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.

TURF reviews: Justin Townes Earle at Fort York – July 5, 2013

Justin Townes Earle played TURF July 5 at Fort York Garrison Commons in Toronto. Photo: Tom Beedham

Justin Townes Earle played TURF July 5 at Fort York Garrison Commons in Toronto. Photo: Tom Beedham

Footnoting most of his songs with words of country wisdom (e.g. “Any good country song should be a good blues song,” and “If you can take care of your momma and you don’t, you’re a bastard. Unless she was terrible”), Justin Townes Earle brought his twangy Nashville Americana to a not particularly well attended day of TURF, but with many a crowd member singing along word for word, the singer-songwriter was at least  welcomed by a dedicated fan base.

JTE played tracks like “Mama’s Eyes,” namedropped Gregory Corso, and dedicated songs to the worst landlord (and the worst weed) he’s ever had.

Originally published by The Ontarion.

TURF reviews: JD McPherson at Fort York – July 5, 2013

JD McPherson played TURF July 5 at Fort York Garrison Commons in Toronto. Photo: Tom Beedham

JD McPherson played TURF July 5 at Fort York Garrison Commons in Toronto. Photo: Tom Beedham

Supplying Toronto Urban Roots Fest with nostalgia-satisfying rock music that turns down the guitar while letting saxophone, upright bass, piano, and percussion take the spotlight, JD McPherson’s band was a reminder of a time when people could call a band rock and say it without summoning images of guitar heads churning out what seems to have become an obligatory kind of masturbatory guitar noodling.

McPherson’s is a band that approaches the music of the past with contemporary wisdom, arriving at rockabilly rhythm and blues that sounds like history but nothing its forebears could have done. Count free jazz cymbal crashes, and funky bass lines in the mix.

Originally published by The Ontarion.

TURF reviews: She & Him at Fort York – July 4, 2013

She & Him's strict no camera policy at TURF placed audience members in a sour state, and for many, one that wouldn’t be cured by the band’s set. Photo: Frank Yang/TURF

She & Him’s strict no camera policy at TURF placed audience members in a sour state, and for many, one that wouldn’t be cured by the band’s set. Photo: Frank Yang/TURF

Zooey Deschanel is still the new girl.

What was at first perceived as an innocent request to curb the over-documenting culture that concert-goers have become hyper aware of in recent years soon revealed itself to be a draconian approach to image control when a strict no camera policy demanded by Zooey Deschanel and M. Ward’s group was (passive-) aggressively enforced by a pre-recorded message, flyers posted earlier in the day, and then security guards accosting any front row listeners lifting LED-bejeweled smart phones into the air (and all of the people immediately surrounding them) with flashlights and wagged fingers.

It placed She & Him audience members in a sour state, and for many, one that wouldn’t be cured by the band’s set.

While M. Ward and his backing band are exceptional musicians seasoned to the stage, for an actor whose quirky onscreen qualities are (if polarized) celebrated and whose album work with M. Ward is the stuff of sugary charm, Zooey Deschanel’s performance at Toronto Urban Roots Fest revealed that the actress hasn’t taken to the stage quite as comfortably.

Talented no doubt, Deschanel played song portions on piano, tambourine, and miniature guitar throughout the night, but to say that She & Him made up for the root assault on its fans’ freedoms with its stage show would be an exaggeration.

And that’s what was irritating about She & Him’s set at TURF. While their self-aware camera policy could be appreciated in an age where people go to concerts recording endless video that nobody asked for anyway, it ended up merely magnifying the circumstance of Deschanel’s lack of nonchalance. Appearing for most of the set as a deer in the headlights at the mic, Deschanel’s most crowd-engaging comport was her steering of a call and response rendering of “In The Sun.”

Just a suggestion: maybe it would’ve looked better from behind 3.5-inch screens. Also, if you’re demanding no cameras to keep your live show off the Internet, make it a good show.

Stray observations:
-M. Ward and Deschanel performed a duet performance of Smokey Robinson’s “You Really Got A Hold On Me”
-Guitarist/bassist Mike Coykendall performed a whistle solo that got the most deservedly applauded reception I’ve ever witnessed a whistle solo receive at a concert
-Deschanel’s set banter suggesting that someone in the audience should drink the oversized blowup Molson Canadian beer can promoting the “Molson Canadian Live” elevated listening area was just the “adorkable” humour fans love her for
-The francophone “Sunday Girl,” and “Dear Diary,” which ended in an Ward/Deschanel shared piano jam made for encores worth sticking around for

Originally published by The Ontarion.

TURF reviews: Joel Plaskett Emergency at Fort York – July 4, 2013

Joel Plaskett Emergency got the Calgary flood-cancelled Sled Island Festival set they didn’t get to have at TURF on July 4, 2013. Photo: Tom Beedham

Joel Plaskett Emergency got the Calgary flood-cancelled Sled Island Festival set they didn’t get to have at TURF on July 4, 2013. Photo: Tom Beedham

“I was looking forward to playing this in Calgary until it actually happened,” Joel Plaskett told the crowd at TURF while taking a break to introduce his band’s “Natural Disaster.”

The song took on a new personal meaning for the singer-songwriter when heavy rainfall and flooding in Calgary forced the organizers of the city’s Sled Island Festival to cancel shows for over 270 artists still scheduled to play, a headliner of which was Plaskett’s band.

Plaskett’s TURF performance was introduced as “the show that never happened, and then did happen.” The show the Emergency delivered was one Plaskett personally illustrated with all the emotions one can imagine experiencing over the course of such a narrative – all under a blue sky the band never got at Sled Island.

Originally published by The Ontarion.

TURF reviews: Camera Obscura at Fort York – July 4, 2013

Camera Obscura’s Tracyanne Morgan and Kenny McKeeve at Fort York for TURF on July 4, 2013. Photo: Tom Beedham

Camera Obscura’s Tracyanne Morgan and Kenny McKeeve at Fort York for TURF on July 4, 2013. Photo: Tom Beedham

“We don’t usually wear sunglasses onstage,” Camera Obscura guitarist Kenny McKeeve told the crowd at TURF amid a break in their July 4 set. “We’re not pretentious, but we’re not used to this; we’re British.”

Scottish identity crises aside, it is indeed so that the Glasgow twee-poppers have been away from Ontario for some time, as their last set here was at Toronto’s Phoenix Concert Theatre on Nov. 27, 2009.

That – with perhaps some help from their critically acclaimed June 2013 release Desire Lines – all just meant for a warm welcome from the TURF crowd in the ranks at Fort York on July 4.

Although the group played in front of a backdrop sporting a blown up image of the new album’s artwork, 2006’s Let’s Get Out of This Country saw just as much representation on the group’s setlist. They also played “French Navy” and “Swans” from 2009’s My Maudlin Career, and reached 10 years back to 2003’s sophomore effort Underachievers Please Try Harder for “Teenager.” Full setlist below.

Setlist:
“Do It Again”
“Break It To You Gently”
“Teenager”
“Tears For Affairs”
“Fifth in Line To The Throne”
“Lloyd, I’m Ready To Be Heartbroken”
“Swans”
“If Looks Could Kill”
“New Year’s Resolution”
“French Navy”
“Desire Lines”
“Come Back Margaret”
“Razzle Dazzle Rose”

Originally published by The Ontarion.

TURF reviews: The Barr Brothers at Fort York – July 4, 2013

The Barr Brothers guitarist Brad Barr provides string-on-string threading on his Silvertone for “Beggar in the Morning” at TURF's opening set on July 4, 2013. Photo: Tom Beedham

The Barr Brothers guitarist Brad Barr provides string-on-string threading on his Silvertone for “Beggar in the Morning” at TURF’s opening set on July 4, 2013. Photo: Tom Beedham

Colliding elements of chamber music, Delta blues, soul, West-African rhythm, and straightforward rock, The Barr Brothers’s Andrew and Brad Barr (The Slip), Sarah Pagé (Esmerine) and Andrés Vial utilized enchanting harp, pump organ, vibraphone, and traditional rock outfit instrumentation to bring something to TURF’s premiere set that was Frankenstein experimental in its parts but folk in its sum; the perfect fit for the inaugural presentation of a festival testing the waters of Toronto’s outdoor music scene. Set highlights included guitarist Brad Barr providing string-on-string threading on his Silvertone for “Beggar in the Morning,” the classically trained Sarah Pagé leaving harp to play guitar at one point, and the band gathering around a single mic to sing “Little Lover” as Brad and Andrew Barr played guitar and banjo (respectively).

 

Originally published by The Ontarion

TURF war

Four-day music festival supports city as facility for live music

Toronto Urban Roots Festival (TURF) is attempting to act as harbinger for a new time in Toronto's history of live music. (Photo courtesy of TURF)

Toronto Urban Roots Festival (TURF) is attempting to act as harbinger for a new time in Toronto’s history of live music. (Photo courtesy of TURF)

That Toronto Urban Roots Fest is being marketed under the abbreviated “TURF” title is probably no coincidence.

The premiere of the multi-day outdoor music festival comes to the city July 4 through 7, and features headlining acts like Belle and Sebastian, She & Him, Neko Case, Joel Plaskett, and The Arkells. But beyond a concert event, in words that forgo exaggeration, TURF is a political battle cry championing the city’s place in North America’s music scene.

According to Jeff Cohen, the festival’s founder, TURF and multi-day festivals like it coming to the city mark a victory for the city’s music scene.

And Cohen should know. He was appointed Chair of the City of Toronto Music Advisory Council after consultee work he did with music lobbying organization Music Canada on a report comparing the music scene in Austin, Tex. to that of Toronto.

“Toronto City Council has some policies in place and some rules in the city books that are not conducive to people wanting to do outdoor summer events in downtown Toronto,” Cohen says he told Nikki Rowling, the author of the report, in 2012. “They have allowed the residents’ associations to rule the roost, and it’s time for politicians to rethink this and start having the business associations get in there with the residents’ associations and explain to the residents that one of the wonderful things about living in downtown Toronto is summer events.”

“Toronto is the third-largest music market in North America, yet it has very few outdoor concerts, and it does not have a multi-day festival. There’s something wrong there,” Cohen said. Before TURF, he saw a need for someone to step up and create a business environment that would allow private enterprise entrepreneurs to feel that they could back festivals without the anxiety that they would be entering money pits and logistical nightmares. TURF is his way of putting money where his mouth is.

But even with someone to act as harbinger for the festival scene in downtown Toronto, what if the residents’ associations still oppose the prospect of having more live music?

“Why don’t they move to Barrie or Dundas?” Cohen said over the phone on July 2, just as setup for festivities were getting underway to set up two stages at Fort York, the centre of TURF’s action. It’s tough love, but Cohen insists the tax base generated from the newly created jobs and ticket sales revenues, as well as the more simple appeal of easy access to live entertainment, are benefits reciprocated to area residents that outweigh things like noise complaints and other negative concert fallout.

In the same spirit, Cohen said that after some initial hesitation, Fort York saw hosting concerts as an opportunity to improve their revenues otherwise left dependent on the City of Toronto, as well as a promotional strategy that would bring approximately 15,000 people on site that had potentially never visited before, encouraging new repeat visitors in between concert dates. It also hosted Field Trip – the celebration of Toronto label Arts & Crafts’ 10-year anniversary – in June this year, and in August it will open its gates to a two-day presentation of touring punk festival Riot Fest.

The two stages at Fort York will allow for staggered performances and a seamless concert experience. Also on site will be local independent food vendors and a children’s area (access to the festival is free for children 10 and under).

After things wrap up at the fort, other TURF events will take place at Cohen’s bars, popular Toronto concert venues The Legendary Horseshoe Tavern and Lee’s Palace.

As TURF approaches and more outdoor venues and music events are finding their place in the city (Cohen is quick to namedrop Live Nation’s new Echo Beach venue and festivals such as Field Trip), Cohen’s attitude – although already passionate – is markedly more electrified speaking on the present state of music in the city, saying that the atmosphere of communication between the music industry and City Council has undergone “a total change,” something he credits to new councillors Gary Crawford, Josh Colle, who – informed by the report Cohen was involved with – travelled to Austin during South by Southwest this past March to propose a musical alliance with Austin Mayor Lee Leffingwell, as well as Mike Layton.

“Instead of finding reasons not to have outdoor shows at Fort York, they’re finding reasons financially and spiritually and emotionally why we need those shows.”

Meanwhile, Austin evinced its support of Toronto on June 27 when its city council passed a resolution to begin a “Music City Alliance” to encourage tourism and general, cross-cultural exchange between itself and the City of Toronto once the latter passes similar legislation.

Originally published by The Ontarion on July 4, 2013.

Fucked Up perform new song at NXNE (video)

Fucked Up performed new material at their NXNE performance at Toronto's Horseshoe Tavern on June 15.

Fucked Up performed new material at their NXNE performance at Toronto’s Horseshoe Tavern on June 15. (Photo: Tom Beedham)

Having just spent some time recording their follow-up to 2011’s David Comes To Life at Steve Albini’s Electrical Audio studio in Chicago, when Fucked Up returned to Toronto for a performance at the Legendary Horseshoe Tavern on June 15, 2013, they came bearing some new material and tested a new track on their hometown.

Although a little shaky due to the crowd love-in that is every good Fucked Up show and a little off audio-wise, here’s some video footage of the new track (title unknown).

NXNE review: Flag @ Opera House, June 14, 2013

Flag play classic Black Flag songs to Toronto fans

Former Black Flag members (reformed as Flag) performed the music of Flag at the Opera House on June 14 as part of North by Northeast.

Former Black Flag members and Descendents guitarist Stephen Egerton (reformed as Flag) performed the music of Black Flag at the Opera House on June 14 as part of North by Northeast. (Photo: Tom Beedham)

Keith and Chuck and Bill and Dez and Stephen. It took me a long time to get to calling this lineup Flag, and not the name of the members’ former band. I’m not alone either. When they played at Toronto’s Opera House on June 14, even opening act Genetic Control singer Mike Price had to correct himself after calling them Black Flag onstage.

By membership alone, Flag consists of double the original members the new Black Flag lineup boasts (Flag’s only member without previous Black Flag credentials is Descendents guitarist Stephen Egerton). But the cropped title makes sense. Some of the members have been away from the songs for over 30 years and even left before most of the group proper’s back catalog had life breathed into them, and Keith Morris has made it clear that Flag won’t be penning any new material.

It’s not a Black Flag cover band, per se, but it’s not Greg Ginn’s insistently progressive recording outfit, either. The latter is a position Greg Ginn is latching onto with the group with whom he’s presently touring around the world and recording a new album under the “official” Black Flag banner. It consists of early Black Flag vocalist Ron Reyes as well as drummer Gregory Moore – who played with Black Flag for some reunion performances in 2003 – and bassist Dave Klein of Screeching Weasel. They’ve already released some new material, which sort of sounds like what you’d get if Greg Ginn and the Royal We grabbed Ron Reyes – a great Black Flag short distance vocalist – to sing over some longer, sludgier, Family Man-esque instrumentals.

As an aspiring Black Flag completest who never got to see any of the band’s pre-breakup lineups live (I was born in 1988) and has a genuine love for the songs, I’d love to get the chance to see the Reyes-and-Ginn-steered band, but Flag’s performance at the Opera House had all the intensity of the classic Black Flag concert footage viewable in documentaries like Penelope Spheeris’s first installment of The Decline of Western Civilization and Paul Rachman’s American Hardcore – as well as the countless snippets of fan footage available online – without the pretension of Greg Ginn.

For the majority of the show, the members stuck to what they knew from their personal experiences with the band.

Whether or not they were intended as a jab at Ginn’s new band and his long-bemoaned history of failure to pay out royalties to where they have been due, the group kicked off the set with “Revenge,” with Keith Morris fronting the act (on that note, they didn’t play “You Bet We’ve Got Something Against You!” – perhaps just because it’s a Ron Reyes song).

Morris also sang “Police Story,” “I Don’t Care,” “Depression,” “No Values,” “Gimmie Gimmie Gimmie,” “Clocked In” and “White Minority” (songs Black Flag had recorded with the singer, originally intended for inclusion on their first release before he quit in 1979, resulting in the group re-recording most of them with Reyes for Jealous Again­ ­and eventually Henry Rollins for Damaged).

When one fan interrupted Morris with the bait that he should “Shut up and die” while the singer was in the middle of relating how “White Minority” has been historically misunderstood and how that’s brought flak to the members of the band in their private lives was also an easy reminder of so many Black Flag versus fans stage confrontations (it was also a moment that recalled Morris’s new band OFF!’s opening performance at a 2012 Refused reunion concert at the Sound Academy, where Morris’s mid-set ramblings on the comparisons of the United States and Canadian governments were greeted with some impatient rejection).

The singer also performed lead vocals on all of the tracks off of the Nervous Breakdown EP, as well as the inadmissible “My War” and “Rise Above” – Damaged-era anthems famously sung by Rollins.

For the latter half of the set, Dez Cadena put down his guitar to take over the mic for the Six Pack EP’s title track and “American Waste,” as well as Damaged tracks “Padded Cell,” “Spray Paint,” and “Thirsty And Miserable” – all for which Cadena once recorded a nearly complete version of vocals before the group acquired Rollins as a lead vocalist and re-recorded them.

This all happened in front of fans young and old yelling the words and manifesting the physicality of the music in always-active mosh pit.

After taking a brief break between their set and an encore, the group returned to thank everyone for showing their support. Morris delivered a fittingly slotted Rollins-era “I Love You,” Cadena sang “Damaged,” and the show was over.

If you missed the show or just want to relive the celebration, one fan managed to record the entire set and publish it on YouTube. Check it out before Greg Ginn escalates his Greg Ginn-ness and actively tries to deny credit being offered to the unofficial Black Flag-ers.

(Full setlist compiled below video) 

Setlist
“Revenge”
“Fix Me”
“Police Story”
“I Don’t Care”
“Depression”
“I’ve Had It”
“No Values”
“My War”
“No More”
“Gimmie Gimmie Gimmie”
“White Minority”
“Jealous Again”
“Wasted”
“Clocked In”
“Nervous Breakdown”
“American Waste” (Dez Vox)
“Spray Paint”
“Thirsty And Miserable”
“Padded Cell”
“Six Pack”
“Rise Above” (Keith)
“Loiuie Louie”
Encore
“I Love You”
“Damaged”

NXNE review: Dusted @Urban Outfitters, June 14, 2013

Brian Borcherdt and Leon Taheny debut new song at NXNE

Dusted played a free afternoon gig at Urban Outfitters as part of NXNE. (Photo: Tom Beedham)

Dusted played a free afternoon gig at Urban Outfitters as part of NXNE. (Photo: Tom Beedham)

Following a slew of performances from bands mostly double their size, Toronto lo-fi duo Dusted spent comparably longer putting their modest guitar, drum and keyboard setup together at the Urban Outfitters popup stage on June 14, 2013.

But they had a good excuse.

After apologizing for the late start, Dusted guitarist/vocalist Brian Borcherdt (Holy Fuck) explained to those gathered at the clothing store’s Queen Street West location that, after spending so much time off of the road holed up in the studio to record the follow-up to their 2012 debut, Total Dust, the frontman and percussionist Leon Taheny were a little rusty when it came down to arranging their gear.

The set wasn’t all apologies, though. The two made up for their late start by debuting a new track they’ve been honing in preparation for their new album in the middle of a set that was otherwise comprised solely of Total Dust tracks like “Property Lines,” “(Into the” Atmosphere,” and “All Comes Down.”

The delivery didn’t come without some hesitation (Borcherdt could be heard asking Taheny “How’s it go again?” before they ripped into it), but the band’s generous offering – especially for an outfit counting award-winning producer Taheny (Final Fantasy, Ohbijou, the Wooden Sky) amongst its two members –of something fairly unpolished shouldn’t go without acknowledgment.

Dusted served the track up to the crowd without a title, but after the gig, Taheny confirmed it was called “Backwoods Ritual” and that it would release with the new album “Hopefully this fall.”