Let’s Chat: The Pinecones

March 5th, 2010 | By: Melody Lau

The Pinecones

The Singing Lamb: You’ve recently renamed your band to The Pinecones – why did you drop Brent Randall from the band name?

Brent Randall: It just happened.  We were playing as a band, writing as a band and we recorded our new album, SAGE, as a band.  Everyone contributed songs to the record.  It just became apparent we were THE Pinecones…it wasn’t me and them.  I never really wanted to be a solo guy anyway.  I’ve always liked bands best; it’s nice having the dynamic of all the different personalities.  I always felt cheesy as Brent Randall. “Hey everybody, it’s me! Listen to me.” I hate Brent Randall, screw that guy.  I mean I still plan to record albums as Brent Randall, because bands are pretty hard to keep together and I like doing my cheesy soft rock thing. But it’s fun to do the band thing too.  It’s fun to be a Pinecone.  I don’t really think of it as a renaming. More of an offshoot.

Describe the writing process that went behind your new album ‘Sage’ – how have you grown since your last album?

Quick and easy. Speaking for myself, most songs were literally written in two minutes and arranged just minutes before the recording.  The album actually started out as demos but then we just dug it too much so we kept on going. I’m a big fan of all those silly obscure sixties groups that are kind of b-grade knock-off Beatle groups – suburban American teens trying to be Beatles in their garages with crumby Japanese guitars. Almost parodies of the genre, but still really cool. So I just had that on my mind – just having fun writing the little ditties that I love. Trying not to be too precious about it. It’s just another bloody song.

I can’t really speak for the other guys. Brian, Joel and I lived together and we just wrote tonnes of songs. Just sitting ’round drinking tea ‘n that. I think we were romancing those days of the mid 60’s where bands released several albums and singles a year. There was always lots of filler. Or each new song was kind of a rip off of the one before. We were just trying to knock’em out. Making sure we covered all the bases. Song about tea..yep got it. Now a song about a girl with a flowery name..hmm..better write two of those. Etc.

Grown since last album? Not sure about that one — I think I’m a little less self conscious about the whole thing (just a little.)  I have more fun doing it.  I wear fancy underwear now.

On your MySpace, it says that The Pinecones sound like ‘Something Old, Something New, Something Borrowed, Something Blue’ – what about your sound do you think is old? new? borrowed? blue?

Well that was just an ‘off the cuff’ little bitty to type in the box just because there was a box that needed typing. But I think it works. (“Because we said it worked, and that’s how it appeared.”) But yes, something old? There’s definitely a lot of 60’s inspirations mixed in the pot.  Lyrical themes and a style of writing. Something new?  Paul who recorded it did a lot of nifty little recording tricks and methods and such that I thought gave it a modern sort diy/lofi/indie aesthetic maybe?  Borrowed? The cover art is sort of borrowed from a Turtles LP. Blue? Well Paul manages to use the phrase “Baby Blue” in his song “Jenny Fur.”  I really liked that mainly because there’s a great Badfinger song, “Baby Blue.” I always wanted to fit that phrase in somehwere. Good pop song phrase.

You guys are originally from Halifax but have relocated to Toronto – how different do you think the music communities are in Halifax and Toronto? Do you miss Halifax?

Well three of us relocated from Halifax, Paul was already here.  I’m from up here originally anyway.   Toronto is a bit bigger obviously and there are more venues. More people – harder to get onto people’s radars (who says that?)  It seems maybe there are more options for people to do other things besides see music.  In Halifax there aren’t any cool bars to hang out in, if you are going out – it’s probably to see a band at one of the few bars.  Here you can go here and there…just to hang.  I guess that’s more of a point about night life than the music community.

But both are pretty similar, really. The music community here seems just as tight knit and incestuous as Halifax.  I don’t really know – I don’t really feel a part of anything here – so I can’t comment.  I like Halifax, but I rarely if ever miss it.

You’ve probably heard numerous comparisons between your band’s music and The Beatles – what do you think about that? And if each member of the band had to be a Beatle, which one would each one be?

We obviously love The Beatles and think they’re tops.  They are a major inspiration, so I can definitely see why people would say that and we totally welcome it.  Though I feel we have more in common with The Rutles or The Monkees or something.  A scrappier version of The Beatles.  Which I can dig.

Hmm and if each band member had to be a Beatle I’d say Joel would be Ringo.  He’s got the one song on the album a la Ringo and he’s always probably having the best time (Ringo seemed to be always having fun in those early days – great at a party.) Oh! And the American girls like him best.
Brian, I suppose would be George. He has a handful of songs on the album, plays lead guitar, bops about, girls dig’em.  Paul would probably be Paul because he’s the most musically versatile on the album taking turns at playing every instrument on the album. Which leaves John to me, which I guess works in the sense that I “started” the group, I sing most of the songs on the album (if were talking early Beatles), I sing most of the leads with Paul harmonizing with me yadda yadda. And I’m most likely to go through a ‘fat elvis’ period.

That being said – none of us are really anything like those Beatles rascals, we’re the bloody Pinecones. Brent, Paul, Brian and Joel.

And finally, since our website is called The Singing Lamb, we must ask everyone – if you were a singing animal, what would you be and why?

A chipmunk, because I’d love to be able to hit those high notes. Or, I’d probably be more of a dopey turtle with a ukulele.  Floating belly up strumming and floatin’ down yonder river.

***

For more of the Pinecones,
MySpace:

Don’t forget to catch the Pinecones tonight at the Garrison, alongside Language-Arts and Allie Hughes! Tickets are available at the door for $6.00!

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

Let’s Chat: Language-Arts

March 4th, 2010 | By: Melody Lau

Language-Arts

The Singing Lamb: Introduce yourselves!

Language-Arts: Kristen Cudmore (Classical Guitar and Vocals), Gregor Phillips (Drums), Marcus Abramzik (String Bass), Laura Smith (Keyboards and Vocals)

What is the story behind the band name?

Kristen Cudmore: The reason we choose Language-Arts is because it was my favorite class in elementary school. Sometime we got to go to the fire hall and watch magicians and puppeteers, because our gym wasn’t big enough!

How did you all originally meet? When did you first start playing music together?

Gregor and I met in Vancouver BC and promptly realized that we grew up five minutes apart from each other in Nova Scotia. Gregor started playing drums with Language-Arts on our first tour of Western Canada in September of 2007. I’d like to say that we met at a naked opera, but it’s just not true.

Describe your first band rehearsal and the first time you wrote a song together.

I believe our first rehearsal was after our day-old tour van caught on fire for the second time. This is true. I was in a panic because we had to leave in a few days but Gregor learned the songs quickly, and gave me a good pep talk about mechanics.

I write the songs on my own and then introduce them to Gregor. He’s the arranger, so most of the string parts on our album were arranged by him but inspired by ideas I built up on my looping petal.

How do you think you’ve grown from your first EP to your first full length to ‘Where Were You In The Wild?’?

I think we have each embraced our strengths in a collaborative way. I come from a classical background, Gregor comes from a jazzical background, and we both listen to a wide variety of music.  “Where Were You in the Wild?” is our attempt at a perfect balance of each of our efforts, as far as the overall sound is concerned.

And finally, since our site’s called the Singing Lamb, we must ask everyone – if you were a singing animal what would you be and why?

I would be a singing hamster in pajamas because hamsters are speedy and pajamas are comfortable.

***

For more Language-Arts,
MySpace:
http://www.myspace.com/languageartnet

Don’t forget to catch Language-Arts at the Garrison tomorrow night, alongside The Pinecones and Allie Hughes! Tickets will be available at the door for $6.00!

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

Let’s Chat: Allie Hughes

March 4th, 2010 | By: Melody Lau

Allie Hughes

The Singing Lamb: Introduce yourself – how long have you been playing music, how would you describe the type of music you play, any previous or current musical projects, and are you musically tied to any other familiar musicians we know?

Allie Hughes: I guess I have been playing music since I was a little tyke. Is tyke the right word?  I had my own keyboard from when I was very small and I remember pressing the “DEMO” button and it was a Beethoven piece and you could change the tempo and speed it up and I used to pretend I was playing it.  Eventually I started taking lessons and actually learned how to play and I have been singing and wanted to be a singer for as long as I can remember back. It’s hard to describe your own music, but the genre I’ve come up to describe my music is alternative theatrical pop. And I sing in Steve McKay’s project and I briefly sang and played for Katie Stelmanis.

On your Facebook fan page, it says Thom Gill played guitar in your band – are you a fan of Owen Pallett’s latest album and musical partnership with Thom then? Also, it seems like everyone is always tied to someone else in the Toronto! What is it about the scene here in Toronto that lends to this close knit web of relationships?

Oh ya ha! The facebook fan page. I should take that down or update it, I have a facebook music group I use. Thom is a good friend and he played in my band from when it started (summer ‘07) till this past summer ‘09.  I cannot stress to you enough HOW MUCH I LOVE HEARTLAND.  I find it hard to listen to anything else right now.  It sounds like magic to me, and when Thom and Owen take the stage together it also looks like magic, MAGIQUE!  I totally feel like everyone who is an artist in Toronto is connected, and I really like it. For me, it’s the ESA connection. I went to Etobicoke School of the Arts for high school and it seems like everyone I meet is tied to that school somehow!

So I found this video of you on YouTube just now… a) what was that show and how did you get involved? b) have you covered any other songs before?

Oh man, most unflattering costume ever.  That is a song I performed on CBC’s How Do You Solve a Problem Like Maria.  A reality show (they called it a talent competition) spearheaded by Andrew Lloyd Webber to cast a young Canadian girl in the part of Maria Von Trapp in The Sound of Music.  I was in the top ten girls and then got kicked off.  haha.  We have a Regina Spektor song we are covering in our set at the Garrison.  I am not huge on covers, but I do have plans to do an awesome cover of Michael Bolton’s “How Am I Supposed to Live Without You”. Oh ya and also I was singing in “The Best” the cover band that played Loving in the Name Of every month.  That was so much fun, I never knew my lyrics though..

Explain your background in theatre and how that plays into your music. Do you feel that your music is any more theatrical because of your experience in theatre?

Theatre theatre theatre.  Yeah I do come from a theatre background and have been in some musicals and go on auditions and other stuff.  I think all the years of doing it and singing songs in that structure has definitely rubbed on me. Just like all music does. I find myself lately wanting to sound less “theatrical” because there is a certain connotation that comes along with it, but really it’s what makes my music and voice different and I just need to own it.

What does 2010 have in store for Allie Hughes?

A lot hopefully. I am recording my first album, to be released in the fall.  I have been working and co- writing it with a few different producers, Dave Newfeld, Leon Taheny and Adam King.  I am really excited about the songs and direction my music is taking.  I also have a new 6 piece band so a big focus is getting as tight us as tight as possible.  This Friday will only be our fourth show together!  Also expect a video out in the summer! I don’t know- I have so many ideas and plans but I don’t want to say them out loud because what if they don’t happen!?!

And finally, since our site’s called The Singing Lamb, we always end our interview with this question – if you were a singing animal what would you be and why?

I would have to say a guinea pig because I am one of the few people you’ll ever find in the world who can actually make a convincing guinea pig noise.  Seriously.

***

For more Allie Hughes,
MySpace:
http://www.myspace.com/alliehughes

Don’t forget to catch Allie Hughes tomorrow night at the Garrison, opening for Language-Arts and The Pinecones! Tickets will be available at the door for $6.00!

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

Let’s Chat: Gentleman Reg

February 24th, 2010 | By: Melody Lau

Gentleman Reg

Gentleman Reg

It’s often rare to find bold and beautiful faces of the Toronto indie music scene on the east-end of the city. After all, it’s ridiculously far from all the music venues and hip bars; to most on the west-end, anything east of Yonge St. is irrelevant and almost a blur of obscurity. But on this warm Saturday afternoon, I am sitting at Jet Fuel Coffee on Parliament St. with one of the coolest people in Toronto – Reg Vermue. Or as folks call him, Gentleman Reg. This is his neighbourhood – well our neighbourhood, and as we sit down for a drink before Reg heads off to the gym and attempts to tackle some laundry, we chat about his recent residency at the Drake Hotel, playing encores and a new album in the works.

The Singing Lamb: So it’s the one year anniversary of your last album, Jet Black – have you recorded anything new since then?

Reg: Well we put out a digital EP – two songs are remixes but there were four songs we recorded. But besides that, I’ve been writing and doing a bunch of demos with Heather Kirby from Ohbijou and it’s been going really well. Part of doing this residency was trying new music so we’re playing about 4-5 new songs each week. It’s like the first time I’m writing with a label so it’s interesting, there are rules now!

Is having a label a good or bad thing?

Reg: It’s good because I want it to be a really good record; I don’t want a mediocre record.

Do you think any of your past records have been mediocre?

Reg: The very first one I did – it came out in 2000, which nobody knows – I would say that was mediocre.

Do you ever go back and listen to it?

Reg: I was listening to it a little while ago because this friend who was playing bass with us for a little bit wanted to play a song off of it. And just last week, someone at the residency wanted to buy the album which was so interesting to me because I forget that people even know it, so I brought them a copy. And I also forget it’s sort of not up to me to decide what people will like – if someone wants to buy it, its cool. I just can’t play anything off of it because it was ten years ago.

Do you even remember how to play any of those songs?

Reg: No, absolutely not!

Let’s talk about your February residency at the Drake Hotel – why that venue?

Reg: We were looking at the Tranzac, the Rivoli, and the Cameron house and then it was about who was available and that got narrowed down to the Tranzac and the Drake. Say what you will about the Drake, I like the basement; at least during the week. But honestly, they’ve been nothing but amazing to us and it’s going well for a Wednesday night; they should be nice to us! I like the aesthetic, I like to dress up for my shows and I like the Tranzac but it’s old and dirty. It’s a fine room, it’s just not my personal aesthetic; this feels right. I’ve had many people who said they couldn’t come see me because it was at the Drake and two friends broke their rule by coming to see me, but whatever! It’s fine, people are coming.

The bill each week is very diverse – what do you think it is about your music that’s so universal and comparable to all those bands?

Reg: Well I guess it says more about my taste in music because I chose all the bands and part of it was based on availability and who could play which weeks; some bands weren’t available at all but about half the bands, I’ve never seen so it was exciting for me because I was experiencing it for the first time. Of course I checked them out first and they’re all so good.

How does it feel to headline these shows?

Reg: We had no idea how this would turn out; part of this thing is that we’re the perpetual opener so these were the first headlining shows in a long time! We actually had no idea who would show up and obviously people are coming to see the other bands too but this has been a very interesting experiment so far.

And you can play encores too!

Reg: It’s great! That’s one of the coolest things is that we can play as long as we want, we can play encores and mess around and play new stuff – there have been some scrappy moments and we can get away with them because people know that there will be some new songs. The encore thing is great because there are definitely times on tour opening where in theory you could put on an encore or people would want it but you just aren’t allowed or its not the way it works.

So when should we expect a new album?

Reg: I don’t know! Hopefully by the end of May we’ll have a record worked out and ready to record.

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

Reg: Some sort of albino animal because I’m always getting people telling me – like this past week, someone was at the zoo and they saw these albino reindeer and they said ‘Wow, we saw these albino reindeer and it reminded us of you!’ – anything white reminds people of me! So what would I be? Maybe an albino reindeer; they’re graceful, they probably have long eyelashes and are cute!

***

Don’t forget to catch the last instalment of Gentleman Reg’s February Heavy Head Residency at the Drake Hotel today! Doors are 9PM and tickets will be on sale for $7.00 at the venue! Opening for Reg will be Evening Hymns and Everything All The Time!

For more Gentleman Reg,
MySpace: http://www.myspace.com/gentlemanreg

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

Wild Beasts, Still Life Still @ Horseshoe – Feb. 22, 2010

February 23rd, 2010 | By: Melody Lau

Photo Credit: Michael Fil

Photo Credit: Michael Fil

It was surprising to see the Horseshoe as packed as it was last night for the UK’s Wild Beasts because a) it’s a Monday night and b) shouldn’t we all be at home watching the Olympics instead? Needless to say, I defied both because days of the week don’t really apply anymore when you go to shows as often as I do, and I’ll admit it – I missed the end of the show because I went to the front room of the Horseshoe to watch figure skating. Come on, folks – figure skating!

Arts & Crafts newcomers Still Life Still opened the night to a venue that gradually filled up with each song. The Toronto indie rockers are always compared to label mates/boss Kevin Drew and Broken Social Scene, and for good reason. Though no where near the 15-piece super-group aesthetic of Social Scene, Still Life Still’s music is definitely a more simplistic, poppier take on the Toronto collective’s epic grandiose rock. But don’t jump the gun and proclaim these guys as the new generation of Brendan Cannings just yet, the band still has lots of work ahead of them. Musically, the band’s songs are generally a hit or miss but when it’s a hit, they really nail it – ridiculously catchy hooks, fun sing-along lyrics, and a heck of a melody. Though not the most interesting on record, Still Life Still knows how to bring it live. It’ll be very interesting to see this band grow in the upcoming years, whether they embrace their more pop-rock roots or gear towards an even more BSS-like sound. Either way, I see them doing well.

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

UK indie dream pop rockers Wild Beasts were up next and the second they stepped onstage, a wave of red light – an enemy of photographers – flooded the stage and a seriously addictive beat hit the crowd. Rhythmically heavy, Wild Beasts can make an audience dance, sway, head bob and pretty much everything in between. Lead singer/guitarist/bassist Hayden Thorpe’s voice is strange yet hypnotically compelling and when it contrasts with the lower register of bassist/guitarist Tom Fleming, it is oddly exquisite – voices like these don’t normally work but in this case it does. Songs like “All The Kings Men” and “We Still Got The Taste Dancing On Our Tongues” – both off their newest release Two Dancers – are prime examples of how great this band really is. Fantastic both on record and live, if you don’t have Wild Beasts in your musical library yet, do it now.

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

Sure, I missed the end of their set but I was able to listen to it from the front room just fine. The Canadians aren’t the only ones who did great last night. Gold medals all around!

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

For Florence Charity Concert feat. Lioness, The Ghost is Dancing & Hooded Fang @ The Mod Club – Feb. 14, 2010

February 23rd, 2010 | By: Max Mertens

Lion

Lioness

As this year’s Valentine’s Day rolled around, two of my four roommates were (and still are) in committed relationships, while I found myself celebrating “Singles Awareness Day” yet again. So instead of locking myself in my room and watching the latest episode of American Idol online (I think that Tyler Grady fellow is going all the way this year!), while crying into my tub of chocolate Hӓagen-Dazs (because nothing adds flavour to overpriced ice cream quite like human tears!), I instead decided to make my way to the Mod Club with my other roommate for the “For Florence” charity concert, featuring a diverse lineup of local female-fronted bands.

And what a diverse lineup it was! The night featured ten acts, all of whom played two to three song sets, and covered a broad spectrum of genres. Wanted to hear a modern jazz chanteuse? Check, courtesy of Jessica Lalonde. Folksy, acoustic duets? One Hundred Dollars’ Ian Russell and Simone Schmidt had those covered. A goth lesbian metal band? Umm…I’ll let you listen to Heavy Filth for yourself and judge their “artistic” merit for yourself. I wasn’t terribly familiar with most of the bands playing, but hey, it was for a good cause (all donations went to the Salvation Army’s Florence Booth House Women’s Shelter located at 723 Queen Street West) and everybody in attendance seemed to be in high spirits.

Also in high spirits was Toronto director Bruce McDonald, who used the crowd at the Mod Club as extras in a pivotal club scene with the film’s fictive band, Trigger, who were backed onstage by disco-rockers Foxfire. Even though the song they “played” was catchy, it was a drag having to sit through three takes, but they eventually got it to McDonald’s satisfaction. Things got even more bizarre afterwards with a performance from special guest Carole Pope, a 59-year-old Canadian rock singer-songwriter whose “provocative blend of hard-edged New Wave rock with explicit homoerotic and BDSM-themed lyrics made her one of the first openly lesbian pop stars in the world” (I had to text my friend and ask her to Wikipedia her name). The best thing that I can say about her performance is that she looked a bit like the Canadian version of Joan Jett. If only the same could be said about her singing.

Luckily the bands on the line-up that I had at least a passing familiarity with put on solid, if shorter than usual, sets. The night kicked off with some scrappy garage-rock tunes from Tonka & Puma, the side-project of Hooded Fang’s April (wearing some impressively large furry boots) and Dan, who were later joined onstage by the rest of their more pop-oriented “full-time” band. I’ve said it before, and I’ll say it again – Hooded Fang are one of the most promising young bands in Toronto, and I guarantee we’ll be hearing plenty more from them in the upcoming year. I was also pleasantly surprised with The Ghost is Dancing, an energetic, reverb and horn-heavy pop six-piece, who put out their sophomore album Battles On on Sonic Unyon this spring.

Rounding out the night and sending the stragglers at the Mod Club home, was Lioness, the trio of drummer Jeff Schevens, guitarist Ronnie Morris (both former members of the now-defunct contoller.controller) and singer Vanessa Fischer. Despite the fact that it was about one in the morning, and I was so exhausted that I could barely speak or stand, these guys’ live performance is so hypnotic that you can’t turn away. Call them what you want – disco, dance, electronic, punk, indie rock or some combination of all of these – but with Schevens’ powerhouse drumming, Morris’ bass-created wall of sound, and Fischer’s soulful pipes, you cannot deny Lioness has a completely unique sound going for them.

It was great to see such a large turnout at this event, especially when you consider it was competing with the final night of Wavelength 500 at the Garrison, whose organizers had announced earlier in the morning that Owen Pallett would be making a surprise appearance. And though I didn’t find anything remotely close to love at this concert, I’m pretty confidant when I say there could’ve been worse ways to spend a Valentine’s Day night single.

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

Let’s Chat: Rich Aucoin

February 11th, 2010 | By: Max Mertens

Photo Credit: Todd M. Duym

Photo Credit: Todd M. Duym

Ambition looks good on Rich Aucoin. The Halifax pop singer-songwriter’s most recent album, Public Publication, is anything but your typical extended play record. The EP, which was recorded over a year, was designed to sync with the classic Christmas cartoon Dr. Seuss’ How The Grinch Stole Christmas (1966). It features over 500 musicians and was recorded during a cross-Canada tour with multiple producers. Rich was kind enough to answer some questions recently via email about not only recording the new album, but also everything from the Nova Scotian music scene to his love of bicycling and roller-skating.

The Singing Lamb: Tell me about the path you chose when recording this album and what were some of the biggest challenges you faced?

Rich Aucoin: I always want to pick one thing from each previous record and do it completely opposite on the following record. The thing for these first two was that I did the first record by myself and this second one with many people. The biggest challenge was either physically crossing the country to record all these people in their native recording environments or the months of editing I spent listening to every one of those 500 people’s some 6-10 takes of a part to figure out what is the best possible thing I could use and taking whatever that part was and fitting it into the puzzle without jaming it in.

Are there any musicians on this EP that would surprise your listeners, or anyone that you never would have expected to have gotten on the record?

Rich: Yeah, there’s lots of musicians who play in one genre or another that you’d think might not fit with another so that a folk banjo player is playing on the same song as a punk drummer and/or a beat boxing MC on the same song as a classical marimba player. There are also some heroes of mine on the record who I was really surprised and happy to see interested in collaborating.

As a Nova Scotian, I know that you are very involved in the local Halifax music scene, whether it be playing with other artists or going out to shows. What do you make of the current Halifax music scene and what are some of the major changes you’ve seen it since you started making music?

Rich: We’re all really supportive and involved with each other out here so it’s not too unfamiliar to take on a project like this sense all of us are collaborating some much anyway. I play in Windom Earle out here too and have played with a handful of other people too. I haven’t seen much change; I’ve only been at this a couple years now.

In the past, you’ve played with a number of different bands and artists, including Girl Talk, The Weakerthans, and Nat Baldwin from the Dirty Projectors. Which artist or band is your favourite to play with and why?

Rich: Girl Talk was probably the most fun experience I’ve ever had at a show before but there’s been something about everyone I’ve played with that been the “best” at this or that… Greg, from Deerhoof, is by far the most captivating drummer I’ve ever had the pleasure of seeing. My favourite artists to play with have always been people that you tour with as you see them every day and hang during the nights.. kind of like camp.

I know you are an avid bicyclist. What kind of bike do you ride and where is the coolest place you’ve ever biked? Would you ever write a book like David Byrne’s Bicycle Diaries?

Rich: I ride the cheapest of touring bikes which I made them promise me would make it as far as Halifax from Victoria. It’s a Brodie Romulous. The coolest place I’ve ever biked was anywhere (maybe particularly Hope or Osoyoos) in the Rocky Mountains. I’d love to write something like Bicycle Diaries (which, coincidentally, I have just started reading).

What kind of reaction did you get from your Jay-Z remix? Why did you choose “Empire State Of Mind”?

Rich: That was interesting just to see how fast something that connect with people as it did really well on Hype Machine and has been getting a few hundred plays a day on YouTube. I choose “ESOM” because it was the theme of a little tour I did with Brent Randall and we all were quite enamoured with the song. I noticed it was the same chords/voicing as a new song of mine called “It” so I decided to mesh them together and just threw a couple other folks in there too as I really love MJ and Dan Deacon. I like making mash-ups but mostly use oldies as I’m on a big 50s/60s kick right now.

I saw that Picnicface video you appeared in with Rebekah Higgs from Ruby Jean and the Thoughtful Bees. On a scale from one to ten, how big of a roller disco fan are you?

Rich: Ooohhh man. If they only had a roller disco out here! We were all talking about doing a roller disco party show at that same bar but then we realized that the liability would be crazy and putting booze into the mix of roller skating would probably end in some inevitable falls.

Tell me about some of your upcoming shows, including your European tour in May. How did you end up getting a show at the Toronto Fashion Week this April?

Rich: I’m coming back to Toronto almost every month for the next while with CMW, TFW and more to come. Toronto’s like a home away from home so I want to play as much as a Toronto band would for the next few months to get myself out there to new folks before the album is released. Really looking forward to the U.K. I was fortunate to play for one of the heads of Glastonbury at this festival in November out here and got the nod to come over for my first tour in May.

What’s next for you?

Rich: Find someone to release the record and get everything in order for its release before focusing on some more unconventional and exciting touring plans in the U.S. and Europe.

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

Rich: I’d be a goat yelling like a man! (watch video below)

For more Rich Aucoin,
MySpace:
http://www.myspace.com/richaucoin

Catch Rich Aucoin back in Toronto during CMW at The Whippersnapper Gallery (March 11th) and the Rivoli (March 13th)!

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

CD Review: Wilderness of Manitoba – Hymns of Love & Spirits EP

February 11th, 2010 | By: Guest Contributor

Hymns of Love & Spirits

Hymns of Love & Spirits

In a world where music is dominated by electronic instruments and computer generated instruments, it’s always refreshing to come across a band like The Wilderness of Manitoba (WOM), a band with a sound defined by layering banjos, cellos, vocals, and underlying sixties folk influences. Not many bands can do soft folk well, but, in their first EP since forming in 2008, WOM proves that they are one of the few who can.

The first thing that jumps out at me is how much WOM sounds like Bon Iver, Fleet Foxes, and Great Lake Swimmers –especially Bon Iver.  However, compared to Bon Iver, WOM sounds less melancholic and more hippie sounding.  There’s something quintessentially Canadian about their sound and their lyrics speak of the beauty of nature.

Perhaps the most strikingly unique aspect of this EP are its sixties influences.  This is especially apparent in the track, “Evening”, which was originally written by band member Will Whitwham’s mother in 1968.   While staying true to the original version, the band’s version of “Evening”, is by far the best track of the album due to its simplicity and the well-arranged vocal interplays.

All in all, Hymns of Love and Spirits is a great EP that is definitely worth listening to if you like Bon Iver and/or Fleet Foxes or just like soft folk in general.

By Athena Ngai

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

CD Review: Leif Vollebekk – Inland

February 11th, 2010 | By: Alie Lavoie

Inland

Inland

When honesty is used in a thoughtful way, it can be a beautiful thing. Leif Vollebekk’s Inland (Nevado Records) is a beautiful a thing. A beautiful, genuine, swooning thing. Violin, piano, guitar, banjo, harmonica and soft brushed percussion form a remarkably lovely body of songs around the spine of Vollebekk’s poetic lyrics. Inland is full of perfect moments where music and words come together seamlessly, as in “Michael Robartes & the Dancer” where Vollebekk’s warm, finger-picked acoustic guitar provides the instrumental support for his equally warm lyric waves: “Blue-eyed sister’s asleep downstairs / In a rocking chair by the old lamp’s glare.”

The overall mood of Inland is one of familiarity: “You Couldn’t Lie to Me in Paris” sounds like an unearthed Bob Dylan b-side; the percussive guitar, strings and piano on “In the Midst of Blue and Green” is something that wouldn’t be out of place on a Nick Drake record.

But at the heart (or spine) of the Vollebekkian sound are his trademark lyrics, his slice-of-life stories set to music. As someone who frequently glosses over lyrics in favour of the general melody, it’s refreshing to continually notice words again, and even better to notice them when not actively trying to. Vollebekk’s lyrics make themselves known by very nature of their honesty and attentive phrasing, and it’s nice to be reminded of the marvellous things language can do for a song.

Inland is a real album. According to Vollebekk himself, the album is meant to be heard on vinyl, an earthier, arguably more “real” music experience. The wavering harmonica solo on “Don’t Go Klaksvik” is real. The emotional range of “Quebec”, from defeat (“When a woman moves on it’s best you just move away / When she fancies your friend, now that’s twice the price to pay”) to audibly strained defiance (“Step on to that bridge / Swear I ain’t coming back”) is real.

In reality, all I’m really trying to say is that Inland is really real and it’s really fantastic because of it… For real.

***

For more Leif Vollebekk
MySpace
Website

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit

Laura Marling, Nathaniel and the Wheel, Pete Roe @ Lee’s – Feb. 9, 2010

February 10th, 2010 | By: Melody Lau

Photo Credit: Frank Yang (Chromewaves)

Photo Credit: Frank Yang (Chromewaves)

I’ve come to a consensus that for university students, the week before reading week – this week – is amongst the most stressful. The perfect musical remedy? Definitely a Tuesday night at Lee’s, listening to a trio of talented musicians play beautiful folk tunes. That, or actual rest and sleep but come on, who does that.

Arriving at the venue early, we were treated to a short opening set by Pete Roe, keyboardist for main act of the night Laura Marling. Roe, an acoustic folk – the common thread throughout the night – singer songwriter was very much your typical guitar-wielding, bearded introvert. Though charming, there weren’t many memorable moments in his set. In fact, most of his songs felt repetitive and long – and his set was only roughly twenty minutes.

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

Following Roe was Colorado’s Nathaniel Rateliff and the Wheel, a surprisingly delightful five-piece, indie folk band. Enlisting Roe in his first performance with the band as Rateliff jokingly but seriously said was due to the band’s van “blew up,” Pete Roe filled in on the keyboard. The band’s songs gradually grew stronger throughout the set, at times building grandeur melodies and harmonies through a full sound completed with double bass and drums and other times more intimate with just Rateliff, his acoustic guitar and the double bassist just on vocals. On the latter, an example would be the simplistic yet mesmerizing “Early Spring Till”. Many times, opening acts suffer through the chattering crowds crawling beneath the music but the moment the chorus of that song kicked in, there was a flash of silence that waved through the audience. Whether that was because of sheer awe or just a reaction to the sudden peak in volume, everyone’s attention turned to the stage. Nathaniel Rateliff and the Wheel’s simple yet beautifully written melodies are reminiscent of those of Dan Mangan’s; Rateliff even sounds a tad like Mangan, except Rateliff lacks the raspiness of Mangan’s signature voice. Regardless though, very comparable and if you enjoy Dan Mangan’s tunes, you should definitely give Rateliff a listen.

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

Just past 10PM (yes, this was quite the early show; it is a school night after all), British folk princess Laura Marling took the stage. Playing mostly off her new album I Speak Because I Can, Marling played a set split between performing with a full band, again with double bass in tow and Roe back on stage again on keys, and performing solo. Almost unrecognizable without her signature short bleach-blonde hair, the newly Brunette Marling’s music was still very much identifiable, thankfully.

With the band, Marling’s songs felt fuller and more true to the songs on her album, especially the gradual build-up of “Ghosts” and the strong instrumentation of new single “Devil’s Spoke”. Alone onstage, Marling was just equally as compelling. Her delicate vocals were soft-spoken yet unexpectedly strong and demanding at the same time.

Though some tuning silences were long and awkward to watch as Marling took her time perfectly tuning each string of her guitars, we were treated to a cute intermission where Marling threw banter duties to keyboardist Roe who in turn played “The Entertainer” for us instead of telling jokes or making small talk. Cute.

Marling also treated us to a “newer than the new album new” song of which she said was written for a movie but was rejected (she never mentioned what movie though, although an audience member was nice enough to guess Twilight) and a cover of Neil Young’s “The Needle and the Damage Done”. After playing, Marling noted her nervousness playing that song in front of a Canadian audience.

Marling seemed to carry a blank face throughout her set, rarely cracking a smile unless she was making a cute remark here and there but that composure was all lost of her “encore” (Marling doesn’t grasp the concept of running off stage and back on for an encore so she informed the audience instead and stayed onstage as the audience applauded) when she stopped mid-way through “Alas I Cannot Swim” bursting out in laughter. Finishing off the set, she was all smiles – and so was I as I left the show. Stress – temporarily lifted; thanks Laura Marling! Now back to the reality and stress of school in the morning…

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

***

For more photos, check out Chromewaves!

  • Digg
  • Facebook
  • Google Bookmarks
  • MySpace
  • StumbleUpon
  • Twitter
  • Reddit