(I got the idea for this series while sifting through the ‘piles’ of digital photos on my laptop. It occurred to me to share some of these great pics from some of my favourite concert sets from time to time. Until I get around to the next one, I invite you to peruse my ever-growing list of concerts page.)
Elephant Stone @ Zaphod Beeblebrox, 2012
Artist: Elephant Stone When: November 28th, 2012 Where: Zaphod Beeblebrox, Ottawa Context: I got to see Elephant Stone for a second time in late 2012 at the legendary, but sadly now defunct, Zaphod Beeblebrox in Ottawa’s Byward Market. The four-piece psychedelic indie rock band out of Montreal, led by bass/sitar player, Rishi Dhir, took to the stage in a blaze of swirling, psychedelic guitars. It was as if the doors to Zaphod’s were thrown open and instead of crisp wintry cold, wafts of fresh and warm summer air breezed through the room. Even though they started off their set with a couple of newer tracks, there was still a familiarity that pervaded their sweet sixties-influenced sound and I couldn’t help but allow a smile to creep on to my face. From the Polaris prize-nominated debut album, “The seven seas”, Dhir and company breathed fresh life into personal faves, “How long?”, the title track, and the elegantly epic, “Don’t you know”. They also introduced the crowd to eagerly anticipated new material from their sophomore album, that was due out the following February, including the latest single “Heavy moon” (the namesake for that particular tour), which only whet my appetite for more. Point of reference song: “Love the sinner, hate the sin”
Rishi Dhir of Elephant StoneMiles Dupire-Gagnon on drumsStephen ‘The Venk’ Venkatarangam and Gabriel LambertMiles and RishiGabriel Lambert and Miles Dupire-GagnonRishi with the sitar
(I got the idea for this series while sifting through the ‘piles’ of digital photos on my laptop. It occurred to me to share some of these great pics from some of my favourite concert sets from time to time. Until I get around to the next one, I invite you to peruse my ever-growing list of concerts page.)
Amos The Transparent at Ottawa Dragonboat festival 2018
Artist: Amos The Transparent When: June 21st, 2018 Where: Ottawa Dragonboat Festival, Mooney Bay Park Context: In just over a month, local Ottawa indie rockers Amos The Transparent are playing a show at the legendary Neat Cafe out in Burnstown to celebrate the 10th anniversary of their sophomore record, 2012’s “Goodnight My Dear…I’m Falling Apart”. It’s a show I really would have loved to have seen but it just so happens that the show sold out yesterday. Of course, thinking wistfully about missing this show got me reminiscing on the four other times that I did get to experience the six-piece orchestral indie rock outfit, the final of which was just over four years ago (for free) at Ottawa’s Dragonboat festival. They were slotted in at the opening spot for the evening but they played like headliners and had a great time doing so. Ever the crowdpleasers, they made sure to play a representative selection of fan favourites from all four of their records, not at all leaning heavily on the album they had just released. To show my appreciation, I made sure to take the opportunity to stop by the merch tent to pick up this latest album, as well as the aforementioned sophomore record, for my vinyl collection. It’s more than likely that you’ve never heard of this band so I recommend you remedy this wrong posthaste. Point of reference song: “I’m going to make you cry”
Jonathan Chandler of Amos The TransparentOlenka Reshitnyk of Amos The TransparentJames Nicol of Amos The TransparentChristopher Wilson on the drumsDan Hay, guitar heroMike Yates on the celloMike, Dan, and OlenkaJonathan and Olenka rocking out
Much has been made about the length of time that has passed between the second album by Alvvays (pronounced ‘Always’) and this new one. Indeed, five years is an eternity in the music world in this day and age, what with trends whipping by at a torrid pace and viral videos and music streaming. And yet one can’t help but refrain from laying blame, what with the events of the past few years, and those being especially pronounced for the Toronto-based indie pop band. In addition to plagues, they’ve had to overcome thefts and floods and changes in personnel, but luckily for all of us, they seem to have come out of this period of quiet all the better for it.
I’ve been following the group led by long-time friends Molly Rankin and Kerri MacLellan, as well as Alec O’Hanley, since the appearance of their self-titled debut back in 2014. I loved the dreamy bursts of sunshine indie pop on the album, the jangly nostalgia, and the youthful maturity of songcraft therein. The follow up was more of the same in taste and texture but showed a progression worth following. Much of this third record, which takes its name from a beverage favoured by the two lead protagonists in their even younger youth, was written shortly after the original touring cycle for “Antisocialites”, around the time that Sheridan Riley joined them on drums and long before Abbey Blackwell replaced founding bassist Brian Murphy. With all the delays, they really did have a fully formed idea of the album when they finally convened to record it in the fall of 2021. My understanding is that it was recorded in much the way you can hear it on the record, front to back, twice through, in one day, but that the mixing and perfectionist refining afterwards took much, much longer.
“Blue rev” is quickly becoming my favourite by the group, if it hasn’t yet achieved that honour. It goes far beyond the borders of their original pigeon-holed territory of light and jangly indie pop and at the same time, doesn’t betray it’s long-time fans. It’s noisier, louder, longer, smarter, more assured, and lots of fun. Like the previous album on this list, I have a new favourite track on the album every day and I expect that to continue as each listen reveals new layers and textures and lyrical gems to behold. The three tracks I’ve picked for your perusal were almost selected at random. Really, you could do no wrong with any track here.
“After the earthquake“: Track three on “Blue Rev” was inspired by a short story collection by excellent Japanese writer Haruki Murakami. It is three-minutes reminiscent of The Smiths but with sharper teeth, spikier hair, and more anger than mopery. It’s a remembering of good times before disaster struck and nothing was the same. And just before the two-minute mark, time stands still and Rankin murmurs and wonders aloud wrapped in a gentle synth wash: “Those days, I’d never let you fall apart. But things fade like the scent of a brand new car. Why would I ever fall in love again when every detail is over the guardrail?” It’s heartbreaking.
“Pharmacist”: The opening track and first single has been called their My Bloody Valentine song. At just over two minutes, it’s shorter than anything (save for maybe “Touched”) on “Loveless” but it’s not any less immediate. The moment the heavy layer of guitars are plopped down in the lap of the otherwise jangly palette, you feel that nervous anxiety put forth by Rankin’s meeting up with the sister of her ex. “I hear it happens all the time. It’s alright (it’s alright). I know I never crossed your mind.” She sounds reliable and reassuring and then, any questions are put to rest by a flailing guitar solo, as if to say, pay attention, we’re not done with you yet!
“Very online guy”: One of these songs is not like the others. Where the other two were more aggressive and heavy on the noisy guitars, this last pick mines the impersonal and cold tones of 80s synth pop. It’s almost a perfect backdrop to which to set a calling out on reply guy culture and the nastiness of hiding behind the anonymity of ones and zeroes. “He’s only one flicker away. He’s only one photo, one filter away.” Even Rankins’ vocals are obscured and filtered through technological trickery, adding more fun to the chugging beat and sentient synthetic ambience. Brilliant stuff.
We’ll back in two more sleeps with album #1. In the meantime, here are the previous albums in this list:
My (life in) music lists 