Bad Vibrations: Black Train



This Halifax trio comes with a heavy East Coaster street rep built on the solid work of singer/guitarist KC Spidle, ex-of Dog Day and it does not disappoint. The lineup’s completed by Evan Cardwell on bass and the mighty Meg Yoshida on drums. Put ‘em all together and they conjure up the kind of baleful noise you’d expect from a band called Bad Vibrations. Y’know, the grinding, deathcore guitars, rib shaking bass and massive drum assaults.

There’s all that and there’s something else going here, namely a ripping homage to early speed metal and the NY punk scene from which it derived. This is a sinister, heartfelt, swerve driving sound, outtakes from a time-warped, meth-fuelled mashup involving Anthrax and The Ramones

Buckle in and brace yourself because there will no soft entries here and precious little downtime.  Opening track ‘Losing Time’’s brief intro and headlong plunge is a good indicator of what you’re in for, given that most tracks  clock in between two and three minutes. With the notable exception of  “Growing”, a showcase  of raw axe power from Spidle coming in just under the two-minute mark.

Come for the dense death metal, stay for the burning speedcore.

James Lizzard



Guest Journalist: Julia Rytell

NOT only fans of the band Green Day will love this show!  It is a compact and artfully staged musical, showcasing the talents of some amazing young rising stars along with live music from a 6-piece band (and the cast members at times as well). Visual vitality and meaning is added to the music with this interpretation; a true musical, for very little is said, most is sung.

Director Michael Mayer’s script for Green Day’s American Idiot music, with lyrics by Billie Joe Armstrong, introduces three young male characters who leave the suburbs for city life to fall into different paths.  Johnny (Van Hughes), electrifies the stage with his frustrations, vices, and confused emotion. He has the most presence and energy of the three; constantly in motion. Will (Jake Epstein) sinks into torpor on the couch for most of the production with a bottle for comfort, unwilling to deal with his girlfriend’s pregnancy, rising from time to time to unleash a sorrowful but glorious voice. Tunny (Scott Campbell) takes another route and joins the military, losing a limb in the service, which brings us a hospital scene with a moving, very sweetly sung and cutely executed soldiers’ quartet, followed by a dreamy morphine-induced aerial dance with the Extraordinary Girl.

Sacred Balance: Sacred Balance



Montreal’s Pouya Hamidi and Toronto’s Chloe Charles both have heavy reps within their scenes as avant composer and edgy vocalist respectively. So yeah, quirky expectations were afoot from the moment Sacred Balance formed, although some wondered just how quirky a band named after a sombre work by enviro-activist David Suzuki could get.

So yeah, we gotta be looking at more than electrobeat trance pop. Best news here is that this stuff isn’t as balanced as the title suggests but has its own shade of reckless cool.

The opener is a thing of flair and promise, primal drum stomp, dissonant chords with a delirious femme chorale floating atop, and plenty of fuzz toned guitars to keep it grounded in its Montreal anarcho-pop roots.

Track two is even more pop-giddy but kept from floating off by Hamidi’s sinuous and claustrophobic keyboard/programming work and a slippery rhythm section.

Track three is a highlight, a set piece for the wrecked and wistful cabaret style vocalising of Chloe Charles set against the most shamelessly baroque right outa Phantom of the Opera organ riffs. Abruptly, she’s outa there and sailing into the cosmos on a soundtrack from a lost Lost In Space episode. Funny shit, all very retro-futuristic and it works as edgy trance, if that’s a thing.

The next track starts promisingly enough with mournful violin atop swirling synth patterns and then quickly strolls onto Norah Jones turf and hangs there, content to leave the atmospherics to the instrumentation. Mark this one as a ‘time out’ and move on.

Compact DISCovery


Jaimie Vernon

It’s that time of year again when we count our blessings and look into our wallets and realize we haven’t purchased all the music we wanted this year. I’m adverse to year-end ‘best of’ lists because it presumes the reader has the same taste in music as the music reviewer. So this week I will run down highlights from the whole year as my column is only a few months old and I didn’t get to investigate all the Canadian pickings that were available. For those that have been following along, I thank you and for those just tuning in here’s what you missed.


Never in the history of Billboard Magazine’s Top200 album chart have four Canadian artists dominated the Top5 simultaneously. Depending on the day you look at the numbers we’re seeing these CDs rallying for a position at #1: Michael Bublé (“Christmas”), Justin Beiber (“Under the Mistletoe”), Nickelback (“Here and Now”) and Drake (“Take Care”) [as of this writing Bublé controls #1]. To put this in perspective one must understand that these artists are competing against the unstoppable force that is Adele, Rihanna, Lady Gaga,Taylor Swift and the ‘Glee’ soundtrack stateside.  Bubbling under on the remainder of the chart is Justin Beiber’s previous releases “My World 2.0” (at #89) and “Never Say Never: The Remixes” (at #111), and Celine Dion’s and Sarah McLachlan’s Christmas album re-entries.

Compact DISCovery


Jaimie Vernon

The Time Capsule

Compact DISCovery


Compact DISCovery

Jaimie Vernon

Go Go Girl In A Modern World

Each new Laurie Biagini release is met with Christmas Day anticipation. Especially if you like Christmas on the sun-soaked, sand-filled beaches of Santa Monica in July. Her last album, ‘A Far Out Place’, married the groovy harmony and musical stylings of The Beach Boys and other California surf artists from a female perspective. ‘Go Go Girl in a Modern World’ takes the next leap with a broader range of 1960s authentic sounding AM power pop.

Taken at face value it seems a rather odd musical marriage coming from an exotic Italian musician from Vancouver, British Columbia, Canada. But when you hear the craftsmanship in the songs, you’d swear Biagini grew up on Venice Beach and spends her days, the breeze whipping through her hair, riding the Pacific Coast Highway in her car. In fact, the song “My Little SUV” gives us a modern re-tooling of classic car songs like “Little GTO” and “Little Honda”. You just want to ride along as she throws her cares to the wind.

The title track, “Go Go Girl in a Modern World”, is self-referential in that Biagini knows she’s out of step with current musical trends. Nowhere else are you going to find tips of the hat to The Ad Libs’ and the Mamas & Papas in one song – “I Ride on the Train” successfully melds the groove of “Boy From New York City” with M & P’s “Creeque Alley”. She also tips her hat to both Mamas & Papas and Lovin’ Spoonful on the baroque shuffle of “Summertime”.

Open Hearts Society: Love In Time



Right off the top, the best collection of songs about tilting at windmills since Don Quixote dropped his debut album.
A pair of musicians Chris Brown and Eric Schenkman tried going home again to Wolfe Island only to discover turbines in the mist and folks getting all confrontational about the enviro-damage or not.

So they do what musicians do with most everything; they write a collection of songs about the situation, recruit a frontline activist with a pleasing midrange and a killer smile named Sarah McDermott, hustle up some heavy hitters for a backline and out of the kitchen comes Love In Time.

Nine songs written and recorded at the old Post Office on Wolfe Island, inspired by Mother Nature and Human Nature. in collision, primarily over the issue of wind turbines in a rural environment. While it’s not a singles as such album, given the pedigree of the principals, most famously Spin Doctors and Bourbon Tabernacle Choir, there will be hooks on such as the title track and “Freedom”. But the strength of this unit is in its ensemble performance, which is reflected in a song structure that doesn’t allow for much in the way of solos.

With such smooth close –order playing and the rich harmonies and variety of voices, you don’t miss ‘em much and frankly, tunes like “Only Home” and “Pass The Buck” couldn’t be improved upon in any style.

Elliott Brood at The Phoenix Concert Theatre


Toronto ON

It’s said that back when they first started U2’s mastery of their craft was such they could turn a club into a stadium. Elliott Brood pulled off that neat trick in reverse, managing to change the cavernous Phoenix Concert Theatre into a jammy campus pub, replete with low hanging fog of weed smoke.

Exactly the accessories needed to frame the enthusiasm for the transplanted Toronto road warriors’ homecoming.

The sharp-dressed alt-country trio returned from a Western Canada tour in a triumphant mood, coming on at once both relaxed, sharp and more on the case than ever. This was demonstrated early on when Casey Laforet’s guitar rig went sideways and couldn’t be righted. A less experienced crew would have hesitated but after taking it around one more time, banjo picking Mark Sasso smoothly assumed lead duties and drummer Steve Pitkin dropped it down a couple of notches for a downright tasty semi-acoustic workout.

Once Laforet’s probs were ironed out, it was pedal to the neo-hoedown metal as the full house of Brood fanciers grooved out on everything thrown their way, even the still newish material from current album Days Into Years.

Compact DISCovery

Carole Pope.jpg

Jaimie Vernon

Carole Pope

Up until the late ‘70s Canadian female artists were represented by Middle of the Road sweetness-and-light or Country cross-overs like Anne Murray and Carroll Baker; most were phenomenal vocalists, but not artistic trailblazers.

Then punk kicked at the darkness until it bled razorblades and women became empowered enough to lead from the crotch. Several rallied to be Queen of the Outrage like Michaele Jordana from The Poles, The B-Girls, and The Curse.

But it took Carole Pope (fronting the band she co-founded with Kevan Staples called Rough Trade) to marry subterfuge with commerce and create the groundwork for sexual revolution and equality in an industry dominated by the good ole boys.  Hell, King-of-the-Canadian Playboys Greg Godovitz of Goddo was so intimidated by her he wrote her a song.

And as the next wave came and went, Jane Siberry, Mary Margaret O’Hara, Dalbello, Pope took no quarter. A relentless string of hits through the ‘80s has left her views on sex, religion and the body politic unrivaled in the mainstream [yeah, I’m pointing at you Madonna and Lady GaGa]. 

Even with Rough Trade long gone, Pope has continued pushing her own envelopes through the last two decades, including a warts-and-all autobiography. So here we are six years after her last ambient/trance/urban/rock solo effort, ‘Transcend’, and it can be said that she has not capitulated.

Valdy Danced That Old Dance Once More


Story:  Sandy Graham

On a windswept, rainy night in Toronto, the inside of the legendary Hugh’s Room was warm and comfortable, with a sold out crowd for the one night appearance of Canada’s folk treasure, Valdy.  A cultural emissary, Valdy is one of Canada's trusted spokespersons, and a seasoned performer to boot.  Nearly thirty-seven years of relentless concert touring have made his show a disarming and practical blend of respect for the audience and charming stage performance.

With two 40 minute sets that just sailed by, the crooning folksinger had the crowd in the palm of his hand, singing all his hits and some future hits as well, from his upcoming CD, set for release sometime in 2012. Valdy understands that people have come to be entertained; he tailors each of his shows, as many as two hundred a year, to suit the audience at that specific venue.

He sang all the songs the crowd requested of him and as all good folksingers do, asked them to sing along to hits like “Play Me A Rock ‘N’ Roll Song, Simple Life, A Good Song, Peter and Lou, Yes I Can, Dirty Old Man, Renaissance” and added an impromptu version of "Farewell to Nova Scotia." (Valdy even brought a song up to current speed with the new addition to the verse of "A Good Man", changing “I have a family and you have a mother” to “I have a family, then another”.

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