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Reviews > Shows

Published: 2010/05/13

by Dan Warry-Smith

Yeasayer, Lee’s Palace, Toronto, ON – 5/1/10

Photo by Charley Binder

The members of Brooklyn-based experimental rock outfit Yeasayer credit a group acid trip with the inspiration for their explosive sophomore album, Odd Blood. Combining elements of 80’s pop music and dancehall beats with their already expansive pallet, 2010’s most blogged-about barnstormers have rightfully been on a tear of late. The record – at once a mind-bending, impetuous, and ecstatically cathartic document – comes to life when performed in the flesh, and there would be no dashing the high hopes of a sell-out Canadian crowd.

The band eased into its set with ‘The Children’, the bizarre opening track from Odd Blood. ‘Strange Reunions’ followed, reminiscent of George Harrison’s Eastern-tinged material with a hint of jaded modernism. ‘Rome’ kicked the show into high gear with its dancey attack and the spastic presence of frontman Chris Keating, who then serenaded the room with the new-age ballad ‘I Remember’. ‘Wait For The Summer’, an offering from 2007’s All Hour Cymbals, was met with thankful recognition before ‘2080’ provided the first watershed moment of the set. Keating led the audience through the rapid-fire choruses as the dreamy number solicited deafening applause at its conclusion.

Building on this momentum, Ira Wolf Tuton ushered in the pulsating rhythm of ‘Love Me Girl’ with deliciously effected falsetto bursts. Holding down the low end on bass and backing nearly every song with precise vocal arrangements, Tuton would be the MVP if it weren’t for co-lead singer Anand Wilder. The multi-instrumentalist enjoyed his big moment during ‘O.N.E.’, arguably _Odd Blood’s_ finest selection. With his soothing voice filling the room, Wilder cooed the song’s refrain –
“hold me like before, hold me like you used to” – and people seemed only too eager to oblige.

After Keating professed his affinity for Toronto and its diverse selection of beautiful women, the set concluded with the one-two punch of ‘Madder Red’ and the uplifting single ‘Ambling Alp’. The former easily eclipsed its recorded rendition, as many fans sang along with the quirky near-yodel of the melodic hook. The latter, a clear harbinger of the group’s crossover potential, saw Keating strut his stuff at the lip of the stage as the perspiring cluster on the floor continued to scream along with devoted abandon.

Considering that Yeasayer just dazzled a massive audience at Coachella, and that the Lee’s Palace show sold out so quickly that even the band’s label was scrambling to acquire tickets, it is unlikely that small rock clubs will suffice the next time they hit the road. As concert-goers poured on to the street in front of the venue, few unimpressed faces could be spotted. For all their current hype, the boys of Yeasayer have made good in the most important area – live performance. One can only wonder where the third record will take them, as their trip is plainly far from over.

Comments

There is 1 comment associated with this post

Karol May 4, 2012, 07:54:56

This massive coeilctlon of Holmes pastiches is a worthwhile addition to a Sherlockian coeilctlon although not all of its entries are of the same quality. The tales themselves range from excellent through serviceable to downright silly, with only a handful approximating the quality of Doyle’s original stories. Nevertheless the overall quality is very good, despite some jarring notes here and there (more, of course, in some tales than in others). Also helpful is the mass of information assembled at the rear of the volume. Here we find a complete chronology of Holmes’s cases not only those recorded by Doyle, but also a fair number of those recorded by others (including the contributors to this volume). Also most helpful is the chronology’s inclusion of Watson’s unpublished cases, to which he often alluded in passing. Some of these have since been published (in some cases in several versions by several authors; such instances of redundancy typically include pastiches by Adrian Conan Doyle and June Thomson). There is also a list not a complete list, which would have occupied a full volume of its own of the Holmes tales extant as of 1997, together with helpful information on their authors. (The list omits those tales in which Holmes is not a central character e.g. Carole Nelson Douglas’s Irene Adler series and those which are of a clearly fantastic nature, in which Holmes encounters e.g. Dracula or Edwin Drood.) This valuable list will be helpful to readers who wish to track down works by other pastiche artists of note say, Denis O. Smith (who is represented in this volume) or June Thomson (who unfortunately is not). The volume closes with capsules of information regarding each of the contributors. The tales themselves are in most instances culled from Watson’s allusions to unpublished cases and are presented in what purports to be chronological order. We find, for example, the business of the Abernettys (drawn to Holmes’s attention by a remark about the depth to which the parsley had sunk into the butter on a hot day); the Darlington substitution scandal; the very simple case Holmes had handled for Mary Morstan’s employer, Mrs. Cecil Forrester; the matter of the Amateur Mendicant Society; the case of the Grice Petersons on the isle of Uffa; the tragedy of the Atkinson brothers; the matter of the Addleton curse; the death of Crosby the banker; the story of the red leech; the Abergavenny murders; and a matter Holmes handled under a commission from the Sultan of Turkey. Some of these cases have been written up before, of course, in versions that are quite irreconcilable with those presented here. Moreover, in a handful of cases there are at least superficial conflicts internal to this volume itself: the red leech, for example, is dealt with in passing in a second tale, and the business of the Abernettys is mentioned in passing in terms that do not seem to suit the version of the tale included here. Editor Mike Ashley tries valiantly to deal with some of these conflicts. However, since few of these tales appear to be authentic in the first place, these difficulties are merely apparent. Not many of the pastiches contained herein reach the standards set by the best of Doyle’s tales. But the majority of them are better than the worst of the originals. And in general, the pastiches in the short-story genre are usually, to my mind, much better than the novel-length ones. In that field Nicholas Meyer has many competitors but few rivals.

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