Skip to content
  • Home
  • About Us
    • Derek
    • Gary
    • Halley/Celeste
    • Paul
    • Ricky
    • Vik
  • Concerts
  • Reviews
    • Albums
    • Venue
    • Movies
    • Year End Reviews
  • Festivals
    • Canadian Music Week
    • Hot Docs
    • North By Northeast
    • Planet in Focus
    • Primavera
    • South By Southwest
  • Contact Us
Menu
  • Home
  • About Us
    • Derek
    • Gary
    • Halley/Celeste
    • Paul
    • Ricky
    • Vik
  • Concerts
  • Reviews
    • Albums
    • Venue
    • Movies
    • Year End Reviews
  • Festivals
    • Canadian Music Week
    • Hot Docs
    • North By Northeast
    • Planet in Focus
    • Primavera
    • South By Southwest
  • Contact Us

Concert Review: Kylesa, January 22, Annex Wreck Room

Posted on
25 Jan 2011
by
Paul

Toronto – Savannah, Georgia’s Kylesa have been around for a decade now and have acquired a faithful following during that time, but are just now beginning to garner much more attention for their brand of psychedelic sludge metal.  Their most recent album, Spiral Shadow, made it onto several best of 2010 lists (including Pitchfork, Exclaim, Decibel and my own personal list) and with good reason – it’s easily their most creative and accessible album, blending in a greater amount of melody while still maintaining a level of ferocity in their music.   

As the band set up onstage, I took note of the array of instruments onstage – two drumkits, some auxiliary drums on either side of the stage, a couple keyboards and a theremin.  This was a good sign of things to come.

Sonically, the band ran the gamut from moody, spacey psychedelic passages to full on metallic pummelling, all of it held together by the dual drumming of Carl McGinley and Tyler Newberry who definitely impressed with their intricate, interlocking rhythms.  Their drumming was occasionally augmented by singer/guitarist Philip Cope and bassist Corey Barhorst (who, according to Brent, has the look of a Kings Of Leon roadie).  Also impressive was guitarist Laura Pleasants, who displayed her virtuosity while also showing off her vocal range.  Cope kept the stage banter to a minimum, but since they had a 10 pm curfew, perhaps they wanted to fit in as much music as possible.  i can’t say that I blame them.  Usually, if I’ve listened to a very loud band for about an hour, I’ve had enough, but I dare say they left me wanting a bit more.

PrevPreviousSymphony Preview: TSO celebrates Mozart’s birthday
NextConcert Review: Dinosaur Bones, White Lies, January 29th, Mod ClubNext

SEARCH

FOLLOW US

Facebook Twitter Flickr Foursquare Rss Inbox

THE PAST

Archives

TAGS

Tags
British Music Embassy (10) Canadian Music Fest (11) canadian music week (18) cmf (10) cmw (40) concert (9) el mocambo (9) fringe (26) Great Lake Swimmers (10) guelph (9) horseshoe tavern (23) hot docs (103) jazz (12) Joel Plaskett (10) jukebox the ghost (15) lee's palace (27) marina and the diamonds (10) Massive Attack (10) mod club (12) NXNE (94) of monsters and men (11) Phoenix (15) play reviews (11) Pulp (11) Roskilde Festival (16) rural alberta advantage (10) sharon van etten (10) suede (12) summerworks (34) SXSW (479) SXSW 2022 (11) SXSW 2024 (11) SXSW Online (18) the antlers (11) the cure (9) the national (10) the xx (11) Tokyo Police Club (9) Toronto (25) toronto fringe (14) Toronto Jazz Festival (55) turf (13) tweeview (10) Video (9) zeus (10)
The Panic Manual

We are a collective of individuals bringing you the latest in concert reviews, indie, britpop, Canadian, twee and all sorts of other music, movies, tv and everything else you like. Follow the manual to live a pleasant and fulfilling life.

All rights reserved