#ty october for showing me this most excellent album...

[melanierosemusic]

A Review of The Battle at Garden's Gate: Greta Van Fleet's New Album

by Melanie Rose

Greta Van Fleet are a Michigan-born band, consisting of three brothers: Josh Kiszka on vocals, Jake Kiszka on guitar and Sam Kiszka on bass, as well as good friend Danny Wagner on drums.

They released their debut EP From The Fires in 2017 with a follow up album Anthem of the Peaceful Army in 2018. Immediately, they were met with an array of fans with a wide age range, from nostalgic mums to impressed dads trickling right down to teenagers with a new found love for 1970s inspired rock with a folk edge. The band were also met with a lot of critics, accusing them of being Led Zeppelin copycats, unoriginal and simply ripping off classic rock artists from many years ago.

Despite the criticisms, Greta Van Fleet have proved their tenacity with the release of their well awaited second studio album, The Battle at Garden's Gate. I will be reviewing each song in order of tracklist and exploring how Greta Van Fleet have evolved their sound and creativity.

Heat Above: We open the album with a merry and magical start. Josh's heavenly vocals mixed with warm and inviting lyrics provide a great accompaniment to Sam's Hammond organ. This song feels very peaceful and has a great groove, reminiscent of the hippie sounds of the late 1960s and 1970s. A great opening track makes for a promising start.

My Way, Soon: This song is a pure hit of dopamine to the system. I loved it since the first time I heard it when the band released it in October of last year. The cheery song paired with the homemade music video feels like nostalgic memories from childhood summer camp. It makes me feel like I stepped right back into the past. The bass in this song is strong and the guitars pair up in a dynamic duo with the drums as the song builds to its chorus. Great lyrics in this song make for an anthem feel and a strong lead single.

Broken Bells: This song would make for an amazing concert opener. It reminds me of the early work of psychedelic influenced rock bands like Rush and Pink Floyd. The music builds with such gravitas in this track; it's magnetic and holds the attention of the listener throughout. The way in which the instruments marry each other in the chorus is stunning and the drumming of Danny Wagner really shines on this song. The song almost feels like a soundtrack for The Chronicles of Narnia or Lord of the Rings, with a battle-like quality to the intensity of the song's build up. Once again, Josh's vocals are ethereal.

Built by Nations: This song showcases the sexier side to Greta Van Fleet's musicianship. The drums have a great groove and the guitar is quite bluesy. This song is an excellent example of how much the band have matured their sound since their previous releases and how they have evolved their songwriting skills.

Age of Machine: From the very first moment I heard this song, I knew it was going to be one of those amazing, long classic rock songs that draws you in and makes you feel like you're on a trip. The way the drums fade in paired with the vocal talents of Josh Kiszka gives the song a psychedelic undertone and gives me chills. I like how the vocals compliment the guitars in this song and the drumming is beautiful as always. The group vocals in the chorus add a really nice touch to the song. The guitar riff after the verses appears to take inspiration from Rush once more; that part alone definitely makes this one of my favourite songs on the album.

Tears of Rain: The opening acoustic guitar is so beautifully crisp and clear and it is rather mindful of the kind of music you would hear upon an evening beach walk in Spain. The bells are a beautiful addition and piano shows a lighter side to Greta Van Fleet's musical abilities and the vocals compliment everything wonderfully. This song stands out because it sees the band branch out from their electric guitar - drums - bluesy bass combo. The rain clouds at the end leave the song with a magical, theatrical quality. The ending puts me in mind of Rainbow by Kacey Musgraves; a retro and introspective piano ballad with a touching final chord.

Stardust Chords: What a beautiful name for a song! I love the drums at the beginning - they suggest an anthem is about to unfold. Josh's booming vocals introduce another great riff from Jake on guitar. I love the groove of this song that the bass and drums create. The music in the chorus mixes harmoniously with Josh's melodies. Greta Van Fleet prove to be amazing at never leaving a single instrument to fade away in the background. The middle eight in this song stands out; it's very different sounding for them and feels like fire. A captivating solo from Jake towards the end is followed by more group vocals - a nice touch that Greta Van Fleet hadn't explored in their previous album or EP so it's nice to see them expand creatively.

Light My Love: This is going to be a fan favourite. An opening piano melody that would remind you of Elton John in his prime kicks off this love song and adds a light and airy touch. The lyrics are particularly strong in this track and Josh sings as beautifully as ever over the chorus. The acoustic guitar feels warm, bright and happy and the electric guitar adds a great backbone. The vocals at the end leave you feeling all sparkly inside.

Caravel: Another Rush influence? The opening guitar is groovy and a more mature sound for Greta Van Fleet. The riff after the chorus paired with the 60s sounding drums are so pleasing to listen to. Sam's bass in this track adds a great bounce and the orchestral plucks add an interesting and new element to the record - an impressive creative choice for the band. This song further demonstrates Josh's maturing vocals and captures Jake's excellent guitar songwriting skills. The drums at the end are rather noteworthy; you can really feel Danny's passion.

The Barbarians: The opening music is rather unexpected and a nice touch. Jake comes in with a great guitar riff and Josh's vocals deliver as always. The swing of the guitar in the verses of this song really stands out for me and the drums pair well with it. An interesting middle eight really lifts the song and makes it stand out from the rest of the album - the bass and drums do a great job here with interesting chords and haunting vocals. The organ adds another 1970s feel or even a slightly gothic element to the track.

Trip The Light Fantastic: A great opening riff and awesome drumming from Danny in the verses and throughout. Interesting chanting vocals in this song that add a nice flavour and another hippie element to the album. Jake's playing is significant in the chorus of this song and the lyrics are noteworthy. This song sees Greta Van Fleet explore different instruments that they haven't really used before, bringing an outer space feel towards the end of this song and really making it feel like a trip to the stars and beyond. A nice piano touch further adds to the feeling of "light". This song again makes me think that Greta Van Fleet had been listening to a lot of psychedelic rock when making this album.

The Weight of Dreams: A thought provoking introduction from Jake on guitar - one of the most unforgettable intros on this album. Great swooping bass moments from Sam on this song and excellent drums from Danny that bring the song to a new level. The solo guitar moments on this track really make it feel like an album closer, at times being reminiscent of Broken Bells, tying the whole album together at the close. Marvellous drums and vocals from Josh bring the song to a magnetic and dramatic end as a solo from Jake brings an emotional touch. This feels like one of those songs Jake would freestyle on in live performances with an extra long guitar solo. One of Jake's strongest solos wraps up this album with a bang. The outdo acoustic guitar leaves a wonderful magical touch to end things off on a more thoughtful note.

After an initial listen, the strongest songs on the album feel like Heat Above, My Way Soon, Broken Bells, Age of Machine, Light My Love, Trip The Light Fantastic and The Weight of Dreams.

The album was well worth the three year wait and you can tell how hard Greta Van Fleet have worked on this album - their sound has matured beautifully while still staying true to their musical roots. They have broadened their horizons with new instruments being explored throughout the album as well as impressive new vocal techniques from Josh.

While some critics have called the album another Zeppelin rip off or compared the band to others through a rather snarky and gatekeeping tone, I couldn't disagree more. While Josh's vocals are at times comparable to the great techniques of Robert Plant, his voice also could put you in mind of AC/DC and Rush - but ultimately I feel the more you listen to Greta Van Fleet, the more unique sounding Josh's voice becomes.

Their new image may suggest a Queen influence as the band opt for a more glam rock look, but their music feels inspired by more psychedelic rock and blues artists. However, despite many clear influences, this album feels authentically Greta Van Fleet and is much more evolved and original than their previous work. A transcendent and thoughtful album from one of the most promising rock bands of our generation.

[doomedandstoned]

THE DESERTFEST DIARIES: Destination Antwerp ‘19

~By Willem Verhappen~

Photographs by Stefanie Dörnbrack and Willem Verhappen

Day 1

The good beer, tasteful food and beautiful inner city, together with the fact that even though I live close to it, it makes me feel like I’m on vacation, make that Antwerp ranks high on my list of favorite cities. Every once in awhile my girlfriend and I like to spontaneously cross our southern border to go shopping (seriously, check out Chelsea Records if you're ever there) or watch a movie in their massive cinema complex. There is however one weekend when nothing can stop me from going to Antwerp and that's the weekend of Desertfest. For three days, Antwerp turns into the Mecca of all the music I -- and since you're reading this, probably you, too -- hold dear. So on the 18th of October I made my fourth pilgrimage to this epicenter of riffs.

My timing could hardly have been better, since my friends with whom I was going to share a hotel room for the next three nights showed up at pretty much the same time. After dropping our stuff at the hotel, we went downtown to meet up with some more friends and have a pizza and some beers.

With some proper groundwork laid, as we say in Dutch, it was time to head to the Trix, as the venue's called. There was some discussion as to whether it was faster to go by tram or subway, so we decided to turn it into a race. In the end, we still all ended up going by subway, since there didn't appear to be a tram going that way. I was told, however, that the subway was way quicker than the tram the guys took in previous years. That still counts as a victory in my eyes.

When we arrived at the venue, we were greeted by the sign shown at the top of this article. What a way to get your crowd hyped up for all the goodness that was to come.

The first band we got to see, was Monomyth. The band, featuring former Gorefest guitar player Boudewijn Bonebakker, plays an addictive mix of styles ranging from kraut- and space rock to more progressive and psychedelic exploits. The Dutch instrumental rockers might be reminiscent of acts like My Sleeping Karma, but with five people, there's never a boring moment.

After that first headbanging session, it was time for some more partying with desert rockers Nebula, where the title of their new album 'Holy Shit' sums up the experience quite well. This was followed by my first Duvel beer of the day and the Dutch '60s heavy psych inspired wolf pack named Temple Fang, both at the cafe. For a band that hasn't even released a single yet, they've got quite the following. Taking into account that two members used to be in the cult band Death Alley, gives some understanding as to why. Witnessing them live makes you a believer yourself.

As a music collector and lover of artwork, I decided to pay a visit to the merch area. I was very happy to see that my personal artwork favorites Branca Studio decided to take the car to bring some of their t-shirts to Desertfest. Now I finally have my very own "Doom life" shirt. Could my day get any better?

Of course it can! With some more cds and some less money in my pockets it was time to go to the main all for Truckfighters. When we walked through the door, one of my friends asked when the show had started. This was more than five minutes before the show actually started, but the hall was already crowded. This was the first time we had difficulties getting in before a band started playing, but it turned out to be only the first of multiple shows where this phenomenon occurred.

As you might know, Truckfighters was on a hiatus for a couple of years. Lucky for us, the Swedes have returned. I'm happy to say that the show hasn't really changed. You still get your high energy rock show lead by Ozo. Dango still runs through the crowd shirtless. There's still a different drummer than the last time you saw them. And of course, every place turns into absolute mayhem once they play Desert Cruiser. Honestly, the only thing that changed is Dango's beard. That's fine, but other than that, a Truckfighters show is perfect as it is.

Sadly, there wasn't much time to catch my breath, for after witnessing a bit of Beglian band 30,000 Monkies, Yatra was about to take the upstairs stage. I wasn't familiar with the Maryland doom crew, but someone (sorry, I don't remember who) recommended them to me. I cannot thank that person enough, for Yatra is by far my favorite discovery this Desertfest. It was the first doom band of the eveningThis trio spices up their low 'n' slow doom with a whiff of black metal dirt, just the way I like it.

Since I've never been much of a Zeal & Ardor fan, I decided to socialize and go looking for stories instead. That's when I ran into the Yatra gang, who were talking with Dango from Truckfighters. The latter mentioned to me that we can expect a solo record from his hand somewhere in the near future. Needless to say, this encounter needed to be documented, as shown in the picture above. Afterwards I decided to check out some Z&A, only to arrive when they started Devil is Fine. It was a good reminder of why I'm not a fan.

The first day ended with a banging show from Polish psych doomers Sunnata and a fun after party. I had to promise not to write about the after parties, even though I could write an entire article on just that. Let's just say that lots of fun and beer was had by all, up to the point where we were kicked out of the venue.

Day 2

Saturday started, not entirely unexpectedly, with a hangover. Usually I get over them pretty quick, but this one kept lingering on for quite some time. Not even the great sandwich I had, seemed to have any effect. The thing that eventually cured the hangover, was Bismut. The Desertfest website describes them as "instrumental psych desert metal", which is an apt description for these young Dutch hounds. We're treated to some heavy spaced out jams, mixed with some colorful shredding. Day two is a go!

The Admiral Sir Cloudesley Shovell put up one of my favorite shows this weekend. This is their second year in a row and third in total of playing here and if you've seen them live, you know why that is. The band are like the demented love child between Motörhead and Hawkwind (like that would ever happen), blasting some dirty biker rock, but with some stoner groove in there. It's also the first band I witnessed on the Canyon stage that made full use of the video screen.

Not every band can be a winner and if there's a loser this weekend, it's Fireball Ministry. Personally, I really enjoyed their distinct brand of desert rock, featuring vocals from both guitarists James A. Rota II and Emily Burton. The only point of critique is that Emily should stick to background vocals.

Even though the band gave their everything, they we're playing to a half filled hall at most, with many people leaving after a song or two with some just taking a couple of pictures. These pictures were of course from former Kyuss bass player Scott Reeder. This behaviour made the band look more like a freak show than anything else, which is too bad, since Fireball Ministry deserves better.

The Desert stage is far more crowded for Church of Misery. I can't say I'm surprised, since the Japanese quartet knows how to deliver a solid slab of old school doom metal. For 50 minutes, the band proved to know exactly how to keep heads banging in unison.

Following Church of Misery, I decided it was time to give the muscles in my neck some rest. And what better place to do that than in the food and relax area. This is like the school yard where all the cool kids hang out, drink beer and smoke, but mixed with a food truck festival. I'm usually not big on festival food, but the food here is certainly an exception. From homemade fries and vegan burgers to Mexican and tribal food, there's something here for everyone. It's a great place to just sit down, eat and talk to random people.

This moment of peace was very much needed ahead of Bongripper. This was one of the most crowded shows of the festival. The band created a most impressive wall of sound, or should I say wall of noise, during their show. Although the show was very impressive, I'm still surprised by how insanely crowded it was.

After the intense show from the Chicago doom crew, desert rockers Steak are a welcome change of scenery. They might be from London, but these guys sound like they came straight from the California desert, although with some Pink Floyd thrown into the mix. I was very charmed by their sound, since it sounds familiar, but with a British twist. Highly enjoyable.

At the Desert stage, we remain in the instrumental musical spectrum with Pelican. This was one of the shows I looked forward to the most. The post-metal from these Americans manages to find that sweet spot between heavy dark riffs and a touch of light. The hour of playtime was over way too soon.

The other band I was really looking forward to, was Dopelord. I'm not sure what's happening in Poland that's causing the rise of so many good old school doom bands, as proven by Dopelord's recent excellent 4-way split with Weedpecker, Major Kong and Spaceslug, but it's clear these guys are leading the revolution. This show had everything I love: great songs, heavy riffs, exploitation cinema on the background and rowdy crowd. There even was a new song, called 'Hail Satan' and some moshing during the epic 'Reptile Sun'.

On my way to Ty Segall & The Freedom Band, I heard some music coming from the Vulture stage that caught my attention. Crowhurst was supposed to be performing here, but they had to cancel last minute. Their replacement were the Antwerp locals Your Highness.

Earlier that day, I was told they were a doom band and that I would like them. That turned out to be very true. The band plays traditional doom metal, but with a hardcore ferocity. I clearly wasn't the only one who enjoyed their show, judging by some of the most intense mosh pits I'd seen all weekend. I was so entertained that, for the first time in four years, I missed a Desertfest headliner. Not that I mind, these guys are worth it.

There's no rest for the wicked and Inter Arma made sure of that. The death/black.sludge doom band pretty much set the Canyon stage ablaze. It was past midnight but that was no excuse to take it slow. Vocalist Mike Paparo was running the stage like a ravenous beast. The band was a great warm-up for yet another night of mad partying.

Day 3

Usually the last day of a festival is somewhat of a cooling down. Festival days are long days and involve lots of walking and a lot of things to take in, resulting in you being exhausted, both physically and mentally. For this Desertfest, being tired was not an option, since the lineup is nothing but spectacular. Luckily for me, I woke up relatively fresh. I still don't know how I pulled that off, but I'm not complaining.

Since not everyone was as awake as I was, the first band we got to see was Wolvennest. I've seen the band perform many times in the past four years or so and I've yet to grow tired of their music. Their excellent mix of black metal, doom, psychedelic and krautrock still entrances me every show. And every show, they seem to get better. At least it helped me clear my mind in preparation for the rest of the day.

Wolvennest may have brought me to a higher plain, but after that it's a slap back to reality, courtesy of The Progerians. Their sludge mimics their hometown of Brussels. It's dark and nasty, but with just enough melody to make it appeal to the masses. This makes it a good warming up for the impressive set from Lord Dying, although they look towards more progressive and psychedelic horizons.

Monkey3 is one of those bands that always manage to deliver. Their instrumental space rock usually attracts quite the crowd and that was no different here. Sadly, nature called, resulting in me not being able to get back to the Desert stage. On the other hand, I did get to see High Reeper. These guys manage to play an energetic, balanced mix of stoner rock and Sabbath-y doom metal. A perfect blend of old school and new school.

The NOLA sludge kickers of Eyehategod are on a roll today. The band is clearly in a good mood and frontman Mike IX Williams is playing the crowd like a fiddle. The crowd, on their turn, is eating the slow, nasty blues raw. This was without a doubt my favorite show of the day.

After EHG I'm in doubt, stay where I am and be assured of a good spot for tonight's headliner, or go and see Un. I decide on the latter, even though many people seem to be saving their spots. I don't regret it though, since the Seattle band delivers some beautiful, heavy funeral doom. Especially fellow Seattle natives Bell Witch come to mind while riding Un's emotional roller coaster.

When I got back to the Desert stage, some 20 minutes before showtime, I was happy to see that it wasn't as crowded as I'd expected. I managed to get a nice spot in the center of the hall before the countdown started for the band all of Desertfest was clearly waiting for.

At a quarter to 11, the famous audio recording leading up to the moon landing started playing. What happened next felt like a ritual. Joints were lit across the audience, with some also being passed along through the crowd. People moved towards the stage like Muslims to the Ka'aba.

At 11, the almighty Sleep took the stage. Even though it was my fourth time seeing them in 15 months, the band still manages to impress me. All through the weekend, bands have been projecting everything from band logos to movies on the backdrop, but not Sleep.

Sleep doesn't need a backdrop. Nor a dynamic light show, for that matter. Sleep is all about the music. And the music is all that matters. Witnessing a Sleep show is like witnessing a voodoo ritual. The band's goal is to get you in a trance, to get you to follow the smoke to the riff filled land. For 75 minutes the music is all that matters.

Black Pyramid holds the thankless honour to close off the festival after Sleep. Their psychedelic brand of metal sounds good, but honestly, Sleep is still stuck in my head. Judging from the size of the crowd, many people have decided to head home early, but not us. We stayed until the bitter end.

On monday morning, to my great joy, the headache remained absent and I was feeling relatively fresh. I was looking forward to my own shower and couch, not necessarily in that order, so I was packed and ready to go in no time. My friends had some more difficulties to get their motor running, so we ended up getting brunch at one of the countless Panos sandwich bars in the city. Of course, we ran into some familiar faces there. Going over the weekend, we could all agree it was a festival with many highlights and next to no low points. Another one for the books. Why can't all festivals be like Desertfest? I'm not being melancholic, I'm seriously asking.

[montrealrampage]

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Stellar Lineup As Usual

I’ve only been living here for three and so years but year after year, POP Montreal’s lineups have always been satisfying without relying on star power. Of course, names like Royal Trux, Elza Soares, and Austra each have their pull, but POP doesn’t fit into the calendar of mega summer festivals and all the better for it. For some local and indie (in the truest sense of the word) bands, it may mean the chance for long-deserved recognition. For other, mostly newer bands, it’s a chance to test their mettle. What it always translates to is a full palette of choices for the listener and a guarantee of finding some new band to love.

POP For All

Reflected in the lineup’s diversity is POP’s idea of inclusiveness. They really try to offer a little bit of everything for everyone and it was nice to see people from different walks of life. All ages, all genders, many musical cliques, a healthy mix of origins. It was nice to look around venues and not once have the feeling of being out of place.

Hurray for Hurray For The Riff Raff

Early in the set Alynda Lee Segarra proclaimed that her music was resistance music. We don’t have much, but we do have music, went the argument. Hers was a high-octane resistance, full of yelps and shrieks and guitars making shattering sounds that were as melodic as they were calculated. Apparently, the last time she was in town she had to sleep in a park. Touched that POP invited her back, her performance pulled heartstrings and called for harmony. Lots of shows leave you feeling happy at seeing something good, but few leave you actually feeling positive. Segarra’s was one such rare concert and I hope she’s back soon.

KEXP at Breakglass Studios

This year, KEXP filmed a few sessions at Breakglass Studios including The Besnard Lakes, Moon King, and Wake Island. Interested people could reserve a free ticket by RSVP-ing and while initially this was capped at 35 entries, POP released at least 50 more. My partner managed to get tickets for The Barr Brothers, who played five songs off their upcoming October album, Queens of the Breakers. A compact studio with roving cameramen and lights in their eyes didn’t stop the band from playing a truly tight set and joking with the crowd. Judging from the tracks played, the band look to take on a heavier sound, simultaneously more bluesy and wandery.

Strong Merch Game

That music sales have been in freefall is no secret. Yet, vinyl sales are on the up and bands are still making music. The economic argument that streaming would kill music isn’t necessarily holding up yet. Is it because passion trumps finance, or because bands are finding other ways to stay afloat? At any rate, one of the latter ways includes merch sales. Vinyl purchases at shows make very nice mementoes, as it beats getting vinyl at the store. Then, there are the posters, stickers, pins, hats, cassettes, shirts. Undoubtedly however, Jay Som had the biggest and brightest selection of all, which I found really mirrored her cheery personality on stage.

What’s ‘Mile End’?

Often, I would hear a conversation in passing about the Plateau or the Mile End or La Vitrola or Le Divan orange. Locals and residents were explaining the layout of Montreal’s musical landscape to either new residents or tourists. What better way to get to know a city than by venue hopping?

Post-punk’s Not Dead

I knew of a post-punk resurgence in the States and the U.K. but up till now hadn’t heard anything of the sort from Canada. Enter Casper Skulls from the Toronto exurbs. Brooding and dark, Neil Bednis and Melanie St. Pierre’s spoken-voice style is counterbalanced wonderfully by sung choruses. Languid at times, the band evoked Silver Jews and even Built To Spill. So, not exactly Pere Ubu or PiL, but just as post-punk fractured punk, Casper Skulls’ toying with the formula gets a pass too. This young band has potential.

Juana Molina

Molina gave one of those shows that one is totally unprepared for. Her latest album, Halo, was an exercise in restrained calm and serenity, sketched with elongated vocals and punctuated by synthetic glitches. One expects a quiet persona, the type that doesn’t look up beyond her bangs. Live, apart from one quiet “more romantic” piece, it was controlled chaos – disjointed yet whole, like trying to fit a puzzle with pieces from different sets. Barely a minute into her set and people could not sit down in the seated venue. Her, Odin Schwartz (multi-instrumentalist) and Diego Lopez de Arcaute (drums) played cracking, thunderous music that left us breathless.

Ty Segall

Perhaps the venue for Juana Molina should have been switched for Ty Segall’s acoustic performance. What could have been an intimate, get-to-know-you-behind-the-mask (literally) soirée was marred by constant chatter and ambient noise. Of course, the man himself didn’t underperform at all. Deft guitar work, his hand just a butterfly blur as they fluttered over the strings. Plus, in his threadbare voice, a sense of humility prevailed despite his stardom in garage rock circles. Those closer to the stage joined in on songs like ‘Crazy’ and ‘Black Magick’. It was a night of missed opportunities.

Laura Babin

So you’re in Montreal and you hear that this city is a bilingual city. POP had Dead Obies rep the franglais crew in what I’m sure must have been a fun show. Laura Babin covered the other side of the spectrum with her show at Le Divan orange early Sunday afternoon. Low key folk rock in both English and French charmed and swayed the audience. Gentle guitar melodies grounded by thick bass notes surrounded Babin’s captivating vocals. Her song ‘Water Buffalo’ was a standout song and personal highlight, reflecting on the idea of being a foreigner – another very Montreal theme.

Divan Brunch

The above brings me to the idea of a ‘Brunch concert’. Indie Montreal has been hosting such concerts for a while. There are so many novelty factors here. Not only is the show in broad daylight, the audience is sitting and eating! Sunday’s show went further in offering a buffet style meal, therefore prompting concert goers to leave their seats for further gastronomical satisfaction. Does this formula work? The argument that the band gets less attention doesn’t really hold well given that crowds do whatever they please, brunch or not. Time will tell but colour me intrigued.

Sing Like You Mean It

So many bands, so many vocal styles. I’ve mentioned Casper Skulls harried spoken word but I heard an idyllic English countryside in Tess Roby’s performance at the Ukrainian Federation too. It was my first time seeing her (she’s performed at POP five times!) and I liked the precise mastery of the ascents and descents. On ‘Ballad 5’ (highlight), what sounds on the record like an electronic looped voice was actually her own breathless repetition. Meanwhile, Stef Chura left me hanging on to every word in the way she could enunciate without much lip movement. You’d expect a mumbler but words left her with utmost urgency, matching the sharp, charging guitar and drums. Then, on ‘Human Being’, playing solo, there was that fascinating lilt, rolling around, unpredictable and magnetic.

Girl Power

This year, I saw more bands with women in them than men. I didn’t choose to do so consciously; POP’s lineup and the convenience of venues led to that itinerary. Some didn’t, but most bands blew me away. I imagine seeing more and more woman acts on the bill (and in bands) must be very empowering for female audiences in the same way seeing someone of my own background is. I’m not sure any other festival can boast such equal footing between the sexes and I’m glad POP are leading the way.

MAUNO

I’d never seen a Haligonian act prior to POP and this year I saw an excellent one: MAUNO. Quirky in their personality, the music is sparse yet energetic rock. They already have one album in their discography but judging from the cuts they played from their upcoming one, Tuning, the band could go places. Crunchy bass, shimmering guitars, well-balanced vocals from Nick Everett and Eliza Niemi. The setlist featured masterful instrumental transitions for a bit of indulgent headbanging. Most importantly, a strong sense of self-assuredness and dry humour from the four-piece ensured a fun show to close out my Saturday.

Maggy France

At one point I believed I was tired of vocal harmonies. Then I heard Maggy France at L’Escogriffe on Friday and changed my mind again. Listed as a two-person band on their Bandcamp page, the band performed as a six-piece. Despite the number, the sound wasn’t stuffy or overbearing. In contrast, what we got was dreamy, shining guitar tones couples with calming, sighing harmonies. One of a few bands I thought had too short of a set.

Sweetest moment of POP’s sweet sixteen

Definitely goes to the little hug Tess Roby gave her unsuspecting younger brother Eliot at the end of their show. I’ve always wondered about the secret life of bands and what happens before and after shows. Why is it that members don’t seem to acknowledge the fact that they just worked together to play an awesome show? Is it jadedness from the road? Or are high fives reserved for the band room? I’ll never know.

Sixteen Things at POP Montreal’s Sweet Sixteen Stellar Lineup As Usual I've only been living here for three and so years but year after year, POP Montreal's lineups have always been satisfying without relying on star power.