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Archive for the ‘Michael LaPointe’ Category

SOUNDTRACK: MEN I TRUST-Tiny Desk (Home) Concert #224 (June 16, 2021).

I hadn’t heard of Men I Trust, one of the more interesting new band names out there, but I really like their sound.  It’s a kind of gentle synth pop that seems to flow so effortlessly from French-speaking singers (even when they sing in English).

Men I Trust was initially the duo of high school friends Dragos Chiriac (keyboards) and Jessy Caron (guitars), before adding vocalist Emma Proulx in 2015 and recording the group’s debut album, Headroom. (They expanded to a quintet for this performance, with Cedric Martel handling bass and Eric Maillet on drums.)

The band straddle the line between interesting indie rock and 70s soft rock.  In fact even the setting straddles that line.

From a rustic and retro-looking cabin on the north shore of the St. Lawrence River in Quebec, the band Men I Trust seized the essence of the Tiny Desk almost to a tee. The controlled, yet layered four-song set, bookended by tracks from 2019’s Oncle Jazz would almost certainly make for a plug-and-play situation had it been behind Bob Boilen’s desk.

“Show Me How” leans away from the soft rock with a pretty guitar intro and some nice bass work.  Proulx’s voice has that softness that lures you in.  The shift to the chorus is a really nice chord change too.

The band’s style sways between rubbery upbeat electro-pop and the muddy pace evident on last year’s “Lucky Sue,” but generally hits that sweet spot for anybody looking to be cradled and carried by a vibe-y groove

“Lucky Sue” opens with a wah-wah guitar intro that sounds like synth.  Caron also makes some really cool chords on his guitar–he gets some really interesting sounds from it.

 The song “Humming Man,” was its first official single as a trio and they never looked back from there.

“Humming Man” opens with thumping drums and a soft synth chord progression.  Again Caron play a wah wah filled riff but also gets some really interesting guitar sounds–almost like a reverse wall of chords that he stretches out to a lengthy solo for the end of the song.

I’m fascinated to read that

The overdubs and reverb on Emma’s vocals are stripped away here, leaving a deceptively endearing quality to her voice.

Her voice here isn’t full of reverb, but I can’t imagine doing much processing to her delicate voice.  “All Night” sounds very nice–whispery and inviting even if this song veers a little too far into soft rock territory.  Caron’s solo takes up more than half of this song, and I found myself missing Proulx’s voice by the end.

[READ: July 1, 2021] “Private Hands”

This month’s issue of The Walrus is the Summer Reading issue and features three pieces of fiction and three poems.

The fifth piece is a short story about provenance and ownership.

The narrator works as a (poorly) paid assistant to Harvey, a wealthy collector.  Harvey had made his money in pesticides and was worth about $200 million.  Harvey bought things with the intent of upselling them.  Disney merch always sold well.  But Harvey had a few things that were hard to sell, like Jimi Hendrix’ 1963 Fender Strat.

Paul was a buyer.  Harvey tried to sell him the Hendrix for $500,000 but he wasn’t biting.  Normally Harvey would haggle, but he had overpaid for this, and wouldn’t budge.

Harvey had a few other interesting items (a test pressing of Led Zeppelin III), but Paul really wanted guitars.  (more…)

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SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern, Toronto (May 25, 2017).

Second of four shows at The Horseshoe Tavern dubbed Spring Nationals. First Time played live for the new songs Rear View (Tim), Here Come The Wolves (Dave B), AC/DC On My Radio (Dave B/Dave C).
Lineup is:
Dave Bidini / Dave Clark / Hugh Marsh / Ford Pier / Martin Tielli / Tim Vesely

The show starts with a kind of quiet, hushed version of “Stolen Car” with cheers for Hugh’s violin solo at the end of the song. And then Martin introduces “Ford Kristofferson on the keyboards” (Man I wish I could see what Ford looks like).

Someone shouts “Rheos rule” and Clark comments, “if we did, there’d be world peace.”

They play a wonderful combination of “King Of The Past” (Clark: King of the Pasta) and “Northern Wish.”

The crowd whoops and Dave says that that is the appropriate sound for the new song.  Clark: “It’s called “Confused Wolf.”  The song is really called “Here Come The Wolves” and it’s a powerful song with great toms and violins.

This one [“P.I.N.”] is called “Snakes on a Plane.”

Clark says “Big thanks to Dani Nash and her rocking band.  She also drums for the Samantha Martin Band.  She is a wicked drummer and a knockout visual artist, too.

[We’re skipping a song on the setlist, shhh–they were going to play “Bridge Comes Tumbling Down”].  They “bridge” to “Music Is The Message” and as Tim says, “we played a bunch of new songs last night and playing them again tonight and they’re completely different.  It’s awesome.”

Dave B: We’ll try to play this next song (Dave’s “Mountains And The Sea”) well for once.

Clark says “That is the first chord of Dust in the Wind, right?  It was a hit for them, why not us?”

There was a lengthy solo from Hugh including a funny bit where he holds off on playing notes busting all the anticipation.

Martin comments: “I’ll call you David from now on.”
DB: “Are you mad at me?”
MT: “No it’s jut you insist on that….  Don’t Davids bug you?  Or Mikes who insist on being called Michael.”
DB: “I’d like to send that out to Michael Philip Wojewoda who is here tonight.”
MT: “I’ve always hated that about Michael Phillip.”
Tim: The only thing worse that David is “Daveed”
Clark: “And yet David Durango is one of the nicest guys going.” (I can’t figure out who they are talking about).
MT: He’s the only guy who almost drummed for Nick Buzz.  A Band with a “no drummer” policy.”
DS: “No drummer policy? Where do I sign up?”

Tim will surprise us with an instrument change…
Someone in the audience: “Polka the shit out of us, Tim!”
DB: “There’s heavy male patter presence, which must be offset at some time.”

Tim is on “the gentleman’s instrument” for “What’s Going On Around Here?”  It sounds great to hear again, although Tim says, “that accordion was exhaling musty basement smell in my face. It’s been down there a long time.”

Up next is a duet with Hugh and Tim (on acoustic) doing “Bad Time To Be Poor” it’s very cool to hear it this way.

Dave announced the last new song of the night.  “I know you want to hear new songs but you get worried, I hope they play the one I like.  But you’re such an elastic forgiving crowd, you’ll let us do anything.”
Tim: ” Wednesday’s crowd were a bunch of assholes.”
(Someone in audience: “I’m never coming back.”)
Tim: “This is the best crowd ever.”
Martin: “Maybe the penultimate.  There was one other that was better.  They were so good.  I loved them.  I dream about them.”

Tim tells a story about opening for The Hip and getting ambivalent and odd crowds.  We expected that.  There was no abuse.

But Dave B says they played in Quebec in purple and orange jackets and people laughed… they got it!  We should be bigger in Quebec.

Martin says in New Brunswick somebody threw something at us.  Martin says he picked it up and whipped it right back at them.
But Dave says at another show, something hit Martin and he got pissed, but it was a T-shirt that said “We love you Rheostatics.”

Tim: “The moral of the story… Fucking Rheostatics fans.”

They play a wonderful “The Albatross” which is really gelling live and then a solid “Legal Age Life At Variety Store” (with an introduction to Tim Mech).  Dave shouted that he end, the Eagleson ripped off Bobby Orr line and Tim shouted “can’t you ever get over that?” During “Self Serve Gas Station” Martin sings “What went wrong with Ford?”

After some banter they’re on to “Shaved Head” which sounds great even though Martin misses a lyric.  It doesn’t throw him, although he does apologize later.

The pretty ending gets cut off but only by a little I’d guess. And they go for an encore.

After the break Dave Clark comes out to sing an a capella version of “Johnny’s Got A Problem” by D.I.   The crowd is really into it and sings along.

As soon as Martin starts playing the crazy guitar intro to “When Winter Comes” someone in the crowd goes crazy “Oh my God!  Oh my God!”  It sounds great to hear again as well.

They end the night with a song “co-written by Paul Quarrington.  Go to a library and take out one of his books.”  A lovely version of “Claire.”

It seems like maybe there might be more, but that’s where the recording ends.  The new songs have been getting better and better, and the band is having a lot of fun up there.  Dave Clark is even being a bit more silly, but nothing like he was back in the old days.

[READ: May 18, 2018] “Candidate”

This is a story of a man who works for a presidential candidate.

It is told in first person in the present and in flashbacks.

The flashbacks talk about how he and his best friend Spencer were marginal kids in school.  Spencer in particular was a somewhat shunned individual–he could have been in the Trench Coat Mafia.  But while the narrator and Spencer shared the same views and ideas, the narrator passed more easily with the other kids. (more…)

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