Toronto Improvisers Orchestra / The Tranzac (Southern Cross Lounge) 2026-07-12 (Sunday)
Ayal Senior and Friends (feat. Country Phasers / Meggie Remy / Nick Flanagan / Heraclitus Akimbo) / The Tranzac (Southern Cross Lounge) 2026-07-12 (Sunday)
Rebecca Hennessy's Singer-Songwriter Circle (feat. Rebecca Hennessy/Michael Herring/Felicity Williams/Patrick O'Reilly) / The Tranzac (Southern Cross Lounge) 2026-07-19 (Sunday)
The Fiver Trois (Isla & The Sorry Brothers) / Dina's Tavern 2025-07-24 (Friday)
Jennifer Castle (Potions) / The Garrison 2025-07-25 (Saturday)
Heraclitus Akimbo (Hoover Party / Del Stephen / Hex-A-Decimal × Leucrocuta) / The Sun Room at 918 Bathurst 2025-07-26 (Sunday)
Kathryn Merriam with Bea Labikova/Raphael Roter/Heather Saumer / The Tranzac (Southern Cross Lounge) 2026-07-29 (Wednesday)
The Ryan Driver Sextet With Thom Gill As Ryan Driver / The Tranzac (Southern Cross Lounge) 2026-07-31 (Friday)
Track Could Bend #119: An Evening of Graphic Scores co-presented with Public Library (feat. Public Library with Roa Lee and Alison Melville) / Wenona Lodge 2026-08-04 (Tuesday)
Humbucker Music Residency (feat. Humbucker Music / Sandy Ewen) / The Tranzac (Southern Cross Lounge) 2026-08-07 (Friday)
new works for improvising musicians (feat. Josh Cole/Lina Allemano/John Oswald/Nick Storring/Owen Kurtz) / The Tranzac (Southern Cross Lounge) 2026-08-10 (Monday)
Track Could Bend #120 (feat. Dave Grenon's Indistinctive Gait w/ Ayesha Lye / Caution Wet Floor Signs) / Wenona Lodge 2026-09-01 (Tuesday)
Equinox and Solstice Residency (feat. Ghostlight) / The Tranzac (Southern Cross Lounge) 2026-09-05 (Saturday)
Ministry of Phonic Services presents: Back to School Field Trip: Dome (feat. Brandon Auger / Ben Grossman / Fahmid Nibesh) / CNE Bandshell 2026-09-17 (Thursday)
Ministry of Phonic Services presents Back to School Field Trip: Otherwise (feat Heraclitus Akimbo / qeTTe fossa & Mateos Labbé-Phelan) / Bickford Park 2026-09-22 (Tuesday)
Ministry of Phonic Services presents Back to School Field Trip: UFO (feat. Gayle Young & Reinhard Reitzenstein / SlowPitchSound / Fleshtone Aura & Sandro Perri / tête à tête à tête) / Oculus Pavilion 2026-09-25 (Friday)
Imaginary North and The AMBiENT PiNG present Ambient Afternoon (feat. Jessica Deutsch / Little Jim / R Grunwald) / Society Clubhouse 2026-09-27 (Sunday)
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