I love discovering new bands before the mainstream catches on. I've been lucky to have a couple of friends who have their ear to the ground when it comes to new music who know my taste in music and got me hooked on Biffy Clyro. Last week I was lucky to be one of the few Vancouverites to experience Biffy's first major show in Vancouver at the Venue (Granville Street).
This band has been around for 15 years and has 5+ recordings and has steadily grown its audience in the UK over that time period.
I remember hearing stories of the first Vancouver show that Radiohead played. I'm not sure of the exact date but it was at the Railway club in the early 90's and apparently there was only a handful of people there that night Everyone you talk to in the local music industry talks about how they were there yet only 20 were in attendance (I'm guessing none of these music industry people were there, they just like to say they were a part of it). This is typical for this kind of monumental show. I remember hearing from a few friends about the Strokes first show at the Pic or the White Stripes show at the pic and how no one was there and how it was great to see these bands before they broke into the mainstream.
This is how I felt last week.
The Venue holds about 500 but they will stuff about 600 people into the room. When we walked in the room was full and you couldn't move. Although we were near the sound booth, the sound and energy was electric.
I have to admit to you right now that based on "Only Revolutions" (the newest LP from Biffy) I was expecting smoke and mirrors (backing tracks synced to a lighting rig, a touring keyboard player, a touring guitarist) because this record sounds absolutely huge. I was suprised when I saw this band was in fact just a trio. They did not need any tricks to fill out their sound. The guitars were huge. The drums sounded massive. The bass was booming. They had a huge banner of the album artwork behind them but only the club lighting (which is terrific for a local venue).
I am still a newcomer to the B.C. back catalogue. This band is not afraid to play old songs. Their set was all over the map, very progressive, and at times I felt like I was watching Rush. Other times I felt like I was watching Nirvana and/or the Foo Fighters. Other times I felt like the band was harnessing mid-90's Supergrass. They were tight. Fast stops. Fast starts. Huge breaks that slammed back into the complex bridge. They take risks in their music and they take even bigger risks on stage. The bass player and drummer player even left the stage for two acoustic numbers in a row. Their songs are diverse, ranging from 90's grunge to prog to melodic ballads with beautiful harmonies.
Most of the crowd that night was either British or Scottish or there with someone from the UK and all were singing along with every word.
I'm going to steal this quote from another show review:
""Biffy who?" you're probably saying. It's a valid question. Too weird for CFOX, too noisy to fit into The Peak's 24-hour Mumford and Sons playlist; Biffy Clyro remain virtually unknown in this corner of the English-speaking world. Which is why they're reduced to playing Granville Street's 500-capacity Venue for the budget price of $14 a ticket. " (Robert Collins, ctvbc.ca)
This sentiment is the hard truth and it continues to be the truth about many bands that Vancouver is not exposed to. In my opinion (which can be taken with a grain of salt) there is a niche of music locally that is not being promoted by the local industry. Somewhere between CFOX & the Peak, great bands are getting ignored. Some are local. Some are from Canada. Some are American. Some are from Scotland. Biffy Clyro is one of these bands.
I am very glad to say I was part of the first wave of Biffy's breakthrough into North America. I will definitely be the one who says "I was there."
Love,
Marty
@martyzylstra
Showing posts with label Mumford and Sons. Show all posts
Showing posts with label Mumford and Sons. Show all posts
February 28, 2011
February 14, 2011
the Grammys, yeah, I know, I'm blogging about the Grammys
I watched this awards show last night.
Maybe you've heard of it? It's called the Grammy's.
You don't know this about me but I hate awards shows. How does Lady Gaga, Justin Bieber and Eminem really reflect what's going on in music these days? How does album sales/popularity reflect an artist receiving the "top award" in music?
I can cite hundreds of examples of artists who are currently breaking boundaries and although I will give the mainstream some credit for being influenced by some of the artists who are not mainstream and breaking small boundaries, I still feel that manufactured music is out of date.
One exception and the highlight in my opinion from last nights gala was Mumford and Sons. (notice I left out the Arcade Fire?)
Their performance at the Grammys was exciting. They showed that they will almost certainly be future stars and they blew me away with their empassioned performance and charisma. They also have songs that make you want to sing. The songs are full of life and passion. You want to know what they are about. They make you feel alive. They make you feel strong and feel love and feel moved. This is what music is all about.
As you know, Arcade Fire won for Album of the Year. Fair Enough. They're wonderful. The underground has now emerged into the mainstream. Well done. Again, this is my opinion but I feel like Win Butler and Co. are just a bag of hot air. They are pointing their fingers at us. They are trying to effect change by purposefully playing noise at the Grammy's. Why not change people's perception by performing material that is so great that it has to effect change or a shift in the ideas within the industry. We don't need to hear music that is unlistenable. In a way the first track that they played was just as horrible to listen to as an overproduced Lady Gaga song. In fact I would rather listen to Lady Gaga. At least I can appreciate the high quality production and skill of the songwriters that were able to put together a perfectly candy coated pop song. Again. My opinion only: a simple pop song with a strong hook that stays in your head for days and days is harder to write then noise. Arcade Fire's statement was lost on me. It was also lost on the crowd who looked bewildered at their weirdness.
Now: The awards am I really interested in?
In Canada we have the Polaris prize. Read up on it here
I recommend you read the FAQ's to understand where the judges come from and how the artists are selected. It's probably in ways similar to the Grammy's, Juno's etc, but I like that there is no prejudice. You can literally submit your record and have a shot at being shortlisted based on artistic merit stands alone.
Read the Rules here
I thought I would highlight a couple of the rules that really speak to me:
Rule #1a:
Maybe you've heard of it? It's called the Grammy's.
You don't know this about me but I hate awards shows. How does Lady Gaga, Justin Bieber and Eminem really reflect what's going on in music these days? How does album sales/popularity reflect an artist receiving the "top award" in music?
I can cite hundreds of examples of artists who are currently breaking boundaries and although I will give the mainstream some credit for being influenced by some of the artists who are not mainstream and breaking small boundaries, I still feel that manufactured music is out of date.
One exception and the highlight in my opinion from last nights gala was Mumford and Sons. (notice I left out the Arcade Fire?)
Their performance at the Grammys was exciting. They showed that they will almost certainly be future stars and they blew me away with their empassioned performance and charisma. They also have songs that make you want to sing. The songs are full of life and passion. You want to know what they are about. They make you feel alive. They make you feel strong and feel love and feel moved. This is what music is all about.
As you know, Arcade Fire won for Album of the Year. Fair Enough. They're wonderful. The underground has now emerged into the mainstream. Well done. Again, this is my opinion but I feel like Win Butler and Co. are just a bag of hot air. They are pointing their fingers at us. They are trying to effect change by purposefully playing noise at the Grammy's. Why not change people's perception by performing material that is so great that it has to effect change or a shift in the ideas within the industry. We don't need to hear music that is unlistenable. In a way the first track that they played was just as horrible to listen to as an overproduced Lady Gaga song. In fact I would rather listen to Lady Gaga. At least I can appreciate the high quality production and skill of the songwriters that were able to put together a perfectly candy coated pop song. Again. My opinion only: a simple pop song with a strong hook that stays in your head for days and days is harder to write then noise. Arcade Fire's statement was lost on me. It was also lost on the crowd who looked bewildered at their weirdness.
Now: The awards am I really interested in?
In Canada we have the Polaris prize. Read up on it here
I recommend you read the FAQ's to understand where the judges come from and how the artists are selected. It's probably in ways similar to the Grammy's, Juno's etc, but I like that there is no prejudice. You can literally submit your record and have a shot at being shortlisted based on artistic merit stands alone.
Read the Rules here
I thought I would highlight a couple of the rules that really speak to me:
Rule #1a:
Polaris Music Prize nominees and winners will be selected solely on artistic merit without regard to genre, sales history or label affiliation.
Is this how the Grammy's decide on album of the year? I doubt it.
Rule #1b:
All forms of contemporary music (including, but not limited to, pop, rock, hip-hop, R&B,
electronic, experimental, jazz, classical, instrumental, country and blues, or any combination of the above, and including genres not mentioned or invented at the time these rules were written) are eligible for the Polaris Music Prize.
Genres not mentioned or invented at the time these rules are written. This suggests that the Polaris Prize is encouraging artistic growth and for artists to break boundaries.
I don't want to get to preachy but here are a few of my favourites from the past few years that have made the top 40 on this list:
- Two Hours Traffic
both LPs from this great pop/rock band from PEI are great from front to back. Both albums have subtle hooks and melodies that stick with you forever. The lyrical content is also very subtle and it brings you back again and again.
- Plants and Animals
In my opionion this band will some day be bigger then the Arcade fire. They are a trio from Montreal and sound like a 10 piece band. I love the quirky sound selection and the arrangement of the songs aren't of the norm. This is a great band.
- the Stills
If you haven't heard the Stills just go buy all their music. Right now. They're one of the best bands in Canada and are very close to breaking through into the mainstream. Get into them before this happens so you can say you were there before it happened.
- Caribou
I downloaded "Andorra" only because I had heard a few songs by the 2008 Polaris list. This album grew on me every time I listened and I love the intricate sounds and hidden melodies throughout the record. Also it's really danceable. If you like to dance that is. Most people in Vancouver just like to cross their arms and frown when watching live original music.
Lastly:
- Stars
I have been listening to Stars since 2003 when they released a song called "Elevator Love Letter". I honestly am in love with Amy Milan. I'm also in love with Torquil. You will fall in love too.
That is my rant for today.
In closing:
Some musicians dream of standing on the stage accepting "Song of the Year" at the Grammys. I will never fall into that category. I dream of winning a Polaris Prize.
Love,
Marty Zylstra
Marty Zylstra
@martyzylstra
February 3, 2011
I reposted Lefsetz blog about Mumford and Sons
I reposted this blog because if you read it, you'll see that all the "rules" within the music industry are DEAD:
Mumford & Sons
The story of the week is not Amos Lee entering the chart with an anemic sales total of 40,000. That’s like seeing your name in print in the newspaper. All your homies call you up thrilled and the following day you’re forgotten. Ditto with Cake. These are not bad stories, the fans come out and support these acts, they can make a living playing music. But they’re never going to go platinum. They’re never going to blow up like Mumford & Sons.
Could it be the Hot AC play? And there’s been adult radio spins, but there are barely any adult radio stations.
We could debate all week long what’s fueling Mumford’s sales, but the fact is Mumford & Sons’ "Sigh No More" sold 31,000 copies this week to place number six on the SoundScan chart. They’re almost at 750,000 copies. And number 10 on the 2010 chart was Ke$ha, with 1,143,000 copies sold.
In other words, in the world of recorded music, Mumford & Sons are SUPERSTARS!
Katy Perry’s vaunted "Teenage Dream" has sold barely over a million. Despite being on the chart for 22 weeks. Then again, Mumford’s been on the chart for 49. You see it takes that long to build.
And building is the story.
It’s no longer about the peak. The Black Eyed Peas are going to headline the Super Bowl this weekend on the downswing of their career. Not because they’re decades beyond their moment in the sun like the classic rockers, but because their latest album, "The Beginning", is the beginning, of the E.N.D. It’s over. It’s like everybody in America looked at each other and said THESE GUYS SUCK! In a world searching for meaning, the Peas are meaningless. It’s hard to party all the time when you’re broke and don’t have a job.
When that happens, you’re looking for something more soul-fulfilling.
It turns out Top Forty radio is not king.
Most of those Top Forty acts, which do sell singles on iTunes, can’t tour for shit. Whereas Mumford sells every ticket. Then again, Mumford underplays and undercharges. What a concept! Create a frenzy, get everybody talking about you!
In other words, your friend says he’s going to the show. Do you want to come? You debate. The Ticketmaster charges, the lame opening act, you’re gonna pass. But when your friend is going to the show of an act you’ve never heard of, and is foaming at the mouth about it, and you get excited and want to go too and you can’t get a ticket you’re frustrated and ask yourself WHAT IN HELL IS GOING ON HERE?
What is going on here?
The media is driving towards a cliff of its own device. The record labels and the movie studios and the newspapers and magazines and TV stations are in cahoots, believing it’s still the nineties, when hype is everything and it pays to be mainstream.
You know how you become mainstream today? By driving in the complete other direction and doing something so different, so unique, so ALIVE that the public is drawn to it.
Mumford doesn’t need the usual suspects. It’s just the music. That’s enough. Acoustic instruments, no beats, HUH?
You can decry the Internet. But it’s the Net that breaks these new acts. Because the mainstream, if it cares at all, cares last. People are looking for something new. And they’ve found Mumford & Sons… WHO’S NEXT?
Could it be the Hot AC play? And there’s been adult radio spins, but there are barely any adult radio stations.
We could debate all week long what’s fueling Mumford’s sales, but the fact is Mumford & Sons’ "Sigh No More" sold 31,000 copies this week to place number six on the SoundScan chart. They’re almost at 750,000 copies. And number 10 on the 2010 chart was Ke$ha, with 1,143,000 copies sold.
In other words, in the world of recorded music, Mumford & Sons are SUPERSTARS!
Katy Perry’s vaunted "Teenage Dream" has sold barely over a million. Despite being on the chart for 22 weeks. Then again, Mumford’s been on the chart for 49. You see it takes that long to build.
And building is the story.
It’s no longer about the peak. The Black Eyed Peas are going to headline the Super Bowl this weekend on the downswing of their career. Not because they’re decades beyond their moment in the sun like the classic rockers, but because their latest album, "The Beginning", is the beginning, of the E.N.D. It’s over. It’s like everybody in America looked at each other and said THESE GUYS SUCK! In a world searching for meaning, the Peas are meaningless. It’s hard to party all the time when you’re broke and don’t have a job.
When that happens, you’re looking for something more soul-fulfilling.
It turns out Top Forty radio is not king.
Most of those Top Forty acts, which do sell singles on iTunes, can’t tour for shit. Whereas Mumford sells every ticket. Then again, Mumford underplays and undercharges. What a concept! Create a frenzy, get everybody talking about you!
In other words, your friend says he’s going to the show. Do you want to come? You debate. The Ticketmaster charges, the lame opening act, you’re gonna pass. But when your friend is going to the show of an act you’ve never heard of, and is foaming at the mouth about it, and you get excited and want to go too and you can’t get a ticket you’re frustrated and ask yourself WHAT IN HELL IS GOING ON HERE?
What is going on here?
The media is driving towards a cliff of its own device. The record labels and the movie studios and the newspapers and magazines and TV stations are in cahoots, believing it’s still the nineties, when hype is everything and it pays to be mainstream.
You know how you become mainstream today? By driving in the complete other direction and doing something so different, so unique, so ALIVE that the public is drawn to it.
Mumford doesn’t need the usual suspects. It’s just the music. That’s enough. Acoustic instruments, no beats, HUH?
You can decry the Internet. But it’s the Net that breaks these new acts. Because the mainstream, if it cares at all, cares last. People are looking for something new. And they’ve found Mumford & Sons… WHO’S NEXT?
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