I’m not a huge fan of Toronto. I mean, it’s the city I was born and raised in, and it’s the city that I’ve returned to in my adult life, but I’m still less-than-impressed with it.
I have a variety of reasons to dislike the city – some of them personal, other not-so-much – and I know that there are people who absolutely adore it and would jump at a chance to criticize my dislike for it. Simply put, I’m more-or-less disappointed that some of my favourite areas in Toronto are boutique strip-malls – yet, they’re still some of my favourite areas. Maybe it’s more my problem than the city’s.
That, and I’ve been petitioning for a new shade (or several new shades) of Laurentian colour pencil named Toronto grey – I mean, if you live here, have you looked outside recently?
Following last week’s Cancanon posting extoling the virtues of Montreal's music, I should also note that Toronto fares almost, almost just as well. No matter where my travels have led me, and no matter how long I’d been gone for, I’ve always kept a close eye on Toronto music – mostly because it’s one of the single most fascinating cities for music in the world.
I have several theories as to why this might be. Firstly, Toronto and the GTA is Canada’s most populous city, and, simply based on statistics, that should probably yield a fairly decent output of talented musicians. Furthermore, the suburbs – or cities in Southern Ontario not named Toronto or Hamilton – often have their talent allocated to Toronto.
This is roughly equivalent of meeting a declared Torontonian whilst traveling far away – only to learn that they’re from Orillia.
Anyhow, bands such as Oshawa’s Cuff the Duke and the Niagara region’s Attack in Black are often associated with Toronto’s musical circles. Good for Toronto’s reputation, I suppose, and terrible for Oshawa and Niagara’s.
Secondly, much like Montreal, Toronto has big-city appeal, much like Montreal, Vancouver, L.A., or New York. And, owning the distinction of being one of Canada’s cultural capitals, it will attract talent from both near and far. Much as Neil Young moved to L.A., artists are now flocking to Toronto from greater distances – as Joel Plaskett puts it, “all of my friends / where did they go / Montreal, Toronto.”
And this, for me, is an even greater shame: Toronto is importing talent from other regions, robbing other cities of their natural resources. I mean, Halifax’s Matt Murphy – of the Superfriendz – currently resides in Toronto, as does/did Winnipeg’s Greg McPherson. Which is a cryin’ shame, as I associate both Winnipeg and Halifax with their respective voices.
But, at the end of the day – as can be argued with most Canadian cities – Toronto has a fantastic great-band-per capita ratio. And I suppose one of the reasons that I’ve followed Toronto music so closely over the years is because I flat out like it; there’s no doubt that the city’s collective musical taste has played a huge role in the formation of my personal tastes. I mean, for me, Toronto will always be garagey-rootsy-country city (where, oddly enough, I could’ve sworn the Hellacopters played with Teen Crud Combo on a weekly basis, despite the fact that they’re Swedish). And as much as I meander into different genres and eras, I suspect that I’m always going to be a garagey-rootsy-country kind of person.
So, as much as I can dislike Toronto, there’s no denying that I am a Toronto person. And, for this week in the Cancanon, I submit to you exclusively Torontonian bands.
The Sadies – Flash
Shit, the Sadies are one of those bands who seemed to be all over NOW magazine's 19-page concert listing spread whenever you didn’t want to see them. And, lo and behold, once you realize that you have an amazing surf-country band right in your backyard, they’re never available. A perennially underrated band with a solid discography, through-and-though.
Marvelous Darlings – I Don’t Wanna Go to the Party
Normally, I don’t trust supergroups. However, the Marvelous Darlings are a mishmash of Toronto hardcore all-stars, featuring members of Fucked Up, No Warning, Career Suicide, and just about every noteworthy Toronto hardcore band of the last half-decade or so. And while those are all excellent bands, I’m of the belief that the Darlings’ vocalist Ben Cook – he resembling the lesbian from Haute Tension – is one of the single most talented rock n’ roll songwriters in Toronto. Every single project he’s been involved in – from No Warning, to Surplus Sons, to the Darlings, and currently, Fucked Up – has not only been solid, but exceptional. Kudos to Cook for silently defining Toronto music (for myself, at least).
Owen Pallett – the Power of Love
Speaking of the Midas Touch – how about Owen Pallett? Here’s dude making a Celine Dion song sound amazing – despite the fact that it could have been a complete Cancon disaster. And aside from Final Fantasy, Pallett has a truly amazing indie-rock resume, appearing on Fucked Up, Grizzly Bear, the Hidden Cameras, Beirut, and Jim Guthrie albums. And, surprisingly, he makes those named better.
The Bicycles – Gotta Get Out
Now, here’s a band who’s currently getting a lot of hype – and they’re also a band completely deserving of it. Though NOW magazine painted them as a bit of a Sloan-ish band, I don’t necessarily see it - they’re far more jittery, joyous; and what Sloan had in inter-member vocal interplay, the Bicycles have in boy-girl vocals. Personally, per quirky pop, I’d liken them more to the New Pornos, although I bristle when comparing bands, as these comparisons tend to falsify the more familiar I get with a band. Anyhow, their newest album, Oh No, It’s Love, has been getting heavy rotation this week, and deservingly so.
Jim Guthrie – ALS Commercial
See, I’m a huge fan of Jimmy Three-Gut’s work throughout his career – particularly Now, More than Ever for it’s bizarrely listenable quirky charm, and it was the first Guthrie album I’d actually listened to – but I’m saying: doesn’t this ALS commercial (or Lou Gehrig’s disease, you ass) make you want to hug someone? It makes the ‘Free Hugs’ campaign look flat-out insincere.
I have a variety of reasons to dislike the city – some of them personal, other not-so-much – and I know that there are people who absolutely adore it and would jump at a chance to criticize my dislike for it. Simply put, I’m more-or-less disappointed that some of my favourite areas in Toronto are boutique strip-malls – yet, they’re still some of my favourite areas. Maybe it’s more my problem than the city’s.
That, and I’ve been petitioning for a new shade (or several new shades) of Laurentian colour pencil named Toronto grey – I mean, if you live here, have you looked outside recently?
Following last week’s Cancanon posting extoling the virtues of Montreal's music, I should also note that Toronto fares almost, almost just as well. No matter where my travels have led me, and no matter how long I’d been gone for, I’ve always kept a close eye on Toronto music – mostly because it’s one of the single most fascinating cities for music in the world.
I have several theories as to why this might be. Firstly, Toronto and the GTA is Canada’s most populous city, and, simply based on statistics, that should probably yield a fairly decent output of talented musicians. Furthermore, the suburbs – or cities in Southern Ontario not named Toronto or Hamilton – often have their talent allocated to Toronto.
This is roughly equivalent of meeting a declared Torontonian whilst traveling far away – only to learn that they’re from Orillia.
Anyhow, bands such as Oshawa’s Cuff the Duke and the Niagara region’s Attack in Black are often associated with Toronto’s musical circles. Good for Toronto’s reputation, I suppose, and terrible for Oshawa and Niagara’s.
Secondly, much like Montreal, Toronto has big-city appeal, much like Montreal, Vancouver, L.A., or New York. And, owning the distinction of being one of Canada’s cultural capitals, it will attract talent from both near and far. Much as Neil Young moved to L.A., artists are now flocking to Toronto from greater distances – as Joel Plaskett puts it, “all of my friends / where did they go / Montreal, Toronto.”
And this, for me, is an even greater shame: Toronto is importing talent from other regions, robbing other cities of their natural resources. I mean, Halifax’s Matt Murphy – of the Superfriendz – currently resides in Toronto, as does/did Winnipeg’s Greg McPherson. Which is a cryin’ shame, as I associate both Winnipeg and Halifax with their respective voices.
But, at the end of the day – as can be argued with most Canadian cities – Toronto has a fantastic great-band-per capita ratio. And I suppose one of the reasons that I’ve followed Toronto music so closely over the years is because I flat out like it; there’s no doubt that the city’s collective musical taste has played a huge role in the formation of my personal tastes. I mean, for me, Toronto will always be garagey-rootsy-country city (where, oddly enough, I could’ve sworn the Hellacopters played with Teen Crud Combo on a weekly basis, despite the fact that they’re Swedish). And as much as I meander into different genres and eras, I suspect that I’m always going to be a garagey-rootsy-country kind of person.
So, as much as I can dislike Toronto, there’s no denying that I am a Toronto person. And, for this week in the Cancanon, I submit to you exclusively Torontonian bands.
The Sadies – Flash
Shit, the Sadies are one of those bands who seemed to be all over NOW magazine's 19-page concert listing spread whenever you didn’t want to see them. And, lo and behold, once you realize that you have an amazing surf-country band right in your backyard, they’re never available. A perennially underrated band with a solid discography, through-and-though.
Marvelous Darlings – I Don’t Wanna Go to the Party
Normally, I don’t trust supergroups. However, the Marvelous Darlings are a mishmash of Toronto hardcore all-stars, featuring members of Fucked Up, No Warning, Career Suicide, and just about every noteworthy Toronto hardcore band of the last half-decade or so. And while those are all excellent bands, I’m of the belief that the Darlings’ vocalist Ben Cook – he resembling the lesbian from Haute Tension – is one of the single most talented rock n’ roll songwriters in Toronto. Every single project he’s been involved in – from No Warning, to Surplus Sons, to the Darlings, and currently, Fucked Up – has not only been solid, but exceptional. Kudos to Cook for silently defining Toronto music (for myself, at least).
Owen Pallett – the Power of Love
Speaking of the Midas Touch – how about Owen Pallett? Here’s dude making a Celine Dion song sound amazing – despite the fact that it could have been a complete Cancon disaster. And aside from Final Fantasy, Pallett has a truly amazing indie-rock resume, appearing on Fucked Up, Grizzly Bear, the Hidden Cameras, Beirut, and Jim Guthrie albums. And, surprisingly, he makes those named better.
The Bicycles – Gotta Get Out
Now, here’s a band who’s currently getting a lot of hype – and they’re also a band completely deserving of it. Though NOW magazine painted them as a bit of a Sloan-ish band, I don’t necessarily see it - they’re far more jittery, joyous; and what Sloan had in inter-member vocal interplay, the Bicycles have in boy-girl vocals. Personally, per quirky pop, I’d liken them more to the New Pornos, although I bristle when comparing bands, as these comparisons tend to falsify the more familiar I get with a band. Anyhow, their newest album, Oh No, It’s Love, has been getting heavy rotation this week, and deservingly so.
Jim Guthrie – ALS Commercial
See, I’m a huge fan of Jimmy Three-Gut’s work throughout his career – particularly Now, More than Ever for it’s bizarrely listenable quirky charm, and it was the first Guthrie album I’d actually listened to – but I’m saying: doesn’t this ALS commercial (or Lou Gehrig’s disease, you ass) make you want to hug someone? It makes the ‘Free Hugs’ campaign look flat-out insincere.
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