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4 • POSTED ON October 15, 2006
Posted by mcollins 
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Wednesday, November 22/ 2006 (Doors 8pm)
Wednesday, November 22/ 2006 (Doors 8pm)
Zaphod Beeblebrox
http://www.ZaphodBeeblebrox.com
27 York Street, Ottawa, Canada.
Age 19+/ General Admission
ADVANCE TICKETS: $10.00 for a limited time, at www.TicketWeb.ca
(http://www.ticketweb.ca/t3/event/EventListings?orgId=10505)
and at Zaphod Beeblebrox.
About Zune
Zune is Microsoft's music and entertainment platform that provides an end-to-end
solution for Connected Entertainment. The Zune experience includes a 30GB digital
media player, the Zune Marketplace music service, and a foundation for an online
community that will enable music fans to discover new music. Inspired by the vast
and varied community of music fans, Zune focuses on helping emerging artists shape
the digital canvas. Zune is part of Microsoft's Entertainment and Devices division
and supports the company's software-based services vision to help drive innovation
in the digital entertainment space. More information can be found online at
http://www.microsoft.com/presspass/press/2006/sep06/09-28ZunePricingAvailabilityPR.mspx.
*************
Thomas D'Arcy marches to the beat of his own drum machine. That's what D'Arcy -- the
solo mastermind behind Small Sins (formerly known as The Ladies And Gentlemen)
discovered after spending the better chunk of a decade in bands percolating around
the indie-rock scene of his Toronto hometown. D'Arcy has put together a live unit
featuring keyboardist Todor Kobakov, drummer Brent Follett, and
keyboardist/handclapper Kevin Hilliard. Guitarist Steve Krecklo, meanwhile, is
D'Arcy's former bandmate in The Carnations. This contrast between band and project
makes it hard to place Small Sins in Canada's thriving, diverse indie universe of
bands and artists like Arcade Fire, Broken Social Scene, Godspeed You Black
Emperor!, Peaches, Feist, and Metric. D'Arcy sees Small Sins as operating somewhere
between the lines of the current mega-hype. Critics found parallels in Small Sins
sound to the melancholy atmospherics of the Magnetic Fields, the widescreen
man-machine pop of Grandaddy, and the superstar electronica-indie hybridists the
Postal Service.
Small Sins live show has evolved into a different beast from D'Arcy's more nuanced
solo recordings: onstage, the band wears all white costumes and memorably amps up
the material with more volume and thrust, edging Small Sins back to D'Arcy's more
band-oriented roots.
"Small Sins crafts a sincere and seriously catchy brand of electro-pop. It's
definitely more pop than electro in nature, but either way,
it spells enjoyable listening for folks like us. Think: Postal Service or other
Death Cab For Cutie side project." - XLR8R
"A brilliant collection of sweet, achingly addictive pop tunes that are at once
soothing and upbeat, just as comfortable
pounding out of a dance floor speaker as they are drifting out of the stereo next to
your pillow
... one of this year's smartest and most endearing pop albums." - Exclaim!
*************
The Little Ones quickly realized that their only weapon against reality was their
imagination. They spent majority of their nights holed up in their studio
affectionately named "Uncle Lee's". There were many songs written and many songs
abandoned. They came up with Uncle Lee's Rule of Feet. The rule stated that a song
was deemed appropriate if, and only if; each of the Little Ones' feet could shuffle.
Once they adopted this new rule they began to realize what they had right in front
of them.
Excited with the prospect of having songs that fit Uncle Lee's Rule of Feet they
brought them to David Newton (The Mighty Lemon Drops). He too abided by the rule and
helped document their discoveries to tape. Their Rollercoaster sessions yielded a
collection of songs that showcased their love for subtle textures, rhythmic pulses,
and sharp melodies. With each breath of the mellotron or shake of the shaker, the
Little Ones created their own aural reality. What they did not expect was that it
would have some effect outside of just the Little Ones. Those who bear witness were
taken by the Caribbean undertones of Cha Cha Cha, the Motown backbeat of Oh, MJ!,
and the percussion driven High on a Hill. Some of the Little Ones began to notice
the social effects of Sing Song. Listeners felt the need to share their experience
with others. Audiences felt the need to move closer. They suddenly realized that
other people's feet were moving.
**************
Audio:
SMALL SINS - http://www.myspace.com/smallsins
THE LITTLE ONES - http://www.myspace.com/wearethelittleones
Web sites:
SMALL SINS - http://www.smallsinsmusic.com
THE LITTLE ONES - http://www.wearethelittleones.com
ZAPHOD BEEBLEBROX - http://www.zaphodbeeblebrox.com &
http://www.myspace.com/ZAPHODinOTTAWA
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