Category Archives: Burden of Salt

Burden of Salt was an arts and culture blog I operated from 2010 through 2014. Don’t ask me about the name. This also served as an online portfolio for some of the work I contributed as a volunteer (2009-2011), Arts and Culture Editor (2011/2012), and Editor-in-Chief (2012/2013) to The Ontarion (the University of Guelph’s independent student newspaper) as well some reviews and interviews for Aesthetic Magazine and Truth Explosion Magazine.

Hillside reviews: Fucked Up at Guelph Lake Island Stage – July 28, 2013

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Fucked Up play unreleased material, announce return of Long Winter at Hillside

Fucked Up played unreleased material and announced the return of its Long Winter series at Hillside Festival in Guelph, Ont. Photo: Tom Beedham

Fucked Up might have passed up a perfect opportunity to perform a rare (if not a three-years-in-the-making premiere) performance of “Solomon’s Song” with Colin Stetson at Hillside, but we’ll have to forgive them.

Having played a solo set on the Island Stage just hours before Fucked Up’s, the experimental saxophonist could have easily subbed in for Year of the Ox collaborator and Bitters member Aerin Fogel on the band’s 2010 Zodiac series b-side, but such is the stuff of the Guelph, Ont. festival’s highly regarded collaborative workshops – and not it’s regular concert presentations – anyway.

Instead, among some fistfuls of classics, Fucked Up used it’s half hour and change to test some (marginally shorter) new material it spent April and May holed up recording at Steve Albini’s Electrical Audio recording studios in Chicago. There was the “It’s the privilege of mass delusion” chorused track that has been performed without a name since the band debuted it at the February edition of its Long Winter series at The Great Hall in Toronto, and also “Daddy” (finally named after premiered untitled at Exclaim!’s North by Northeast showcase at the Horseshoe Tavern June18 – watch video of the song’s NXNE premiere below), which frontman Damian Abraham dedicated to the band’s children.

The band with the f-word name further proved itself to be a family affair when it closed with “The Other Shoe” and Abraham’s older son, Holden, was invited onstage to contribute group vocals to the song’s chorus (even if nerves got the best of him in the end).

While the new songs have been given stage time before, it’s no surprise Fucked Up would try to familiarize their fans with them while still providing sets that churn out previous full length classics like “Black Albino Bones” (which Abraham dedicated to anyone in the crowd afflicted with the “horrible addiction” of vinyl collecting), “Son the Father,” and “Turn The Season,” as well as 2012 single “I Hate Summer” to keep the crowd participation up. Still, with the studio time behind them, it’s easy to surmise that it’s only a matter of time before Fucked Up’s new LP drops and it’s given precedence over offerings from David Comes To Life and The Chemistry of Common Life; 2006’s Hidden World was virtually unrepresented at Hillside.

Still, the band was all nostalgia in between songs: Abraham asked fans if anyone was present for the band’s performance at Guelph’s long-since defunct punk commune, The Punkalow, and the singer also related a story about a Holy Fuck fan mistakenly attending one of Fucked Up’s shows and subsequently purchasing an album.

At the end of the set, Abraham made sure fans received random articles of clothing that arrived onstage by way of the pit, and Hillside host Vish Khanna announced the band’s Long Winter series would return to Toronto in November.

Hillside reviews: Sarah Neufeld at Guelph Lake Island Stage – July 28, 2013

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Arcade Fire and Bell Orchestre violinist performs music from solo debut in Guelph

Sarah Neufeld (left) brought life partner and Arcade Fire/Bell Orchestre bandmate Colin Stetson (right) onstage for a special performance of “Breathing Black Ground” amid a set of her solo material at Hillside Festival in Guelph, Ont. July 28. Photo: Tom Beedham

Positioned on the Island Stage at the tail end of a program of solo performances from fellow Arcade Fire and Bell Orchestre bandmates Richard Reed Parry and Colin Stetson, experimental violinist Sarah Neufeld used her own time at Hillside to give a rapt audience a preview of the bulk of her upcoming solo debut, Hero Brother.

Opening her set the same way her album does, Neufeld kicked things off with hypnotic album cuts “Tower,” “Hero Brother,” and “Dirt,” then skipping over a few she’d save for the finale to jump into the contrasting “Wrong Thought” and “Right Thought.”

Having recorded the album with site-specific acoustics in Berlin, at recent performances Neufeld has requested that venues supply wooden boxes or cookie sheets for her to kick while fiddling away. But positioned atop Hillside’s Island Stage, a hollow plywood construct, Neufeld found an entirely new environment to route her songs through, by way of much more than geography.

A student of the revered Suzuki method – the highly intensive school of violin – Neufeld weaved intricately around the strings while pounding the stage with her deliberate heel blows, delivering it all from behind a deeply concentrated gaze. But the show broke highbrow when one particular stomp coincided with a small explosion to the side of the stage and Neufeld quipped about causing it with her foot.

The violinist also sliced any pretension by getting casual with the crowd in between songs.

Breaking to take a drink after “Right Thought,” Neufeld lifted her Hillside mug and drained a handsome gulp, claiming, “I need to let the muscles in my arm unseize before I play again. That’s what the beer is for, I guess.”

She quickly retracted the statement, however, to make reference to her other occupation, yoga instruction.

“No! That’s yoga!”

It all made for a fitting segue leading into “Muscle Till Death,” a song that doesn’t appear on Hero Brother’s tracklisting and suggests Neufeld’s solo album might not simply be a one-off.

She followed the track with the album’s “Forcelessness,” featuring a guest performance from Richard Reed Parry on guitar (a collaboration Neufeld announced she’d never been able to perform live before).

After that, Neufeld closed the set with Hero Brother centerpieces “Breathing Black Ground” and the beautifully melancholic “They Live On,” bringing life partner and experimental saxophonist Colin Stetson onstage with his century-old bass sax for the former and relating the experience of recording it in an abandoned geodesic dome “with lots of reverb.”

It wasn’t the last the crowd saw of Neufeld and her associates at Hillside, though; Neufeld, Parry, and Stetson all performed a special collaborative workshop with Lee Ranaldo & The Dust as well as special guests that closed out the festival at the end of the night.

Hero Brother releases August 20 via Constellation.

Setlist:
“Tower”
“Hero Brother”
“Dirt”
“Wrong Thought”
“Right Thought”
“Muscle Till Death”
“Forcelessness” (w/ Richard Reed Parry)
“Breathing Black Ground” (w/ Colin Stetson)
“They Live On”

Hillside reviews: Colin Stetson at Guelph Lake Island Stage – July 28, 2013

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Colin Stetson performed at Hillside Festival in Guelph, Ont. July 18. Photo: Tom Beedham

Having released the completion to his New History Warfare trilogy in April and subsequently earned a second shortlisting for the 2013 Polaris Prize, it came with no surprise that the Island Stage tent at Guelph Lake was packed for Colin Stetson’s Hillside performance.

Even if the festival horde that assembled around the stage at Hillside had done so on the grounds of base curiosity and the ambiguity of the invisible sounds provided by Stetson’s recordings failed to establish him as a force to be reckoned with in their minds beforehand, his live performance likely confirmed his status as a one-man orch-rock army.

With less than an hour of stage time at his disposal, Stetson delivered only a handful of his surreally affected sax drones at Hillside Festival, but he still managed to showcase three songs from each of the latter two volumes of the New History Warfare.

Opening with “Among the Sef,” the mournful alto-sax supported ode to octopi that didn’t have much luck coming on land, Stetson set the tone for the ironically elate crowd that would receive his afternoon performance.

He followed the song by picking up his century-old bass-sax and strapping on his throat mic for a medleyed version of the New History Warfare Vol. 2: Judges title track, a rendition that also delivered portions of “Home” and “Fear Of The Unknown And The Blazing Sun.”

Next was another bass-sax rendered number, “High Above A Grey Green Sea,” introduced with just a brief mention of the infamous 52-hertz “Loneliest Whale In The World” cetacean whose song cannot be registered by other whales (he instructed the crowd to do their own research). Stetson has dedicated the song to the sea creature since a friend told him it called into mind the whispered stories of the elusive whale.

Perhaps as a nod to the closing of his trilogy’s narrative, Stetson closed the set with the title track from New Histroy Warfare Vol. 3: To See More Light.

At the end of the day, Stetson also participated in an improvised collaborative workshop with Sonic Youth member Lee Ranaldo and his new band The Dust, as well as Little Scream, fellow Arcade Fire/Bell Orchestre bandmates Sarah Neufeld, Richard Reed Parry and Stefan Schneider (read the review here).

Setlist:
“Among the Sef”
“Judges” (including “Home” and “Fear Of The Unknown And The Blazing Sun” medley)
“High Above A Grey Green Sea”
“To See More Light”

Hillside reviews: Richard Reed Parry at Guelph Lake Island Stage – July 28, 2013

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Richard Reed Parry shares stage, announces collaboration with Dallas Good of The Sadies

Richard Reed Parry performed his rarely heard “Quiet River of Dust” project at Hillside Festival in Guelph, Ont. on July 28. Photo: Tom Beedham

Although he’s recognized as a multi-instrumentalist that plays everything from drums and double bass to accordion and celesta in Arcade Fire and Bell Orchestre, when Richard Reed Parry performed his solo work at Hillside Festival July 28, he came onstage bearing only an acoustic guitar.

Well, that and some friends.

Performing his yeti sighting-rare and All Tomorrow’s Parties-retained “Quiet River of Dust” project at Guelph Lake with the help of Bell Orchestre bandmate Stefan Schneider on drums and Laurel Sprengelmeyer (Little Scream) on keys, Parry kicked off the first of three hours of Hillside programming from members of the two most publicized bands to which he belongs.

Although he played the more sparsely attended hour amongst the block that also saw performances from Sarah Neufeld and Colin Stetson, perhaps not used to holding the spotlight onstage (although visibly comfortable, no doubt), Parry also called upon some collaborators to share the stage with.

Performing a song he called “Gentle Pulsing Dust,” Parry invited fellow Hillside performer Dallas Good of The Sadies onstage to introduce his own voice and an electric guitar into the mix. Parry also announced the two of them have been working together on material on-and-off for some years (Parry, 35, also joked the process might mean the two won’t get around to releasing a full record until he turns 40, so there’s that, too).

Sarah Neufeld – who, in addition to her own set, also performed in a special collaborative workshop with Parry, Colin Stetson, and Lee Ranaldo and The Dust at Hillside – also joined the performer onstage.

While not a set highlight, immediately following Parry’s performance, a festival announcer told the audience that Arcade Fire would release a new album Oct. 29, to which Parry quickly responded with a “Shh!” over the mic. Of course, the release date of Arcade Fire’s upcoming record went public July 12 when the band’s Twitter account responded to a fan’s praise on Twitter with news of the album. Parry’s reaction to the Hillside announcement of that news suggests that perhaps not all of the Grammy Award and Polaris Prize-winning band was in the loop on or concerned with the promotion strategy (if that) for the new release. Or maybe he was just being coy.

Hillside reviews: Yamantaka // Sonic Titan at Guelph Lake Conservation Area- Island Stage – July 27, 2013

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Yamantaka // Sonic Titan performs new material at Hillside Festival

Yamantaka // Sonic Titan performed a new, unidentified song at Hillside Festival in Guelph, Ont. July 27. Photo: Tom Beedham

Apparently having left the black and white dragon puppet they memorably snaked through the crowd at their last appearance in Guelph and other recent performances, Yamantaka // Sonic Titan’s roughly 40-minute Hillside set was less about the theatrics the art collective has been given attention for and more about the music.

The group nodded at Noh and kabuki theatre with their characteristic face paint and lead singer Ruby Kato Attwood’s fan dancing, but that wasn’t all stuff the audience took in as the group played through its set, only breaking to introduce songs or express gratitude.

Having released their self-titled debut LP in 2011, the group has otherwise only released a single, “Lamia,” via the 2012 edition of the Adult Swim Singles Program, but YT//ST still managed to go beyond providing performances of the aforementioned single and YT//ST staples like “Hoshi Neko,” “Queens,” and “Reverse Crystal Murder of a Spider” when they gave their performance at the Island Stage.

Sure, all of those songs made it into the mix, but the group also served up a cover of Japanese super-group PYG’s “Hana Taiyo Ame,” and piqued interests with a new, unidentified song featuring lead vocals from YT//ST regular Ange Loft. Referring to the group’s honorific as a character, Loft sang of “Yama looking back at me” on the track, which boasted heavier, more metal-leaning instrumentals than other songs the group featured on their debut.

Pair the output of that performance with the group’s announcement of a signing with Suicide Squeeze in April, and perhaps we can anticipate some new recorded material from this group in the near future.

Yamantaka // Sonic Titan also performed a special collaborative workshop with AroarA on the Sun Stage at Hillside Festival.

TURF reviews: Belle & Sebastian at Fort York – July 7, 2013

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Belle & Sebastian band leader Stuart Murdoch charmed the crowd at Fort York as Belle & Sebastian closed out Toronto Urban Roots Fest July 7. Photo: Tom Beedham

Kicking things off with an instrumental that amasses more sounds and contributors as it progresses, the sprawling B-side that is “Judy Is a Dick Slap” and its late ’80s/early ’90s game show theme comparisons provided a fitting opening number that also allowed Belle & Sebastian’s roster modest introductions to the crowd. For the most part, it operated simply as a vehicle allowing the band’s members to enter the stage as their contributions were cued into the mix, saving formal introductions for later and allowing their musical capabilities to speak for themselves.

The one slight exception was Belle & Sebastian founder and band leader Stuart Murdoch’s entrance, which involved the ceremonial closing of an umbrella. That action simultaneously signaled the end of the downpour that affected previous sets on TURF’s last day and the beginning of Belle & Sebastian’s. For anyone out of the loop, it also confirmed Murdoch’s place as the band’s central entertainer.

From there on, Murdoch was behind the wheel of one of the most charismatic, charming, and crowd involving concert performances Toronto has experienced this year so far.

That a Belle & Sebastian concert earns that title is probably directly due to the fact that so many of Murdoch’s pretty songs double as character profiles and critiques that mash up omniscient storytelling, dark humour, and twee instrumentals. It’s a delivery formula that sort of just necessitates audience familiarity, investment and captivity.

The real-life size of Murdoch’s subjects allows Murdoch to inject a heavy dose of literalism into his performances, and it certainly doesn’t hurt that he follows up on the opportunity.

The portion of Belle & Sebastian’s set perhaps most illustrative of such dramatics was its vaudeville performance of Murdoch’s bully-lamenting anthem about a boy that wore mascara, “Lord Anthony.”

Setting things up for the song, Murdoch had crowd members with access to the VIP pit pass off a tube of the aforementioned makeup to a girl in the front row. Later on, the singer left the stage, passed through the VIP crowd, and approached the girl only to have her theatrically apply it to his eyes, then climbing atop the barrier to pantomime the closing portion of the number and the words, “leave two fingers in the air” by doing just that with his middle digits.

Prior to an earlier performance of “The Model,” Murdoch called upon a girl in the VIP pit to join him onstage. Mentioning he was supposed to go on a date with the girl after the show, the two sat at a table and engaged in what the singer called “indie Scrabble,” playing a speedy, un-scored round of the game. Not letting the show go on without music for too long, Murdoch soon left his seat to start the song as other band members joined his “date” at the table to push the game along. At one point left to her own devices, the girl too left her seat to dance along onstage, even pretending to flash the crowd when Murdoch half-whispered the song’s line about “The girl next door who’s famous for showing her chest.”

Other tactics Murdoch enlisted in his TURF M.O. involved inviting a couple handfuls of fans onstage to dance during “The Boy with the Arab Strap,” dedicating “The Stars of Track and Field” to Wimbledon champion and fellow Scotsman Andy Murray, relating an alleged recent facial surgery that left him unable to whistle and thusly requesting the audience’s participation on “The Loneliness of a Middle Distance Runner,” calling on an audience member to get onstage and provide former band member Isobell Campbell’s spoken part on “Dirty Dream Number Two” (she sang the part when the band got there, but such is a risk that comes with the territory of selecting crowd participants at random), and taking asides in the middle of songs to censor his more colourful lyrics because of the festival’s “all ages” demographic or alternatively to greet remarkably well-behaved babies in the VIP pit (learning parents take note: Belle & Sebastian’s bedroom pop is newborn friendly).

Of course, Murdoch doesn’t have to engage in kissing baby campaign tactics to win over his audiences; it all just cements his place as the favoured Belle & Sebastian frontispiece.

Fans tend to puff up at songs from Belle & Sebastian’s more democratic period featuring lead vocals from any member that is not Stuart Murdoch, and as if in a display of sympathy, the only related offense the band committed at TURF was facilitated through “To Be Myself Completely,” led by guitarist Stevie Jackson. Murdoch didn’t seem to mind the break from the spotlight, but you could catch him receive an authoritative elbow from violinist Sarah Martin after delivering one of his backing parts on the song, so maybe he has a thing against letting Jackson do what his existential number is about.

The band rounded off the regular portion of its set with If You’re Feeling Sinister closer “Judy and the Dream of Horses,” only to return with an encore they insisted they were merely providing at the insistence of a man that stopped them from making their way to their van (festival founder Jeff Cohen, perhaps?). They played “Get Me Away From Here, I’m Dying” as if to reify Murdoch’s intent to finish with material from what he’s referred to on-and-off as his best collection of songs, and that was it. Toronto Urban Roots Fest was over.

Touring just ahead of Aug. 26-due collection The Third Eye Centre, it might have come as a surprise (and maybe a disappointment) to eager fans that Belle & Sebastian didn’t delve into some deeper cuts – the closest they got to promoting their “new” product was with “I’m a Cuckoo” and “Your Cover’s Blown,” only appearing on the compilation as Avalanches and Miaoux Miaoux remixes (respectively) – but it would have been difficult to argue with the band’s self-aware and sweeping representation of its back catalogue.

Setlist:
“Judy Is a Dick Slap”
“I’m a Cuckoo”
“Another Sunny Day”
“The Stars of Track and Field”
“Dirty Dream Number Two”
“To Be Myself Completely”
“Lord Anthony”
“The Model”
“Piazza, New York Catcher”
“The Loneliness of a Middle Distance Runner”
“Your Cover’s Blown”
“I Didn’t See It Coming”
“The Boy with the Arab Strap”
“Legal Man”
“Judy and the Dream of Horses”

Encore
“Get Me Away From Here, I’m Dying”

Originally published by The Ontarion.

TURF reviews: Whitehorse at Fort York – July 7, 2013

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Whitehorse’s Melissa McClelland improvises a microphone out of a phone receiver at Fort York for Toronto Urban Roots Fest July 7. Photo: Tom Beedham

Whitehorse is husband and wife Luke Doucet and Melissa McClelland’s band. Hamilton-bred, they moved to Toronto a week before TURF and share their band’s name with a city in Yukon. The layers of the group’s genesis are many, but there’s a minimal chance they outweigh those of its sonic output.

Putting on their best mad scientist impressions, Whitehorse spent the first half of their TURF set singing through telephones, banging on anything they could get their hands and drumsticks on, picking through rock star guitar solos, and looping all of it to serve up a heavily layered Dagwood of sound.

Then they flipped the switch to unfiltered an country serenade built on dual acoustic guitars.

While it’s hard to isolate the band under the heading of a general genre, their set at TURF certainly made it acceptable to slap “experimental” in front of any category you might suggest.

Originally published by The Ontarion.

TURF reviews: The Wooden Sky – July 7, 2013

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The Wooden Sky opened the fourth and final day of Toronto Urban Roots Fest on July 7. Photo: Tom Beedham

Kicking off the fourth and final day of Toronto Urban Roots Fest, The Wooden Sky played an 11 a.m. set to a dedicated group of concertgoers.

The band opened with “Child of the Valley,” then playing through tracks like “(Bit Parent),” “City of Lights/Dancing At My Window…,” “Take Me Out,” and the call and response-friendly “Oh My God (It Still Means A Lot To Me)” before closing with “Something Hiding for Us in the Night,” perhaps intended as a nod to the acts that would follow.

It was an early set, but one worth waking up for. For those with festival wristbands that aimed for the authentic Flogging Molly experience the night before, The Wooden Sky’s soothing folk probably served as the stuff of good hangover remedy, too.

Originally published by The Ontarion.

TURF reviews: Flogging Molly at Fort York – July 6, 2013

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Flogging Molly performed at TURF July 6, 2013. Photo: Tom Beedham

Walking onto a stage with cans of Guinness perched atop every amp, Flogging Molly worked hard at entertaining what was easily TURF’s largest crowd of staggering drunks, which regularly, wouldn’t have offered much surprise, except when it’s taken into consideration that alcoholic beverages at the festival were priced at nine bucks a pop.

The punk affected band finding its place on the urban roots festival’s docket with its connection to traditional Celtic folk music, it was only fitting that Irish-American pub punk should come packaged with a sense of humour. Lead singer/guitarist Dave King followed suit by perforating a setlist packed with songs like “Whistles The Wind,” “The Present State of Grace,” and “Float” by cracking wise about the number of photographers filling the media pit during the first three songs and how somebody better get his good side (which he suggested was probably his behind). The frontman also supplied groan-rendering segues that linked things like a Hold Steady-dedicated “Saints & Sinners” to bassist Nathen Maxwell, the “wonderful sinner who can’t hold anything steady” and opens the bass-carried track, as well as the “lucky bastards” living in Toronto and – “speaking of bastards” – “Requiem For a Dying Song,” written for George W. Bush.

King also did well at reminding fans of the band’s family-oriented disposition, dedicating “Drunken Lullabies” to his father Richard and went on to introduce banjo player Bob Schmidt, but not without mentioning the recent birth of his daughter before diving into the banjo picked lead of “Drunken Lullibies.”

With VIP ticket holders allowed to fill the space left by photographers after the band’s first three songs, before “The Kilburn High Road,” King pointed out relatives standing before the stage, and then introduced his wife and bandmate, Bridget Regan, who supplies the prominent tin whistle featured on the track.

A set that evoked the only circle pits had at the Fort York-held portions of TURF, it’s safe to say that it was all a working formula, too.

Originally published by The Ontarion.

TURF reviews: The Hold Steady at Fort York – July 6, 2013

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The Hold Steady played their first Toronto performance in three years at July 6 at TURF. Photo: Tom Beedham

The Hold Steady played their first Toronto performance in three years July 6 at TURF. Photo: Tom Beedham

When The Hold Steady took the west stage at TURF, frontman Craig Finn commented on how, at lots of concerts, bands don’t need introductions, modestly proposing, “We do.”

Indeed, the band had its share of lead-ins. TURF co-presenter Donny Kutzbach from Funtime Presents, Canadian sports broadcaster Dave Hodge, and even English folk singer Frank Turner – who aired his excitement over The Hold Steady’s set earlier during his own on the west stage – all appeared onstage just before the indie rock group’s set to offer forwards.

But even for some that have already been enjoying the band for years, the concert was an introduction (or an update) of sorts, as any that might have missed their Toronto performance at the Phoenix in 2010 had yet to be exposed to the band live without keyboardist Franz Nicolay or with the addition of new guitarist Steve Selvidge.

Still, if there was anyone more excited for the band to be onstage at TURF than Turner, who lowered himself into the VIP viewing area in front of the stage before The Hold Steady began, Finn would have been a good contender.

Providing one of the most animated sets Fort York saw over the course of the weekend, the audience was made fully aware of The Hold Steady’s need for Selvidge’s second guitar as Finn neglected his to theatrically raise his arms in the air, point at fans, and pull at what’s left of his hair while singing with a smile on his face and a head that looked like it might explode from all of the energy.

Between songs, he engaged the crowd with a bait about visiting the Sky Dome earlier in the day to see his favourite team play a ball game (the Minnesota Twins).

The band played “Chips Ahoy,” “Hurricane J,” “Magazines,” “Rock Problems,” “Sequestered in Memphis” and “The Swish,” as well as some material they announced they would be recording in studio shortly thereafter.

They closed out the action on the west stage with “Stay Positive,” featuring Frank Turner.

Originally published by The Ontarion.

TOM BEEDHAM

Arts & Culture Labour

Category Archives: Burden of Salt

Hillside reviews: Fucked Up at Guelph Lake Island Stage – July 28, 2013

Hillside reviews: Sarah Neufeld at Guelph Lake Island Stage – July 28, 2013

Hillside reviews: Colin Stetson at Guelph Lake Island Stage – July 28, 2013

Hillside reviews: Richard Reed Parry at Guelph Lake Island Stage – July 28, 2013

Hillside reviews: Yamantaka // Sonic Titan at Guelph Lake Conservation Area- Island Stage – July 27, 2013

TURF reviews: Belle & Sebastian at Fort York – July 7, 2013

TURF reviews: Whitehorse at Fort York – July 7, 2013

TURF reviews: The Wooden Sky – July 7, 2013

TURF reviews: Flogging Molly at Fort York – July 6, 2013

TURF reviews: The Hold Steady at Fort York – July 6, 2013