Simply Saucer, Fatal Figures, The Clever Slang

Thursday, October 3, 7pm doors/8pm show, $8

Legendary Canadian Space Rock/Psych/Proto Punks

Simply Saucer

Fatal Figures

The Clever Slang


Simply Saucer was a bridge between the psychedelic and punk eras that no one crossed at the time. A harbinger of the future from the past working in the present tense.

Simply Saucer was – and still IS – Canada’s foremost psychedelic/proto-punk (whatever THAT means) unit was responsible for creating some of the most intense, out-there musical moments in the mid-to late ’70’s.

Saucer combined Detroit street rock grit w/Velvet Underground -inspiration, mixed it with Kraut-rock and early electronic experimentation and came up with something original. “Cyborgs Revisited” , a compilation of demos and live material was originally released in 1989 on a piece of pressed petroleum-by-product, was re-issued in 2003 on CD by Sonic Unyon, and has garnered great gobs of press. See the influences column for a sample.

Half Human, Half Live is the group’s first new set of recordings in nearly 30 years. Both the Human (i.e studio) and Live sides were produced by the band @ Catharine North Studios, with guitarist Stephen Foster overseeing the technical end of things.

The live sides were recorded on June 23rd, 2007, in front of a live, partisan audience. The studio sessions capture the full range of the band’s musical parameters, from the Kinks-ian pop-rock of Almost Ready Betty to the spacey, progressive-rock opus Clearly Invisible to the pastoral, Syd Barret-esque (RIP) Dandelion Kingdom.

Founding member Edgar Breau continues his parallel career as an acoustic solo artist.

“Simply Saucer are a divine mix of early Pink Floyd (with Syd Barrett still mercifully intact) and The Velvet Underground (when Andy Warhol was at the helm and urging them towards the Exploding Plastic Inevitable). They are all this and more; a Suicide with a lust for life; a Silver Apples that are running with electronic juice! Sheer, ecstatic, underground bliss.” — NME


It boggles the mind how one of the greatest recordings in Canadian rock ‘n’ roll history originated from the rooftop of a shopping mall. While residents of the Southern Ontario steeltown of Hamilton were shopping at the newly-constructed Lloyd D. Jackson Shopping Centre on a particular Saturday afternoon in the summer of 1975, an unknown quartet of young local musicians were playing a free show for the kids on the rooftop. If curious shoppers over at Eaton’s became distracted by the incessant thumping and screeching, and ventured curiously, cautiously, up to the roof, they would have seen a collection of homely music geeks generating some of the most ferocious, loud, raw, pulse-pounding rock music the country has ever heard, before and since on a peculiar, ten-minute jam (introduced by the weird singer as “heavy metalloid music”) that pummeled the ears, a blend of roaring guitars, electronic noises, and a powerful drum beat that didn’t let up for a second. Had there been an ambitious representative from a major record label present, they would have thought they had stumbled across the second coming of the Velvet Underground and Pink Floyd. Unfortunately, the real Pink Floyd were playing in the city that very day over at the local football stadium, the only grown-ups on that rooftop downtown were probably parents there to pick up their teenaged kids, and that band, who for that short period of time had sounded like Canada’s rock ‘n’ roll saviors, went on to be largely ignored for decades, remembered only by the hippest of rock fans.

That band, named Simply Saucer (partly in tribute to Pink Floyd), was such a deviation from the rule in Canada, whose musical exports had to that point been decidedly more mainstream. Former Mole Records manager Bruce Mowat describes the band as, “something that was (and still is) completely out of step with the progression of popular music in this country.” And because they were so different from the rest of Canadian music at the time, Simply Saucer were not fully appreciated until 1989; for, despite some modest success with a seven-inch single in 1978, the band never put out an official album. In ’89, though, Mole Records issued the limited edition vinyl LP Cyborgs Revisited, which wasn’t exactly an official album, but more of a compilation of two separate recording sessions: one from a studio with a couple of soon-to-be-famous brothers producing, and one live performance, more specifically, that infamous rooftop set on top of the mall. After a limited release on CD by Fistpuppet Records, the album was able to reach more people, where it was lavished with praise from critics and fans alike. Now comes the final push; Hamilton’s own Sonic Unyon has finally released the definitive version of Cyborgs Revisited, completely remastered, and with loads of bonus tracks as well. There’s no excuse for this band to be underappreciated anymore.

So is this weird little album as good as the drooling critics make it out to be? The answer is, unequivocally, yes. A thrilling blend of myriad influences, such as the art rock of the Velvet Underground and Syd Barrett-era Pink Floyd, the frantic garage rock of the Count Five, the loud ferocity of the Stooges and the MC5, and the expansive sounds of Krautrock pioneers Can, Simply Saucer’s brilliantly twisted hybrid just didn’t have the right timing back then. Today, though, the album still sounds fresh, energetic, and visceral — so much so that new listeners will be taken completely by surprise.” – Pop Matters


Here’s a great piece from Pitchfork:


Live video:


Event page:


Oct 03 2019


8:00 PM


Mohawk Place
47 E Mohawk St, Buffalo, NY 14203
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