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

CMW Review: The Wet Secrets, Hannah Epperson, May 4, The Mod Club

Posted on
9 May 2016
by
Paul

IMG_20160504_213125

Though Hannah Epperson was, as she put it, “surrounded by the detritus” of the bands who would later be taking to the stage, her own setup onstage was relatively minimal. Armed with just her violin and a loop pedal, the barefoot Epperson was accompanied by Steven Foster of Omhouse on additional percussion/electronics and though there was just the two of them, they managed to create a pretty full sound, with the arrangements highlighting Epperson’s somewhat breathy vocals. She described her final song, “The Farthest Distance,” with it’s lyric, “We are the greatest distance apart” as “a fuck you to hashtag culture,” adding that real life is complicated and that you can’t simply end a conversation by adding a hashtag to it.

Taking things in a different direction after Epperson were The Wet Secrets. While Epperson sang about “all of the voices inside of your head” and about human connection, the Edmonton band sang about a different kind of human connection. “This song is about love and hate and knife fights in our hometown,” announced bassist/vocalist Lyle Bell as they launched into “Nightlife,” which mutated into an extended disco-esque jam in it’s latter half. With their horn section, marching band uniforms, and synchronized dance moves on the part of Kim Rackel and Emma Frazier, the band puts on a pretty entertaining show. It’s kind of funny to think that a band who initially started out a kind of a goofy side project has now been around for over a decade, but then again, if they keep putting out songs as catchy as recent single “I Can Swing A Hammer,” it’s not all that surprising.

PrevPreviousHot Docs review: After Circus (2015, Viveka Melki)
NextCMW Review: KJ Jansen, May 6, Bovine Sex 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 (20) cmf (10) cmw (42) 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