by carl wilson

This is the Sea

Daniel Nebiat's krar in a photo from Feb. by T.O. Music Pix.

Eritrean-Canadian musician Daniel Nebiat and band blew the room away last night at Wavelength - his gorgeous, intricate vocals and electric krar wizardry combining with the bass and keyboard (mostly as a horn section) and drum machine to create a hurricane of beautiful, danceable sound. Beyond its musical value, the show also represented a risk the series was taking - following up on the panel discussion during February's anniversary festival - by bringing the young, largely white crowd at Wavelength together with an African musician who in the past has played mostly to his own community. There may have been a little wariness on both sides, but within one song it was clear that the sizable audience was enraptured with the music, and the musicians made a point of saying they were having a good time (and they looked it). It's a small step, but Wavelength has, throughout its existence, been the event that tries to take a laterally creative approach to what the music scene in Toronto can be about. For a while, it began to seem that it had been so successful in helping set those new terms, that there was little more for Wavelength to do. Last night proved that the space left to explore is practically limitless. (The audience seemed to enjoy the other band, Bruce Peninsula, enormously as well, but I wasn't taken with their material, despite the talented people among the lineup and the potential appeal of the Will Oldhamish style meeting freak-drums and chorus line. Maybe another time.)

Later:: More on Nebiat from David Dacks.

Today, the Hamilton-based Sonic Unyon label announced that it's signed the Hammer's one true legendary band, Simply Saucer, to make their first full-fledged recording since 1978. The new disc will be called Half Human, Half Live (because it will be half live, half studio); it draws on the dozens of classic-era Saucer tunes that were never recorded in the band's original half-life, as well as perhaps some newer songs by Saucer frontman Edgar Breau. The album's being recorded at Catherine North studios for a release later this year. Meanwhile, Saucer plays its first Toronto gig in nearly three decades on April 13 and 14 at Ciao Edie's. (And in second-cousin-once-removed news, the Pointed Sticks from Vancouver play their first Toronto gig since 1979 on Friday at the Horseshoe.)

Elsewhere: Mike Scott of the Waterboys recounts his adventures in self-wikiing with good humour and curiosity. And just by coincidence, the first Waterboys studio album in four years comes out next month. My affection for 80s-period Waterboys is something I do feel just a tad embarrassed about - all that sincerity. But there it is. I'd actually totally neglected the fact that there was a 2003 or a 2000 album; I thought Scott had just been releasing solo albums since '93, when he released a Waterboys disc with none of the rest of the band on it, and it was awful; although the one just before that, with the band, sucked nearly as hard.

Meanwhile, the album? Still dying.

| Posted by zoilus on Monday, March 26 at 2:35 PM | Linking Posts | Comments (1)



Too bad i missed wavelength last night it sounds AWASOME.
The album is dead Carl. Ive danced on its grave many times. The under 20's have started forgetting what the word "album" means. Coldplay for example make only 5% of their income from record sales. I have been waiting for some sort of whinny "you need a whole album to make great art" bitch fest from the blogosphere but I havent seen that....yet. Long live the ipod shuffle.

Posted by guy tanentzapf on March 26, 2007 3:50 PM




Zoilus by Carl Wilson