SoundProof - Event: Rock-A-Thon

On Sunday Dec 2, a rainstorm from hell attempted to put a dark cloud over the day's festivities. Despite the fact that the Boat wasn't quite watertight — it literally leaked, with a medium-sized puddle forming in the middle of the dance floor throughout the night — fans chose to swim rather than sink. The troopers who attended this charity event in support of CHUM Christmas Wish didn't let a minor leak dampen their spirits.

Though this year's Rock-A-Thon was a modest success, it was a success nonetheless, and the crowd was privy to an event that more should have witnessed. The 12-hour-long revelry felt more like a quaint Christmas party among friends, and the participating bands were phenomenal, helping to raise money to give toys to kids, people!

Here's just a sample of some of the 15 bands that participated this year:

Malfunktion

Francesco Paonessa

Mario Giovane

Curses!

Curses!

Curses!

Curses!

Fine Motor Control
After engaging sets from bands such as Malfunktion and The Curses, Toronto's Fine Motor Control subtly took the stage in front of a sparse, but eager, audience. The set started with an eerie introduction featuring droning feedback from the amp of the band's frontman and bassist Tristan Campbell and was accompanied by dischordant synth pads played by the talented Ian Strung. It seemed to call fans to the stage.

Tristan Campbell

Under the warm red lights of the club it appeared as though Satan himself had taken over the amps and was building pressure and instability in curious onlookers until drummer Rob Kisler took the stage. The band erupted into a powerful set filled with screeching vocals and melodic overtones.

Campbell's stage presence was pleasantly unexpected as his energy took over the room and he unexpectedly transformed from a delicate bass player to a powerful frontman. He delivered his vocals with balls and meant it. Intertwined with the poppy sensibility and subtle keyboard styling of Ian Strung was the massive sound created by the band.

Rob Kisler and Tristan Campbell

Kisler thumped the skins and used techniques such as swelling the crash cymbals to beef things up, as well as throwing in funky high-hat patterns to keep heads bopping. Props to sound guy Keith Hamilton who delicately mixed this band. One highlight included a down and dirty cover of Smashing Pumpkins' "Cherub Rock."

- Pocket Lynt -

Love kills

As people shuffled inside from the wet cold, Heather Flood, lead singer of this Toronto alternative rock band, took the stage and shone. Flood, a lovely looking lady with a smile that brightened the room, showed off her tambourine skills with an infectious enthusiasm.

Love Kills

By flashing her pearls she managed to get the crowd to inch closer to the stage, away from their safe zone at the back of the room. Playing an unmistakable blend of pop and surf-rock, the fuzzy vocals of these shoegazers were cloudy, slightly dreamy and consistent. The music was fun and playful, with some outstanding qualities.

Love Kills

The drummer took a particularly unique approach to playing his instrument. The tall blond stood as he played his kick-drum on its side, face up, accompanying it with only a snare and a symbol, while maintaining an impressive metronome-like rhythm.

Without any effort to engage the crowd, Love Kills still managed to evoke a number of hoots and hollers from those who appreciated their ability to keep the mood light, wistful and energetic on such a heavy day.

- Sandra Ferrari -

Now Yr Taken

Though he was not without his annoying quirks, Mike Crichton's performance was technically amazing, with blow-your-mind appeal. Using a unique blend of drum machine, guitar loops and vocals, Crichton played a number of self-indulgent, yet very sophisticated, layered and epic-sounding tracks. Predominantly instrumental pieces, they deviated from the mundane four-minute pop song.

Mikey Crichton

Starting off the set like a subdued Henry Rollins, Chrichton's striking spoken-word approach set up a soft mood from the first syllable uttered. He proceeded to loop layer upon layer of melodic and rhythmic genius that had the crowd mesmerized. Despite the high mic levels that picked up the sloppy chomping of his gum — most ignored this minor irritant — this one-man-band showed off his skills on drums, vocals and guitar.

Mikey Crichton

Nearer to the end of his performance he led into a beautiful, just brilliant, 10-minute progressive and mood-driven song called "The Trilogy." Crichton was joined by two friends from the crowd who accompanied him on guitar and drums, experimenting their way through some new music that may be in the works for the group that will be performing under a different name. These boys were definitely 'N Sync, in a very non-lame way. I need to check NYT's live show out again, that's for sure.

- Sandra Ferrari -

Daddy Ashes

Daddy Ashes

Daddy Ashes

Daddy Ashes

The Postage Stamps

After having shared the stage with the likes of Death From Above 1979, And You Will Know Us By the Trail of Dead, The Dears, Meligrove Band and the Suicide Girls Burlesque Show, I was surprised that half the crowd raised their hands when vocalist/bass guitarist Keith Hamilton asked the audience who had not seen them perform before. Despite feeling a little less musically superior than I normally like to feel, in that moment I raised my hand along with the others. This was a good thing, though. I had one of those magical first timer moments with TPS. They played a phenomenal set.

Jordan Walsh

I sat, stood, even leaned over people to see what each of the boys were doing and how they were playing; I was wowed on so many levels. When lead vocalist Jordan Walsh began singing, it was one of those instantaneous, "Oh my, I like that tone," moments, when the ear immediately welcomes the sound. There's something very organic and uncontrived about his very smooth, moderately forceful voice.

From the shy guitarist who hid in the background to the swaying keyboardist who didn't miss a note, these boys were technically tight. The music was fun and interesting and full, with unconventional progressions and properly balanced tones, which tends to be lacking in many an indie band. This is not the case with TPS.

Mike Duffield and Simeon Abbot

As for call-out moments, the highlight of their set was Mike Duffield. From beginning to end, Duffield's percussion was powerful, fluid and awe-inspiring , solidifying my newfound loyalty to this sensational Toronto band. It may have been the first time I saw their sensational live performance, but it definitely won't be the last.

- Sandra Ferrari -

As the day came to a close, DJ Lawrence, the Manchester Brit who spins for Kensington Station at Neutral on Saturday nights, filled in the blanks between the bands with some choice music for all to enjoy.

Though this night may have been a moderately successful fundraiser at first glance, it turned into a heart-warming event in the end. And let's not forget about the kids: Because of everyone's efforts, including those of Jon Sohn, Indie Love Radio and The CHUM Christmas Wish, some wee tots will get a little something extra this Christmas. Congrats to everyone involved. SoundProof will being seeing y'all next year!