Album Review: Can The Boy Tell Time – Tunia

Can the Boy Tell Time – Tunia
(2011, self-released)

Tunia is the kindly face-melting new album from Seattle band Can The Boy Tell Time. This music is by no means easy to describe, but I am eager to try. But before I get into it, I want to point out: CTBTT is having their release show for Tunia this Friday, 7/1, at The Mars Bar, with a new 4-piece lineup. I highly encourage you to join me there; it should be quite a treat.

CTBTT is the project of Peter Verdoes and various collaborators. Tunia is the follow-up to their debut full-length The Llama Tapes. Verdoes is well-regarded for a former project as well, math-rock group In Praise Of Folly. He says CTBTT “sort of started in reaction to the pompous nature of my old previous band and the complexity of it all (math rock stuff, touring with a string section, etc). I just wanted to keep everything simple and fairly minimal this time around.” To that end Peter mostly recorded Tunia himself, at home, on old 4-track cassette and 16-track Fostex decks. Translation: this means creative limitation, and you can hear it; the record sounds like real people playing full takes.

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Album Review: Man Man

Man Man – Self-titled EP
(2004, Ace Fu Records)

I got to see Philadelphia’s Man Man at New York’s Mercury Lounge in 2004.* Their set was a spectacle — everyone on stage was an excellent player, each attending to his own intricate part, but together producing an atmosphere of chaos. There was a badass drummer, bass, Farfisa organ, baritone guitar, Rhodes piano, trumpet, vocals, yelling. Everyone also switched on and off playing various types of percussion, so in addition to the drummer at least one other person was at all times beating on something or other. It was intense.

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Album Review: Jack Shriner – Dismember​/​Remember

Jack Shriner – Dismember​/​Remember
(2011, Self-Released)

On Dismember/Remember, Seattle-based Jack Shriner (as heard on Ball of Wax volumes 12 and 17) augments some pretty classic pop song conventions with smatterings of fuzz, synth outbursts and largely interesting instrumental asides. Opener “Corpus A.” is an odd, slinky, indie soul meditation a la mid-90’s Greg Dulli/Afghan Wigs that opens with an acutely dated, 80’s chorus-ey piano synth sound. “Family Quarry” is a breezy bossa nova ditty built on classic 2-5-1 chord changes peppered with more ’80s synth and progressively busy percussion. The fuzz bass, solid-state organ, and general Power Pop grooviness of “Motions” make it arguably the most satisfying track on the album, one that would sound and feel really good live.

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[glocal scene] Birthday Boys

The Maladies singer Daniele Marando shares a birthday with our very own Levi Fuller. I know this because a social networking site told me. In celebration, may I introduce The Maladies (and happy birthday wishes to you both).
The Maladies

Two events have transpired to write this short post; the joint birthday of these two fine musicians, and, after 781 days without a cell phone, I have become communicado. Now at first glance it would appear that they are two mutually exclusive events, but below I will explain that they are not.

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Album Review: Southerly – Champion of the Noisy Negativists

Southerly – Champion of the Noisy Negativists
(2011, Greyday Records)

Another Southerly review? What is this, Southerly central? I swear, there’s a good reason for this. Let me explain.

Those of you who headed out to the Sunset expecting a set of intricately arranged pop music with vocals and hooks after reading Louis’s review of Southerly‘s Best Dressed and Expressionless last week might have been somewhat confused by what you witnessed. Krist Krueger, not being one to worry too much about audience expectations, has, at least for now, revamped Southerly considerably.

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Live Video from the Ball of Wax 24 show (part 2)

I told you I was slow with the video.

Back in May we had ourselves a little live show to celebrate the release of Ball of Wax Volume 24 (which you should just go ahead and buy right now if you don’t own it yet). A few weeks ago I posted a couple videos from that show, with the promise of more to come. Now here are the rest. Enjoy! And join us at our next release show, August 19th at the Fremont Abbey.

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[glocal scene] NXNE Music Festival 4

This final post from NXNE is an all-Canadian selection as the festival reached its climax on Saturday, with only a splattering of bands performing on Sunday. NXNE

The throwaway name of Toronto’s Loopsy Dazy nearly made me miss out on heading to Rancho Relaxo on Saturday night, especially as they were to be preceded by Montreal’s equally cautiously titled Pop Winds. As it turns out, Loopsy Dazy was an apt and thoughtful description. The unsigned band is a relatively new conception, having only played a handful of gigs since September 2010. Seattle is no stranger to the sights and sounds of the Loopsy Dazys of this world, but to see a gig like this in Toronto is a rarity. Six tunes are available for free download from their website. Below is a live 10-minute studio version of a track played on Saturday night, in what was a tense and interesting set:

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[glocal scene] NXNE Music Festival 3

NXNEDay three of Toronto’s citywide NXNE festival.

Sitar success!

The fantastic Elephant Stone provided some sensory satisfaction in the form of Rishi Dhir’s unashamedly pop sensibilities, set to a brilliant backdrop of swirling guitars and pounding percussion.

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[glocal scene] NXNE Music Festival 2

And so continues my NXNE blog.NXNE

I’ve never been to SXSW, so it is hard to make comparisons to its Canadian counterpart. In fact, I’ve never encountered the citywide festival experience before, having only ever been to the more traditional Glastonbury-style set up. What I need is a veteran of the city festival to lead me around, or to give me Red Bull and lead me around, or to extend my patience with Toronto’s public transport (which is wearing pretty thin). Last night, I opted, again, to stay in one place for the evening rather than trying to navigate the slow moving streetcars and subways whilst on a schedule.

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Album Review: Southerly – Best Dressed and Expressionless

Southerly – Best Dressed and Expressionless
(2004, Dead Letter Records)

In that heady, fateful summer of 2004 of which I have now rambled on about several times, I ended up one July evening at a coffee house in Neenah, Wisconsin, where I got to play a show with Krist Krueger, aka Southerly.

Krist is one of those rare people of unlimited energy and industry who make me feel exhausted just thinking about. When I met him he was about one year into a two year nonstop solo tour, and had by that time logged 100,000 miles on a classic Aerostar minivan (as I recall, the tour finally ended when the van did). That whole enterprise was an experiment of sorts, to prove the idea that with laptop, cellphone, talent and effort, you could live indefinitely on the road. Which Southerly did, stopping occasionally in his native Appleton, Wisconsin for a break, or in Portland, Oregon to record. Best Dressed and Expressionless came out of one of these Portland sojourns.

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