Archive for August, 2009

Let’s Chat: Everything All The Time

August 26th, 2009 | By: Melody Lau

Everything All The Time

Everything All The Time

The Singing Lamb: So tell us a little bit about the history of the band!

Joseph Shabason: Well the history of the band was that Kieran, the drummer and I went to school together for jazz and a year out of school I had a quarter life crisis and I realized that I hate playing jazz and I didn’t know what to do with myself; I’ve worked all these years towards something that I don’t want to do. Then I started writing rock songs because that’s what I listen more to than jazz, and I started writing rock songs using Garage Band. Then we had a few jams and a whole bunch of permutations of people and we sort of developed from there. Kieran and I were the original members and then Jeremy the bass player and then from there we’ve had a rotating cast but right now we’ve kind of arrived at the line up that we’ve had about a year ago, especially with Alanna whose vocals are just kind of like it for me anyway. But it’s kind of stemmed from me writing songs just at home and we’d just kind of jam them out and kind of took shape and that’s basically it I think.

And the story behind the name?

Joseph: Okay there was a bunch of friends after high school that moved to Montreal and there was this weed dealer named Hydro Stan and Hydro Stan was like a 40-year-old weed dealer. So one day Hydro Stan was like, “I’ll come and smoke you guys up for free,” so they went back to Mike’s house which was kind of a big place to smoke weed at the time and Hydro Stan, after they got high and watched movies, they probably watched the Chappelle Show or something, Hydro Stan left and was like, “You know I really had a great time guys. Thanks; thanks for everything all the time.” They thought it was really funny that he thanked them for everything all the time, this all encompassing thank you so they started saying thanks for everything all the time and we said it for years. We had this original, stupid name for the band called Joseph and the Shabasons and we were like, “This is the dumbest name; this is a joke! We’re a joke!” So after, when we decided to pick a name, we settled on Everything All the Time which is better than what Kieran wanted to call it which was Vinyl Richie.

I love that name!

Joseph: Maybe like DJ Vinyl Ritchie but as a band name, it was a weak call.

Do you remember how your first band rehearsal went?

Joseph: It was fucking weird. It was in the Cactus Rehearsal Studios but when they moved directly beside my house. It was me, Kieran, this guitar player named Thom Gill who is in Thomas, who is like my new favourite band in the city; they’re incredible, and this keyboard player named Dafydd Hughes who plays in the band now but quit for a while. But it was a lot of nothing; a lot of us trying to play songs that I had written and then none of us knew what to do and like fiddling with sounds forever and like Kieran trying to facilitate things and me not knowing how to run a band and it was just all over the fucking place. Nothing came of is and it was super discouraging because it was like “Oh, nothing’s ever going to happen!” It got better after that but it was really bad!

How is it nowadays?

Joseph: Amazing. You see the way it works is I’ll write a song or an idea or a verse or chorus and then I bring it into rehearsal and then like we all work together, we write together, we talk things out like what works and what doesn’t work and then you kind of get into a spot that’s good and maybe I’ll go home and rewrite something or Kieran will write a chorus idea and it’s kind of a really nice dynamic; we all work really well which is kind of rare so we kind of lucked out in that respect.

Are you guys currently recording?

Joseph: We just finished!

Oh! How was that?

Joseph: It was amazing! We just finished an EP, we went up for four days to this studio up north where actually, if you want to see the studio watch the video for “Tom Sawyer” by Rush – that’s where it was! And anyway, we recorded there and there is a 5-song EP that we’re going to officially release, maybe mid-October but will be on sale tomorrow and we all couldn’t be happier. It’s like huge, massive pop songs and like we’re really happy with it, it’s going to be great!

That’s awesome! Are you guys planning on touring in the fall then?

Joseph: Well, we’ll see! We don’t have any money. So we’re going to be playing a show in Peterborough and some small, one-off shows in southern Ontario. We’ll try to do a mini-tour at the end of October like leading up to the 23rd when we’re doing our CD release but we need to find some management and a label and also apply for some grants to help for like facilitate a tour because there are six of us, it’s a fucking pain in the ass. Everyone’s so busy; Kieran plays with Sarah Harmer and Dafydd just had a baby and so everyone’s so busy and unless we can actually get enough money… And everyone’s working so hard on getting this off the ground but it’s hard to get six people to be like, “Okay we’re taking two and a half weeks to drive across the country and lose money.” So it’s difficult. But at least a mini-tour and hopefully something bigger later.

You said you were starting a job in September; what are you doing?

Joseph: I teach music lessons to high school kids; like private schools!

Oh cool!

Joseph: It’s good! And it pays okay that I only have to work three days a week. Yeah, it’s really good so the rest of the time I can spend doing fun stuff. It’s good and it allows me to take time off for tours because I play with other bands and it’s nice to be able to hire one of your friends to substitute for you and take as much of your time as you want.

Well The Singing Lamb may be working on another show soon…

Joseph: Oh cool!

Yeah, our last one had Hexes and Ohs, Winter Gloves, Maylee Todd…

Joseph: Oh Maylee sang with our band for like a minute!

Oh really?

Joseph: We finished recording our first album and things didn’t work out with the original singer of the band and then Maylee sang with us for like two rehearsals and then Alanna came and it just sort of gelled right away and Maylee understood but she is amazing! And did you see her new video? It’s incredible!

I love it!

Joseph: Its like her dancing on Mars and then these weird Brazilian space rock, it’s fucking amazing, super cool!

Tell us more about your show tomorrow!

Joseph: It’s going be great! We’ve got costumes; well not costumes. Our friend Vanessa makes costumes for TVs and movies and called and asked if we wanted to choose a bunch of stuff so we got a bunch of clothing today which is going to be really great and we’ve got the Magic who are amazing and the Balconies are also great so we’re just excited to play. We’re playing a bunch of songs that we’ve never played before! We’re going have a blast and we’re headlining which is kind of rare for us so it’s going to be fun to be able to play more than a half an hours worth of music.

And your EP? What is it called?

Joseph: It’s called EP! It was almost called That Was Zen, This is Wow.

Oh my god, that’s amazing!

Joseph: That’s a good name. Fucking Kieran vetoed it! And the thing is Kieran thought of that name!

And finally, if you were a singing animal what would you be?

Joseph: A singing sloth; like that clip from Saturday Night Live – watch it; it’ll blow your mind!

***

For more Everything All The Time,

MySpace: http://www.myspace.com/everythingallthetimeband

Don’t forget to catch them tonight at the Horseshoe with The Magic and The Balconies! Tickets are $5.00 at the door and their upcoming EP will be on sale in advance at the show!

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CD Review: Matt Singer – The Drought

August 23rd, 2009 | By: Carmel Garvez

The Drought

The Drought

A short story usually embodies a much simpler exposition than that of a novel. It introduces few characters in a fluid triangular plot, consisting of an introduction, a conflict, and a resolution. It’s simple and to the point, without the hassles of ambiguity and confusion a reader might encounter in a novel.

Matt Singer’s latest work, The Drought, is a collection of short stories.

The singer/songwriter, a Garden State native, currently resides in New York’s most diverse borough – Brooklyn. Like his neighbourhood, Singer’s music has always been multifarious. He has infused folk with hip-hop and rap, in songs of humorous or vulgar satires, and all the while, expressing his strong political points of view, negatively targeting, of course, the Bush administration.

But for The Drought, Singer puts politics aside and tells us six different stories in this six-track release. The song, Stacy J, tells us of a girl who dreams of making it big through American Idol. She fails on her first try and leaves her New Jersey home to Fort Greene, Brooklyn, carrying with her the ethos of being miserable “than just alright.” But in the end, her persistence lands her a spot on the television show, breaking the narrator’s heart in the process.

This Brooklyn troubadour is a natural story-teller. His creamy vocals, accompanied by very simple instrumentation, make a quality record that is stripped of all pretention and complexity.

For more Matt Singer,

MySpace

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Let’s Chat: St. Vincent

August 18th, 2009 | By: Melody Lau

Annie Clark a.k.a. St. Vincent

Annie Clark a.k.a. St. Vincent

The Singing Lamb: So have you been in Toronto this whole weekend?

Annie Clark: Um, no; well sort of. We went to Hamilton yesterday to play; we played a show last night.

And then you came back here?

Mhmm.

That’s a tad random!

Yeah, well I’m flying back to New York tonight so it is a little random.

How do you like Toronto?

I really like Toronto. I haven’t spent enough time here but every time I come the crowds are great and really warm and I always manage to find good food! And actually, I have a number of friends who are from Toronto so I feel like there must be something in the air here.

Where did you eat?

I got taken to a place by Bob who works at my label; I don’t remember what it was. It was good though! It was around, oh what was that place I played at? Not Lee’s Palace but…

The Horseshoe?

Yeah, the Horseshoe!

It’s a good venue, but it can get a little stuffy near the end sometimes.

Oh yeah.

I don’t know if it was like that onstage but…

No! I walked offstage and my shirt was soaked in sweat, so yeah it was pretty hot up there!

How would you describe your live show to someone? Say, if you had to sell it to them or something.

Oh man, I hope I’m never in a position where I have to sell it! Or I have to pass out flyers on the street saying come see me play; I hope I don’t have to do that! I don’t know. Let me think about that…I have no idea, I’m sorry!

That’s okay! What’s more nerve acting: playing a show or recording an album?

Both are nerve acting in their own ways. Mostly live is just exciting and you get caught up in it. I don’t get terribly terribly nervous anymore, performing live, especially when I play with the band. It’s like you’ve got four other people who are there and are going to do their best and just kind of support you if you falter. But recording an album I think, there’s just generally a slow burning amidst pressure whereas it’s sort of like a rollercoaster ride. I think anybody who’s made a record will tell you that one day you’re in love with it and you think, “Ah, this is great and wonderful and such a contribution to music,” and then the next day you’re like “Oh my god, this is awful!” You’ve got to give the label their money back because this is bad! But you kind of trudge through it; it’s as much of an emotional exercise as much as it’s a musical one, I find.

How do you think you’ve grown from your last album?

I think I’m a better arranger, I think stylistically I’m a bit more refined. The first record was sweet and enthusiastic but a bit more theatrical, in sort of a cabaret way that’s not really where I am anymore and I think I’m a better guitar player than I was when I made the other record. Hopefully I’ve just improved upon everything.

Do you remember the first time you played a guitar? What was it like?

Yeah, actually. I just kind of fell in love with it, I couldn’t put it down. Because I’m such a fan of music before I actually picked up a guitar at 12, it was like unlocking some sort of mystery, like “Oh, this is how people do it!” I mean at the time, I was only vaguely approximating anything that resembled music but you almost can’t believe when you learn one of your favourite songs on guitar you’re like “What? This is how they did this?” and you’re still kind of like “It doesn’t sound exactly like they do!” but you also have the thrill of it that’s like you think you sound a lot better than you do and it makes you work and play and play more.

What was the first song you learned?

I think the first song I learned was one that my mom taught me, I think it was “Puff the Magic Dragon” because she was a hippie and she knew a few chords on guitar so she taught me that but the first song I think I learned in a guitar lesson was Jethro Tull’s “Aqualung”.

Cool! I read that your recent album Actor was inspired by soundtracks, especially Disney ones – what’s your favourite Disney soundtrack?

It’s probably a toss up between Snow White and Sleeping Beauty.

Why?

Well both of those are fairy tales unlike, say 101 Dalmatians or something and I’m a sucker for that mixed choir and orchestra in a giant room sound. The heavy vibrato voices are very moving to me, so probably those.

Do you feel like you achieved that on your own album?

I think I did my best to approximate it. If I wanted to replicate it I would need a mixed choir and giant room and an orchestra! But next record…look out!

In your past two album covers, you’ve used photos of yourself. I was wondering if there was a reason why.

I think the idea was to not give a whole lot away about what the music should sound like or would sound like so I intentionally went for a placid, almost non-communicative facial expression. The third record’s going to be like a giraffe and a squirrel playing tennis though, it’s not going to be my stupid face on the goddamn cover – sorry, please don’t print that, don’t print the cursing!

That’s fine! Were there any other ideas for album covers?

Bowie always put his face on the cover, like Dylan, you know it’s always some kind of iconic photograph and I was just trying to emulate the 70s.

Well it works! And finally, if you were a singing animal what would you be?

I always liked deers. Deers? Deer…what’s the plural of deer? Is it deers?

I think deers only because there’s a band called the Dears…

I know, but isn’t that d-e-a-r-s?

Yeah…

Well yeah, I would say a dear.

Why?

I just like them! Bambi! Yeah, I have a soft spot in my heart for Bambi.

I don’t really remember that movie; I saw it when I was young.

I just remember the flames killing Bambi’s mother! Right? Didn’t that happen?

I think so!

Hmm, tragic. And Thumper! I loved that movie, actually! That was a good one. I’ve got to re-watch that. Check it out again! I’m sure it would be entertaining.

Definitely!

For more St. Vincent,

MySpace

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Let’s Chat: Frightened Rabbit

August 6th, 2009 | By: Alie Lavoie

“Funny” probably isn’t the first adjective I’d use to describe the jangling frown-pop of Frightened Rabbit. But when I sat down to talk with frontman Scott Hutchinson before the band’s stellar set at the Horseshoe Tavern, he welcomed the seemingly odd label with open arms: “Some people come up and tell me, and they’re not trying to be offensive – they’re trying to compliment me – by saying that they find our music funny.” Wondering where the comedy is? It might be hard to find amidst the anguish of an album like The Midnight Organ Fight, an earnest, unflattering depiction of heartbreak and sex and heartbreaking sex, but it’s there… even if us non-Europeans aren’t getting the joke.
Belle and Sebastian. Malcolm Middleton. Camera Obscura. Frightened Rabbit. Aside from and possibly because of the fact that they’re all Scots, these bands share another commonality: at the exposed heart of each group’s sound is a signature contradiction of heavy lyrics set to undeniably catchy instrumentals. Cue the laugh track. “There’s a black sense of humour which is absolutely Scottish,” explains Hutchinson. “[It's] not even British, actually. It’s very specific. It’s like we’re just the underdog. Every time. In terms of sport, in terms of just… I don’t know, the rest of the world. It’s like a small country that kicks hard. You know, making light of extreme pain is quite a Scottish thing to do.”
Hutchinson clearly finds this cultural quirk appealing and is upfront about how the band deliberately incorporates the sonic disparity of happy/sad into their music. He openly admits that it was a “modus operandi from the start” to make use of this contradiction: “It’s an open door. And then you walk into the song and it sounds kind of immediately safe and easy. And then all of a sudden you’re hit with this, like, fairly bleak, dark, heavy imagery and it’s a shock.” Anyone who has taken even the most casual of listens to Frightened Rabbit will understand the weighty imagery Hutchinson is talking about. With Midnight Organ Fight’s frequent lyrical cameos of leprosy and other bloody, infectious things, Hutchinson aimed to paint a recognizable portrait of a relationship literally and figuratively on its last leg. “Everyone has a body and understands that feeling.” he says of using the human form as a metaphor for a disintegrating romantic bond. “And it’s much simpler than an emotional kind of study.”
**
That being said, fans of the rotting-from-the-inside-out lyrical content might be disappointed to hear that bodies will be a bit more… intact on the upcoming Frightened Rabbit release. “The reason for the disease thing [on Midnight Organ Fight] was it was like a heartache involved in there. Um… I don’t know if you noticed that,” he quips. “It’s kind of – it’s totally obvious. But this time ’round, I am thankful to say that since that record has come out, there has been none of that. I had to change my tactic a little bit.” Given that heartache seems to be the fuel Organ Fight thrived on, fans may be wondering what will fill the tank on the upcoming album. I shall quell your curiosity and adhere to this ridiculous fuel analogy. You ready for this? The next Frightened Rabbit album will be an eco-friendly vessel; it’s running on water.
“It seems to go on deeper into the ocean and metaphors,” says Hutchinson of the next Frightened Rabbit album. But don’t count on a straight up ode to the sea. “I tried to steer away from making it too concept album-y, but I kind of like records where there’s a recurring theme.” Because of this and also because of his desire to “create a body of work that makes sense”, Hutchinson made a point of including references to the last album on this new, fully-recorded but not (as of the interview) fully mixed or titled album. “Um– I can’t– I know– no,” Hutchinson finally concludes when I ask if the album has a title. “I’m not just being cagey!” he offers. “I’m kind of annoyed. It’s keeping me awake at night. I don’t have one. I have maybe ten options and none of them seem to be working yet.” One such option for the record’s name is the first song that he wrote for the album, “<http://www.youtube.com/watch?v=P5YxtPpMMHs>Swim Until You Can’t See Land</link>”, but I make no promises as to this being the eventual title.
As for the upcoming record’s sound, I’ll leave it to Hutchinson to describe: “Sonically it’s much more layered. It was a really quick process the last time with Midnight Organ Fight. And [there] was a lot of stuff that I didn’t have time to get on there. Budget-wise it was a much smaller thing, so it was a total rush. This time it was like… you know we were still working solid all day, but it felt a lot more relaxed and I can safely say that it’s all on there this time. And although I wouldn’t say it’s become overblown and orchestral, it’s certainly much more how I always wanted the band to sound,” he explains. “It’s a departure from us sounding like a four-piece guitar band. There are samples and loops led and synthesized sounds. It’s not electronic! We’re trying to go for more of like a Brian Eno, Sigur Rós type soundscape. And yeah, I think it’s got more muscle and it’s going to be slightly more dramatic.”
Hutchinson has obvious frustrations with Frightened Rabbit’s previous release, and though he certainly isn’t unhappy with how the songs turned out (he mentions a couple times that he is “pleased” with them), it seems to be a case of unfulfilled expectations. “It just didn’t quite match up to what was playing like in my head. It was always disappointing.” Thankfully, he seems to be feeling much more optimistic about the new album: “This one is matching up to how it played in my head. It’s the first time ever.”
Rabid Rabbit fans can expect a new song or two to come out towards the end of this year, while the album will be fully released at the beginning of 2010. And after the overwhelming, near-worship reception the band got at their sold out Toronto show, I can only hope they’ve been encouraged make more frequent hops over the pond. I’d like to think that the hard-kicking, small-country’d lads of Frightened Rabbit have found our expanse of Canadian soil to be a softer landing.
(P.S. If Scott Hutchinson were a singing animal, he’d be an owl because he’d “rather be out and about at night-time.” Fair enough, sir.)
**
At this point in the interview, I decide to put my first-year English course to work and mention that in t.s. eliot’s The Lovesong of J. Alfred Prufrock, eliot had a similar tendency to focus in on parts of the body as opposed to the body as a whole, and (theoretically) did so because of a (theoretical) fear of intimacy. “I see,” replies Hutchinson. He then takes a moment to mull over the observation, and in the small silence I shift from a) satisfaction at being able to actually apply my debt-laden arts education to the real world, on to b) slight anxiety at the subtly confused expression on his face, and finally to c) self-loathing at my pretentious and far-reaching conclusions. Drawing abstract comparisons between pop music and t.s. eliot? Who do I think I am? I realize that Scott Hutchinson of Frightened Rabbit probably hates me now. He is disgusted by my ignorance. He is insulted by my very presence. And then. He speaks. “I mean it may come from that kind of… maybe… looking into it… maybe it does come from that! Kind of the social awkwardness of like… staring at someone’s knee for a conversation…” My question sheet has been covering my knee, so I move it aside in an accommodating sort of way. And he laughs. I take a hesitant peek out from under the disgraced rock I have taken social refuge beneath. Alas, I have not died of embarrassment and shall live to interview another day. The end!
Frightened Rabbit

Frightened Rabbit

“Funny” probably isn’t the first adjective I’d use to describe the jangling frown-pop of Frightened Rabbit. But when I sat down to talk with frontman Scott Hutchinson before the band’s stellar set at the Horseshoe Tavern, he welcomed the seemingly odd label with open arms: “Some people come up and tell me, and they’re not trying to be offensive – they’re trying to compliment me – by saying that they find our music funny.” Wondering where the comedy is? It might be hard to find amidst the anguish of an album like The Midnight Organ Fight, an earnest, unflattering depiction of heartbreak and sex and heartbreaking sex, but it’s there… even if us non-Europeans aren’t getting the joke.

Belle and Sebastian. Malcolm Middleton. Camera Obscura. Frightened Rabbit. Aside from and possibly because of the fact that they’re all Scots, these bands share another commonality: at the exposed heart of each group’s sound is a signature contradiction of heavy lyrics set to undeniably catchy instrumentals. Cue the laugh track. “There’s a black sense of humour which is absolutely Scottish,” explains Hutchinson. “[It's] not even British, actually. It’s very specific. It’s like we’re just the underdog. Every time. In terms of sport, in terms of just… I don’t know, the rest of the world. It’s like a small country that kicks hard. You know, making light of extreme pain is quite a Scottish thing to do.”

Hutchinson clearly finds this cultural quirk appealing and is upfront about how the band deliberately incorporates the sonic disparity of happy/sad into their music. He openly admits that it was a “modus operandi from the start” to make use of this contradiction: “It’s an open door. And then you walk into the song and it sounds kind of immediately safe and easy. And then all of a sudden you’re hit with this, like, fairly bleak, dark, heavy imagery and it’s a shock.” Anyone who has taken even the most casual of listens to Frightened Rabbit will understand the weighty imagery Hutchinson is talking about. With Midnight Organ Fight’s frequent lyrical cameos of leprosy and other bloody, infectious things, Hutchinson aimed to paint a recognizable portrait of a relationship literally and figuratively on its last leg. “Everyone has a body and understands that feeling.” he says of using the human form as a metaphor for a disintegrating romantic bond. “And it’s much simpler than an emotional kind of study.”

**

That being said, fans of the rotting-from-the-inside-out lyrical content might be disappointed to hear that bodies will be a bit more… intact on the upcoming Frightened Rabbit release. “The reason for the disease thing [on Midnight Organ Fight] was it was like a heartache involved in there. Um… I don’t know if you noticed that,” he quips. “It’s kind of – it’s totally obvious. But this time ’round, I am thankful to say that since that record has come out, there has been none of that. I had to change my tactic a little bit.” Given that heartache seems to be the fuel Organ Fight thrived on, fans may be wondering what will fill the tank on the upcoming album. I shall quell your curiosity and adhere to this ridiculous fuel analogy. You ready for this? The next Frightened Rabbit album will be an eco-friendly vessel; it’s running on water.

“It seems to go on deeper into the ocean and metaphors,” says Hutchinson of the next Frightened Rabbit album. But don’t count on a straight up ode to the sea. “I tried to steer away from making it too concept album-y, but I kind of like records where there’s a recurring theme.” Because of this and also because of his desire to “create a body of work that makes sense”, Hutchinson made a point of including references to the last album on this new, fully-recorded but not (as of the interview) fully mixed or titled album. “Um– I can’t– I know– no,” Hutchinson finally concludes when I ask if the album has a title. “I’m not just being cagey!” he offers. “I’m kind of annoyed. It’s keeping me awake at night. I don’t have one. I have maybe ten options and none of them seem to be working yet.” One such option for the record’s name is the first song that he wrote for the album, “Swim Until You Can’t See Land“, but I make no promises as to this being the eventual title.

As for the upcoming record’s sound, I’ll leave it to Hutchinson to describe: “Sonically it’s much more layered. It was a really quick process the last time with Midnight Organ Fight. And [there] was a lot of stuff that I didn’t have time to get on there. Budget-wise it was a much smaller thing, so it was a total rush. This time it was like… you know we were still working solid all day, but it felt a lot more relaxed and I can safely say that it’s all on there this time. And although I wouldn’t say it’s become overblown and orchestral, it’s certainly much more how I always wanted the band to sound,” he explains. “It’s a departure from us sounding like a four-piece guitar band. There are samples and loops led and synthesized sounds. It’s not electronic! We’re trying to go for more of like a Brian Eno, Sigur Rós type soundscape. And yeah, I think it’s got more muscle and it’s going to be slightly more dramatic.”

Hutchinson has obvious frustrations with Frightened Rabbit’s previous release, and though he certainly isn’t unhappy with how the songs turned out (he mentions a couple times that he is “pleased” with them), it seems to be a case of unfulfilled expectations. “It just didn’t quite match up to what was playing like in my head. It was always disappointing.” Thankfully, he seems to be feeling much more optimistic about the new album: “This one is matching up to how it played in my head. It’s the first time ever.”

Rabid Rabbit fans can expect a new song or two to come out towards the end of this year, while the album will be fully released at the beginning of 2010. And after the overwhelming, near-worship reception the band got at their sold out Toronto show, I can only hope they’ve been encouraged make more frequent hops over the pond. I’d like to think that the hard-kicking, small-country’d lads of Frightened Rabbit have found our expanse of Canadian soil to be a softer landing.

(P.S. If Scott Hutchinson were a singing animal, he’d be an owl because he’d “rather be out and about at night-time.” Fair enough, sir.)

**

At this point in the interview, I decide to put my first-year English course to work and mention that in t.s. eliot’s The Lovesong of J. Alfred Prufrock, eliot had a similar tendency to focus in on parts of the body as opposed to the body as a whole, and (theoretically) did so because of a (theoretical) fear of intimacy. “I see,” replies Hutchinson. He then takes a moment to mull over the observation, and in the small silence I shift from a) satisfaction at being able to actually apply my debt-laden arts education to the real world, on to b) slight anxiety at the subtly confused expression on his face, and finally to c) self-loathing at my pretentious and far-reaching conclusions. Drawing abstract comparisons between pop music and t.s. eliot? Who do I think I am? I realize that Scott Hutchinson of Frightened Rabbit probably hates me now. He is disgusted by my ignorance. He is insulted by my very presence. And then. He speaks. “I mean it may come from that kind of… maybe… looking into it… maybe it does come from that! Kind of the social awkwardness of like… staring at someone’s knee for a conversation…” My question sheet has been covering my knee, so I move it aside in an accommodating sort of way. And he laughs. I take a hesitant peek out from under the disgraced rock I have taken social refuge beneath. Alas, I have not died of embarrassment and shall live to interview another day. The end!

For more Frightened Rabbit,

MySpace

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Let’s Chat: Mika Miko

August 3rd, 2009 | By: Max Mertens

Mika Miko

Mika Miko

The doorman at Sneaky Dee’s will not let me in under any circumstances.  I’m supposed to be here to meet up with Los Angeles punk band Mika Miko for an interview, but the rather large and imposing man standing in front of Toronto’s near-legendary bar slash music venue will not have anything to do with it.  He wants to see some piece of ID that shows I’m nineteen years old, which of course I don’t have (alas, my birthday isn’t until one week after North By Northeast).  I plead with him, try to reason, attempt to pull the “I have a media pass, so you have to let me in” card, all of which are in vain.  After introducing myself to the band – who are at the venue tonight for their first of two performances at this year’s NXNE – and explaining my situation, we decide to do the interview on some park benches outside a nearby elementary school.  Its around suppertime and the neighborhood is alive with the sound of streetcars grinding to a halt, pedestrians soaking up the day’s last rays of sunshine, and the outdoor festivities from the nearby Taste of Little Italy Festival, which has closed off a good portion of College Street.  Not the most perfect location for an interview but it’ll do in a pinch.  After some hemming and hawing over who will do the interview – the quintet (who have been joined by No Age’s Dean Spunt and Randy Randall) are hungry and they want to go out in search of pizza – guitarist and keyboardist Michelle Suarez and bassist Jessica Clavin somewhat reluctantly agree to answer my questions.  Unless you are a hardcore Mika Miko fan, you’d be hard-pressed to identify any of the band members, even in broad daylight.  Clavin is soft-spoken and wears her punk love on her sleeve, and is glad to share stories of growing up in California on bands such as Black Flag and Social Distortion.  On the opposite side, Suarez – who grew up in South America and has plans to one day become a fashion designer – was quick to set straight the inaccuracies so-called media-types have printed about the band.  Both were kind enough to talk to me about everything from the myths around the band, their relationship with No Age and LA music scene, and how their latest album <b><i>We Be Xuxa</i></b>, came to be named after a former Brazilian kid’s TV host-turned-pornstar.

Myth #1: Mika Miko are an all-girl band.

“Every interview usually starts out like, “What’s it like being in an all-girl band?” says Suarez, “We never saw ourselves as being that.  I feel that some people just don’t understand.  I think a lot of people see us as a gimmick or a novelty band because we are girls.  So many journalists will call us an all-girl band, but we do have a boy in the band.”  The boy is drummer Seth Densham, who along with Jenna Thornhill (vocals, saxophone, and keyboards), Suarez, Clavin and her sister Jennifer (vocals, guitar, and keyboards) met each other during high school and formed the band in 2003 or 2004.  “Some of us were still in high school,” says Clavin. Suarez tells me she attended a “very religious” Christian school until Grade 10, while Clavin attended the Hollywood High, both LA-area schools.  The five of them had no real previous musical education but they decided to start a band nonetheless.  Besides, it had never stopped lesser bands, so why not them?  “We were friends and my sister and I were living together and playing music, and then Michelle knew how to play guitar,” says Clavin.  “It was like, ‘Oh, you can do this and I can do this, so let’s do it!’” adds Suarez, “And we had two singers, because they both decided they wanted to sing, which is kind of different.  Not a lot of bands have two singers except for like The Blood Brothers.  Mostly its just singer, guitar, bass, drums or singer, guitar, drums.”  Okay, but who came up with the decidedly non-English band name?  “We made it up,” says Suarez, “It doesn’t mean anything, we just put some letters together.  Other people told us it meant things, like slang for ‘vagina vagina’ or ‘storytelling’ ” In what dialect, I have to ask.  “I don’t even remember.  I know that the ‘storytelling’ one was in Japanese, but I think the ‘vagina vagina’ one was something South American, which is funny because I’m South American and I’ve never, ever heard that term. So it could have been just very regional, someone from a small town that came up with it.”  Today, the band has came a long way from their first show together and no one is more surprised than the band themselves, Suarez tells me.  “I remember our first show was down the street from our high school,” she says, “I think there were like ten people and we didn’t know how to tune our instruments.  I don’t think we ever expected this.”

Myth #2:  Mika Miko play rrriot girl music.

“We weren’t like ‘oh, girl power!’”  Suarez and Clavin are talking about the bands’ influences, and is eager to distance the band from the tag that many have given the band, a tag that many bands have fully embraced.  “In seventh grade, I started listening to more punk. I was really influenced by The Germs, and that’s what really inspired me to play bass,” says Clavin, adding that in her school, “being a punk wasn’t a weird thing at all.”  A more recent example of how true to their punk roots the pair are when they met members of a band they idolize – and fellow NXNE performers – while in the elevator of the hotel they were staying with in Toronto.  “The Stern brothers from Youth Brigade were in the elevator with us which was awesome,” says Suarez, “We used to go to Youth Brigade shows all the time when we were younger, like five, six, seven years ago even.”  Listening to the pair talk about the bands that they listened to and/or influenced them when they were younger, its easy to understand the different strains of punk all over the band’s tenth recording We Be Xuxa, an album which is both a blessing for journalists to talk about and a curse to pronounce.  “Xuxa is from Brazil.  She’s a popstar.  She used to have a TV show that I used to watch religiously as a child and my parents didn’t want me to get addicted to MTV, so they put on Xuxa instead.  She also is a porn actress and a model but she started out performing for kids,” says Suarez, “Jenna actually saw her in the flesh with her Jewish community centre to go see a live taping when Xuxa was taping live shows in the U.S.  I think one day I said something like, ‘Jennifer, you look like Xuxa’ because she has blonde hair and something she did was maybe a little bit Xuxa.”  What does an album named after a former children’s television program hostess-turned-pornstar sound like you ask? We Be Xuxa features twelve, often loud, usually messy, but always fun punk tracks that suggest what might have happened if The Ramones had grown up in SoCal and wrote songs about turkey sandwiches and um…sex jazz instead of  girls and the KKK.  Suddenly, the media started paying attention to the quintet and as Suarez tells me, they became a “touring machine”, building a reputation for their gloriously noisy and ruckus-filled live shows.

Myth #3:  Mika Miko are mainstay at Los Angeles’ infamous all-ages art/performance space The Smell (for more about The Smell, read my interview with No Age below).

This one is also not entirely true. While there once was a time when Mika Miko were regulars onstage at the LA venue – Suarez tells me that they once played there four times a week – the band now consider themselves lucky if they get to play The Smell two or three times a year.  “Now we all have jobs and are really busy with the band and we don’t really have the time to get back there much.  The Smell is booked up for the next two years,” says Suarez.  But both are happy to acknowledge the venue’s importance in their early beginnings, and their friends and occasional tour mates behind The Smell – No Age’s Randall and Spunt.  “We love them, we just get along so well, its just like going on vacation with your friends and having to play music,” says Suarez, when asked if she felt the description of Mika Mikobeing No Age’s “little sister band” was an apt one. “Like soundwise, I think we’re totally different but we’re a good pairing,” she says. In fact, it was because of No Age, that everyone in the band paid their dues helping out at the venue  before they were given the chance to play there. “Dean and Randy were in a band before No Age called Wives. When they were going on their insane long tour, we took over their duties at The Smell, because Dean and Randy used to do sound at The Smell and work the doors,” says Suarez, “So Jennifer learned how to do sound and I would work the doors, Jessie would work door, and we’d all help Jim [Smith, co-founder of The Smell] clean up after.  So we were there a lot.” “It was like our school,” laughs Clavin. “When Jim asked us to play The Smell we were so fucking honoured,” says Suarez.  Certainly long days and nights of volunteering and than playing the venue, helped Mika Miko hone their live show, something that the band takes great pride in.  “Some shows that we’ve played on this tour and I’ve seen the kids freaking out or going crazy or just dancing a lot,” says Suarez, “I’m like “Wow, I’ve never even done that for a band I liked.”

Myth #4: All the members of Mika Miko live at home with their parents.

“False.  None of us live with our parents, except for Seth,” says Suarez, “We were, like five years ago.  That’s what I hate so much about the media, in quotations, because a lot of them don’t know what the fuck their talking about and their looking at their sources from 2003, 2004.  Like one person was like, ‘Oh Michelle, do you want to go to hair school?’ and its like, ‘actually that’s when I was 18′.  We all live in duplexes.”  Though the band are grateful for the opportunities they have been given to tour and play their music to crowds all across North America, both women admit that the five of them can’t see them doing the band their entire lives.  “I don’t think any of us want this to be our career. We’re doing this because its fun for us now,” says Suarez.  “This is a once in a lifetime chance,” Clavin chimes in.  So by admitting this, are Clavin and Suarez acknowledging Mika Miko certainly do have an expiration date?  Throughout our conversation, both women tell me that over the past few months there has been more discussion about the band members’ individual aspirations for “normal jobs” (doctor, mechanical engineer, teacher and fashion designer are all mentioned) which they all want to pursue.  But for now, the band will continue “as long as our bodies and minds allow us to”, says Suarez.  In true rock and roll fashion, the band don’t where this road they are on will take them and where they will be next, but they say that’s half the fun. When I ask what’s next up for Mika Miko, Suarez and Clavin can’t really give me a concise answer.  After a few minutes thought, touring is mentioned, and “some music festival in Calgary” [Sled Island].  “All I know is that we’re going to Columbus tomorrow,” says Suarez.  After that, its anybody’s guess.

For more Mika Miko:

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Let’s Chat: Cursive

August 2nd, 2009 | By: Guest Contributor

Tim Kasher of Cursive

Tim Kasher of Cursive

I have to confess that I always get nervous before interviews.

On my way to interview Cursive, a band I’ve loved for many years, nervous would be the understatement of the year.

The Singing Lamb, Melody Lau was sitting with me in dressing room area of the Horseshoe Tavern, when Tim Kasher walked in and introduced himself. I tried to keep my cool, but was probably a flustered mess.

***

I composed myself a bit, and the tape recorder started recording. The three of us began to discuss Cursive’s latest album, Mama I’m Swollen (March 2009).

First, I satisfied a bit of my own curiosity by inquiring about the unusual title of this latest release.

“It does sound kind of funny,” admits Kasher. “Our intention was to encapsulate a lot of things, one of them being not to take ourselves too seriously.”

Kasher also liked the provocative sense that the word offered. He claims that it is “an umbrella that covers all the different songs on the album; touching on ego, and sexuality, including pregnancy, and songs of abuse.” Kasher also sees “Mama” as a universal being that other people can relate to.

Ten days before the release of Mama, I’m Swollen, it became available online for $1.00. The price then increased by $1.00 every day, until the physical CD was released.

“It’s not necessarily something that we decided to do as a band,” said Kasher. “Our label did it, and we agreed to it. It’s all a part of labels, and trying to come up with a solution, as the music industry continues to slump. I thought it was a clever idea though; I liked it.”

Kasher claims that they stopped many illegal downloads of the album, just by selling it for $1.00. Although, he admits, it’s likely only a small increment of change overall. Public opinion pushed the success of this campaign.

“People would look around blogs, and see others posting ‘Assholes, just pay a dollar; they’re basically saying you can have it for free!’ so that probably caused a bit of influence.”

For Kasher, however, this marketing tool was not the most important part of the agreement.

“The main benefit that I was hoping for was to make some noise and get the album out to as many people as possible, as early as possible,” he said.

“I mean, as an artist, that’s where your confidence has to lie. You need to believe that if people could just hear or read what you’ve created, that they’d like it.”

This is just one of the many recent attempts to combat the growth of illegal downloading, We asked Kasher about what he thought of Radiohead’s online-only sale of In Rainbows.

“It’s all so confusing,” he said. “We don’t even know if what we did was right, But, when Radiohead did it, I think we just collectively shrugged our shoulders and downloaded the album. I mean, everyone loves their records regardless; I don’t think Thom Yorke was considering not buying a certain Lamborghini if it didn’t work, you know?”

Although Kasher couldn’t take a staunch stance on the issue of downloading, he did express that its effects can be frustrating as an artist.

“I don’t just want to be a musician, I also want to be a writer. I work hard on writing, but if we’re going in a direction where everything is free, the industry seems to be suggesting there’s no money in writing,” he said. “They’re saying you have to go out and be a performer, because that’s where the money is. Sometimes it’s like ‘Fuck you, I didn’t ask to be a performer, I asked to be a writer,’ but we don’t always get what we want.”

“But honestly, these aren’t real complaints,” he said. “I mean if someone is saying, “you have to go to work, and drink on the job, and play on stage,’ I’m certainly not going to complain about that!”

Kasher’s drink of choice on-stage is whiskey, although he’s lately been having hot tea with lemon, and then putting the whiskey in.

The band is currently performing during a 3-week tour, the highlight of which is expected to be Toronto and Montreal, according to Kasher.

“We don’t get to come up to Canada much, so it’s great,” he said. “I first came to Toronto in 1985 when I was just a kid. I think it was the first time I went out of the country, so it holds that place in my heart as the most exciting exotic locale; I love Toronto.”

There have been many changes in the city since 1985, just as there have been many changes for Cursive, since they formed in 1995. According to Kasher, the biggest changes for the band revolved around ex-band member: cellist Gretta Cohn.

“We had done three albums with the standard four-peace guitar rock band, and I just couldn’t see myself doing that again,” he explained. “I wanted to bring in something like the cello in, even though the public didn’t know who we were; it was a way to get inspired.”

“That was the era when we were doing really well, and certainly Gretta was attached to that,” he said. “But then I found a new problem, which was that I didn’t want to be “a cello band,” and I was finding it difficult to write songs with the cello. I have a hard time keeping things even-keel, as far as ideas are concerned.”

“All those were all very difficult decisions, and publicly, Gretta became a figurehead of sorts. I guess the biggest difference in our band was essentially between having a cello and not having a cello.”

Kasher hopes to experiment with more percussive instruments in the future, including making use of more piano. He also hopes to be able to work with the timpani, although he admits that it’s difficult work.

So what type of singing animal would Tim Kasher be?

A donkey; he referenced the folk song Tingalayo, when explaining his choice.

Cursive has left Canada to continue with their tour in the US; if you happen to be anywhere near where they are playing, I would highly recommend catching a show.

After all the anxiety, the interview wrapped and I survived. I’m glad, because I would have hated to miss the great concert that Cursive put on at the Horseshoe that night!

For more Cursive,
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By Cashlyn Teggart

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