On May 16th, Toronto was blessed with clear skies and a cool breeze that kept perspiration at bay. Residents of the city were up in arms about the LCBO strike and you couldn’t walk ten paces without hearing someone grumble something about how the long weekend would be “the worst, EVER” because of this. Those who weren’t voicing their discontent at lack of alcohol were laughing at Rob Ford’s latest in a long string of miscues (He has more in common with the late Amy Winehouse than he lets on).
For detractors of The Strokes — yes, they seem to come out of the woodwork whenever a new album is released — the jabs about the New York rockers’ latest offering write themselves (i.e. Comedown Machine isn’t a Comeback Machine). But what is perplexing is the number of reviews that neglected the music and turned into savage ad hominem attacks of the Fab Five.
(Note: This review originally appeared in The Silhouette)
Following the enormous success of the FutureSex/LoveSounds, Justin Timberlake fell off the musical map and let his ceaseless ambition guide him down other career avenues. He’s proven his acting chops playing Napster founder Sean Parker in David Fincher’s The Social Network, but only after letting them go to waste on slapstick slop like The Love Guru. Ever the crowd-pleaser, he distanced himself from his boy-band image while performing the highly entertaining History of Rap with Jimmy Fallon. Timberlake seemed to remain in character as Mr. Parker, adopting the same energy he brought to the role of the entrepreneur while recently hosting Saturday Night Live.
(Note: Originally appeared in The Silhouette)
(Photos by Hannah Jor)
Although Toronto’s Kool Haus is better fit for raves than psychedelic rock concerts, the easygoing Aussies that comprise Tame Impala made themselves at home this past Saturday. The quintet of Kevin Parker (vocals/guitar), Jay Watson (synth, vocals), Dominic Simper (guitar/synth), Nick Allbrook (bass) and Julien Barbagglo (drums) displayed an ability to acclimatize that seems beyond their years.
In the bleak throes of a Canadian winter, it’s always a pleasure to have an album that acts as a pseudo-blanket while it quells your anxieties and warms your heart. After sitting with Local Natives’ stunning new record Hummingbird for over two weeks, I can safely say that those who listen to it will derive comfort from it in the same way that Linus did from his treasured blue blanket.
It was a Wednesday night and the vibes were infinite. Scores of fans had gathered outside the famed Massey Hall in order to catch the indie heavyweights, Grizzly Bear.