“Vogue” – Aperitif!
“Music” – Pre-dinner salad
“Give Me All Your Luvin” (Nicki Minaj and M.I.A) – Main course
“Like a Prayer” with Cee Lo Green – Dessert

Madonna may be golden but she is no dumb blonde. She kept the fancy footwork to a minimum in a no room for error show and was tastefully dressed for a 50 something pop star. I mean she’s still sexy so yeah she gets to show off a little leg. No one can truthfully say she doesn’t look good for her age. Even with the cosmetic work, make-up, etc – her body is still an incredibly well proportioned and coordinated machine.
Love her or hate her she climbed her way to fame faster than you can say 80′s as a singer, actress and occasionally model.  She managed her career and juggled motherhood all while never having had 1 breakdown.  Pardon the expression but that is called having your shit together. What a great performance MADONNA. You are still THE queen of pop and a seriously cool diva.

LUV Madonna! (Photo Courtesy of Hollywood-life.com)

“I do  understand why so many  people  hate her… Frankly a woman who had her first kid with her trainer, runs her own business, is still considered a sex symbol after 50 years with bigger balls than most men- is a threat to the gender role.”
-Lisa Mac

The spirit of American techno has infused many of this year’s Igloofest acts, always with a twist — and Curtis Jones is nothing if not a bit twisted. With his green-mohawked persona and often bizarre lyrics, Curtis has a reputation as the resident mad scientist of techno / house. Green Velvet’s four albums, beginning with the appropriately-titled Constant Chaos in 1993, span the gamut of light and darkness, and show that Jones lives up to his reputation. You can’t have good mad science without, well, madness.

Usual suspects like Juan Atkins and Derrick May (again!) loom large over Green Velvet’s funky techno house sound, but it doesn’t stop there. An experimentalist throughout his career, Green Velvet reaches across genres; one track may feature processed vocals and synth leads from a ’70s Kraftwerk cut, while the next might feature punked-out guitars straight from a ’90s Chemlab track, or sugary female voices from a lost ’80s Italo Disco single. There may also be fragmented tales of alien abductions, which could explain things a bit.

Here’s a preview of some classic Velvet. We assume you won’t need a tractor beam to get you out to Igloofest tomorrow!

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Since his emergence in the dance scene in 1999, the French-born, Amsterdam-residing Léger has been all over the map, producing dozens of EPs, a number of hit singles (including “Hit Girl” and Chris Lake collaboration “Aqualight”) and countless remixes. He’s an undisputed champ over on Beatport. You’ve probably heard his work, even if you don’t know it; Léger has added his synthy stamp to tracks as diverse as Armand Van Helden, Justin Timberlake and even Marilyn Manson.

Once a mainstay of the underground electronic scene, Léger’s prolific and consistent quality have made him a hot commodity. Léger’s style is adaptable, with elements of Detroit techno’s analogue synths and samplers (more hints of Derrick May here), sculptured into soulful, state-of-the-art house. Léger’s trademark flair and funk attest to his formal musical background. A pioneer of his own as-yet-nameless subgenre, Léger is also the mastermind behind Mistakes Music, a label whose artists all toe the borders of house, techno and soulful electro.

What can you expect tonight from Sebastian Leger at Igloofest? To suit the weather, maybe as something as chill as this:

Click here to view the embedded video.

Igloofest

Genre fusion has always been a feature of Igloofest, and Fixmer blends them with the best. His work combines the minimalist urgency of classic Derrick May with brooding EBM from Berlin’s gothiest nightclub, both pulled raw and bleeding out of 1989 and stitched together in an underground lab.

Fixmer has a surplus of goth cred, featuring numerous collaborations with Nitzer Ebb‘s Douglas McCarthy. His most recent full-length, 2010′s Comedy of Menace, is his most EMB-tinged album to date, and his 2011 EP Le Terrible portends an even further descent into darkness.

Though he’s been purveying his grimy sound for over ten years, Fixmer is part of a recent (and long overdue) EBM resurgence which also includes fellow Igloofest guest Green Velvet, and which itself is part of the larger modern wave of aggressive electronic music — including dubstep — which rages more than it raves.

Here’s an example of Fixmer’s vibe, all rusted-out cyberpunk imagery and claustrophobic, pulsing beats. Strap up your combat boots and prepare for a full-scale four-on-the-floor.

Click here to view the embedded video.

There’s no greater proof of that than Igloofest, a wild idea dreamed up by the brains behind Piknic Elektronic. Igloofest has come to Old Port every year since 2007, with a unique spin on the electronic music festival: it’s outdoors, at night, dead in the middle of January, right by the wind-tossed water at Jacques-Cartier Quay. Igloofest runs from January 12 (tonight!) to 28 over three weekends.

Named for the igloos dotting the quay, where revelers can seek shelter from extreme weather, Igloofest is the electronic music event of the season. Outsiders think it’s crazy, but Montrealers wouldn’t have it any other way: Igloofest has grown exponentially each year and now boasts over 65,000 visitors over its three-weekend run. If the novelty of dancing up a sweat at -25 temperatures doesn’t entice you, or you don’t have a wild neon onesie to impress the judges of Igloofest’s hilarious snowsuit competition, then just get a load of the DJs at Igloofest’s site. Igloofest 2012 will feature some of the finest electronic music luminaries in the world.

For starters, this year’s fest brings in UK’s dubstep pioneer Mala (of Digital Mystiks), Portuguese kuduro purveyors Buraka Som Sistema, many-monikered American house-EBM oddball Curtis Jones (here appearing as Green Velvet), Juno award-winning Montreal rave beast and professional VHS retro-ironist Tiga, London house heartbreaker Maya Jane Coles… there’s a sound for electronic fans of all stripes. And who knows? The next top Igloofest DJ might be one of us.

The first course of the event begins tonight! Tickets for a night are $15, with a festival pass going for only $60. Yeah, you know you’ll check it out. Just don’t forget to zip up your parka; it’s already minus ten and dropping…

Click here to view the embedded video.

Saturday night brings with it the closing night of M for Montreal, showcasing some of our finest local luminaries. Presented by dramatically-named label Blue Skies Turn Black, the grand finale will feature Marie-Pierre Arthur, The Barr Brothers, Random Recipe, Karkwa, Ariane Moffatt — and Francophone electro-rock act Galaxie.

Founded and fronted by French-transplanted Montreal resident Olivier Langevin more than ten years ago, Galaxie was known as Galaxie 500 until the name turned out to be trademarked by an established and well-regarded American alt-rock band (what are the odds?). In the decade-plus since Galaxie‘s formation, Langevin and company have assembled three critically lauded full-length releases and collected a number of prestigious awards. This year alone has garnered the group four 2011 GAMIQ awards, a 2011 ECHO Songwriting Prize, and a shortlist for a Polaris Music Prize for their latest album, Tigre et diesel.

Galaxie is yet another act to infuse electro elements into their rock sound, but the rock comes a little rougher than the milquetoast mewlings of the usual indie fare. Galaxie fuses glammed-out ’80s electronics with stripped-down garage-band blues-rock and laces it all with female vocals, to a powerhouse effect not too incredibly distant from another Canadian group, Black Mountain.

In contrast to a number of other local groups who seem to be ignorant of any music older than about 2005, Langevin claims inspiration from Jimi Hendrix and Led Zeppelin, T. Rex and Bo Diddley, and you can hear it in the groove and swagger of Tigre et diesel.

Recent live shows have incorporated their newer electro influence into tracks from their prior albums as well. In short, Galaxie aren’t screwing around about getting a dancefloor hopping. Prepare to go supernova this Saturday!

Click here to view the embedded video.

Right about now, at the South by Southwest (SXSW) showcase at M for Montreal hosted at Sala Rossa, there’s an empire rising. That’s Young Empires, three young men from Toronto who’ve been expanding their sphere of influence rapidly since their formation in 2009. A recent tour with Chromeo made Young Empires a name amongst retro-loving, forward-thinking pop fans, and their headline status at SXSW should only bolster their buzz in the local scene and beyond.

Highly influenced by Pitchforker groups of the recent past, Young Empires wear their influences on their immaculate sleeves. Music journos have struggled to compare Young Empires to bands as disparate as The Killers, Arcade Fire, MGMT and Cut Copy. Not bad for a band who has yet to even release an EP, much less a full album. Older reviews mention a certain tropical vibe to their tunes, but that’s not as apparent as the genre-blurring explorations into chillwave and indie dance-rock they’re currently pushing, which fits them well into the local scene.

Of course, the groups above have mighty shoes to fill for an upstart group in an overpopulated scene, but the comparisons don’t only describe Young Empires‘ sound — they reflect the group’s chameleonic ability to absorb and blend their influences and produce something that gels. While it all comes off as a bit calculated, and not near as rowdy as their “sexy music for sexy people” ad-line would have you believe, Young Empires seems to be on the right track — and what did they say about all roads leading to Rome?

Young Empires’ music is hard to find at the moment — they’ve tightened their tyrant’s grip on music blogs in anticipation of their upcoming EP — but you can get a taste of their sound on their Myspace and on Youtube where their videos proliferate.

Click here to view the embedded video.

To an Anglo listener, Alfa Rococo comes off in the middle of the radio-friendly indie spectrum, somewhere between the girl-fronted, electro-tinged stompers of fellow canucks Metric and the pensive, reverb-heavy mope-rock of UK’s Doves. To the mix Alfa Rococo adds assorted folksy French and Quebecois influences, chiefly by way of warm male/female vocal harmonies and French lyrics. Their first album, 2007′s Lever L’ancre, has a more wistful vibe, while their second, last year’s Chasser le Malheur, is more upbeat and synth-driven.

Generally, Alfa Rococo‘s mostly midtempo pieces create a atmosphere that can only be described as pretty. It’s sweet and melancholic by turns, and no understanding of French is required to understand the mood of it all. It’s not particularly daring, but it’s slick and catchy, with not a hair out of place. As curveballs, Alfa Rococo throw in a few higher-energy, four-on-the-floor numbers that’ll pack a dancefloor fast — see the video below. Here’s hoping to see a few of those at the show!

Alfa Rococo plays M for Montreal this Saturday at 2PM @ Café Campus.

Click here to view the embedded video.

M for Montreal

It’s more of a marathon than a festival, really. You’d better book some time off work. Last year we were blown away by the local talent on display, and this year the boom’s promising to be even bigger.

No doubt owing to the success of its industry networking functions, the festival has been expanding its global credentials a little more every year. M for Montreal has hosted showcases as far as Texas’s South by Southwest media convention. Even this year’s headliner comes from half a world away: France’s much-lauded electronic shoegaze duo M83, who’ve been brought in to support their latest ethereal synth trip, Hurry Up, We’re Dreaming.

M83′s show with LA-based, similarly-themed Active Child is, sadly, already sold out. If you missed out, you’ve still got a chance to get retro: also from France comes Anoraak, alias Frederic Riviere, an up-and-coming artist from the infamous Valerie Collective. Anoraak’s velvety Italo-disco pop jams come off like an aural daydream of an ideal ’80s Miami beach that never existed. Fans of Chromeo take note.

Other class acts this year include local electronic legends Bran Van 3000 and hard-rock thrashers Barn Burner and Trigger Effect (heavy music being a recent and welcome addition to the festival — see our writeup of Priestess from last year). Last year’s M for Montreal featured the folk-rock duo The Barr Brothers and infectious electro-jazz gangsters Misteur Valaire (who headlined in 2010, as it happens, and who have been M for Montreal regulars since 2008). Both groups will be returning again to the fest’s sixth edition. Plenty of new additions fill out the roster, including Uncle Bad Touch (a sister band of our favourites The Unsettlers).

Click here to view the embedded video.

The full line-up for M for Montreal 2011:

• M83
• Active Child
• Cadence Weapon
• Karkwa
• Random Recipe
• Parlovr
• Aaron
• Absolutely Free
• Adam & The Amethyst
• Alaclair Together
• Alexandre Desilers
• Alfa Rococo
• Anoraak
• Ben Wilkins
• Bran Van 3000
• Buddy McNeil & The Magic Mirrors
• Scoundrels
• Concrete Knives
• D’eon
• Daniel Isaiah
• Doldrums
• Ed Wood Jr
• Fanny Bloom
• For a Minor Reflection
• Galaxie
• Half Moon Run
• Hollerado
• I No.
• Jimmy Hunt
• Karim Ouellet
• Lena Deluxe
• Marie-Pier Arthuer
• Misteur Valaire
• Of Monsters and Men
• Passwords
• Peter Peter
• Plaster
• The Midway State
• Uncle Bad Touch
• Young Empires

M for Montreal runs from Wednesday, November 16 through Saturday, November 19. See www.mformontreal.com for more details.

Bran Van 3000

As far as Canadian bands go, Bran Van got off to an auspicious beginning. An excursion into radio vibes with 1997′s hit single “Drinkin’ in LA” (which charted once in Canada and twice in the UK) landed Bran Van brief tenure in pop stardom, including a global tour and a Capitol Records release for their 1997 debut Glee. Riding high on their success, BV3 was subsequently signed to the Beastie Boys‘ label Grand Royal for their sophomore effort, 2001′s Discosis.

Unfortunately, a sudden collapse of the Grand Royal label coincided with Discosis‘ release, tanking the album’s publicity. In the wake of disaster, the track “Astounded”, featuring vocals from soul legend Curtis Mayfield, managed to become Bran Van’s highest-charting hit, but the band re-appraised their direction nonetheless. Leaving behind labels and management of any sort, BV3 became notoriously reclusive, refusing interviews and live shows, seeming to exist only in rumour as they assembled their subsequent album, 2007′s Rosé.

Continuing critical acclaim for Discosis and Rosé didn’t change this reclusive image, and BV3 remained a well-kept Canadian secret – until an appearance at the 2008 Montreal Jazz Festival turned the spotlights back upon them. The urban myth of Bran Van was busted when over 200,000 fans converged at the show, packing the streets to see the group play their first live set in almost 10 years.

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You could say it was something of a turnaround for BV3′s approach. Back in the groove of live shows and recording, BV3 released The Garden in 2010 – and it might be their best work yet. As far back as Glee, Bran Van was fusing electronic beats with rich acoustic sounds and they only push it further here, for The Garden simmers with experimentation and creative meldings of genres. Everything from singalong twee-indie to downtempo, electro-funk, hip-hop and reggae makes an appearance, courtesy of an army of skillfully-arranged guest vocalists. It’s all unpredictable but it never sounds strained – for this, The Garden has earned unanimous and deserved critical praise.

Yeah, we know what you’ll be doing at Osheaga this Friday. See you there!