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Work up a sweat + flush out your sins from Saturday night! Yoga instructor David Good (Breathe Yoga + Octopus Garden Holistic Yoga Centre + League) + friends will lead a community class four Sundays in a row:
New View, the third solo album by Eleanor Friedberger, was rehearsed in the Los Angeles neighborhood of Echo Park and recorded in upstate New York. The former is a place where characters in Warren Zevon songs get clingy with their old lady while toughing out heroin withdrawal; the latter is where Bob Dylan got clingy with Robbie Robertson after flying off his motorcycle and revisiting the highway with his face. Fittingly, there's a fair amount of recovery in the songs of New View (though you won't find much in the way of smack or motorcycles). "Today I'm frozen but tomorrow I'll write about you," Friedberger sings, and much of the album seems set in that post-traumatic tomorrow, when stuff's calmed down, the figurative road rash has healed, the metaphorical junkie sweating up your mattress has finally packed his bags.
Counting the albums she made with her brother Matthew as the Fiery Furnaces, this is Friedberger's twelfth full-length. I've been listening since the beginning, and to me New View seems like just that -- a vista that's opened up when I thought I'd seen everything Friedberger had to offer. (Then again, I believed her last album Personal Record was indeed her best to date, so maybe I'm just susceptible to album titles.) Before she entered the studio with New View producer Clemens Knieper, Friedberger made a playlist of reference songs. A live version of "Warm Love" by Van Morrison was on there, as was 80s-era Dylan, Neil Young at his most bummed out, a scattering of Robert Wyatt-era Soft Machine, and the odd gem by Slapp Happy, Fleetwood Mac, Funkadelic, et al. There are ghost notes of all of those influences on New View, but mostly you hear Eleanor Friedberger. She's never lacked confidence -- this is someone who once took a fractured nine-minute ballad about the international blueberry trade and put it across like it was "Thunder Road" -- but there's a new kind of confidence on this record. You can hear it on the warm, stately "Your Word," which holds a special lace for Friedberger. She says:
"It was the last song I wrote for the album. I finished the lyrics with lines taken from a dream that Jonathan Rosen had about me. I stayed at a friend's house in LA who had a bunch of later George Harrison CDs-- already a huge fan, I thought I knew it all. But I heard 'Love Comes To Everyone' and it kind of blew me away. Everything I love about Harrison-- beautiful slide guitar and vocals and vaguely spiritual lyrics-- plus a weird disco thing. That was the big influence for the sound." The songs on New View were recorded live to tape with simple instrumentation: drums, bass, Wurlitzer and 12-string acoustic guitar on almost every track, courtesy of the band Icewater (Malcolm Perkins, Jonathan Rosen, Michael Rosen, Noah Hecht), with Dorian DeAngelo contributing a handful of well-placed guitar solos. Producer Knieper (son of Jurgen Knieper, the German composer whose credits include the score to Wim Wenders' Wings of Desire) gives the album a classic sound, like something that's existed forever on a record collector's shelf, wedged in with Dylan's New Morning and John Cale's Vintage Violence. For everything new about New View, it still fits comfortably in the continuity of Friedberger's work. By coincidence, Knieper's studio in Germantown, NY where the album was recorded is in a barn that was once rented by Matthew Friedberger and stored the furniture of their grandmother -- the same grandmother whose spoken word reminiscences were the basis of the Fiery Furnaces LP Rehearsing My Choir. You won't hear much of that album here, but songs like "Open Season" recall the Furnaces at their most magisterial. The wry, plainspoken "Because I Asked You" builds on the style Friedberger first polished on her solo debut Last Summer. And then there's "A Long Walk," the sun-striped finale that lends a memorable afterglow to New View. It's a sweet, aching goodbye from an album that seems full of them.
-- SCOTT JACOBSON
Get your hands dirty every Monday night with some artful food fun:
Be a guest judge in one of our competitive cook-offs, get creative with some do-it-yourself food art or sit back and sip a pint as sharp + sassy host Ivy Knight takes your taste buds on a gastronomical mystery tour.
The conflict began in 1985, when Jamaican patty purveyors in Toronto were informed their wares failed to conform to the federal Meat Inspection Act's definition of a "beef patty," reserved for the slab of meat typically used for hamburger. Fastidious food inspectors told patty peddlers to change the name of the dish + remove "beef patty" from signs + advertising. Scofflaws were threatened w/ fines. Unwilling to part w/ their heritage, Jamaican restaurants in the city banded together + threatened legal action. Grassroots groups sprang up to defend their precious patties + the Jamaican consulate in Toronto was flooded w/ angry phone calls.
The kerfuffle made international headlines, particularly in Jamaica. Eventually, Ottawa backed down + allowed patty vendors to retain the name. To celebrate, patty proponents across the city gathered in Kensington Market on Feb. 23, 1985, to munch on beef patties + wash them down with ginger beer.
Patty Day was born. Tonight we celebrate. Sponsored by our friends at VisitJamaica.com
It’s treat yourself Tuesday which means you deserve a treat. We’ve got you covered with half priced bottles of wine every Tuesday after 3PM! Take your pick of red or white (or both) from a rotating list of featured wines + let us do the rest. #everydayindulgences
w/ Mike Wilmot, Ryan Belleville, Chris Locke, Nile Segun, Alan Park and Mark Heath
Who, What, Where, When, Wednesdays!
Teams of 4 or less put their random knowledge to the test as hosts Megan Griffith-Greene and Jeromy Lloyd fire off questions ranging from sporting records and celebrity scandals to geographic discoveries and culinary lingo.
It’s only $2 to participate and the winning table gets an $80 Drake Gift Card, not to mention bragging rights! So grab a brew, enjoy a whole lot of laughs and get ready to play.
Please click here to reserve with OpenTable, or show up early to ensure a spot for your team! Don't be dismayed if reservations are full, we save quite a few tables for our walk-in pals.
Playing a combination of hip-hop, reggae, jazz, soul, funk and R+B, DJ FASE has been a full-time DJ/producer for over 8 years, having performed with acts such as Africa Bambaata, The Roots, De La Soul, Nas and countless more. With credentials like these, DJ Fase is well versed in keeping crowds moving.
Dedicated to creating a new groove-based music, THE DIGS embody the unique perspective of diversity that could only come from Canada's multicultural melting pot, Toronto. To dig is to extract from the ground by breaking up earth, and The Digs are a band reaching down into the roots of American pop music and pulling up a vibrant sound that is an organically constructed embarrassment of riches.
Ultimately, The Digs consist of close friendships built upon the love of music, and the love for one another, and it is this dedication which gives them a consistently renewed energy with each jam-packed gig, each infectious groove, each funky beat. Catch The Digs while you can!
Jeanine has released acclaimed albums in both the jazz and R & B genres. Her most recent recording, 2012's ‘Live at the Drake’, showcases her talent as a powerful and passionate interpreter of classic rhythm and blues. She is also a charismatic performer with a charming stage presence sure to seduce her audience. In this age of Auto-Tune and studio trickery, it is refreshing to come across the real deal, an authentic and strong voice complemented by real musicians.
The Jeanine Mackie Band will play 2 sets of down and dirty, vintage R&B. Expect sizzling renditions of classic tunes made famous by the likes of Aretha Franklin, Chaka Khan, Stevie Wonder, Marvin Gaye, Ottis Redding, Michael Jackson, and more.