NXNE Review: Program @ The Garrison, June 12, 2013

Program played a small crowd at The Garrison as a part of NXNE on June 12. (Photo: Tom Beedham)

Program played a small crowd at The Garrison as a part of NXNE on June 12. (Photo: Tom Beedham)

Fitting in equally with Toronto’s apparent new wave (but not New Wave) of shoegaze bands and the recent realization of post-post-punk revival (can we just call them post-punk?) groups that seem to be popping up widely across the western world (and thus the Venn diagram of circles interested in hearing those forms collide), Program builds songs by methodically magnifying the impact of their smaller elements. They start small, arresting a bar for your initial consideration, and then inflating it with chord variations, pedal effects, and the addition of complimentary instrumental parts – all until they’ve arrived at a lapping, atmospheric wall of sound with plenty of introspective appeal.

Playing the generously cavernous and frankly underused space at the back of The Garrison, Program played to a relatively small (albeit captivated) audience on June 12, but the poor turnout wasn’t all a bad omen for the group; the thinned crowd just seemed to allow the delay-heavy guitar, keyboard and bass sounds that Program relies on a new, more physical route to warp-echoing their way into infinity.

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About Tom Beedham

Tom Beedham is a Canadian writer and photographer based in Toronto, Ontario. His work focuses on independent culture, DIY communities, and their relationship to the mainstream, reporting on a spectrum of creatives that has ranged from emerging acts to the definitive voices of cultural movements. In addition to contributing regular features to AUX, Chart Attack, and VICE publications Noisey and THUMP, he has appeared on Daily VICE, and frequently reviews concerts, festivals, and new album releases for Canadian arts and culture monthly Exclaim!. He is also a co-organizer and curator of the seasonal inter-arts series Long Winter, for which he oversees an online blog and print newspaper-style publication, printed for distribution at each instalment of the event. He was also a DIY concert organizer in his hometown Georgetown, Ontario in the mid-2000s.

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