Well, well…Mr. Shields…took your sweet fucking time, didn’t you?
In any case, it’s good to have My Bloody Valentine back with a new album. And not just any new album, but a new album that’s actually great. The extent to which it is a masterpiece may remain to be determined, but the fact is that this is a solid and often stunning album that somehow manages not to disappoint, and even improve melodically on the band’s past work.
The most amazing thing about the album, however, is that it actually sounds like the My Bloody Valentine album that I think we all wanted to hear as the follow-up to Loveless: all the churning, wall-of-noise guitars, the melodies, the sensuality – everything that made us love My Bloody Valentine in the first place is still there. I would’ve thought that after all this time and with Kevin Shields being as crazy as he’s gotta be they would’ve sprung something totally weird and unexpected on us all, but no, this is the exact My Bloody Valentine we know and love with a couple tweaks maybe in the rhythm department. Whereas Loveless‘ drums were all (or almost all) programmed on account of Colm Ó Cíosóig being extremely ill at the time and unable to play – and pushed far back in the mix – here the man is back in action and all percussion is given considerably more volume and attention. There’s been some writing about Kevin Shields having gotten into jungle music and drum n’ bass or whatever after Loveless, but the influence of such genres is, if not always exactly subtle, at least restrained.
Honestly, if that’s all Shields has in him and we never get another My Bloody Valentine album – something I doubt anyone holding their breath for at this point – it’s cool. The man and the band didn’t have to do anything after Loveless, and the fact that they did and it’s this good is just like…you’re good. You passed. You made a solid amount of great art; you pass at life. That’s not to say it wouldn’t be amazing to hear Shields and MBV putting shit out on some conception of a regular basis – it would – but the pressure is off now. You made your masterpiece and you followed it up. Good stuff, bro.
I fell in love with The Brian Jonestown Massacre after seeing DiG when I was 15. I know that BJM frontman Anton Newcombe didn’t appreciate his portrayal in the film, but to me, the band I saw in that film was so incredible because it was almost as if all they had was their love of 60′s music and their conviction that they could make music just as good for their time. And that went a long way. I immediately went out and bought Their Satanic Majesty’s Second Request - that was a great album. I downloaded the rest of their discography and loved most of it – there were a couple albums I wasn’t that excited about – namely the newer ones, as much as I hate to say it. The BJM were a great band in the 90′s, partly because they were so out of time and place – there was nothing ’90′s’ about their music after Methodrone. By 2003′s And This Is Our Music they kind of consolidated their sound and they lost that great ‘fandom’ energy that made them so exciting up to that point, as they jumped from exploring one sound to another with each new album – all the time, still sounding so essentially like themselves. I stopped listening to them for a while, only returning after hearing them at a trashy hipster bar in Brooklyn in 2010 and remembering how great a band they were, especially if you listened to them in the right context. When I found out they were coming to Tel Aviv, I was psyched to have a chance to finally see them live after listening to them for so many years. I managed to get a guestlist spot to cover the show, and so here are my impressions of the BJM in 2012.
The lineup I saw included many of the key players from the band I fell in love with in DiG, such as Matt Valentine and Joel Gion. They all actually look pretty much the same, despite the fact the band I saw in that movie was really at least 10 years younger than the one I saw on Wednesday. Unfortunately though, it’s not quite the same band. These weren’t the young fuck-ups in an up-and-coming band with a hopeful future ahead of them and the world at their feet from the movie – these were musicians. Perhaps they were playing the music they knew and loved - indeed, much of the set was from their classic 90′s output – and perhaps they were having a great time doing so. But that ‘youth element’, that unpredictability they were so renown for, was nowhere to be seen.
Musically they sounded professional – not astoundingly tight, not loosey-goosey – but professional, able. They played the songs; they sounded like they did on record. Ironically, there may have been a lot of audience members in the 90′s who wondered why this band couldn’t put their shit aside and just play a fucking concert, but here they were doing just that with no problems and at all…and it just didn’t feel special. And with a band like the BJM it is all about the feeling. The BJM isn’t Radiohead - they’re not a band whose songs in and of themselves are really all that mindblowing – nor are they Led Zeppelin or some band known for being really tight and technically impressive. What made them so great in the first place was the feeling that they had and could infect their listeners with. And you can still hear that feeling on their 90′s records, but in 2012, it’s just not there anymore. Most likely this is something they can’t be blamed for – they’ve gotten older and they’re just not that young and exciting anymore.
I believe that there’s going to be a time when The Brian Jonestown Massacre are really, really cool again and we’re going to re-love them like we do Guided By Voices – but I don’t think we’re there yet. My advice to the band from this perspective would be: lay low for a bit and then come back and play a bunch of reunion shows that makes everybody piss their pants, just like Dinosaur Jr. and My Bloody Valentine did and continue to do. But that being said, at least in Tel Aviv, there’s plenty of demand for them right now – indeed, the show was pretty full – and maybe the bandmembers need the cash.
Toronto dreampoppers Heartbeat Hotelare gonna be dropping a new 12″ EP on November 26th called Intae Woe. You can stream it right now off their bandcamp (linked to above). I’d say it’s probably the best thing they’ve ever done; its six great songs of gorgeous, reverb-drenched guitars, aching melodies, and swirling ambience. Legits, yo. You can grab it for $5 at their release party at The Silver Dollar.
In honour of the 20th anniversary of My Bloody Valentine‘s masterpiece album Loveless, we, the indie-rockers of Toronto, would like to show our gratitude with this covers compilation. You can download it for free off soundcloud, but please support the original artists who created the masterpiece by heading over to your local record store and purchasing the album on vinyl. It’s totally worth it.
Over the last year or so, Memoryhouse went from an interesting, little Guelph-based shoegaze project to a Sub Pop-signed, Toronto-based buzz band – and it all started with one little EP Evan Abeele and Denise Nouvion recorded at home. With the Sub Pop release re-recorded The Years EP coming up next week (it’s out on the 13th) and a looming debut album, I managed to grab a phone interview with guitarist Evan Abeele to discuss the band’s beginnings, shoegaze music, and Virginia Woolf.
And if you feel like listening to the new version of The Years while reading this, here it is for your enjoyment:
M: How exactly did everything begin?
E: I met Denise at a concert where she was shooting the band for a magazine. I knew one of her friends that she was with. Then we would just always end up running into eachother at shows in Guelph, where we both used to live. It just kind of started from that. We started hanging out, we had similar tastes, similar ideas about art, and so we felt we should probably try collaborating.
M: I read somewhere that you are a “neo-classical composer” – is that true?
E: I studied it, but it’s not something I actively pursue. It was kind of what I did before Memoryhouse, classical and ambient stuff, but it’s just kind of a side-project for me now.
M: Before Memoryhouse, was that what you wanted to actively pursue?
E: I don’t know, it was just something I wanted to understand a bit better. I don’t always have an interest in that kind of music, mainly I was interested in baroque composition, orchestral type stuff. When I first heard Memoryhouse by Max Richter – which is what we’re named after – I started really considering minimalist and neo-classical music, which is not really about what you’re arranging or what you’re not really arranging, it’s the stages in-between those arrangements. I guess I found that interesting.
M: A lot of people would call the music you guys make shoegaze; is that something you guys endorse? Are you fans of shoegaze?
E: We’re definitely fans of shoegaze, or at least I am. It’s always hard to understand where people come from with shoegaze because to me it’s all about like really, really big distorted guitars and walls of sound. I don’t think we do that on our recordings, but we do like doing that live. That’s something I’m a fan of – just having really sick, reverb-drenched layers of guitar, because I am a huge fan of Kevin Shields, My Bloody Valentine, that whole shoegaze aesthetic. I’m not sure if we really come across as shoegaze. We definitely take it as a compliment when people call us that, but I guess it’s hard for me to associate my perception of shoegaze with other people’s, but it’s definitely cool if you want to call us that.
M: What are your favourite shoegaze bands?
E: I like Slowdive a lot. My Bloody Valentine, obviously. Ride are very cool. I don’t know if Cocteau Twins are shoegaze but I like them a lot too.
M: You guys released this EP, The Years – how did that come about? When you recorded it with Denise was it like, “Let’s try recording some stuff,” or…
E: Yeah, absolutely. The unfortunate thing was that it was us just trying to come into ourselves in a sense, we were just testing the waters. It’s weird to come back and readdress it and reassess it now that we’re on Sub Pop. I guess the idea with the remake/reissue is to make it a more clear statement of intent from us.
E: I guess it kind of got passed around a lot, like a lot of people were posting about it. We just kind of put it online and eventually it got to a few Pitchfork writers who then emailed me some questions about it and then it got on the site.
M: And when you got that email from Pitchfork what was your reaction?
E: Um, I don’t know, I guess I thought it was pretty cool because obviously they’re hugely influential. At first I didn’t really care, it was like, “Oh, some writer from Pitchfork is emailing me about The Years.” I guess I didn’t really process it until I saw it on the website, then I was like, “Oh, it actually got there.”
M: So you guys signed with Sub Pop a while ago – how did that happen?
E: It was a similar situation to the Pitchfork writer. They emailed us and when I saw that it was a Sub Pop email address I didn’t lose it. We were talking to labels at the time but seeing that name attached to that email, it just wasn’t the same because they’re obviously such a hugely influential label and just a label that meant a lot to me personally. I adore their releases. It was pretty crazy. We got to talking and talked about our plans for the next couple years and Memoryhouse ended up signing a contract with them.
M: Can you explain a bit what you mean when you say Sub Pop is a label that means a lot to you personally?
E: Well, they introduced the world to Nirvana and obviously Nirvana’s Nirvana, and they were hugely influential. They’ve released classic albums like The Shins’ Oh, Inverted World and stuff like that. They’ve just been that label with that kind of reach that affects you in your day-to-day life. It’s not just something transient like other labels. Sub Pop really know who they are and they really know the musicians that they’re working with. It’s really special to be working with a label that has that kind of cache.
M: You recently added a couple members to the band, what made you guys decide to do that?
E: We definitely knew that we wanted to find a more organic space, especially live. I’m not an electronic musician and I really have a very novice understanding of electronic music. I’m a big fan of listening to it but I just don’t have any formal training with it so it’s always just something I’m not going to have a great grasp on. With the initial release of The Years it was just two people working in a small home studio and we didn’t have studio drums at our disposal so having electronic beats and synthesizers made sense in that context, but we want to move away from that. The “Caregiver” single was the first step towards making a more organic space both live and in the studio, so we hooked up with our drummer Daniel (Gray), and Warren (Hildebrand) – who is the lead guy in Foxes In Fiction* – and right now we’re playing as a five-piece. It’s been really cool to see the new songs come life, because they were all written with a five-piece band in mind. They’re a more playable set of songs rather than having electronic layers and textures that were harder to translate into a live performance.
M: So what’s going on with the album you guys are working on?
E: It’s pretty secret right now. We have all the songs written, we’re done pre-tracking and we’re going to work on it for the rest of the summer. It’ll be out I guess first quarter 2012.
M: Are you working with any producers?
E: I don’t think we’re quite at liberty to say just yet but he’s a Toronto-based musician/producer. He’s really, really talented and kind of an auteur, that’s why we sought him out. It wasn’t like a predictable choice where you get a buzz-y producer that’s going to make you the next Vampire Weekend or something. We wanted someone that releases very nuanced, specific material and we really wanted to capture that kind of feel.
M: What’s the story with the song “Heirloom”?
E: “Heirloom” is one of my favourite songs. We originally intended it to be the A-side of the single but everyone said that “Caregiver” was the more clear A-side, which I would still contest to this day. It was our first really upbeat song, which is cool because the LP has a lot of those uptempo numbers, it’s very balanced. It definitely was a very positive turn for us because it proved that we could write upbeat numbers but still retain our own identity in them.
M: Final question: what is your relationship with My Bloody Valentine’s “When You Sleep”?
E: When we decided to cover “When You Sleep” we were on tour and we were staying at this place in the UK, in Notting Hill actually, and they had this cool upright piano that was like super out of tune. I would just mess around on it because we’d have these long stretches of time off when we were touring Europe so we’d hang out and write songs. We knew that we were going to be doing a video with Yourstru.ly when we landed in San Francisco so we were trying to decide what we should do for that performance. I guess I just decided that it would be interesting to reinterpret “When You Sleep” as a ballad, just completely strip all the idiosyncracies from that song and insert Memoryhouse into it. That was the general idea.
As a listener, it’s a really epic song. It’s really cool. It’s kind of about confusion and misinterpretation and that’s definitely something that I’m a fan of myself in writing. I always tend to go towards the more obscure feelings and sentiments. I definitely think that’s something that My Bloody Valentine are masters of. I guess it’s something very easy to relate to on a very visceral level. And it’s also just a really awesome song.
Our Toronto brethren in experimental-pop project Moon King have released a new, all-Simpsons footage video for their song “Big Dumb Blue Angel” which you can see above. I’ve heard it before, but upon a closer listen, Daniel Woodhead and Maddy Wilde‘s harmonies remind me considerably of Ecstacy and Wine-era My Bloody Valentine…no? Anyway, Moon King‘s playing a bunch of shows in Toronto and Brooklyn soon, you can check the dates here.
What a fucking day. This was probably the best day of the festival, as well as the most exhausting, and the most painful, since I had to sacrifice seeing Chad Vangaalen and my beloved Handsome Furs for reasons of practicality. On the other hand, the bands the Gold Soundz crew did see were pretty fucking awesome.
Marc: First event of the day was the Bruise Cruise, presented by M For Montreal and Brooklyn Vegan. Assunta and I got to the boat at like 1:30, got on, got some free food, beer. The thing set out onto the lake; the wind was blowing, the sun was shining, everyone onboard was cool and hip and enjoying themselves. It was basically like hipster heaven on Earth, and hopefully noone takes offence at my using that term, as I full endorse hipsterness or the hipster movement or whatever. What I mean is the entire boat thing was just plain awesome in every sense.
First band we saw was Montreal’s francophone garage-rockersJesus Les Filles. They were pretty awesome. Great songs. Solid performers.
Unfortunately we missed Uncle Bad Touch (despite my being a fan of “Mikey of Priestess“). We needed a good reason to leave the breezey, beautiful deck of the boat to come to the hot-as-fuck lower part – so that band didn’t make the cut but we made sure to come down for Young Governor‘s set. If you read this blog much, you know my fandom of all things Ben Cook (Fucked Up, Bitters, Marvelous Darlings) is borderline ob/excessive, so yeah, it was an awesome set. They stuck to the faster, punkier songs that make up most of the Young Guv output (“Summer Girl”, “Virginia Creeper”), but it would’ve been nice to hear some of the softer stuff (“Married Man”, “To Burt”) just because its also awesome…and those are some of my favourite songs. When are we going to get a full album of this stuff!?!? Soon please…
Assunta: I only saw the two last songs of Ty Segall‘s set. People holding bottles or cups full of water were throwing it everywhere – it was dripping from the ceiling, off the bodies in the crowd, it was pretty crazy. One band member went crowd surfing and basically got sandwiched between the people and the low-hanging ceiling, and at one point about 10 people stormed the stage and just went berserk. So yeah, pretty fun set to watch.
Marc: Once I got off the boat, I ran to the conference centre at the Hyatt to catch So You Want To Found A Startup, Eh? with Tara Hunt, the CEO and co-founder of Buyosphere.com. Although I only caught the last 20 minutes or so of the conference, Tara came off as a really personable, charming, knowledgeable (and pretty cute) woman, and what she told the crowd was actually helpful, not just obvious, such as good books to read, things to consider about presenting to potential investors, programs in Canada designed to help web startups, as well as many other things, many more of which I’m sure I missed.
From there I ran my ass off to get to Yonge and Dundas to catch DOM‘s set only to find out that they cancelled a half hour before they were supposed to go on. WTF DOM! You guys are bums. So I grabbed a burrito and waited around until the next set.
Cults went up next and gave a decent performance. Though just a bit overhyped, they’re a pretty good band and they gave a pretty good performance to a crowd that seemed to have a ‘yeah, they’re pretty good’ vibe.
After Cults, I ran home to make dinner and write about Friday’s NXNE happenings. That took about two and a half hours, forcing me to miss the Flemish Eye/Weird Canada showcase at The Great Hall that I wanted to check out before Wild Nothing at Lee’s Palace. But oh well – I went straight to Lee’s and luckily got to skip the line with my press pass and go straight in. Wild Nothing was great. I actually listened to Gemini again today and it felt a little limp in comparison to the surprisingly lively show the band put on. Not only did a real drummer help, but even lead singer Jack Tatum – who writes all the moody gems and whom you’d expect to be kind of mopey – was relatively lively in his own semi-awkward way.
Twin Shadow played after and was fucking amazing. The room was packed, lead singer George Lewis was having a great time, getting into the songs, making jokes (“We want to thank SXSW for having us!”), the band was raging. It was just a great, great set. Even fucking Brendan Canning and Allie Hughes were dancing behind us!
Crazy. And then after the set, Lewis was writing on T-shirts, joking around with people, for the whole night he was kind of like the most popular kid in art school.
Closing off the night for us was another bunch of shoegazers, this time Toronto’s Memoryhouse. Since I last saw them at our launch party show Wintergaze, they’ve beefed up from a three-piece to a bad-ass quintet, losing a bit of the intimacy but gaining some serious muscle and tightening up big time. I loved it. Especially my personal favourite track “Heirloom”, which sounded fucking awesome, improving on the recording (which is great also) by giving it some serious balls. Although I will admit I like the sparser version they do of My Bloody Valentine‘s classic “When You Sleep” more than the rock band-y one they did last night.
I’d like to dedicate this mix to my good friend Assunta’s beautiful new haircut and how 80s she looked last week
1. New Order – Bizarre Love Triangle
2. My Bloody Valentine – Lose My Breath
3. The Cure – Pictures Of You
4. The Replacements – Never Mind
5. Television Personalities – Paradise Is For The Blessed
6. Christian Death – Romeo’s Distress
7. The Soft Boys – I Wanna Destroy You
8. The Smiths – Panic
9. Black Tambourine – Throw Aggi Off The Bridge
10. Ultravox – Vienna
11. Cocteau Twins – Lorelei
12. Prince – Sometimes It Snows In April
13. The Skids – Peaceful Times
PS: Ok, “Throw Aggi Off The Bridge” may have been recorded/released in the early 90′s, and “Peaceful Times” was released on the 1979 album Days In Europa, but they were very, very, very close to the 80s, so gimme a break.
Tonight, scuzzy post-punk/shoegaze Toronto band Portraits are playing a digital EP release show at Tiger Bar with Odonis Odonis, Hellaluya and Sexy Merlin. Should be a kick-ass show, and they’ve put together a kick-ass mix of shoegaze, punk and post-punk from the last four decades to both soundtrack and celebrate the night.
1. The Buzzcocks – Orgasm Addict
2. Odonis Odonis – Blood Feast
3. Lowlife – Eternity Road
4. Felt – Cathedral
5. Secret Shine – Loveblind
6. The Jesus And Mary Chain – Never Understand
7. No Joy – Heedless
8. My Bloody Valentine – Want
9. The Cure – All Cats Are Grey
10. Dirty Beaches – Sweet 17
11. Girls – Carolina
12. Sonic Youth – Kissability
13. Young Prisms – Breathless
14. The Smiths – The Headmaster Ritual
15. Tamaryn- Love Fade
16. Atlas Sound – Bite Marks
17. Slowdive – Blue Skied An’ Clear
9. The Replacements – “Bastards Of The Young” off Tim
Westerberg’s ultimate anthem for the misfits of his generation, this song speaks volumes with each line. “The ones who love us best/Are the ones we’ll lay to rest/We’ll visit their graves on holidays at best/The ones who love us least/Are the ones we’ll die to please,” is probably one of the most painfully true lines in all rock and Westerberg delivers it with a biting poignancy. Not only was “Bastards Of The Young” the song that best represented The Replacements, it was a voice-of-a-generation level achievement that endures as a major classic.
8. The Who – “Won’t Get Fooled Again” off Who’s Next
A classic in every way. Lyrically brilliance, experimental in its use of the synthesizer (appropriating Terry Reilly’s ideas into a rock context), explosively performed as usual by The Who and just generally one of the finest compositions of one of the finest composers of the rock era, “Won’t Get Fooled Again” is a mammoth accomplishment for any band. And at its core the song is actually so simple, which was Townshend’s genius. “I tip my hat to the new constitution/Take a bow for the new revolution/Smiling free at the change all around/Pick up my guitar and play/Just like yesterday/Then I’ll get my knees and pray/WE DON’T GET FOOLED AGAIN!” Daltrey sings. Damn, that’s great writing. Oh, and also: “YAAAAAAAAAAAAAAAAAAAA!!!!!!!” That parts also essential.
7. George Harrison – “What Is Life?” off All Things Must Pass
This is how you create a classic: you go all out. And who knows more about going all out than the legendary Phil Spector? No one. Seriously. Strings, horns, harmonies, that classic reverb, breakdowns, buildups, etc. And Harrison’s song was a perfect fit for it. If you want a big song, you need big feelings, and here Harrison is singing “What is my life without your love?” It doesn’t get much bigger than when you throw life and love together.
6. Bob Dylan – “One Too Many Mornings” off Live 1966: The Royal Albert Hall
A stunning electric performance of one of Dylan’s best, early heartbreak songs. Of course the expected Dylan imagery is ridiculous from the first line: “On the streets the dogs are barking and the day is getting dark/As the night comes in-a-fallin’, the dogs will lose their bark.” The power the song gains from The Band’s excellent backing is enormous, transforming a quiet ballad of lost love into a lumbering heart-wrenching tale. And then there’s that awesome little break before the band ends each verse with “beeeeeeehiiiiiinddd”.
5. My Bloody Valentine – “When You Sleep” off Loveless
A gorgeous song. Kevin Shield’s amorphous guitar layers and his and Belinda Butcher’s ethereal cooing vocals push this melodically brilliant song into the top ranks of rock achievements. The song’s swooning melodic hook is just beyond anything. Ever.