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#toronto music
love-michael4ever · 6 days
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❤️‍🔥 Victory Tour is just something els, BEAT IT always makes me hyped, such a powerful song
🎥 Toronto 1984
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stevieonfilm · 1 month
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The Driver Era, Danforth Music Hall - August 8, 2022
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goddessofsadness · 4 months
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Check out Parachute Thieves on streaming services everywhere.
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mywifeleftme · 9 months
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101: Parts Found in Sea // Seat of the Writing Man
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Seat of the Writing Man Parts Found in Sea 1984, Between
Named for a headline describing an airplane that crashed into the ocean, Parts Found in Sea were a mellow post-punk/college rock band that worked the Toronto club circuit hard throughout the 1980s before fading into obscurity. Their small catalogue (two EPs, an LP, and a live album) turns up around used shops in the GTA with fair frequency, and there are a few fond remembrances online from author/activist Cory Doctorow and the wonderful ‘80s indie blog Wilfully Obscure (which I was delighted to learn is still in business).
Parts are a very vibey band—meandering tempos, no hooks to speak of, plenty of glutenous bass to sway dreamily to. They’re not quite goth though—vocalist Steve Cowal is both melancholy and a poet, but seems like he would just look confused if you told him most people start bands to get laid. As Doctorow notes, most of Parts’ songs feel less like verse/chorus/verse/chorus affairs and more like a series of movements. It’s most notable on side-closers “Satellite” and “Body Sends Us,” which have jammy structures that give modest guitarist David Currie (not the former Ottawa Symphony Orchestra conductor, which, I know, you were thinking) a chance to scratch away at his instrument in the spotlight.
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In retrospect, Parts Found in Sea sound like one of those transitional bands between European post-punk and the forthcoming wave of predominantly North American post-rock bands. If they’d come along a little later, they might’ve alighted on some ideas that could’ve expanded and abstracted their sound in interesting ways—but as it is, they left behind a catalogue full of pleasant surprises for aficionados of gloomy, thoughtful ‘80s alternative.
101/365
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crashtestjeffy · 8 days
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I was reading an article about the accidental death of a cop in Toronto. And as an almost throw away line in the article says that when the officer down, a call went out and three ambulances and up to 40 officers responded within 10 minutes.
Interesting. All the Toronto cop cars say "To Serve & Protect" on them. But if they were really there to serve and protect, I would imagine if a civilian was in danger they would serve them as equally as another cop. I am not dumb, I know there is a comradeship there, but still. It is a glaring show of what they could do and what they do, do when citizens are in danger. The very people they are there to serve. Of course I am not talking about wealthy neighbourhoods. A break and enter call in a new immigrant or government housing location takes about an hour to 24 hours to get any response and only after they offer online reporting. Yet in an area like Rosedale, a B&E call gets the immediate response of upward of four cars and multiple investigators. Immediately. Another reason why we need to defund the police. Because they simply do not provide the same service to everyone or with all the ability they have. Why should the majority of taxpayers pay for a force that is so focused on people who pay the least but havee the most?
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emo-and-emo-adjacent · 11 months
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Oh, in Pine Point, it's deteriorating And your memory started fading So you called to let me know You said, "It seems like forever Since we've seen each other Where does the time go?"
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cutebutstilltoughxoxo · 7 months
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TDOT FOREVER is one of the most comforting yet sad projects we've gotten in Toronto in a minute
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azlyricsdotcom · 9 months
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Diana // Tasseomancy // Ulalume (2011)
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trashpandaqc · 5 months
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screencaps from my tour visuals + some of my pics from the shows. had a great time in Toronto, Montreal, Troy, and back here in NYC! looking forward to getting some more of this recorded.
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Adam Basanta, New Tendencies, and the Myriam Bleau / Lucas Paris installation at Ateliers Belleville in Montreal
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Eden, IT-XPO, and nguyendowsXP at Wonderville in NYC
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Bastian Void, DJ Jonesy, and Wavy Cunningham + band at No Fun in Troy
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cadigantapes · 1 year
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Scottie Barnes - Keanu Richal
out in may
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I made this. I put a sample from a Trek show in there. If one of you needs finds the episode I’ll give you all my love and affection and reblog whatever you want ❤️❤️me to ❤️
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justinfriesen · 10 months
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Dan Ross, 2022
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orchidbutcher · 9 months
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music for fairies, cave trolls, space dust and cunts
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joshvanwhite · 10 months
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Do you like The Cure? Do you like Joy Division? Do you like music? If you answered yes to one or more of these questions, then you’ll love my latest single, Fortune’s Favourite. Streaming everywhere now.
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mywifeleftme · 2 months
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322: Rival Boys // Animal Instincts
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Animal Instincts Rival Boys 2014, Tiny Records (Bandcamp)
Rival Boys were an Ontario indie rock band active in Toronto from the late ‘00s to the mid ‘10s. They were a three-piece comprising sibling vocalists Lee and Graeme Rose (on bass/violin and guitar, respectively) and drummer Sam Sholdice, with a sound somewhat like Vancouverites Mother Mother on a blue day. (Whom, as an aside, I have discovered are now way more popular thanks to TikTok than they ever were at the time—they have 8.3 million listeners a month on Spotify, which is like… 38 times more than the New Pornographers.) Both Roses affect a mewl somewhere between Violent Femmes’ Gordon Gano and Sarah McLachlan, with Lee’s more powerful bellow usually taking the lead. In conjunction with the cold mountain violin that periodically sweeps the floorboards, it gives their otherwise youthful affect a nostalgic somberness. They were emphatically a rock band though, capable of kicking up a surly crunch: they didn’t have the dance rhythms of the Metric/Land of Talk acolytes who were all over CBC Radio 2 (the national public alternative music station) at the time, preferring to lope along like the Pixies.
Rival Boys were no longer a going concern by the time I moved to Toronto in 2017; I discovered them when I found a CD of their 2009 EP Life of Worry in the basement of an Ottawa house I shared with a friend who’d known somebody in the band back in high school. It was the first time I can remember coming across a group remotely in my social radius that struck me as unequivocally good. I listened to that five-song EP to death for a few years, and I still think they really nailed their sound with it; as a result, I had kind of a chilly response to their 2014 farewell Animal Instincts when I found it at a punk flea market. They’d shed just a touch of the raw-boned vulnerability that had made their loose, imagistic lyrics cling like a thin flannel against a harsh wind; a bit less bite to the guitar; a hair less heedless urgency to the vocals. The serviceable cover of Wolf Parade’s “I’ll Believe in Anything” seemed on the nose; the new rendition of EP highlight “Construction Work” didn’t make my heart stagger around like the original.
But listening to it now, I think Animal Instincts’ real sin was just not being the record I’d fallen in love with. Life of Worry is special, but there’s plenty to like on the LP. Opener “Fortune” edges the hell out of the listener before finally giving us some of Lee in full thunder; “Young and Old” is a showcase for the close harmonies, wet-eyed violin, and martial drumming that were Rival Boys’ most distinctive element; “Don’t Bloom” gives us a little of everything Lee does well, flowing from a distracted, introverted croon to a high wail that arcs like a flaming arrow at a Viking funeral. On this listen anyway, even the new version of “Construction Work” is doing it for me. There’s a nice closure to the fact that it was both among the first and last things they cut: the original with its blazing, desolate frustration sweeping into a folk reel outro that feels like transcendence; the revision more brittle, reserved, like people on the cusp of leaving adolescence behind giving it one last go, the quieter outro never quite taking off but settling into a low, churchy organ drone. It feels like a dignified goodbye.
Which the record in fact was, although it may not have been clear at the time. Graeme dropped out of the music scene altogether; Lee was quiet for a few years, but soldiers on with the very good Ace of Wands; I’m not sure what Sam’s up to these days. Time moves on—it’s 15 years since the EP, 10 now since the LP. I’m sure for the band members and their fans it feels like barely half that time, like finding a book you set down just the other day covered in dust and all your friends so old all the sudden! If ‘00s indie music can be said to have been about anything, it was surely about digging deeper into the experience of being alive, celebrating the wild joy of it while you can, making something of that. Rival Boys surely made something, and it’s nice to have something physical of it to keep.
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322/365
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New Music Video: “Mountain” - Abigail Lapell
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