Po Lazarus

Their performance proved that they’re ready. They sound confident in their work. Most importantly, they sound at peace. Loserland is something special; Loserland is a winner. - The Concordian

Overall, O Body is nothing short of amazing—five songs that each have their charm, their story, their distinct musicality (including the brilliant sort-of interlude “O Henry (Where Did You Go),” that definitely caught me by surprise). - CJLO

Samedi soir dernier, au petit campus, on a eu droit à un show IN-CRO-YABLE de ce que j’espère sera pour vous une belle découverte de la scène anglo-montréalaise : Po Lazarus.

Mené avec beaucoup de classe par Joshua Carey, qui rappelle humblement un Father John Misty plus réservé, le groupe lançait Ways To End The Night, un premier LP qui oscille entre la douceur de mélodies très folk et le poids d’un rock lourd de nostalgie. Ça te donne le goût han?!

Oui, le groupe est relativement jeune, mais il réussit tout de même à projeter une musique chargée d’une grande maturité. Seul indice trahissant leur âge : la foule très McGill-esque qui a – mention honorable - réussi à faire un simili mosh pit sur une musique qui ne s’y prête pas tellement. Mais bon, y’a quand même de l’ambiance qui vient avec des fans qui font du body surfing sur une superficie de 2 mètres carrés. Go for it my friend.

Au cours de la dernière année, Po Lazarus a dû se mettre en mode séduction afin de se munir d’un nouveau batteur, ce qui a momentanément permis au chanteur et bassiste d’explorer un volet acoustique plus lent, plus folk. Cette alternative temporaire a eu comme résultat de bien mettre en valeur le frontman qui, à mon avis, possède une des meilleures voix de la scène indépendante. C’est pourquoi nous avons été surpris d’avoir droit à un spectacle aussi rock, aussi hard, mais quel bonheur ; un show comme ça, ça se gère particulièrement bien un samedi soir.

Le set VRAIMENT long (quelque chose d’assez remarquable pour un groupe si neuf) en a donné en masse pour satisfaire et convaincre les sceptiques (et ça, c’est s’il y en avait!). De notre côté, on a eu la chance d’apprécier certaines des chansons, notamment A Man Loves His Whiskey More Than His Woman, qui n’est pas de la petite bière (je l’ai dit plus haut : mature as hell), et If You Are Alone qui pourrait franchement devenir l’anthem de toute notre génération fucked-up qui ont juste ça des commitment issues. Ça mérite une couple d’écoutes.

Le point fort du spectacle (mis à part tout le reste) : Joshua qui chante sans micro, sans musique, à une foule complètement soumise. Il y a quelque chose de ben spécial là-dedans, surtout considérant que de maintenir une crowd dans un bar-spectacle sous silence alors qu’on n’est pas encore somebody relève entièrement de l’exploit.

Je te dirais d’acheter un vinyle parce que ça risque d’impressionner ta prochaine date (que tu vas probablement dater pendant 8 mois parce qu’on est de même nous autres han!) et comme Joshua l’a si éloquemment dit à la fin du spectacle : Go make someone else feel loved.

M’en va faire ça!
#MusiqueLocale - Nightlife.ca

I first saw Montreal’s own Po Lazarus this September, playing in a showcase for POP Montreal alongside other stellar local acts like The Rising Few and Bud Rice. As just one player in a full evening of music, the band’s set was instrumental in showing the wide spectrum of art that this city can cultivate – but last night at Petit Campus, celebrating the official launch of their debut LP Ways To End The Night, Po Lazarus was square in the spotlight as the stars of the show. They deserve every damn second of it.

Also hailing from Montreal, three-piece Frisky Kids had the honour of opening up the show with their Jack White garage-rock skiffle. Though they wear their British Invasion influences on their sleeve with early Kinks riffs, yelping harmonies, and bassist Matisse Gill’s Beatlesque Hofner, Frisky Kids aren’t staunch traditionalists. This music is fun, and the band knows it, trading lead vocal duties between Matisse and guitarist Calum and complementing songs like “On My Own” and “I’ll Be Loving You” with goofy faces, stabbing guitar solos, drummer Matt Grant’s time changes, and, on highlight “Enchanté”, failed (but admirable) stabs at rapping.

After Frisky Kids’ fast-and-frenzied set, the men of the hour took to the stage and slowed things down a bit, kicking this album launch off with the record’s first track, the plaintive “I’ve Been Sitting Here (All Alone)”. Singing at first without a mic over a foundation of Paul Mascarenhas’ gentle guitar, and then building intensity as drummer Josh Grant and guitarist Aaron Cohenca joined them, Joshua Carey turned the tune into a whole performance – actually acting out the wounded protagonist’s goodbye instead of just reciting the words. As it does on the disc, the song then segued quickly into the uptempo “Breaking Bottles”, which seems to have leveled up since its recording (as have many of the album’s 10 tracks) into a much more muscular bit of indie rock – thanks in no small part to the addition of Cohenca’s alternatingly warm and searing guitar chops.

I’ve never been to an album launch before, and it makes for a totally different performance and showgoing experience when the crowd is packed with friends and family instead of arm-crossed skeptics waiting to be impressed. For the audience, just like the band, this was all about marking this important milestone – and there were obviously no complaints from any audience member as Po Lazarus went through the next two sequential songs from the disc’s upside-down Americana road trip. Though Carey took a second after the dancey “Will You Be My Baby?” to admit that the band was nervous and to shake his head in disbelief (“Oh my god, there are so many people!”), everyone seemed to ooze peak confidence. Especially Carey himself, who seems to have no trouble gliding all over his vocal range – and certainly not during the demanding “Blood Cake”, a sludgy and greasy horror story stew that inspired a moshpit with more than a couple growls, death screams, and psychobilly freakouts.

As much as this was a victory lap for the past, Po Lazarus also shared a peek into the future, taking a pause after the first half of the album’s program to play a handful of brand new songs that are just begging to be recorded. The first one (referred to by Carey as “Body of Water”), showed off new textures from Cohenca,who offered sun-kissed guitar solos to a “Creep”-like chord progression, bringing up the mental image of Radiohead spending a day at the beach. On the whole, these new songs point to a pretty exciting new direction for the band, feeling a little more upbeat in what seems to be a move away from the darker freak-folk murder ballads and drinking songs. Even so, the band doesn’t seem like they’re in a hurry to abandon the things that make them so special in the first place, sticking to darkly funny songwriting (“I don’t care / I don’t mind / I just want to touch your behind”), supernatural stories, and impressive musicianship.

No celebration is complete without guests, and the second half of the set saw Po Lazarus open the stage up to a few special people, including the album’s studio guitarist Luc Delisle, the returning Frisky Kids, and John Jacob Magistery’s Mackenzie Myatt and Johnny Griffin, who helped produce the record. Together, these guests helped build the standout moment of the night, providing more guitar, violin, and harmonies to the already-spine-tingling campfire singalong of album highlight “If You Are Alone”. It was enough to get Carey a little bit choked up when he thanked the crowd and his cronies – and as someone who has a habit of losing patience during the last few songs of any concert, I can still say that I didn’t actually want the moment to end, either.

The band seemed to loosen up a bit after that emotional hump – never losing step with their radio-ready music chops, but basking in the afterglow of an already-great evening. They very clearly had fun playing through the rest of the record, accompanied by dedicated crowdsurfers and the three-part harmonies of the Frisky Kids, who crowded around the mic like a beer-soaked We Are The World. Although some of the quieter moments (“I Won’t Take You Home Again Kathleen”, “Do You Think Of Me?”) were a little marred by club thumps as the upstairs Café Campus came to life, you couldn’t get Po Lazarus down. After celebrating Carey’s birthday with a singalong and finishing up the rest of the album, the band left just Paul and Josh alone on-stage. After thanking Paul, explaining that he was “so lucky to have met him,” Josh began one more song – one that saw him walk out into the crowd with his mic and get hoisted into the air to crowdsurf, singing from his back while Paul’s guitar serenaded him from the stage: “we’ve still got more to show you”.

I know, and I’m excited.

Review – Dan Corber - Montreal Rocks

On September 23rd, Po Lazarus took the stage by storm at Club Lambi and officially launched their debut album, Ways To End The Night. I walked into the venue with great anticipation,
and I was not disappointed. Their modern approach to creating music fabricated a canvas that enabled audience members to paint a story, through their own images, one melody at a time. This rather cinematic representation drew the audience closer to the stage, as if they were admiring a bonfire created by subtly textured sounds and unheard melodies. In doing so, the four piece band brought the gloomy lit stage to life one song at a time.

From beginning to end, the venue embodied a sense of togetherness, an unbreakable bond between the audience and performer. Songs such as; “Blood Cake”, “I’m Just a Man” and “If You are Alone”, projected an ambiance and culture that left me feeling as if I were part of a spectacle. A spectacle that presented a sound of freedom, an escape from reality. With a high energy stage performance, coupled with segments of face pounding music, Po Lazarus leaves their fans satisfied and wanting more. That’s exactly what Po Lazarus is about; a throw-back to those days when music wasn’t about auto-tune, or sampling. It was about loud guitars, big drums and raw power. These songs let you express your anger, calm your stress, show your love, release your tears, and allow you to explode in energy.

It’s refreshing to see a local Montreal band with such talent, focus, and devotion to music.

We need more of this.

If you missed the show and you’re feeling down and out after reading this, then my job here is complete. Be sure to follow Po Lazarus and show your support, you never know when they’ll be playing at a venue near you!

Vincenzo Mariano - Naked Underground

Friday, August 8th, 10.28PM. Four piece garage folk band Po Lazarus decided it was time to hit the stage and get things started off for their sold out album release show. It was a sweaty and packed affair that night at Turbo Haus, just like the band likes it. Kicking things off with I’ve Been Sitting Here All Alone, a more intense blues inspired jam, the four boys on stage certainly knew what they were doing during the performance, dressed in mostly black, relaxed attire. Singer Joshua Carey’s soulful crooning combined lyrics about heartbreak and hookups sung to ukulele strums, while Paul Mascarenhas delivered fast harmonica notes as he simultaneously played guitar. Mo Novak and Luc Delisle completed the eclectic picture with intense drum beats and smooth guitar riffs.

The whole ambiance of the show made me feel like I suddenly took a left turn into a dark alley, only to end up at some secret backwoods Louisiana party. Kind of like Owen Wilson in Midnight in Paris but instead of champagne and the Charleston, it was Midnight in New Orleans with beer and the Jitter Bug. The band has this raw, unpolished sound, slightly reminiscent of Kings of Leon (the early years) but with more nuances and musical styles. A favorite of mine was Where’d You Go, which had this awesome 60’s surf rock throwback sound mixed with psychedelic breaks that I absolutely loved. As the show progressed, I realized Po Lazarus couldn’t be categorized in one or two musical genres. Or rather, they refused to be categorized; taking different forms with each song, like a chameleon running through the wild. Their sound and energy is like a diamond in the rough you’d rather not see polished and cut. Other songs that stood out for me were Spanish Armada, which had a faster paced, Latin flair to it, I Won’t Take You Home Again Kathleen, which is the type of song to play after a long needed breakup and lastly, the boy’s closing song Backyard Voodoo, which has this mysterious possessing quality to it and kooky, folkloric lyrics. The band may just be starting out but they’ve already got audience members putting in encore requests for probably their most popular song, If You Are Alone, a great end of night jam, you drunkenly love to sing along to (and rightfully so). - Daily IX

On the night of January 30, a crowd of overly talkative people packed themselves into the quaint backroom of Casa Del Popolo at 9:00pm. Though it was perfectly fine for the crowd to be chatting amongst themselves before the show’s 10:00pm start, the talking continued well into the performance itself, becoming particularly disruptive during the second act. This was their loss, however, as those who weren’t paying attention missed out on something nearly magical that night.

[...]

Po Lazarus went directly into their first song without a word, and they had the crowd’s attention hooked in seconds. Singer Joshua Carey’s voice was absolutely mesmerizing- so incredible that it is impossible for words to do it justice. His voice, with an incredible range and a smooth sound, seemed to have roots in blues-rock, but was even stronger. The songs alternated between fast beats and slow sensual rhythms. With the second song came the first use of the ukulele, which added a surprising amount of energy to every song in which it was played. Carey (vocals) and Paul Mascarenhas (bass & guitars) began to have amazing stage presence at this point, dancing around the stage and gathering everyone’s attention with their movements. The third song they performed was the best of the set. Skilfully mixing blues-rock with moments of punk-rock, and containing just the right amount of angry screaming alongside calming chords, the third song in the set sounded similar to the best of 70s rock. It was an essential for any blues-rock fan to listen to and at points was reminiscent of Led Zeppelin’s music. In order to keep the audience awake, they went into a slow hypnotic soft rock song that worked perfectly to get everyone moving. Carey’s stage presence and voice was of someone who should be performing at a music festival or stadium at this point. Po Lazarus then went into their second-best performance of the evening, which started off as a sad ballad and progressed into an upbeat rock song that felt as though it belonged in a Tarantino film. Carey’s voice rivalled that of Jack White’s at times. When the song was over, the band addressed the audience charmingly, with Mascarenhas even doing his best Matthew McConaughey. Although everyone watching never wanted the show to end, the band sadly had to finish up and they did so with two more unbelievable songs: a grunge track and the last, another great blues-rock track.

The only thing wrong with the Po Lazarus’ show was not due to the band itself, but the lack of attention given by the audience. At times, it made it impossible to hear what Carey was saying when he spoke between songs. Thankfully, those who were paying attention had the good sense to demand an encore, and though the band was hesitant, they performed a short encore that was just as amazing as the rest of their set. Seeing Po Lazarus live someday should be on everyone’s life goal lists, for the words of this article really can’t describe just how fascinating they really are live. As the band mentioned that night, they are currently looking for funding for their debut album. Those who can should donate because their music is worth it. - Bucketlist Reviews

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Following Hodges was Po Lazarus and their set was incredible. Their mix of vintage rock ‘n roll and noisy post and punk rock, performed with a countrified swagger, is powerful and original. - Bloody Underrated

When I listen to Po Lazarus's self titled release, I imagine myself carried off to a love story involving The First World War. Haunting lyrics and waltzing ukulele lulls my heart until the guitar falls like artillery that thrust you into a sonic symphony of longing vocals, moaning bass, and dynamic percussion.

Based out off Montreal, QC our northern neighbors have captured a sound that is a three way collision between The Decemberist, Radiohead, and a tiny bit of Modest Mouse. Add in very high marks for production value and I think Po Lazarus has a very bright future ahead of them. - Carl Daniel

Taking inspiration from jam bands like The Grateful Dead, Po Lazarus recently recorded their debut self-titled EP live in one (almost) continuous take. This ambitious and experimental style is something the Montreal quartet clearly thrives on. At its core, Po Lazarus is a folk-rock band, but as their five-track EP demonstrates they’re also a band continuously striving to find new ways of making music.

As with all experimentation, the final results are mixed. As lead singer Joshua Carey croons about lost loves, one night stands, self-doubt and redemption, the music shifts between sweet folk, harder rock and straight up country.

As much as the band doesn’t want to admit it, they’re masters at putting on a great performance. When you see a live Po Lazarus show, it’s difficult not to get swept up in the vibe and feel like these gentlemen are making sweet love to your eardrums. Upon repeated listens at home, the band’s strengths and weaknesses start to become more apparent.

In the psychedelic-fuled lead track Backyard Voodoo Carey’s voice sounds like the love child of Jim Morrison and Thom Yorke. When first hearing the lyrics, it’s hard to take Backyard Voodoo seriously (Chicken bones are strewn/From the ceiling of your room/and brickdust is guarding the cupboard where you keep your/broom). But just like dark magic, upon repeated listens the song grows on you.

In more folk-ish Po Lazarus songs like The Seams, the guitar wailing away seems out of place. But in Backyard Voodoo the guitar is perfection. And when you combine that with Mo Novak’s solid drum beat, I could listen to Carey ramble on about nonsense forever.

I’m Coming For You is one of the most polished songs on the EP. The song’s impact slowly creeps up on you and has just the right doses of pop, rock and folk. The best guitar solo on the EP can be found here and features some impassioned vocals from Carey.

Conversely A Couple Weeks Time is the blandest of the offerings on the EP. While you have to appreciate the desire to try different things, country is clearly not a style that inspires the band as much as folk or rock.

If You Are Alone is the most obvious crowd pleaser of the EP. Ukulele, falsetto and simple lyrics is always a great mix. Especially when performed live, Po Lazarus knows how to make this combination work for them. With the incredibly infectious chorus (If you are alone/Well i’ll be the one to take you home x2) it’s hard not to find yourself singing along to this song whether you’re in a packed bar after a few pints, or stone-cold sober sitting alone in your living room.

All and all this EP signals Po Lazarus is a strong band that’s here to stay. It’ll be exciting to see where Po Lazarus’s goal of experimentation takes their musical style and lyrical inspiration next. - Forget The Box

I walked through a short, speakeasy-type tunnel that opened into a relatively small room. The two ticket takers manning the table were welcoming and quick of wit. Light bulbs encased in mason jars dangled from overhead. There were no tables and only a handful of stools by the bar.

Wicked. Pints are only $5.50. Welcome to the showroom of Casa Del Popolo.

First up was Pat Bennett alone on a keyboard, performing songs under the guise of Old Boy. It was a quick, five-song set, featuring songs he’d written as a memorial for his friend Nick Babeu. I loved the way his low vocal melodies carried throughout the room, often matched by the notes plucked out with his right hand. They were harrowing. They were haunting. He was Danny Elfman as Jack Skellington. Everyone in the crowd listened with respectful silence; he was grateful, and said as much. I was very impressed with an unreleased track he played called “Momento.” His last song was an homage. “If you take all the guitars out of Thin Lizzy, they’re still the best band in the world,” he said, before launching into a stripped-down version of “Little Girl in Blue.”

I made my way to the front of the room while the next band, the Maybe Greys, were setting up. While I was one of only five people in the bar earlier in the night, I took the opportunity to speak with drummer Scotty Potter. He told me that they’d been together as a band for the better part of a year, and had recorded their album at Mayk Music in St. Sauveur. While I can’t claim to have fallen in love with their album, their live show left me astounded. The shift in sound between when they recorded and now might’ve been subtle, but I think they nailed their sound. It was Tom Petty-esque, with country and funk mingled in a la Cake by the crispy, twangy solos of lead guitarist Kevin Moquin. Their sixth song “Shaky Ground” showcased the slinky styling of Bud Rice on bass. Put him on some stairs and he’ll provide hours of entertainment, no? John Hale is the primary songwriter and front man. He carries both responsibilities well, and he energized the crowd throughout their set. My two favorite parts of their set were as follows: Scott, originally a guitarist, showed great chops on the drums, especially on the high-hat. He kept that thing on a leash the whole night. The other highlight was their vocal harmonies, which were just as stellar live as they were on the record. If John is Sir Savien, then he’s found his Aloine in Sanja.

Less than ten minutes later, Po Lazarus kicked off their set. I love quick band changeovers. They started with “I’ve Been Sitting Here,” a soft, acoustic guitar warm-up while singer Josh Carey launched into his heartfelt opening sans microphone. I got goosebumps that blossomed and popped when he nailed his first falsetto. His voice was all class and ground glass. He danced; he swung into the crowd to get us dancing; he threw his voice. He gave zero fucks, and was the epitome of showmanship – not that he was the only showman in the band. Each member accentuated the highs and diminutive lows of the songs with their bodies. They might not have been technically astounding, but they oozed soul. Their sixth song, “Do You Think Of Me?” was a ballad. Everyone loves slow jams. It was great for making out with someone in a dark corner of the tiny, packed room. I was impressed with Aaron Cohenca’s use of his electric guitar in the song; it was present in the quietest way possible during the verse, while chords got hammered during the chorus.

After the ballad, the pace picked up again with Josh strutting around the stage. How he was able to keep his jacket on while performing, I’ll never know. It’s all about the look. Speaking of which, they were all rocking classic seventies attire. Very fitting for their sound; from the long, flowing scarves to Luc’s shirt that I’d only rock if I was to ever go bowling again. After all was done, Po Lazarus had treated us to pitch-perfect whistle solos, song sharing with Pat, and even a jam-out to finish their encore. It culminated with Josh and Aaron walking off the stage, leaving us with the resounding rhythm section to carry us away. It was mentioned that they’ll be putting out a new record in May. I think I’m going to buy my ticket tomorrow. - Bucketlist Reviews

Being a photographer first, writer second it’s not often I find a performance that causes me to drop my camera and forget to shoot, then again it’s not often that I get to see Montreal’s Po Lazarus and John Jacob Magistery. In fact I’d never seen either band until they played Moncton’s Plan b where they both managed to do exactly that. Both of these indie rock bands were completely phenomenal, blowing away all in attendance with their incredible talents. By the end of the night more than a few in attendance, including myself, were left thinking they need to spend more time checking out the Montreal scene. - Canadian Beats