Review by Michelle da Silva (@michdas)
Photos by David Thai (@david_thai)
About three-quarters of the way through Nite Jewel‘s opening set for Chairlift at Vancouver’s Electric Owl on April 6, 2012, Caroline Polachek and Patrick Wimberly stealthy made their way onto the crowded dance floor and danced along to Nite Jewel’s lo-fi dance beats. No one seemed to notice the Chairlift duo, and they managed to sneak away before the start of their set without anyone seeing them or stopping to take a pic.
Night Jewel, singer-songwriter Ramona Gonzalez‘s Los Angeles-based alt-dance band, opened the night with songs from her recently released sophomore album, One Second of Love. While the album is filled with ’80s synth sounds and ’90s-style R&B-type dirty bass, layered over drums and Gonzalez’s pretty, milky vocals, the songs performed live felt messily grouped together and a bit all over the place. The highlight was definitely the album’s title track, which found bodies moving on the dance floor, but overall, the Nite Jewel’s set seemed to lack direction (and felt a bit endless), even though it got slightly better towards the end.
Chairlift’s set started with a gradually increasing scream by Polachek before she dived right into “Sidewalk Safari,” the upbeat opening track from the band’s second full-length, Something. As Polachek’s vocals hopped all over the melody with ease, she danced about, moving her arms like they were graceful wings.
When “Video Games” first popped up on many people’s radars this past summer, the questions ran rampant. Who was this Lana Del Rey? Where did she come from? It would soon be revealed that Del Rey was the latest reinvention of Elizabeth Grant, a small-town girl who was born in New York but grew up in Lake Placid. Grant’s career as Lizzy Grant wasn’t much of a success and her debut album was shelved. When Grant appeared as the fuller-lipped and bigger-haired Lana Del Rey, accusations of inauthenticity were thrown around. And adding fuel to the fire was the shaky Saturday Night Live performance that Del Rey had earlier this month. There was already a lot of buzz surrounding her before her SNL showing and after it, she was pretty much one of the most talked about up-and-coming artists. Even though the bulk of what was being said was on the negative side, it created a huge amount of hype going into the release of Del Rey’s second effort and major-label debut, Born to Die. The album is out today in the UK and hits shelves in North America tomorrow.
Born to Die opens with the single of the same name, setting the tone for the rest of the album and drawing on the haunting vocals and lush melodies that Lana Del Rey is known for. Much of the album follows this blueprint, but that isn’t to say that the album is boring and repetitive. From the varying hip-hop-inspired beats to the gorgeous orchestration to the small nuances that might not be as noticeable to listeners, the album moves along quite well and provides a very pleasing sonic experience. Though the production is similar from song to song, Born to Die is a cohesive effort from the proclaimed “gangsta Nancy Sinatra.” It’s a near-perfect album that is probably some of the best pop music made in the past few years. It’s none of that bubble-gum, cheesy stuff that’s constantly on the radio, which is a breath of fresh air.
The first half of the album includes some of Del Rey’s more well-known, slow-building songs (“Born to Die,” “Blue Jeans,” and “Video Games”), but also includes a couple of more upbeat tracks like “Off to the Races” and “Diet Mtn Dew,” showing off her vampier side. A standout track on Born to Die is “Dark Paradise,” hands down. It’s a ballad lamenting about death and the fear of not being able to connect with a lost lover on the “other side.” The tales that Del Rey sings of are autobiographical in nature, reflecting on her adolescent experiences, good and bad. Another standout is “Summertime Sadness,” which is actually Del Rey’s favourite song off this album. It’s got this slow, driving beat that you can’t help but bob your head along with it. All in all, the twelve songs on the standard version of Born to Die are solid and if you’re willing, I’d definitely recommend spending a little more to get the deluxe version that includes three more songs (“Without You,” “Lolita,” and “Lucky Ones”).
If you really want to get down to the nitty gritty, Lana Del Rey’s major-label debut isn’t perfect but it’s pretty damn close. Forget about the questions surrounding her supposed plastic surgery or “inauthenticity.” Born to Die is a promising album, whether you want to admit it or not, and it’s going to make sure that Lana Del Rey is one of 2012′s biggest artists. To all the haters and doubters, you better get used to hearing about Ms. Del Rey because she is going to be Huge with a capital H.
Review by Sandy Wei
Photos by David Thai
I was still standing in line at coat check when Fitz and the Tantrums started their first song “Don’t Gotta Work It Out”. Even without the sight of the stage I could tell from the chaotic loudness that it was going to be an amazing show at the Commodore. Turns out my prediction was right.
The LA soul and indie pop band consisting of lead vocal duo Michael Fitzpatrick and Noelle Scaggs have the magical capability of translating their one-of-a-kind sound into a Motown-esque nostalgia. This retro band backed with instruments of bass guitar, flute, saxophone, keyboard, drums and other percussions contain energy so contagious they didn’t give the crowd a single second of rest.
With a group involving such diversity in image and in sound it is no wonder the people there that night were of all types and ages. The perfect clashing of old and new school vocal styles by both Fitzpatrick and Scaggs is illustrated in songs such as “Winds of Change” and “Tighter” off their debut album Pickin’ Up the Pieces released two summers ago.
Fitz and the Tantrums introduced a new track, “Love Sick Man”, but not without following it up with one of their more popular songs, “L.O.V.”, which is featured on the Friends with Benefits soundtrack. As bountifully talented as the vocalists are, the band gave each instrument a moment in spotlight. And may I just say that the flute murdered it. The. Freakin’. Flute.
Not only did Fitz and the Tantrums go hard with liveliness but they also commanded it from the audience in return, asking the for crowd participation in “Dear Mr. President” and their Eurythmics cover of “Sweet Dreams”. Still, nothing like getting the entire venue to get low to the floor and jump up together during the end song (and surely everyone’s favorite), “Money Grabber”.
I’m hoping the attendees showered immediately after the concert because it certainly got wet. Yes, in that way as well.
Review by Sandy Wei
Photo by David Thai (@david_thai)
On the snowy eve of January 19th, 2012, City and Colour walked calmly onto the Queen Elizabeth stage dressed dapper in their dark suits. And just like that the formality set the mood for the remainder of the night.
Lead hunk Dallas Green leaned into the mic, “We are City and Color”, and went straight into song – “We Found Each Other in the Dark” off their third studio album Little Hell, released over the past summer.
As my heart grew to his flawless acapella singing so did the cheers from the audience. But never loud enough to disturb a baby from its sleep. It must have been the most polite and reserved audience I have ever sat with.
“Sleeping Sickness” and “The Death of Me” from their second album, Bring Me Your Love, began to pick up the pace but fell through as he sang a personal favorite of mine, “The Grand Optimist”. Green reminded us that the song is about his father which made the song (him) that much more beautiful. With the spotlight shining down on him the crowd clapped in unison. Truly a great somber number to perform live with the help of a rumbling bass.
The clarity of his gentle and soothing voice is heard in “As much as I ever could” and “Weightless”. It wasn’t until “Day Old Hate” that nearby-ers started to mumble the lyrics ever so lightly.
Before getting into “Body In a Box” Green kindly requested the audience to put away their cameras and to forget about taking photos for just one song: “Sometimes you want to remember so much that you forget to experience it”. Surely enough, as he sang, strummed and blew into his harmonica (all at once!) everyone sang along as well. Maybe enough to wake up babies this time.
To my delighted surprise, some enthusiasm escaped Green when he asked everyone to help him sing the chorus in “What Makes a Man?”. And as disciplined as could be, the crowd obeyed.
I had to cut the concert short but was happy to leave after “The Girl”. While I exited the venue I wondered if City and Colour suddenly shook things up and triggered people to wildly rip off their clothes. Probably not. I had to accept that the calm and serene appreciation coming from City and Colour fans is an exact reflection of the demeanor that this band calls for.
Robin Thicke’s latest album, Love After War, was released December 6th. I’ve been struggling since then to write this review. It’s not a bad album but it’s boring and I’ve been trying to find a more eloquent and respectable way to describe my sentiments. Alas, I haven’t found a way to do that so, without further adieu, please excuse my poor word choice, but this album is boring. Boring like a cupcake without icing. I guess you could still argue that at least it’s still a cupcake?
My first issue with the album is that I don’t understand his jump from his last effort to this one. The former, Sex Therapy, was urban soul and featured a bunch of collabs (Jay-Z, Game, Jazmine Sullivan, Kid Cudi, Snoop Dogg, Nicki Minaj, Estelle). Love After War features a lot of forgettable slow soul jams you might hear as background music at a coffee shop or in a store. On that note however, the sound to this album is more in line and true to the sound he had on his first few albums.
I actually really enjoy Thicke’s voice. I think he’s got a lot of soul and I do indeed like a lot of his music; this album just isn’t cutting it for me. That being said, there are a few standout tracks worth mentioning. The openers “An Angel on Each Arm” and “I’m An Animal” are upbeat and catchy and probably my favourite tracks on the album. Slower standouts are “All Tied Up” which is the perfect tempo for Saturday mornings when you’re half asleep waiting for coffee to do it’s thing, “Cloud 9″ with it’s whimsical beat, and “What Would I Be?” which in my opinion is the best ballad with it’s strong vocals and soulful key solos.
Like I mentioned earlier, not a bad album, just really, really lackluster. Hey, I just found a better word for boring!
Rating: 3/10
Label: Geffen Records
Favourites: An Angel On Each Arm, I’m An Animal, What Would I Be?
Prince sparkled and funked Vancouver up during what may have been one of the best concerts to hit this city in 2011.
The show started an hour late but all was forgotten when a voice boomed through the speakers: ”Is everyobody here? Is everybody present? Tell me that you’re ready for me!”. Then the lights came on and we all squealed like school girls at the sight of Prince decked out in a gold sequinced suit (the jacket was killer….I want it), gold heels, bling, eyeliner, and sparkle hair gel galore. Honestly, how is it possible that a 53 year old man has sexier legs, walks better in three inch heels, and shakes what his momma gave him like it’s no one’s damn business, all better than me? I’m half his age (and latin – isn’t that shit supposed to be in my blood) and pathetic at all of the above.
The show featured one hit after another (my favourite being “Kiss”) as Prince and his equally decked out band shimmied their way to and fro across the stage (stage is the shape of his love symbol by the way). Sometimes we only got snippets of hits but other times we got ten minutes jam sessions where Prince really flexed his musical ability. For example, we only got a minute of “When Doves Cry” but we got ten of “Purple Rain” and Prince rocking out like no other on his guitar. Oh man he’s good with that thing (I know, that’s what she said right?)
He also did a few awesome mash ups like “Let’s Go Crazy”/“Delirious” (sick saxophone on the latter) and “Everyday People” (Sly & the Family Stone)/“Come Together” (Beatles )/ “Alphabet Street” (Prince). He also played “Nothing Compares 2 U (written by Prince but made popular bySinead O’Connor) and “If I Was Your Girlfriend” (written by Prince but made popular byTLC). And to my happy little surprise, he covered my all-time Michael Jackson favourite, “Don’t Stop Til You Get Enough”.
Prince graced the crowd with two encores because after the first, no one was leaving Rogers Arena. The second encore was one big mash-up of hits which had everyone dancing all the way home.
What was that? You don’t have tickets to his show? Well….what the hell are you waiting for!
Universal Republic recently released Lioness: Hidden Treasures, a compilation of never released Amy Winehouse tracks. The album isn’t as peppy as Back to Black, but it still holds its own even if I’d describe it as coffee shop mellow music. In fact, I think that would be my perfect setting to listen to this album. Drinking java, working on my laptop, all whilst taking small brakes to take the music in. It’s in those small brakes you take that you learn something new about a song and hear a little more soul than the time before.
The 12 track album features some mellow yet peppier tracks like “Our Day Will Come”, “Valerie”, and “Best Friends, Right?”. Then there’s a slew of soulful slower jams like “Tears Dry”, “Will You Still Love Me Tomorrow”, “Wake Up Alone”, and “Body And Soul” featuring Tony Bennett. My personal favourites are the funky “Like Smoke” featuring Nas, the spunky feel-good “Valerie”, “The Girl From Ipanema” which makes me want to be cool and grab a piña colada, and the closing track “A Song For You” which will probably break your heart a little bit (“…and when my life is over,remember when we were together, we were alone and I was singing this song for you….” – think they made this one the final track on purpose?).
Although the album feels more like a modge podge of tracks that I wouldn’t really call treasures, they’re treasures in the sense that they’re the only thing we have left to remember the talented Winehouse.
Rating: 7/10
Label: Universal Republic
Favourites: Like Smoke, Valerie, The Girl From Ipanema
Review by Michelle da Silva (@michdas)
Photos by David Thai (@david_thai)
Vancouver’s Orpheum Theatre could not have been a more perfect setting for Tori Amos’ Night of Hunters tour stop on December 13. The 48-year-old fiery-maned singer-songwriter paid homage to such great classical composers as Chopin, Bach, and Debussy during her two-hour performance on the stage home to the Vancouver Symphony Orchestra.
After a half-hour opening set by Norwegian singer-songwriter Thomas Dybdahl, who accompanied himself solely on acoustic guitar, Amos’ touring string quartet, Apollon Musagète, began the dramatic opening to “Shattering Sea,” the first track off her 12th studio album. Clad in a floor-length silk peach-toned gown, Amos sat down at the grand piano at center stage and filled the room with her soaring multi-octave vocals, singing the lyrics “This is not my blood on the bedroom floor”.
Next, she took the mostly-older audience back in time with “Way Down” off 1996’s Boys for Pele, and the strings (two violins, a viola, and cello) played a creative pizzicato in place of the rhythm section in the song. After a solo performance of To Venus and Back’s “Suede”, Amos finally spoke to the audience, saying “I have some special treats for you tonight” in a slightly wicked tone. She also mentioned that she would sing as many audience requests as possible and to “be patient” with her.
