Sept. 30 – October 8: Harvesting The FAM Festival showcases Windsor’s Creative Community with it’s 6th installment
What a difference five years can make. It was five years ago, in the summer of 2006, when two local creative types – film maker Ben Young Hart and artist/musician Murad Erzinclioglu – beginning looking for new and bigger avenues to showcase their crafts (Young Hart’s film “Hot Tw*t” and both Murad’s experimental electronic project (wh)y.m.e.(??) and his visual art). As plans for the multi-media screening, performance and art opening begin to unfold (the show was initially intended to also feature art from “Hot Tw*t” production artist Maryam Yousif), it also explodes. The duo meet up with former UWSA Director of Student Life and local promoter Meghan Carbone and low and behold, Harvesting The FAM Festival was born. Windsor’s largest inter-arts community festival was hatched.
After months of planning, Harvesting the FAM Festival launched in January of 2007 as a one-day, ten hour festival, incorporating all three levels of the CAW Student Centre at the University of Windsor. Film screenings by area film makers, art exhibits by local visual artists, as well as non-stop musical performances by such various acts as Measured In Angles, MicLordz & Sauce Funky, Ron Leary, Days Fade, The Hung Jury, Portia, FURS, and Explode When They Bloom made the first foray into Windsor’s creative collective conscious since GreenArtsFest folded in the late ’90s.
The desire to top the success of the first festival was immediate and plans were sped up to make Harvesting The FAM Festival II happen in the fall of 2007, just eight months after it’s first inception. Working once again with the University of Windsor, an outdoor stage was added to expand FAM’s presence on the campus. More and more screenings of new local film makers, more visual arts displays and even more musical performances ensued, this time from such acts as The Golden Hands Before God, The Locusts Have No King, VEX, Orphan Choir, Lodown, Lone Locust, Kero, What Seas What Shores and Two for the Cascade, as well as returning FAMily members Measured In Angles, Portia, Tara Watts and James O-L & The Famous Last Words. Musically, the show saw double the features of the first installment, going from 12 to 25 films, 30 to 45 visual artists and 21 to 35 musical acts. It also marked the first involvement with local fashion designers.
Despite the growing success of the Festival – with an increase in crowd and community support – the University decides to withdraw backing of the festival and organizers (now beyond just the principle duo to involve a team of community volunteers) decide to move future festivals to the downtown core and instill the idea that the festival should happen once annually rather than the previous idea of it happening twice annually.
Harvesting The FAM III ran from September 12 to 14, 2008 in downtown Windsor, incorporating the live music venues that have nurtured original music in town – Phog Lounge (157 University Ave. West), The Loop Complex (The FM Lounge, The Coach & Horses and The Loop, 156 Chatham St. West) and Milk Coffee Bar (68 University Ave. West) – as well as coffee shops, art galleries and more to make the downtown core a central celebratory hub for Windsor’s vibrant creative communities to showcase their talents to the rest of the city. The additional days allowed for more freedom of shows and again the roster increased, to 30 films, 60 artists and a staggering 80 musical acts, including new additions Michou, The Peace Leeches, Salt of the Chief Cornerstone, Perilelle, and The Square Root of Margaret, plus multiple returnees from the prior two festivals.
In 2009, Harvesting The FAM IV continued to strengthen the realities of the downtown core being the central breeding ground for original new music (although more and more venues outside of downtown are realizing the strength of original new local music). There was the usual cast of local music star power (The Locusts Have No King, James O-L & The Villains, Tara Watts, Square Root of Margaret, Sledgehammer, etc.) as well as notable FAM debuts for The Stand Stills, The Golden Eagles, The Vaudevillianaires, Magic Hall of Mirrors, Silent Movie Type, and Which Witch. It also marked the debut of the FAM Fashion show at the Loop, with electronica music composed by local artists Kero, VEX and FURS. One of the co-ordinators for the 2009 festival, Emily Copeland from CJAM 99.1 FM, also organized some hip-hop and electronic symposiums featuring many Detroit electronic and hip-hop artists at Empire Lounge (now Untouchables).
Last year, Harvesting The FAM V exploded with even more films, art showings and yes, more live music! Indie pop favourites Yellow Wood and metal icons fiftywatthead were welcomed additions to the now week long endeavour. It also marked memorable FAM debuts for Years of Ernest, Surdaster, Red Rows and Red Red Run, as well as amazing sets by surprise national touring acts Hot Panda (from Edmonton) and the unforgettable entrance from My Son The Hurricane (from Vancouver). Carried by the reliable sounds of veteran FAMilia The Locusts Have No King, George Manury, Monique Belanger, ASK, Explode When They Bloom, Eric Welton Band, The Vaudevillianaires, shinje and much more, the FAM festival officially became the once a year “can’t miss” festival for fans and musicians alike.
This year’s line-up for Harvesting The FAM VI – running from September 30 until October 8 – continues to grow on it’s humble beginnings from the University of Windsor, including the addition of two new live music venues joining the cast of host sites – The Dugout (300 Ouellette Ave.) and Villains Beastro (256 Pellisier St.). Learning the lesson of “less is more”, the event is scaled back slightly, with just over 50 acts performing, one day of film screenings (October 4th at Milk Coffee Bar), and two venues showcasing art exhibits (Milk and Phog) throughout the duration of the festival. A more concentrated festival means that less ground needs to be covered and people can access much more of the festival. Musically, this year’s festival features the long awaited return to the Windsor music scene of Salt of the Chief Cornerstone and The Sean Connery Supergroup, FAM debuts from acts such as The Blue Stones, Repititions, Dave Russell, RYE, Cellos and Diesel Junkies, plus local heavyweights such as Surdaster, The Locusts Have No King, Orphan Choir, Poughboy, The Nefidovs, The Vaudevillianaires, Kaycce Closed, Kero, Vultures?, Explode When They Bloom, The Rowley Estate, Jae Cyphe, Years of Ernest, James O-L & The Villains, Two for the Cascade and much much more! Also, this year’s festival is dedicated to memory of Bradford Helner (who played several previous FAM festivals), the local musician who passed away suddenly and unexpectedly a month ago.
The great things about FAM Festival is that there are many waves of FAM. One is the familiarity of the faces you see every year: be it the amazing bands who only get consistently stronger in their crafts, or the fellow music lovers in the audience. Another is the camaraderie shown by all the musicians who frequent each show. And another is the unpredictability of the “debuting” bands. Who can forget the debut of little-known Death or Comber at Milk in 2008 (or Shawn Daniel at the same venue in 2009), where people where pouring out onto the street, the walls of the small venue unable to contain the bodies who had come across this amazing new act. Or the unparalleled entrance from funk maestros My Son The Hurricane to their show last year at the Loop when they marched up Chatham Street playing horns and drums, announcing their own arrival?
FAM Festival has truly become an annual rite of passage for the local Windsor music scene – the scene that creates their own songs, who play the “dives” or seedy parlours that day-folk scorn, just to get their songs heard. Sometimes they play for $100s of dollars, but mostly it’s for enough to cover their bar tab – but hey, at least it’s not “Sweet-fucking-Caroline”. The FAM Festival becomes that celebration that their is a collective group – whether their playing thrash metal or hip-hop – of individuals in this community who thrive on creating music, regardless if they’re making money of it. They tour, many of them outside of Windsor-Essex, they sell CD’s, sell on iTunes – but they all love to create. If you’ve ever wanted to truly taste the music (as well as films, art, fashion and more) that is truly coming out of Windsor-Essex county, this is the festival to check out. Not only is the entire festival free to the public, but there is literally a taste of something for everyone, from rock and roll to hip hop, heavy metal to folk, blues to electronic. These aren’t musicians covering songs from British or American bands – these are musicians telling their own stories, stories cultivated right here in Windsor-Essex. And what tales we have to tell.
Welcome to the FAMily.
Harvesting The FAM Festival takes place throughout downtown Windsor from Friday September 30 until Saturday October 8. All events are FREE to the public. Check the website here for complete listings and line-ups for all musical acts, film screenings, art exhibits and fashion shows.
The Rowley Estate, Still T.R.E.
“Aggressive Pop-Punk” sounds a bit oxymoronic at first, and maybe brings to mind “The Young and The Hopeless”–era Good Charlotte. But Windsor trio The Rowley Estate is showing just how to manage it, with their first full-length album, Still T.R.E. Recorded at Sound Foundry Studio in Kingsville with Brett Humber, the album is rather short, clocking in barely over nineteen minutes. But it’s fun and fast from start to finish, with no fillers to skip past.
The record starts off with a quick intro, “Still T.R.E.”, which seems to promise a bit heavier of a sound than the rest of the CD delivers. After 37 seconds it blends seamlessly into track two, “You Better Run Run.” Upon first hearing this song the guitar tones had me thinking I had stumbled across a long-lost Blurt recoding. And I love Blurt, so I get pretty excited. Once the bass kicked in, however, I knew that this was something different. The feel of this track isn’t quite as ominous as that of the intro, but the pop-punk vibe is definitely there. Once the vocals kick in is where the “aggressive” part really starts. These guys aren’t trying to serenade their ways into the hearts of pre-teen girls, they’re trying to get everyone partying. The lyrics are still feel-good; “And I’m not trying to tell you how to live, but I know one thing: keep it positive.” Delivered in raw and rough shouting that fits in perfectly with the instrumentals, feedback, and gang vocals. About ¾ of the way through the song it breaks down in the traditional way of hardcore music, while still keeping it’s fun and up-beat attitude.
The entire record plays like a show, songs bleeding from one into the next with barely a pause for breath, group vocals appearing on basically every song, and even the sounds of kids screwing around making appearances.
Track three is one of my favourites, simply titled “Wen”. The lyrics might repeat themselves, but again the message is adorable, but not in a puppy-with-it’s-head-titlted sort of way. The lyrics read like a break-up song in which the boys accept the fact that it’s still necessary to care for your buddies/exes/what have you, even after things go south. “And I don’t trust you more than I can throw you, and we gotta carry each other.”
“Oi! You!” has the simplest of lyrics (see title) but it’s perfect for a quick bout of merciless skanking. Love the snare intro on this one,
The interestingly titled “Instead of a Head He Had a Package of Meat” comes up next, and being as it is technically a pop-punk album, the woah’s and oh’s had to make an appearance eventually. Here’s where it happens, and thankfully, they’ve done it in the least offensive way possible. With lyrics like “Let’s stick together. This is the right path for me. My friends and positivity.” It’s a happy enough song to pull it off, and the fact that they aren’t sung too sickly-sweet or given a solo makes them bearable, and, dare I say it? Downright enjoyable. This is definitely a track to sing along with.
I’m in love with the bass on “Snitches Get Stitches”, both the tone and the playing. The way the bass holds it’s own over the entire album is impressive, but there’s something about this track in particular that really works for me. The vocals seem to differ very little from track to track, but I guess when you’ve found something that works for you, keep it up. The brevity of the album makes it so this sameness doesn’t become overly repetitious, so that’s a good thing. But I anticipate the next album to see where they go.
Track number seven, “Sounds”, is an instrumental bit that is the calmest of all the songs, with some interesting ear candy if you pay attention. At first listen it might come across as simply a minute forty-eight of drum and guitar looped, but there are some neat things buried in there if you care to find them.
And then the album closes with “Eastbound”, which is apparently about Derek’s love for New York City, and how he plans to live there eventually. The filters on the vocals on this one make it sound like you’re hearing this testament screamed through a telephone from somewhere far away. This entire track is the most stand-out on the album for all the differences in it’s sounds compared to the rest of it. It still has the gang vocals and poppy snare, sure, but the some cleaner, more wailing guitars, and less aggressive singing help it to be it’s own thing.
Since the recording of “Still T.R.E” drummer Pat Meloche has left the group (on good terms) to move out west, and has been replaced by Will Garant. Will does still appear on the CD though, as a part of the gang vocals, so that’s pretty cool. And apparently he’s doing a terrific job manning the skins (even Pat says so). Also cool.
Pick up The Rowley Estate’s Still T.R.E. at Dr. Disc, Hometown Skateshop, or at their next show.
Playlist for September 21, 2011;
Cloud 9 – Gallops of Grandeur (Indebasement Delivers: Fresh Hot Music By The Slice – 1998)
Desertion – Today We Die, Tomorrow We Kill (Welcome to Nothing – 20090
Assassinate the Following… – Deceived (Assassinate the Following…)
Aquila – Bound for Glory (Imperium – 2009)
Weirdonia – Nymphochondriac (Live ) (Demo Tape 8 – 2011)
The Tree Streets – White Girl (Right to Stand – 2009)
Missiles – Summer Song (Missiles – 2009)
Eric Welton – Hazel Eyes (The Windsor Zene December Sampler – 2010)
Mr Chill – Hope Out on That Stage (Mr. Chill’s Cold Testament – 2005)
The Locusts Have No King – On My Way (Come One, Come All – 2010)
Surdaster – Ruthful (Live- 2006)
Red Red Run – Liberty for the Libertine (Rejoyce – 2011)
The Blue Stones – Saw Mill (Live Off The Floor) (Single – 2011)
Pitch Union – Yeah (The Windsor Zene January Sampler – 2011)
Betrayer – Burden of the Pacifist (Shadowed Force – 2005)
The Rowley Estate – Snitches Get Stitches (Still T.R.E. – 2011)
Liquid Car Crash – Assassination Song (Conspiranoia – 2000)
Ton – Little Yellow Head (Going Places – 2011)
Shortcut to Last – Stop (2 Minutes in Heaven – 2011)
Although this week I was without any physical company in the studio, there was no way I could have felt lonely, with all those awesome tunes to spin. The fact that they were mostly chosen by which bands had decided to play that weekend in Windsor only made it more interesting. My playlists basically choose themselves. But my favourite random-pick-off-the-shelf this week had to have been The Tree Streets with the track “White Girl”. Featuring Dave Russell on vocals, this was just an all around fantastic song to listen to.
The music around town on the weekend was quite good, with The Bradford Helner Tribute (which took place at FM Lounge on Friday the 23rd) being a great success with a spectacular turnout (Not that it’s surprising). Entertainment was provides by; The Eric Welton Band, Surdaster, The Locusts Have No King, Max Marshall, Mr. Chill & The Witnesses, and Huladog. The Reigning Queen of Burlesque and Windsor native Roxi D’Lite also made an appearance, and an impression. I never imagines at show like that at FM, but it was certainly something to see.
Check out a few photos from the show here.
Downstairs at The Coach and Horses was night one of Funnel Fest year two. I caught a bit of Blackbarn’s set, and was immediately smitten by their creepy American Gothic-esque appearance (creepiness not lessened by the solitary green light of The Coach) and soft, eerie, extremely well thought-out and played music. Other acts of the night included This Man Tells Stories and Birds of Paradise.
This week I’m going to be joined in the studio by Murad Erzinclioglu who will be giving up the low-down on the upcoming 6th year of The Harvesting the F.A.M. Fest, which kicks off it’s two-week takeover of downtown this Friday.
The Blue Stones are a diamond in the rough found in the city of Windsor. Their garage rock sound provides an entrancing tone that is unique to the music scene. Comprising of guitarist Tarek Jafar and drummer Justin Tessier, the band has come a long way from playing for close friends to packing venues like Villains and Phog Lounge.
When they first got together during their first year of university, their adventure did not start with music. The pair could trace their origins from when they were just 14. A friendship had blossomed from sharing mutual friends and athletic hobbies. “There was instant chemistry, based upon the years of friendship that was non-musical,” says Tarek. “The foundation is almost 100 percent built based on friendship.” Indeed, the ability to read the other persons mind allows the two to form a musical style that blends both of their distinct personalities.
The formation of the Blue Stones in itself was an inevitable one. Originally on guitar, Justin would jam with Tarek. “We would always do originals, no covers,” describes Justin. After deliberating on whether or not to become a four piece, Justin returned back to his native drums, as they began to record and form songs written and inspired by Tarek. “It’s where I’ve always been,” says Justin. The band had been created; however, they still needed a name. Hours were spent with message after message being exchanged between the two. Finally they reached a verdict. A gift, the name The Blue Stones was given and it was official. Tarek says, “We wanted something edgy.” It most certainly was.
Fast forward to October 1st, and they’ll be playing at this year’s installment of Harvesting The FAM Fest, at the Dugout (300 Ouellette Ave.). Fans should be expecting many new features as the Blue Stones anticipate around half their set to be new. “You may see a change in musical style from our old stuff.” says Tarek. “We’ve settled into our sound a little more.” This is exciting as they begin to tighten up and fill out. “With new material, we are starting to take branches on things,” describes Tarek. This is great news for the band, since they have been out of town playing shows and this would be their homecoming. “Our music is still rooted in our genre,” Justin confirms the feel of their new material.
Their travels have given them new insight on diverse audiences. “Every time we play in a new city, it’s back to square one,” Justin explains. “In London, we would be opening for bands; relying on their draw. In Toronto, it was the same thing; in Detroit, same thing. It’s great to be able to relive it.” The experience of playing at different venues has taught them a lot but no more so than being across the border, playing in Detroit. “In Detroit, people worship live music,” Tarek says, recalling the experience. The crowd was a little hostile from the start. “It was like they were undermining us before the set because we’re Canadian,” Justin explained. After the set they shook the foundations and changed many hearts. “Wow these guys are good and they’re Canadian, that’s better,” Justin describes the reaction. Breaking into the States for any Canadian musical group can be difficult, “It’s a huge challenge for any Canadian band, like the Hip playing a sold out show in Toronto but settling for a small venue in Texas,” continues Justin. The show went well accompanied by the Stone Foxes.
After success on the road, they finally make their way back home and into the studio. A special edition of their EP is coming out with logo designed by Zack Berjawi (a local filmmaker and photographer) “It’s a play on being suited up,” Justin explains and it does fit the stylish duo very well. Often clad in button down shirts and neck ties, the two were featured on the website Dappered. “This was huge for us, it’s our morning coffee,” Justin claimed, describing their fondness of the websites content. Indeed, with great style and a mature attitude, the Blue Stones do make an impact on the music scene.
The new special edition EP contains new songs and old songs like ‘I’m a Stereo’. With influences such as Alberta Cross, Black Keys, and Kings of Leon, it’s no wonder that the band has grown to such popularity. The pair plan to go back into the studio later this fall to record covers that are to be made available online for the public. Inspired by John Mayer’s cover of ‘Crossroads’ and Jimi Hendrix’s rendition of ‘All Along the Watchtower’, The Blue Stones plan on covering some big names, including The Black Keys, Sam Roberts and guitar great Jimi Hendrix. Look for new content soon as the band expands their fan base.
What is to come of the band is uncertain, they just want to have fun and as long as they see progress they’ll move forward. “We’d Like to be in a bigger sphere of influence,” Says Justin. “We are playing and trying to do the right things, as long as there is progress and its not stale well keep going.” Tarek says describing the future of the band.
They left me with a couple of tips on bands before doing so. “Don’t force crowd interaction, let them see you’re into your own music,” says Tarek. “When I’m up there if I’m into it, they’ll see it. It’s good to see artists who like their music, feel it out, almost 100 percent of the time people will enjoy it too.” Justin adds, “Don’t feel like your under a microscope, just be yourself. The looser you feel the better you sound. If you stop thinking about how you look like, you’ll focus on your sound a lot more and you’ll sound better. If you think about how you look like your sound suffers, it’s a catch 22.”
The Blue Stones with The Standstills at Harvesting The FAM Festival, Saturday October 1st, The Dugout (300 Ouellette Ave.)
* Indicates Canadian Content
1 ELLIOTT BROOD* – Days Into Years (Paper Bag)
2 THE HORRORS – Skying (XL Recordings)
3 TINARIWEN – Tassili (Anti-)
4 BLITZEN TRAPPER – American Goldwing (Sub Pop)
5 REBEKAH HIGGS* – Odd Fellowship (Hidden Pony)
6 CONTACT* – Undercurrents: Contact Performs the Music of Jordan Noble (Red Shift)
7 BALLAKE SISSOKO & VINCENT SEGAL – Chamber Music (Six Degrees)
8 THE PACK A.D.* – Unpersons (Mint)
9 DAN MANGAN* – Oh Fortune (Arts & Crafts)
10 ADAM & THE AMETHYSTS* – Flickering Flashlight (Kelp)
11 LIBRARY VOICES* – Summer Of Lust (Nevado)
12 ST. VINCENT – Strange Mercy (4AD)
13 MATES OF STATE – Mountaintops (Barsuk)
14 POLAR BEAR CLUB – Clash Battle Guilt Pride (Bridge 9)
15 CUFF THE DUKE* – Morning Comes (Paper Bag)
16 GYPSOPHILIA* – Constellation (Forward Music Group)
17 HANDSOME FURS* – Sound Kapital (Sub Pop)
18 VARIOUS* – Out of Ottawa (613 Records)
19 TURTLEBOY – Smart Matter (Songlines)
20 VARIOUS – Daydream Nation Soundtrack (Last Gang)
21 THE MIDWAY STATE* – Paris or India (EMI)
22 THE SKELETONES FOUR* – Gravestone Rock (Label Fantastic)
23 STARS* – The Bedroom Demos (Arts & Crafts)
24 AUSTRA* – Sparkle (Paper Bag)
25 LUST* – Heartbeat (Crush)
26 LAST ASSASSINS, THE* – The Last Assassins (Dare To Care)
27 BRITISH COLUMBIANS* – Made For Darker Things (Rural)
28 ECCODEK* – Remixtasy (Big Mind)
29 LADYTRON – Gravity The Seducer (Nettwerk)
30 MOONFACE* – Organ Music Not Vibraphone Like I’d Hoped (Jagjaguwar)
More Info: www.earshot-online.com
* – Indicates Canadian Content
1 AUSTRA* – Sparkle (Paper Bag)
2 ST. VINCENT – Strange Mercy (4AD)
3 THE PACK A.D.* – Unpersons (Mint)
4 CAMP RADIO* – Campista Socialista (Kelp)
5 ELLIOTT BROOD* – Days Into Years (Paper Bag)
6 RY COODER – Pull Up Some Dust and Sit Down (Nonesuch)
7 THE LAZY MKS* – Where We Bin (Self-Released)
8 THE PLANET SMASHERS* – Descent Into The Valley Of The Planet Smashers (Stomp)
9 VIOLENT KIN* – People (Self-Released)
10 MOGWAI – Earth Division (Sub Pop)
11 TINARIWEN – Tassili (Anti-)
12 WASHED OUT – Within And Without (Sub Pop)
13 LIBRARY VOICES* – Summer Of Lust (Nevado)
14 THE MIDWAY STATE*
Paris or India (EMI)
15 JUNIOR BATTLES* – Idle Age (Paper and Plastick)
16 BELL – Diamonite (Self-Released)
17 RICHARD BUCKNER – Our Blood (Merge)
18 IDAHO – You Were A Dick (Self-Released)
19 MIGHTY POPO* – Gakondo (Tamba Music)
20 BLITZEN TRAPPER – American Goldwing (Sub Pop)
21 CONTACT* – Undercurrents: Contact Performs the Music of Jordan Noble (Red Shift)
22 TRIO BEMBE* – Oh My Soul (Self-Released)
23 STEPHEN MALKMUS AND THE JICKS – Mirror Traffic (Matador)
24 CUFF THE DUKE* – Morning Comes (Paper Bag)
25 MODERN FIELD RECORDINGS* – We Got Ur Back (Self-Released)
26 BOY WITH A FISH* – I Put My Tongue On The Window (Left Ear)
27 BALLAKE SISSOKO & VINCENT SEGAL – Chamber Music (Six Degrees)
28 ECCODEK* – Remixtasy (Big Mind)
29 TODDLA T – Watch Me Dance (Ninja Tune)
30 THEY MIGHT BE GIANTS – Join Us (Idlewild)
More Info?: www.earshot-online.com
Sat. Sept. 17 – Phog Phest returns for its third year (or, How The Little Venue That Could Became The Little Venue That Did)
When Phog Lounge – the little venue that could – won the CBC Radio 3 Searchlight contest for Canada’s Best Live Music Venue (an on-line voting across all of Canada to determine the best live music venue in the nation) a collective “What the fuck?” was heard for miles (and provinces) around. By all definition – and no offence to either owners Tom Lucier or Frank Incitti – Phog shouldn’t have been anywhere close. It’s stage is minimal and barely fits a three piece band, let alone a band the size of The Unsettlers or Five Alarm Funk. It’s capacity is 65 people which is nearly half the size of some of the venues a LOT of the acts that come through there usually play (such as The Pack AD, Tokyo Police Club, Julie Doiron, Arkells, and Yukon Blonde over past years). There is only a small PA for bands to work with and there’s no one there to do sound – unless one of the patrons at load in time knows how to work the board for you. And let’s not discuss the bathrooms, shall we?
But you know what helped push this little orange shack to the highest vote getter across all of Canada, ahead of such legendary venues as The Horseshoe Tavern, El Macombo, Black Sheep Inn, Call The Office, The Commodore Ballroom, or La Sala Rossa? The Phog Spirit. That’s what. What is the Phog Spirit? It is a genuine feeling of intimacy and loyalty that Phog’s patrons have. They will take chances on bands they have never heard of simply because they trust Tom’s instincts when it comes to booking great Canadian indie music. And while he usually gravitates to the indie rock/alt. folk circuits, he doesn’t exactly shy away from metal, hip-hop or punk. On nights where no live music is present, many a soul spends their last few hours of the evening exchanging entertaining quips and banter with bartenders like “Big Joe” O’Brien or the dour Frank. There are people who go to Phog to play Scrabble with the same ferver someone else might go to see Eric’s Trip‘s Julie Doiron. And many out of town acts – such as Lindy, The Schomberg Fair, Wax Mannequin or Square Root of Margaret – often get mistaken by some casual listeners or goers as Windsor acts because of how often they make the trek to Phog to play. They’ve been overwhelmed by the generosity of the owners and staff, the patience, attentiveness and respect shown by those in attendance, and the sheer good times and balls-to-the-wall party vibes Windsor can exude (seriously, tour out of town or travel, and in a lot of “big” cities, people are marveled at how much alcohol Windsorites can consume on a regular basis and with abnormal haste). A small tightly knit community – and lots of ex-patriots and touring acts – voted daily for weeks and weeks to show their support for their little indie watering hole. One by one the big names dropped from the contest – people voting for Lee’s Palace or Zaphod Beeblebrox assumed their scene was big enough that one vote each would win them the contest – while Phog continued to storm forward. Every day Tom barraged the Phog phriends to overwhelming annoyance, but most of us still voted. And then in February of 2009, more Windsorites tuned into CBC Radio 3 than ever before to listen to the announcement that Phog Lounge in little old Windsor, Ontario had won Canada’s Best Live Music Venue.
That day was our announcement to the rest of Canada. We have a music scene. Our city may not recognize it, but you will. And we’re going to show you.
To celebrate that occassion, Phog held their inaugural Phog Phest in July of 2009, out on University Avenue in front of the venue. Sponsored in part by CBC Radio 3, it featured a line-up that included Holy Fuck, Green Go, Arkells, The Pack AD, The Kramdens, and Megan Hamilton plus a plethora of local acts, such as Michou, Orphan Choir, Yellow Wood, The Locusts Have No King, and Field Assembly. It was a huge success as it was the physical unification of CBC Radio 3, Phog Lounge and everyone who voted that tiny 65-person venue to the top spot in Canada.
Last year, Phog Phest was moved into the parking lot next to the venue at 157 University Avenue West, and included local vendors and artists, creating a smaller scale Lollapalooza atmosphere. Shows inside the venue were scrapped so that all focus would be on the main stage out doors, that utilized national headliners Young Rival, The Mark Inside, Lindy and Raised By Swans mingled with local heavyweights Magic Hall of Mirrors, The Locusts Have No King, The Bulletproof Tiger, James OL & The Villains and VEX.
This Saturday, the third Phog Phest arrives upon us and the trend from last year continues as national headliners Elliott Brood (whose deep Windsor connection was evident and appreciated when they held their last homecoming at the Capitol Theatre past Christmas), Grand Analog, and Detroit’s The High Strung (the first US act to play Phog Phest, best known now as the band who did the theme for the TV show “Shameless”), are on a bill that features great local talent in Explode When They Bloom, What Seas What Shores, fiftywatthead (doing their acclaimed AC/DC re-working/tribute set), The Swillingtones and ASK. Once again it’s being held in the parking lot next door.
And once again, it’ll show us that Phog Spirit and remind us just how we made the little venue that could, the little venue that did.
Phog Phest 3, Saturday, September 17, Phog Lounge Parking Lot (157 University Ave. West), 12noon until 12midnight (outside), after-party with DJ Jamie Greer inside (midnight to close), tickets are $15 (being sold in advance and at door), All-Ages
* – Indicates Canadian Content!
1 THE PACK A.D.* – Unpersons (Mint)
2 MOGWAI – Earth Division (Sub Pop)
3 VARIOUS – Putumayo Presents: African Beat (Putumayo)
4 LIBRARY VOICES* – Summer Of Lust (Nevado)
5 REBEKAH HIGGS* – Odd Fellowship (Self-Released)
6 INDIAN WARS* – Walk Around The Park (Bachelor)
7 CHEIKH LO – Jamm (Nonesuch)
8 CHRIS ANDREW* – Strange Days (Chronograph)
9 HANDSOME FURS* – Sound Kapital (Sub Pop)
10 THE PAINT MOVEMENT* – The Paint Movement (Nevado)
11 CUFF THE DUKE* – Morning Comes (Paper Bag)
12 WHITEHORSE* – Whitehorse (Six Shooter)
13 STEPHEN MALKMUS AND THE JICKS – Mirror Traffic (Matador)
14 BLACK DRINK CRIER & THE LAZY MKS* – Porch Fire (Harvest King)
15 THE BANDANA SPLITS – The Bandana Splits (Boy Scout)
16 FUCKED UP* – David Comes to Life (Matador)
17 THE CROOKED BROTHERS* – Lawrence, Where’s Your Knife? (Transistor 66)
18 CURRENT SWELL* – Protect Your Own (Self-Released)
19 DIAMOND DUST* – Diamond Dust (Self-Released)
20 BIG SUGAR* – Revolution Per Minute (Bread & Water)
21 THE UGLY DUCKLINGS* – Thump & Twang (Pacemaker Recordings)
22 MONKEYJUNK* – To Behold (Stony Plain)
23 MODERN FIELD RECORDINGS* – We Got Ur Back (Self-Released)
24 THE SKELETONES FOUR* – Gravestone Rock (Label Fantastic)
25 THE WEATHER STATION* – All Of It Was Mine (You’ve Changed)
26 ALINE MORALES* – Flores Tambores e Amores (Self-Released)
27 5 AFTER 4* – Rome In A Day (Alma)
28 ROTTEN TROPICS* – The Dross (Self-Released)
29 TASSEOMANCY* – Ulalume (Out Of This Spark)
30 F&M* – Wish You Were Here (Shameless)
More Info?: www.earshot-online.com
Ryan Yoker has come along way in the past few years. Several years ago, he was a brash and cocky upstart who lead the BritPop/Oasis style band Stratus. While the boy clearly had the chops, sometimes his personality got in the way (much like his heroes, the Gallagher brothers). Sometimes his words off the stage made more impact than those he was saying on-stage. And while Stratus had some good songs (“Empty Noise” might be the best Oasis song they never wrote), there was a level of maturity missing from those songs to really make Yoker and his musical voice distinct enough to shine through.
He regrouped and relocated to Toronto where he formed another BritPop inspired outfit Bombs (which he still plays with, despite having returned home to Windsor and bringing his Bombs bassist, Adam “Oz” Osborne, with him). Bombs came across as Yoker’s maturation project. Still somewhat Oasis inspired, it also drew on Kinks songwriting and touched on sounds like Starsailor, Super Furry Animals and other similar bands stereotyped in the BritPop sound (which is often just a conglomeration of similarly localized bands with differing sounds lumped together by the lazy media, similar to the “grunge movement”). Two EPs – Bombs in 2009 (which featured old favourite “Empty Noise” and the incredibly catchy sing-a-long “All and All and All”) and last year’s These Trains Run On Time (which featured the swaggering single “Windsor”, an ode to Yoker’s hometown, and the song “Patch on my Parka”, which appeared on the January 2011 Windsor Zene sampler) – were released on U.S. indie label Mint 400 records, which Bombs promoted with countless shows in the U.S. and Canada.
It’s on the same New Jersey based label that Yoker has unleashed his debut solo record, self-titled under the mysterious moniker R.Y.E. (Yoker insists the letters stand for nothing in particular, though several hilarious interpretations have been overheard by both Yoker and Oz). And it might be on this record that we’ve finally discovered the true voice of Ryan Yoker. He’s no longer that brash 20-year old trying to clone a Gallagher; he’s no longer that angry misguided troubadour trying to sound like his heroes. He’s finally become his own unique voice, complimenting his heroes rather than emulating them.
The opening track, “93″, starts off with another swagger-ific lick that could almost be a Bombs throw away, simply because it almost feels like it could be what “Sweet Emotion” would have sounded like if a British band had written it instead of an American blues rock band. It has a bounce to it that just begs to start off a set, energizing a crowd ripe with bellies full of gin and cocaine. Yoker also showcases a more experimental tone with his guitar sounds than on previous releases, sometimes pulling back more – the less is more theory.
“Chemical Spill” slows down the hallucinogen a bit with a track that sounds like it could be a collab between Paul Weller and Noel Gallagher. Melodic yet simple, it conveys a simpler tone than the previous layered rocker. It almost sounds like an atonement for his past attempts at rock and roll redemption – “it’s hard to tell when you’re under a chemical spill” – the kind of not-quite-apology-apology, but said with a devilish smirk that hints that although he’s recognized his previous short comings, he’s not about to change it all quite yet.
The military marching drums that start off “Can You Feel” lead into an almost hypnotic series of verses that swerve from almost early Pink Floydian to a sweeping epic chorus, with the delicate piano of producer Stuart Ireland dancing throughout the choruses like rain drops, accentuating the rising storm of melodic epicness that the chorus’ swarm up into.
“Back Nine (Could You Believe)?” which segways from “Can You Feel” almost feels like the little sister of the previous song. Almost a similar structure into sweeping majestic choruses, but there’s an electronic element that takes it to different clouds, and Yoker’s voice almost conveys a frailty that he hasn’t shown before. It compliments “Can You Feel”, and helps to continue the album as a storybook, rather than simply a collection of short stories.
“So Oh No Now” brings the beat back up to another stomper. It’s by no means a rocker, but it’s got a feel good stomp to it that definitely lightens the mood from the two previously huge tracks. Again, the song at first listen comes across as a simple Gallagher knock-off but further listens bring out some layering and sound experiments Oasis wouldn’t have dreamed of incorporating.
He brings it all down again for the heavy weight of “Karma Beneath Me” – a song that starts with the feel of a sleepy ballad but ends with some emotional thunder. Yoker’s voice has matured and it shows on this one. It still has that liquor and Newcastle growl in it, but he’s learned to restrain the beast when necessary.
By the time “Something Better Than Nothing” hits, it’s clear that the thing that stands out with this R.Y.E. album is that there is no clear single. There’s no one song that jumps out as the clear cut “hit” radio single. In fact, I’m not entirely sure there is a song that would be considered a bona fide radio hit – it might even be that Bombs is better suited for mainstream commercial radio for that aspect. But R.Y.E. is a superior album. Each song is a well written chapter, creating a tapestry of sonic emotion, that needs to be appreciated fully by reading (or in this case listening) to the whole story.
“You Might Find” continues to show Yoker’s musical growth, incorporating the East Indian sounds of the tabla (without falling into the cliche of Kula Shaker). And while it may be the least anthemic of the songs, it’s got an undeniable groove that only picks up with each section until it’s become perhaps the albums best locked in set of rhythms.
Considering that so many of the songs have a slower feel, the album still works. “Married Without Children” – the album’s penultimate track – is a lazy backyard drift away kind of song. The kind of song that could either be a testament of love after a few joints or a lament to a tired love after a long night of drinking and the sun creeping up.
The album’s final track, “Folk Face”, resonate as Yoker’s ultimate confession. “Should I love you or leave you it’s so hard to tell/Especially when things have been going so well/But it’s hard when you’re me/And it’s hard when you’re with me”. It’s a two minute half apology, half warning that could become a sleeper B-side down the road.
This is Yoker’s strongest, most coherent and polished release to date. And it’s clearly his most personal. It’s the tale of a tortured songwriter torn between living the expected life of a rock and roller, but completely devoted to his craft of trying to write the perfect rock and roll album. And while it may not be perfect, it’s one hell of an emotional roller coaster, that shows that Yoker is indeed human, but one that refuses to let these emotions burden down his dream of singing to a sea of potentially broken hearts. Whether he’s there to fix them or is the cause of them is another story – and perhaps another album.
RYE is available nationwide on Tuesday September 13th on Mint 400 Records.
Vultures?, The Deuce
Years ago, Vultures! was a project that featured members of Bombast (and formerly Somatose) and This Is Me As A Woman. This four piece – comprised of bassist/vocalist Anderson Lunau (Bombast, Somatose, The Golden Hands Before God), drummer Scott Warren (Lone Locust, This Is War, Bombast, Somatose), guitarist Andy Langmuir (Lone Locust, Bombast) and Moog player/vocalist Kimberly Ann Kukoraitis (This Is Me As A Woman) – created a sound that was bold, fresh and straight up different than a lot of the heavy rock/indie bands at the time. They released a 4-song EP, The Very Best Of... in 2009 (that I previously reviewed on an older website here). They played a handful of shows and began to create a loyal local following. And then things took a turn for the worst. Lunau’s departure from the city temporarily ended the project, but upon his return a year later, the relationship between couple Warren and Kukoraitis had soured and she subsequently left the project. The remaining three regrouped and added former Somatose band mate Jeff Riley on guitar and began working together again.
They changed their name (slightly) to Vultures? and began doing shows here and there. Another small hiatus (Langmuir and his wife welcomed a baby) and they’ve returned with a brand new EP entitled The Deuce. The EP is free to download from their label/studio Rockerie Records‘ website.
“Knuckle Down” just may be my new favourite Windsor song of 2011. Lunau’s voice has never sounded stronger and his well-known love for vocal melody really shines through and makes this one of the catchiest songs in ages, in a vein similar to bands like Interpol or Editors – almost ’80s new wave hooky – or like if Midlake were more electrically heavier, or Tears For Fears tried to write a song for Queens of the Stone Age. The dynamics of this pop gem are all brilliantly executed and the production from Scott Warren at Rockerie Records creates a perfect blend. Each musician is given room to breathe and shine on this one. The end bridge part of the song is an emotional crusher. Simply awesome.
The second track, “Serendipitous Happenstance”, isn’t nearly as pop perfect as “Knuckle Down”, but it’s equally…well…bombastic. It’s a slower romp that carries it’s own swagger, again with a Tears for Fears feel in some of the vocal melodies on the chorus, but still unique that an exact comparison is impossible and would be counter-productive anyway. The layers on this song are mammoth – with superb backing vocals that add as much in their shadowed presence as the thundering drum work of Warren, the humbled vocals and minimalist bass lines of Lunau, and the guitar work of Langmuir and Riley. In fact, there are very few guitar tandems in town that have perfected the Art of Weaving as well as Riley and Langmuir – that ability that Keith Richards and Ron Wood of the Rolling Stones possess to play in-between each other rather than with each other, creating a sonic tapestry of guitar work, trading rhythms and licks with ease.
The thing I’ve always enjoyed about this group of musicians is that whenever they work together – whether it be early in Somatose, Bombast, Lone Locust and now two different incarnations of Vultures!/? – is that the find a way to remain relevant and fresh without rehashing vibes or songs from other projects. Their chemistry with each other is perhaps one of the most complimentary line-ups in town right now and that translates to an ease and willingness to create without prejudice, blending each other’s strengths and dynamics into creating a sound that is both hauntingly familiar yet beautifully anticipatory.
What a huge and busy week of music in Windsor-Essex last week, with the Home Coming Electronic Festival, Shores of Erie Wine Festival, The Bradford Helner Memorial…and that’s not including all the great shows put on at the various live music venues in town! A lot of great shows this week as well, including PhogPhest 3!
Tuesday September 13
Ottawa’s garage meets stoner rockers The Polymorphines hit Windsor as part of their tour, with a stop at the legendary Coach & Horses (156 Chatham St. West, basement level). Think if the Sonics met Queens of the Stone Age. Also on the bill are Waterloo’s The Wormwood Scrubs as well as a special reunion of Windsor act I Invoke.
Vancouver’s quirky indie pop outfit The SSRI’s play Phog Lounge (157 University Ave. West) after a secret Monday house show. Joining them will be Windsor’s own Red Red Run and Space Vampire.
Friday September 16
The Magnificent Bastards, a new 70′s-punk influenced project featuring members of 70′s punk icons The Spy’s as well as The Vaudevillianaires, The Hard-Tops and Guitar Army, release their debut album with a release party at The FM Lounge (156 Chatham St. West, main level).
As some veteran punk rockers release their album downtown, one of the new breed – The Rowley Estate – unleash their anticipated album, albeit in the more DIY route. They’re throwing a house party to celebrate (1339 Hall Ave.), joined by friends The Nefidovs, Hellraiser, Ape Cassette, With Glowing Hearts and the debut of new metalcore band Always A New Day. Begins at 7pm and this BBQ is a BYOB affair. CD’s will be available for $8 this night (raising to $10 after).
EVL – one of Windsor’s hardest working and hardest to classify bands – brings their eclectic mix of hard rock to thrash sounds to the Coach & Horses (156 Chatham St. West, basement level) and are joined by London’s The Watershed Year, Chatham’s SUDS and Ghetto Blaster.
The gorgeous indie folk from Newfoundland’s The Mountains and The Trees return for another show at Phog Lounge (157 University Ave. West) on their Canadian tour. Opening the show is eclectic cabaret folk of Hamilton’s Ben Caplan.
Erin Gignac (Dresden Sky), one of the area’s finest roots singer/songwriters, leads a Gospel Music Hour at Taloola Cafe (396 Devonshire Rd.) between 8 and 10pm.
Brazilian megastar DJ Tatiana Fontes hits the Boom Boom Room (315 Ouellette Ave.) for the night, continuing Boom Boom Room’s dedication to bringing world class electronica to Windsor.
Saturday September 17
One of the biggest indie events of the year is back for it’s third year, the 2011 installment of Phog Phest. Hosted in the side parking lot of Phog Lounge (157 University Ave. West), Phog Phest hosts a nice blend of the best in Canadian indie music mixed with the best local indie. Headlined by ex-Windsorites and now international music darlings Elliott Brood, Phog Phest also features The High Strung (from Detroit, the first US act to play the festival), Winnipeg’s Grand Analog (who had to pull out last year but promised to return this year), plus locals What Seas What Shores, Explode When They Bloom, fiftywatthead (doing their new AC/DC cover set) and ASK. Following the live music portion outside, the Windsor Zene’s own Jamie Greer will be DJing a small after-party inside the bar.
The FM Lounge (156 Chatham St. West, main level) is throwing their own Phog Phest after party with a special show featuring the return of Surdaster to the stage. They’ve been on hiatus all summer prepping the release of their long awaited CD, which is almost upon us. Opening the show is the indie punk of Frontiers.
Milk Coffee Bar (68 University Ave. West) continues to house and nurture the city’s finest indie singer/songwriters with a showcase featuring Paul Jacobs (Get Bent) and Joey Strasburg (Earth at Night) performing solo sets.
As dramatic and ever-changing as the weather can be in Windsor, the music always continues to flourish and interchange, and this week continues that trend by showcasing so many avenues of what Windsor has to offer in terms of quality in any genre.
Tuesday September 6
The big buzz of the week has to come from the electronica scene, one of Windsor’s most overlooked scenes but one that houses some of the most rabid followers and that’s produced some of our biggest musical icon exports. Richie Hawtin (better known to many by his alter ego, Plastikman) is a Windsorite who arguably helped change the face of electronic music with his early adventures into Detroit techno, helping shape the entire electronic landscape in the early ’90s. He returns to co-headline the Coming Home Music Festival (put on jointly between the University of Windsor and St. Clair College) with world-renowned club DJ and Grammy winner, Benny Benassi. Also on the bill is another globe-trotting Windsorite, DJ Heidi, as well as Rivaz and Manzone & Strong. The event is being held down at the new Riverside Amphitheatre down at Riverside Plaza (across from Caesar’s Windsor), beginning at 4pm. The electronic dance party of the year in Windsor is free to any UW or SCC student, or just $5 for the rest of us.
Thursday September 8
Shores of Erie Wine Festival, in historic Fort Malden Park in Amherstburg, is always a great excuse to check out some local vintners, try some local grub and take in some national acts rubbing elbows with some of the area’s finest local musicians. Thursday night is generally the”big show” night and this year, one of Canada’s finest rock bands, The Sam Roberts Band, headlines an evening that also features Windsor’s Pat Robitaille and our own (XM Radio Artist of the Year) Michou. Music kicks off around 5pm.
Vancouver’s new country darling Aaron Pritchett hits Windsor with a special intimate and interactive “Up Close and Personal” showcase at Windsor’s newest club (and country music venue) The Bull & Barrell (670 Ouellette Ave.). This is a rare chance to see Pritchett in a smaller setting and he’ll be alone and acoustic, rather than his touring full band arena show. Opening the show is Windsor’s own Crystal Gage, and tickets for this event are $25 (plus tax) advance, or $30 (plus tax) day of. There’s a $40 (plus tax) VIP ticket also available, that includes a private meet-and-greet with Aaron Pritchett.
Friday September 9
Windsor’s favourite punk rock sons (and easily the hardest working band in the city) Orphan Choir are returning once again from another East Coast tour for a homecoming show at The Dugout (300 Ouellette Ave.). They’re being joined on the bill with the tour mates for the past few weeks, Windsor’s own indie-folk outfit James OL & The Villains. Should be a packed house for this one as both bands deliver some of the most honest songs and performances in town.
Over on the West End, The Sandwich Towne Festival is highlighted by a massive out-door concert as part of the BeaverFest Concert Series. Striving to bring some of Canada’s top up-and-coming and national music artists paired with locals on the rise, the crew from BeaverFest bring Orillia’s hot alt. rock leaders Bleeker Ridge to the stage alongside Windsor’s The Classix, with special guests Oshawa’s Hollowick (formerly known as Rides Again). This all-ages show starts at 7pm on the streets around The Dominion House (3140 Sandwich St.). Tix are $10 and are available ahead of time at Jam Space, Dr. Disc or any of the participating West End bars (The Dominion House, The MiLL Tavern, Hurricane’s Roadhouse, Billie’s Place or Rock Bottom).
With Michou back in town for their Shores of Erie gig on Thursday, members Stefan Cvetkovic (under his solo moniker Efan!) and Michael Hargreaves are playing an acoustic show at Milk Coffee Bar (68 University Ave. West). Expect a little bit of sunshine and a whole lotta ukulele.
Two of Windsor’s most exciting new hardcore punk projects, Repetitions and Valeri Page, are throwing a benefit bash to raise funds for their upcoming split 7″ together. Repetitions has been getting on some great bills lately – both locally and out of town – and Valeri Page has been a internet hit with their downloads. The loudness will be contained at Villains Beastro (256 Pelissier St.).
Another of Windsor’s metal heavyweights returns to the legendary Coach & Horses (156 Chatham St. West, basement level) with a stacked bill. Goliath (featuring members of Aquila, In A Hail of Gunfire, Monolith and Weapon of Choice) returns from a series of out of town shows, with Toronto’s My Hollow in tow. Get Bent! (formerly Get Rad!) and Weapon of Choice fill out this monstrosity of awesomeness.
EVL, one of Windsor’s most unique musical collaborations, bring their hybrid thrash punk meets prog Danzig sounds to the FM Lounge (156 Chatham St. West, main level) alongside grunge alt. rockers Awake To A Dream.
April Wine – yeah, those guys – are headlining at Shores of Erie Wine Festival. To be honest, I always get April Wine and Trooper mixed up…
Saturday September 10
The Windsor memorial for Bradford Helner (Huladog, The FourJury, Eric Welton Band, The Hung Jury, Vice Aerial, Mr. Chill & The Witnesses, NOT_Digital, Twistin’ Tarantulas, Greg Cox Roots Combo, etc.) is being held on this day at The Manchester Pub (546 Ouellette Ave.), from 12noon until 6pm. This all-ages event will have a $10 all-you-can eat pasta dinner. Music will be provided by The Last Trio, The Hung Jury, Ray Whimsey, George Manury, Travis Reitsma and The Rockafellas. There will be a donations box (which all proceeds collected from the pasta dinner will go towards) set up to help raise funds for Bradford’s medical bills from being an American in a Canadian hospital.
The Britpop stylings and rock star antics of Bombs returns to Windsor with another rock and roll spectacle at The Dugout (300 Ouellette Ave.). Watch for Bombs’ guitarist/vocalist Ryan Yoker’s solo project RYE in the coming months. It’s the Verve to his usual Oasis slant. Also on the bill are a newer act to hit Windsor’s stages that have been acquiring some ears, the blues rock sounds of Diesel Junkies.
Windsor’s shock-rock zombified stoner rock vets The Vaudevillianaires attempt to deconstruct their fist pounding catalogue and strip it down for a ’90s-era MTV Unplugged-style showcase in the intimate confines of Milk Coffee Bar (68 University Ave. West). Grunge rockers StateSideSin will also be performing a special acoustic set and the evening will feature the solo debut from MicLordz & Sauce Funky‘s Matt Lalonde.
The Sandwich Towne Festival continues Saturday night with a show headlined by Years of Ernest, yet another Windsor act recently back from an East Coast tour. These Windsor veterans are still working hard promoting their amazing CD A Crooked Storyline hit the outside stage at 10:30pm, so there’s still plenty of time to head back downtown and catch one of the other shows later that night. Pop-punk specialists Pulp City Inn open the show.
Dave Russell & The Precious Stones (another Windsor musician returning from a road trip) opens up Shores of Erie Wine Festival at noon. Detroit R&B singer Kimmie Horne headlines the night, that also features Nemesis, Johnny Rocca, Toronto’s Brett Caswell & The Marquee Rose, The Kings of EC (featuring Tom Hogarth), and Dan Woods.
Villains Beastro (256 Pelissier St.) continues to showcase another great local tribute act, with Evil Empire releasing a live tribute to Rage Against The Machine. Their joined by special guests Anonymous Bosch, one of Windsor’s most talented young classic metal bands.
Menos Mal, a new indie blues pop band from Windsor, has their debut on the stage of Phog Lounge (157 University Ave. West).
Oh, and if you happened to get tickets (cause it sold out in record time), this guys playing in the Spitfires’ home…
Sunday September 11
Shores of Erie Wine Festival winds up the weekend with a stacked bill headed by the 519′s own piano power-pop darlings StereoGoesStellar. Kingston’s amazing songstress Sarah Harmer also highlights a bill that includes New York’s guitar sensation Raul Midon and Windsor’s own eclectic and prolific genius Johnny West and a dynamite pairing of Jackie Robitaille and Crissi Cochrane. Music kicks off at noon.
* Indicates Canadian Content
1 SISKIYOU* – Keep Away The Dead (Constellation)
2 THE PACK A.D.* – Unpersons (Mint)
3 THE UGLY DUCKLINGS* – Thump & Twang (Pacemaker Recordings)
4 WHITEHORSE* – Whitehorse (Six Shooter)
5 CHEIKH LO – Jamm (Nonesuch)
6 ELLIOTT BROOD* – Days Into Years (Paper Bag)
7 HAIL MARY MALLON – Are You Gonna Eat That? (Rhymesayers)
8 DEVIN TOWNSEND* – Ghost (E1 Music (eOne))
9 THE BOXER REBELLION – The Cold Still (Self-Released)
10 JACUZZI BOYS – Glazin’ (Hardly Art)
11 THE THRASHERS* – Make A Splash (Transistor 66)
12 ART OF BALLISTICS – Broken Mornings (Lowatt)
13 CUFF THE DUKE* – Morning Comes (Paper Bag)
14 TINARIWEN – Tassili (Anti-)
15 THE NEFIDOVS* – Set Faces To Stunned (Self-Released)
16 KENNY WAYNE SHEPHERD* – A Old Rock On A Roll (Stony Plain)
17 GYPSOPHILIA* – Constellation (Forward Music Group)
18 TASSEOMANCY* – Ulalume (Out Of This Spark)
19 SMOOVE & TURRELL – Eccentric Audio (Jalapeno)
20 YACHT – Shangri-La (DFA)
21 LITTLE GIRLS* – Cults (Hand Drawn Dracula)
22 VIEUX FARKA TOURE – The Secret (Six Degrees)
23 SHAELA MILLER THREESOME* – Love Is Brave (Self-Released)
24 ASA – Beautiful Imperfection (Justin Time)
25 TRIO BEMBE* – Oh My Soul (Self-Released)
26 JORGE MARTINEZ* – Cadencias (Cuntrera)
27 ABSOFUNKINLUTLEY* – Blues Kid City (Self-Released)
28 THE PAINT MOVEMENT* – The Paint Movement (Nevado)
29 HILARY GRIST* – Imaginings (Self-Released)
30 ALINE MORALES* – Flores Tambores e Amores (Self-Released)
More Info?: www.earshot-online.com