Trevor Abes: Writer

Tag: review

Review: Save Room for Superior Donuts

Here’s my review of Coal Mine Theatre’s Superior Donuts! On til Feb 26. Read it here on The Theatre Reader

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Poster by Kostis Petridis.

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Record Store Roundup: Kops Records

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Founded in 1976 with a focus on soul music and mod subcultureKops Records (229 Queen St. West) is Toronto’s oldest independent record store. It’s known for housing the largest selection of seven inch 45s in Canada and for an abiding dedication to musical roots. According to General Manager Patrick Grant, “[Kops] specializes in unveiling to people the roots of stuff that they like. We’re trying to provide [records] that elaborate on tastes you already have.” In this way, you can walk in listening to The Fugees’ “Killing Me Softly” (1995) and walk out – with two LPs under your arm – having learned that its memorable sitar riff is sampled from A Tribe Called Quest’s “Bonita Applebum” (1990) which sampled it first from Rotary Connection’s “Memory Band” (1967).

Read the rest here: Record Store Roundup: Kops Records.

Record Store Roundup: Viva La Vortex

From The Toronto Review of Books

Vortex RecordsNestled in the heart of Midtown (2309 Yonge Street, 2nd floor),Vortex Records and its owner, Bert Myers, have been supplying Torontonians with second-hand CDs and vinyl for almost 30 years.The store carries all kinds of music but specializes in rock and pop and is currently building up its jazz and country stock. They carry an ample A-Z soul section and rows of DVDs and Blu-Rays line the walls overhead.

The space is refreshingly free of impulse buys. Racks of already faded T-shirts, lunch boxes and additional novelty items are absent, leaving room for music, other people, and you, rendering the browsing experience a reprieve from what Myers playfully calls the “isolated beings and tall towers” of Yonge Street and Eglinton.

Read the full review here: Viva La Vortex.

Toronto Trio Heater Girl Releases Debut Album

Heater Girl’s first L.P., Nouveau, is a punk/indie pop adventure hosted by two poets, Darren Hutz and Aaron Florendo, with Stewart Byfield’s joyous ruckus on drums (particularly on “The Archfiend’s Haven”).

Hutz starts things off with “The Love I Was Waiting For,” an enlightening and side-splitting song about what concupiscence can do to one’s worldview. His delivery is clear, tragicomic, and Johnny Cash rich as he declares, “I found my Holy Grail, rubbernecking and chasing tail/ And there’re a few fine arts that I’m mastering/ Grab-assing and finger-blasting in the women’s bathroom.”

Then, a shift in diction. As if in response to Hutz’s libido-driven aspirations, Florendo takes the mic on the heart wrenching “What’s So God Damned Scary About Being Loved For The Rest Of Your Life,” a grungy look at losing his band-mate’s tardy ideal without expecting it.

The two vocalists operate on different wavelengths that intersect and maintain their essential features. Florendo’s verses, constrained by form, offer confessional narratives metaphorically bent, and his raspy tone has a tendency to transpose harmonies, tying them together much like a trombone in a brass band. Meanwhile, Hutz’s preference for explosive riffs and earnest aggression guards an emotional depth his intonations are quick to imply; it’s depth, or the feeling of being young and ahead on mistakes, that runs through Nouveau’s 10 song set.

On “The Archfiend’s Haven” (which opens like an R-rated version of The Lion King), Florendo is poised and contemplative. Over a pointillist battlefield dotted with drumsticks, he describes how “the illusion of endless joy” (as of today a pretty multifaceted commodity) is best applied to someone you can argue with. On “Sleep Is For The Weak,” Hutz argues with himself; whether he wins or not depends more on how he sounds than what he says.

Turning to clairvoyance for a moment, I foresee that some people might call the album disjointed and conclude that what we’re really listening to is a collaboration between two solo artists and a bad ass drummer. Maybe we are. The same people might raise a similar point about Lou Reed and Metallica’s recent effort, Lulu; and while Nouveau isn’t nearly as abstract, the avant-garde is definitely a core value by number of tackled genres alone: punk, pop, rock, grunge, country, indie and an acoustic ballad all find their places on the polycarbonate. Disjointed or not, the album’s alternating structure allows Florendo and Hutz (a great name for a cop drama) to 1) show off their personalities, and 2) embody Wilde’s gem of a notion that you have to be yourself, because everyone else is taken.

Nouveau is available on Itunes and Amazon.

For a lengthy and detailed history of Heater Girl, penned by Florendo himself, please visit www.heatergirl.com

Here they are performing “Aches and Pains,” a fan favorite.

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