Posts Tagged ‘interview’

Let’s Chat: Leif Vollebekk

January 21st, 2010 | By: Alie Lavoie

A chilly panda.

A chilly panda.

“If my record sounded like a panda, we’d all be in a very good situation,” says Leif Vollebekk of Inland (Nevado Records), his most recent release. I can’t claim to know what a panda bear sounds like (though according to Vollebekk it would probably have “a really nice set of pipes”), but Vollebekk’s Inland is at the very least a very, very good situation.

He describes the record as being an attempted cross between Leonard Cohen’s first album and Nick Drake’s last album, a lofty attempt indeed. But what with Vollebekk’s lyrical nods to familiar Montreal beacons and Inland’s general swoonery, I’d say it was a successful cross indeed. Vollebekk also claims that the record should be experienced in what is now a widely overlooked format: “[Inland is] a vinyl record. It should not be listened to on CD,” he warns. “Anyone with a CD should burn it and buy the vinyl. I made it for vinyl, so I’m really excited about people getting to hear it the way it’s meant to be heard.”

For Vollebekk, having the album available on vinyl seems to be an extension of his back-to-basics song writing style, a style which has often been compared to that epitomic rambler himself, Bob Dylan. “You know, you gotta hand it to Bob,” says Vollebekk of Dylan’s stripped down style. “After the Beatles came out with Sgt. Pepper’s, which was the most psychedelic, mind-blowing, over-the-top produced record in history at that point, he was like, ‘Okay. Screw that. I don’t like that. I’m gonna make a record with drum and bass and acoustic songs about pastoral and biblical stuff.’” Vollebekk has an obvious appreciation for Dylan’s approach where “all the images, all the colour and all the psychedelia [are] in the words.”

But you know, you also gotta hand it to Leif. He keeps things restrained, creating intentionally spacious sonic layers in his songs where music and lyrics are given plenty of elbow room, despite the fact that he plays not only acoustic and electric guitar, but also piano, violin and harmonica*. According to Vollebekk, “If God didn’t invent high school, I don’t know how I would’ve learned instruments.” Take these words to heart, yond teenagers, and take comfort in the possibility that, after begrudgingly toiling away hours of your educational life trying to unfurl the mysteries of the bass clef, you too could end up as a multi-instrumentalist whiz kid.

As the interview comes to a close, I ask Vollebekk what he’s most looking forward to in the new year. He first restates his excitement over people hearing Inland on vinyl, but mostly seems relieved at the prospect of finally having all his projects come into fruition. Along with his latest album, Vollebekk recently finished another that will hopefully be released this fall. “Apparently it’s a logical direction,” says Vollebekk of the forthcoming record. “A friend of mine said that it makes sense. But it’s really different. This one is more like a folk thing, but it has kinda this alternative blues-y thing. [The album is] still acoustic guitar and bass, but I went to the States for a bit and I’ve been listening to a lot of old 1940′s country, so it kinda has more of a Nashville country feel.” So if things go as planned, maybe this year Leif Vollebekk fans will never suffer that always cruel waiting period between album releases.

And if things don’t go as planned? Given the logic behind his answer to the if-you-were-a-singing-animal- what-would-you-be question, I’m not sure I’d raise too much hell about it: “I think a panda. A panda! ‘Cause I hear that they’re kinda vicious, right? But they look really cute? Not that I’m cute.”

I like that what he chooses to refute isn’t his viciousness, but his cuteness. Well. At least he’d be a modest vicious panda.

*Maybe it’s just me, but if I could play such a bevy of instruments, I feel like I’d be tempted to ditch restraint and throw down every single one of my musical skills. All the time. One (wo)man band style. Like this guy.

***

For more Leif Vollebekk,
Website: http://www.nevadorecords.com/leifvollebekk.php
MySpace: http://www.myspace.com/leifvollebekk

Leif Vollebekk will also be in Toronto on January 22 at The Cameron House.

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Let’s Chat: Wild Beasts

January 19th, 2010 | By: Melody Lau

Wild Beasts

Wild Beasts

The Singing Lamb: To those who aren’t familiar with Wild Beasts, please introduce each member!

Hayden Thorpe – vocals/guitar/bass/keys (sparkling water)
Chris Talbot – Percussion/vocals (whisky and coke)
Ben Little – Guitars (green tea)
Tom Fleming – bass/guitar/vocals/keys (brewed coffee)

Give us a bit of history – how did the band come together? Hayden and Ben attended school together, correct? How has that initial partnership grow to the four-piece band it is today?

Tom Fleming: Hayden and Ben started playing together and tentatively writing aged 16. Chris saw them play and joined aged 18. I saw them play and joined aged 20. It’s been aggregative and the band is continually changing character.

How has the band musically evolved from the first to the second album? Many people say that the two are almost entirely different, sounding like two separate bands – do you think so?

Tom: I certainly see the difference between the two albums, but I would suggest that the second is a logical next step after the first. We had been listening to music widely, but I think with the second we learned better how to incorporate different ideas into what we were doing and making them stick together. The first had to be a definitive statement, sort of a “look, I’m here!” sort of thing, whereas this was calmer, more focused and if anything, more assured. We’re still trying to work out what we are and what we can do.

I’m always curious to know if bands read their own press – do you guys read your own interviews and reviews? Why or why not?

Tom: Unavoidably we do read some of our own press (we have people who send it to us for a start), but you have to take the view that “we know best”. To be honest, we’re never satisfied until we come across a slating. Whilst it’s nice that people are interested enough to cover us, surely press can’t tell us anything useful about what we do? I hope we’ve got a good enough idea ourselves. (Yes, I’m a massive narcissist).

I recently read this lovely scary story from you, Tom – what are some other scary things that’s happened while you were on tour?

Tom: Ah, that story is just cheap offcuts of Georges Bataille and the Marquis de Sade, but thanks, I had a ball writing it. The battles on tour are with yourself, the mind is a scary place when it is left alone for too long. Also, this month’s trip to Australia will mean we share a continent with the funnel-web spider – very aggressive, very poisonous, the size of a large mouse. Spiders don’t really bother me, but this is the exception.

Clearly, within the past decade or so, technology has changed a lot – how have things like Twitter and blogging (as you guys keep a blog on your website) altered the way you communicate and reach out to fans? How has this worked to your advantage the most?

Tom: I think it gives us the possibility to communicate as normal people, while preserving the music as something else, and hopefully in doing so show that what we’re doing is made by people, and that it is understandable and accessible. The best part about, say, twitter, is that it is writing that takes place in the (almost) present tense. Almost all other expression is done in the past tense, and that gives us something we can use to give refractions and immediate thoughts of the day, without having to labour over it too much. Hopefully it illuminates what we do rather than cheapens it.

And finally, since our site’s called the Singing Lamb – if you were a singing animal, what would you be?

Tom: The kookaburra – no others were considered.

***

For more Wild Beasts,
Website: http://www.wild-beasts.co.uk/
MySpace: http://www.myspace.com/wildbeasts

Wild Beasts will also be in Toronto on February 22 at the Horseshoe! Tickets are available now for $15.00.

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Let’s Chat: Pick A Piper

November 21st, 2009 | By: Melody Lau

Pick A Piper

Pick A Piper

The Singing Lamb: Pick A Piper is highly rhythmic, incorporating lots of percussion and drums especially in your music – how did this dynamic come about? Is rhythm the primary focus when you begin writing songs? Because live, there’s a definite sense of energy like a drum circle – it’s crazy good!

Brad Weber: Rhythm definitely tends to be the starting point to any of our songs. We wanted to write dance music, but in a sort of primal way.  I started coming up with all these different rhythms, recording lots of drums and percussion and then bringing those ideas to everyone else to add on top of it.  I guess that’s how we generally write songs… start with a rhythmic idea, record the drums/percussion first and then write the song based on the feel of that. Sometimes it’s just one loop and we expand upon it. Other times I’ve actually sequenced out percussion for an entire song before adding any other instrument.  It’s been a fun way to write so far. Definitely different than the way I’ve approached songwriting in the past.

Of course I have to ask about the name – where did it come from?

After months of toiling over band names, it was between that and “Pickled Pepper” …but we didn’t want any Google searches to come up with images of Rue McClanahan.

You guys recently shot a video for “Rooms” in parts of Iceland and Canada – why did you choose to do that? How was it shooting in Iceland as compared to the good ol’ necks of Canada?

Iceland is probably my favourite country in the world.  I went there for the first time in the summer of 2008 in between some Caribou festivals and was totally floored.  I always knew I’d go back at some point and when some friends asked me to go in early October this year I jumped at it.  PaP’s bass player, Dan, was one of those people.  We had already shot tons of footage in Hamilton of Angus and drumming on floor toms in strange locations while covering our upper bodies in green.  The idea was to key that green out and make our bodies flash with colours.  We had those shots, we had some stuff from my parents cottage of us around a campfire.  But I still wanted more and wasn’t sure what. Iceland seemed like the perfect way to show people my favourite place to travel while finally getting a music video together at the same time.  Dan and I would just look for protruding rocks, stop the car, quickly film some shots and then jump back in and keep going. The day we shot most of the Iceland stuff was one of the windiest days I’ve ever experienced.  It was a much more challenging shoot than Canada based on the elements alone!

All the members of this band have been in previous bands as well – what have you all taken from those previous experiences and brought into Pick A Piper (if you did bring anything to the band)?

I have been playing with Caribou since mid-2007 and it completely changed my life.  Playing with those guys really helped my own writing more than I anything else I’ve ever done.  As well, Dan Snaith turned me onto so many amazing records that I never would have found otherwise. He and Ryan Smith (Caribou guitarist) have been an endless source of new and inspiring music that I now can’t imagine life without.  I owe those guys more than I could ever give back.

Angus writes solo records under the name Tenth of May.  He has an awesome pop sensibility that incorporates really well into our stuff.  Otherwise we’d probably just be banging away with no direction!

Dan has been in a couple of bands with me in the past (most recently one called Winter Equinox a few years ago) and has an awesome sense of rhythm and writes some of the catchiest basslines around. He has a really discerning ear for what he feels works and what doesn’t and isn’t afraid to speak up and I really appreciate it.

Clint is a good buddy of ours who has been hibernating in his room for a while, noodling around with various instruments. He’s a fantastic guitarist and singer, so we’re stoked to get him playing shows and love what he brings to the band.

Your MySpace page’s background is the infamous keyboard cat – like it much? Who chose that background? Future Pick A Piper-Keyboard Cat collaboration?

The actual keyboard cat has been put in his place.  He/she was playing some lame Radio Shack synth in the comfort of some pampering home I’m sure.  Our keyboard cat is rocketing off into space on an old ARP synth showing Jingles how it’s done (that’s what I’ll call the other cat).

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

Maybe a singing ape because of all the flailing of arms that happens at various times in our live show. A singing lamb has a much nicer ring to it!

***

For more Pick A Piper,

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

And don’t forget that they’re playing tonight at Rancho Relaxo with Corduroy and Ace Kinkaid! Tickets will be $6.00 at the door! Be there!

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Let’s Chat: Portugal. The Man

November 11th, 2009 | By: Guest Contributor

Portugal The Man

Portugal The Man

It’s an unseasonably cold October evening in Toronto, and I can clearly make out my breath and the whisps of smoke trailing from the end of Zach Carothers’ cigarette. I’m standing with the Portugal. The Man bassist outside the Horseshoe Tavern, while we wait for the opening band inside to finish their sound check. If you’ve never heard of Portugal. The Man, they are a Portland-based garage rock band, who incorporate elements of everything from Zepplin-esque blues to gritty soul into their music. The band consists of John Gourley, Jason Sechrist, Ryan Neighbors, and Carothers, and they have a work ethic that puts most bands to shame. Portugal. The Man are touring in support of their newest studio album, The Satanic Satanist, which is their fourth album in the past four years. The best word to describe their live show could only be psychedelic: a combination of a multi-coloured light show and a powerful stage presence, with Gourley’s vocals resembling an apocalyptic southern Pentecostal preacher at times. Carothers was kind enough to talk to me about everything from recording the new album, to growing up in Alaska, to how David Bowie influenced the band’s name, and more.

The Singing Lamb: You guys have put out four full-length albums in the past four years. So first off, what’s your secret to your productivity?

Zach Carothers: I don’t know, it doesn’t really seem that crazy to us. We all came from pretty hardworking families and it just seems like that’s our job and that’s what we should do. And as far as an album a year goes, a year is a pretty long time. We always put it into perspective – John’s parents own a construction company in Alaska and they build like twelve houses a year and those are houses, bottom up, plumbing, electrical, everything. I’ve built houses and I’ve recorded albums, and building houses takes longer and is harder work. So it really doesn’t seem that crazy to us. We just have a good group of dudes – John’s a really good songwriter, and he writes very fast, and we’re very spontaneous about jamming along with stuff right off the bat, so we’ve gotten used to it.

Your newest album, The Satanic Satanist, was actually leaked online early and I know you guys have had problems with that in the past. I was wondering how does that feel and what do you guys do to make the best of the situation?

Zach: Well actually we don’t get that frustrated with it. We’re pumped that people are out looking for it and people want to hear it. And so it doesn’t really affect a band like us, it affects bigger bands. Its just harder to keep numbers and keep track of all that stuff, and we’re fine with downloading, we’re fine with people taking our album for free. We just wanted to let people know – and we wrote a blog about this on our website – if you do love a band, and you want them to be around, then buy their records. If you’re just trying us out though, you’ve never heard us and you are like, “Oh, I’m going to give this a taste”, then by all means download it. I download. But if I love somebody I’ll totally buy it.

With the new album – to me anyways – it seems a lot more soulful and upbeat then some of your previous work, especially say Church Mouth. Was that a conscious decision when you guys set out to make it sound different than the previous albums or was it something that came as you guys were recording?

Zach: We always set out to make our albums different than the one before just because we’re fans of that. There’s just so much music in the world and you can take inspiration from so many different places, bands that put out the same record twice just really weirds me out. So we definitely wanted to go more structured, pop-oriented, but also its our most experimental record in many ways in terms of synths and recording techniques.

You are from Alaska originally. What was that like growing up, and then moving to Portland, Oregon? Are you guys all living in Portland now?

Zach: Yeah, we all live in Portland. None of us have homes or anything but we all crash there, we’re on tour so much. But yeah, growing up in Alaska was awesome. It was great as far as nature goes and family and everything, but as far as getting inspiration for music, we had oldies radio, top 40 and stuff like that. We didn’t have the Internet until I was seventeen, so I didn’t know about a lot of music. Moving down to Portland really opened my eyes when it came to film and art and underground music.

It’s regarded in so many circles as being one of the music meccas of America. Is it all they say it is?

Zach: It’s pretty awesome. They’re very supportive of artists and so its really nice to live in a place where if I walk down the street and they’re like “Hey, what do you do?”, and I’m like “Oh, I’m a musician”, they’re not like “Oh you lazy piece of shit, get a real job”. It’s cool, everybody’s cool with it.

So explain how David Bowie influenced the band name.

Zach: First of all, we liked the idea of solo projects. We loved how a name like James Brown is just so bad-ass and you kind of picture it in lights. And we also had a lot of respect for people like David Bowie that has a name like that, but he still created a fictional character. He created Ziggy Stardust, and was like, “I can do whatever I want and not be blamed for it, because its not me.” We just thought that was a really cool thing. Same with Sergeant Pepper. So we liked that whole idea a lot and decided to create a character but we knew we weren’t just one guy, we were a band, so we wanted this one name to represent our whole group of musicians. So we chose a country – one name for a group of people with one voice and their place in the world.

So have you ever considered dropping the period for clarity’s sake?

Zach: It’s tough, we can’t really now because we’ve gone too far. It was supposed to clarify things in the beginning but I think it just confused people. Our manager hates it and wanted us to get rid of it, it’s harder to search on the Internet and stuff like that. But well, we did it, we’re stuck with it, we’ll keep it around.

In 2008, you guys launched your own imprint label, Approaching AIRballoons, through Equal Vision. What was the decision behind that?

Zach: At first, before we had a deal with Equal Vision, we put out stuff on our own and we realized we just didn’t have the time or the manpower to do it. We can’t employ people at a label and we were all working really hard. We still paid for our own recordings, and paid for the packaging, and its just a way for us to get out of something. The label we’re on, say we want to put out an EP just after we put out a record, and the label says, “No, we don’t want to do that”. So we have a clause in our contract that says we can put it out on our own.

On your last tour, “The Gold Tour”, you had a Canadian band open for you guys. Tell us about Wintersleep?

Zach: Wintersleep were awesome dudes. They are incredibly talented, they all have amazing voices and they were really fun to hang out with. We’d seen them once and we just wanted to have them around.

Explain the influence behind the “Do You” video.

Zach: Basically we set out to make a sci-fi, satanic Western and thats pretty much what it looks like. It was a lot of fun and Ryan Rothermel came up with a lot of the ideas for the props, and we got to come in and build all those things ourselves. We went in like two days earlier; showed up at 8 like a construction crew, and sawed acrylic and put everything together. It was a lot of fun and the people we worked with were just amazing on it. It kind of has a whole story about being reborn and space drifts and just weird stuff. Which is kind of hard to get from the video, but things kind of change with the making of the video, we add a lot of extra footage and chop it down to how long the song is.

Censored Colors, The Satanic Satanist and The Majestic Majority have been the titles of the last three albums. Was the alliteration done on purpose?

Zach: Yeah. We definitely always think about our album titles, they come way before anything else. We decide what the album is going to be called and we write the album around the title. That’s why Church Mouth just sounds like a Southern soul, dirty rock and roll record. The Satanic Satanist we thought was just a nice contrast to a fairly mellow, mid-tempo pop record with really colorful artwork. Also the lyrics kind of are written to match the album titles as well.

Do you guys have a title for the next album already?

Zach: Yeah, we think so, but we’re not allowed to say it yet. Our manager never lets us tell anybody until its for sure, because we’ve always had to change stuff at the last moment. Censored Colors was just going to be Colors at first, but then someone else put out an album called Colors. The original title for Satanist was going to be The Satanic Satanist of the Majestic Majesty but then we were listening to some old Rolling Stones, and they have an album called Their Satanic Majesties Request, so we’re like “Shit, we can’t have something with ‘satanic’ and ‘majesty’ in it”. We have a lot of album titles floating around that may or may not be used in the future, but its fun.

So will we see this album in the new year?

Zach: Yeah, actually its done. We’re not sure if were going to put it out as a real record, we want to find some interesting way to release it, it won’t be advertised like the new Portugal. The Man record but it will be ten songs, it will be a long EP, or two EPs, or a bunch of 7 inches. And then we go into record a real new album in January so we’ll have two records next year.

So its pretty much back to the studio after this tour?

Zach: Yeah, we’ve got two weeks off at Christmas, and then back in the studio. We tend to keep pretty busy.

***

For more Portugal. The Man,

Website: http://portugaltheman.net/

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Let’s Chat: The Elwins

October 29th, 2009 | By: Carmel Garvez

Photo Credit: Dave Meisner

Photo Credit: Dave Meisner

It was Saturday night in Toronto. The city was more alive than usual. Thousands of people of all ages were walking around, teeming with obvious excitement. It was the fourth annual Nuit Blanche, and everyone was out and about, feasting their eyes on the many different art installations and exhibits that were open all night long.

Right in the middle of Zone C, along the western strip of Queen Street, is The Drake. Blurry words or sentences – perhaps even forming to tell a story – were being projected on the front of the building. There was also a giant, blue, sperm-shaped water fountain that makes music by the hotel patio. Apparently, it’s called a hydraulophone.

This is where I met up with Travis Stokl and Matthew Sweeney, collectively known as The Elwins. It’s the duo’s fourth time playing the Underground, the hip west-end basement venue. The Elwins have released their self-titled EP this past April, and they also recently rocked a two-night charity show in Newmarket over the summer with fellow York Region-natives, Ruby Coast and Tokyo Police Club.

I was definitely looking forward to getting to know these lads more. However, the all-night art revelry did not quite work out in our favour, much to my chagrin. For most of the interview, we ended up walking to and fro The Drake, which caused a lot of confusion for both parties. Unfortunately, the loud environment we were in did not help either. The boisterous merrymaking brought about by that night had drowned much of our conversation. The only thing I was able to make out from my not-so handy-dandy audio recorder was when Matt and Travis thought they saw a member of Sloan standing a few feet from us. I told them to say hi. They didn’t.

Luckily, Matt and Travis did not hesitate to respond when I sent them the follow-up questions via e-mail:

The Singing Lamb: Who are you, and what do you do?

We are The Elwins. We write, record and preform jubilant gyrating jingles for the young and old alike.

What’s the story behind your band name?

It’s sort of a long story but we watched the movie Willow and ended up with our name.

How would you describe your music?

Lazy boy rock/jazz mixed with a bit of surf jolt.  This is probably one of the hardest questions to answer for any band, but you get it…right?

How long have you known each other? How did you two meet?

We’ve known each other for almost six years now.  We met in high school.  Our first interaction took place outside of  Ms.Carpenter’s english class.  We spoke about and listened to The Flaming Lips.   We didn’t start writing music until recently.

Who has the biggest influence on your sound?

We influence each others writing styles more than anyone else.  However some popular artists we take influence from are Burt Bacharach,  The Beatles, The Beach Boys and R.Stevie Moore .

When was the last time you purchased an album? What was it?

A few days ago Travis picked up the new album by Air.

What’s your favourite song to perform?

It changes all the time but usually it’s the newest song we’ve written.  Right now it’s a tie between our new arrangement of Squid Eyes and our new song that is yet to be named.

Favourite cover(s) to play?

Yeah! We tend to play a lot of covers when we perform acoustically.  A couple of our favorites are This Diamond Ring by GARY LEWIS & THE PLAYBOYS and Everyday by VETIVER .

What inspired you to pick up an instrument and make your own music?

To be honest, I don’t remember. It just happened, kind of like how you pick up a spoon to eat cereal. It just felt right and it worked.

Describe your favourite concert memory.

Once we had a gig at a Polish Hall in Oshawa.  It happened to be the headliner’s last show who we’d never heard beforehand.  They really rocked it. I think they were called White Light Heat.

What made you decide to pursue music full-time after high school?

I was more interested in self-educating than pursuing the more traditional routes of education after high school. The increase of my free time in combination with Travis’s didaskaleinophobia lead us to our decision to go full time with music.

When shall the public expect an Elwins full-length?

Hopefully next year sometime

What have you been up to lately?

We’ve been writing a lot of music, working out, learning magic tricks, harvesting wild edibles, etc…

What is your favourite ice cream flavour?

Matt: Chocolate chip cookie dough but lately I’ve been adding a bit of moose tracks to the mix.  Chocolate Cool Hemp is really good too.

Travis: Cookie dough anything is great.  I stay away from mint.

If you were a singing animal, what would you be?

Matt: black capped chickadee

Travis: dog

Last words?

Magic is still cool, don’t forget it.

Travis was also generous enough to recommend some tunes:

scan0010

***

The Elwins just recently came back from Halifax Pop Explosion, where they rocked the stage along with Gravity Wave, Maylee Todd & Pegwee Power, The Gideons, and Sports the Band.

For more of The Elwins, check out: http://www.myspace.com/theelwins

Keep your ears open and your eyes peeled for upcoming Toronto shows!

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Let’s Chat: Bahamas

October 25th, 2009 | By: Carmel Garvez

Bahamas

Afie Jurvanen is Bahamas

The Singing Lamb: What’s the story behind your moniker, “Bahamas”?

Afie Jurvanen: I was making the record, and I had a list of names that were kind of in the running… Most of the time, I play with a band… and I have kind of a weird name, so the idea of yelling “Afie” three or four times in a loud bar – it’s just easier if we had a name. And as we were making the record, it was just such a relaxed thing – and actually, there’s a lyric in one of the songs that actually said “Bahamas”, so when we finished the record, it was just the name that jumped out of me. And I think it kinda suits the tone, and if anything, I may be bending a little bit more to the name of the band now.

You’ve played with other artists, such as Feist and Jason Collett, to name a few. What were the most important lessons learned from doing that?

Afie: Well, the biggest thing is that I feel like I’m really fortunate in being with all these people that I’ve played with in bands, who were just the sweetest people. And that can sometimes be more important than the music. You’re living with people in really close proximity for months at a time, and if you don’t get along, or you don’t like the smell of someone’s dirty t-shirt, or something like that, it can really get on your nerves. So I’m lucky that I get to surround myself with the people that I get a kick out of, and get along with. And generally, everything else seems more effortless after that.

How has that influenced your music?

Afie: When I made the recording, I didn’t really plan it out all that much. We really just set up, and I invited some players that I really trusted and just trusted their musical instincts… You don’t really have to give people like that much direction… and most people just kind of find the right thing to do without much direction. And I’m a fan of that. And when I’m touring, it’s basically just me and the drummer, and we get along really well. He has a moustache. He has an iPhone, and he likes the same Bob Dylan records as I do.

That’s sweet!

Afie: Yeah!

Simplicity is emphasized in your music. Why is that so important?

Afie: I think I’m just someone who really gravitates towards the song. It’s always about the song, and more specifically about the lyrics. And so anything that you’re adding on to that, in my opinion – I just don’t want things get in the way of that ever. Basically, I just like keeping it lean and mean all the time. And a lot of it, like, on this record, is just bass, drums, and guitar, and we pretty much just play it together. And we left a lot of mistakes on there. And we left all the microphones open. There’s kind of an excitement and spontaneity that comes when you’re recording like that, and listening back to it, it sounds like don’t really need to add a thousand delay pedals and stuff like that.

And you’ve had your songs for over a five-year period-

Afie: Some of them have been kicking around for a while… I wrote a lot of songs while I was on tour and didn’t really have the chance to play my own music or make my own recordings, and so when we set out to do that, I just kind of purged and got that out of my system. So now, it does feel weird being on tour and playing songs that have been kicking around for a long time.

Do you still feel the same connection to those songs today as you did when you wrote them?

Afie: It’s pretty much the same thing, but you kind of constantly have to find ways of keeping it fresh. Like, find something in the song that is your own and that you connect with… I just get a kick out of it now because I wail around with the guitar, and I guess, I don’t take it as seriously as I did at one time… and with the new songs, it’s like, “Alright, I really want to play this one well”, and I work myself up a little bit.

So, you’ve written some new material?

Afie: Yeah, absolutely. I’m kinda always writing, and the last recording experience was just so inspiring, which was really the opposite of a lot of other recordings that I’ve been a part of. Normally, you have no money and no time, and so you wanna be really rehearsed and go in and get it done quickly. And for this one, there was just no plan. We recorded it at home, pretty much. I don’t know; I just came out feeling so inspired as opposed to defeated. But yeah, I’ll make a new record, soon.

Do you think Pink Strat would have sounded differently if you wrote it today?

Afie: Absolutely. I mean, everyone’s taste in music is constantly growing and evolving. Meeting new people, doing new things – all of that kind of goes into it. Like I said, we didn’t really have it planned out. It’s like a document of a time period and of a place that I was in at that moment. If I set up the exact same guys at the exact same place, I’m sure we’d come up with something totally different.

I read about your mysterious knee injury. What’s that all about?

Afie: I had a soccer accident when I was on tour with Feist. We were playing soccer after the show behind the venue, and I just got a really gnarly leg injury. I got to go in an ambulance, and they pumped me full of all these drugs. And I walked around with a big thing on my leg for a few months… with a cane, and I wore my sunglasses on stage. Looking back, I can laugh about it, but at the time, it was really hard travelling around and touring and trying to get out of the bus, getting into the hotel, up the stairs of the stage – it was so much labour. I feel like when I’m an old man, it’s gonna be one of those things like, “Ah, sonny, yer grampa’s knee is acting up today”, y’know?

But is it better now?

Afie: Oh yeah, it’s better now. But every once in a while, it acts up.

How long ago was this?

Afie: A couple of years ago.

Pink Strat is the name of your album. How important is it for musicians to make connections with their instruments?

Afie: For me, it’s totally important. I’m a huge gear nerd and guitar collector… Each instrument can sort of conjure songs… You can just pick up a certain guitar, and there’s something about the way it sounds or feels will cause you to play it differently than another one would. For me, my “Pink Strat” has been with me for a long time, and I was playing it on lots of different recordings, brought it on tour with me, and I wrote a lot of good songs on it. So, when I was looking for a title for the record, it just seemed like a nice way to sort of honour that time and the spirit of where those songs were born.

How old were you when you first got it?

Afie: I was probably twenty. It wasn’t my first guitar.

Do you have names for any other instruments?

Afie: Nothing pretty, like “Lucille” or romantic or anything.

Last question! If you were a singing animal, what would you be?

Afie: I think I’ll maybe be a monkey. I can be a little bit of a goof. I also have a tattoo of a monkey!

***

For more Bahamas,

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

Don’t forget to catch Bahamas, opening for The Rural Alberta Advantage, on November 20th at Lee’s! Tickets are still on sale for $13.50!

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Let’s Chat: An Horse

October 13th, 2009 | By: Guest Contributor

An Horse

An Horse

The Singing Lamb: So you guys are currently on tour with Silversun Pickups; how’s that going?

Kate Cooper: It’s great! We’re about a week and a half in and they’re awesome, great people and good friends so we’re having a lot of fun!

The last time I saw you guys was at the Horseshoe with Telekinesis and that was an awesome show.

Kate: Well Telekinesis is awesome, so yeah!

Well I’ve noticed that you’ve been constantly on the road since the release of your album.

Kate: Pretty much!

Have you had time to sit down and take it all in yet?

Kate: Before this tour, about a month ago, we had about two months off and we had a month off earlier in the year but yeah, it has been hectic!

I read somewhere that you and Damon used to work at a record store.

Kate: Yes, that’s correct!

I was just wondering, the way that people have been discovery music now, it’s not so much going into record stores but online or blogs or whatever. Do you miss the days where you would go into a record store to find out about new music?

Kate: Well personally, I miss going into a record store but that’s because I’m broke and I have no money and if I go into a record store I spend money! I mean, it’s changed so much so quickly. I worked there for two years but the whole time it was comfy; the weekends were crazy and it was just a place where kids hung out and it was awesome. When I was working there, there were probably eight shoplifters but near the end, the reason why we stopped working there was because the store closed and we were the last two employees standing. Definitely when I get time off I go to record stores but I know that the new generation of people don’t go. There are upsides and downsides to it because, yeah the record stores are going out but I still think people are competing just as much if not more. I know people steal my album and trust me, if more people bought it instead of stealing it my life would be a whole lot easier but its just reality and you’ve got to move forward and figure out ways around it. But that being said, it will never beat going into record stores and buying records.

I agree! I just like the human interaction more; they’re just so much friendlier than reading a blog or something.

Kate: Well, not always! I agree; I feel like everyone has a blog, but I don’t give a fuck what you want to say, I don’t care. I go into a record store and figure it out for myself. Everyone has something to say but that doesn’t mean they should publish it.

There have been a lot of end-of-the-decade lists recently. What are some of your favourite records of the decade?

Kate: Whoa, I’ve never been asked that question! I was just thinking to myself, ‘Oh my god, it’s 2009!’ Wow, that’s huge! It’s so hard; it’s like asking me for my favourite book. I mean, most of my adult life was in that decade listening to music, so hmm that’s tricky!

Were there any albums in particular that inspired your record?

Kate: No, actually! I don’t think so. There was no album in particular in mind when we were writing the record. I think I was listening to a lot of Against Me but that doesn’t reflect at all. I wish it did but it doesn’t!

Working at a record store must’ve been like having a home library to listen to whatever you wanted.

Kate: And talk about it, pretty much!

After this tour, do you have any plans for recording a follow-up?

Kate: We have a tour in January with Tegan and Sara and after that we’re not too sure. We have 20 songs written but it’s just a matter of figuring it out where, when, why and how. There’s still a little bit of live left in this record!

Do you have any artistic ideas for the new one though?

Kate: We’re actually playing some new songs live and I guess we do. I don’t want to be the same, I want to grow with every record and I think with the songs that have already been written have lent themselves to a different sounding version of us which is exciting. I don’t have any grand plans that we’re going to be a techno band or anything like that but all I want to do is make honest music.

That’s what I like about your music though; you’re a two-piece band and you sound like a two-piece band. It doesn’t sound like there are too many overdubs or anything. I hear that the new Tegan and Sara album has no overdubs.

Kate: Well I think it has some! We got a chance to be there while they were recording it and it’s a great sounding record, Chris Walla did an amazing job.

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

Kate: I guess I would like to be a shark. I know they don’t sing, but they make people scream. I guess dolphins kind of sing. I’m also sitting by the beach at the moment so I feel like I’m kind of influenced by the beach atmosphere!

Interview By Kyle Sikorski

***

For more An Horse,

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

Don’t forget to catch An Horse opening for Tegan and Sara on January 19th and 20th at Massey Hall and Kool Haus, respectively. Tickets are on sale now! For more info, go here.

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Let’s Chat: Ra Ra Riot

September 14th, 2009 | By: Guest Contributor

Ra Ra Riot

Ra Ra Riot

Few bands know the true meaning of adversity. They’ll claim they have overcome adversity to lend credibility – a badge of honour if you will – to their otherwise shallow name, but not many can say they’ve truly overcome great challenges.

Ra Ra Riot is not one of those bands.

The members of Ra Ra Riot all met while attending New York’s Syracuse University and decided to form a band in January 2006. “I really wanted to do something before I left school,” guitarist Milo Bonacci tells me when I recently spoke to him over the phone, “And it just turned out to be something that carried on.” The band, who consisted of Alexandra Lawn, Wesley Miles, John Pike, Mathieu Santos, Rebecca Zeller, and Bonacci, started playing shows around the campus before “graduating” to larger gigs including playing NYC’s CMJ Music Marathon. But a year later, tragedy struck, when the body of drummer Pike was found on the shores of Buzzard Bay, near Providence, Rhode Island on June 2nd. He had gone missing from a party the night before and was believed to have drowned.

That could have been the end of the Ra Ra Riot story. But instead, the band decided to persevere. In January 2007, the band signed to major label V2 Records, a label partly responsible for launching the likes of The White Stripes’ and Moby, among others. Ra Ra Riot then released their first single, “Dying Is Fine”, a song that quickly made people sit up and notice them. The title and lyrics of the song, are a literary reference to the poem “dying is fine, but death”, by American poet e.e. cummings. “My roommate at university was an English student,” says Bonacci, “It was one of the first songs that we all wrote together.” The song, a sweeping, baroque pop-rock tune, is a meditation on the cathartic nature of death while paying tribute to not only a former bandmate, but a dear friend.

After “Dying Is Fine” came out, things began to move at an accelerated pace for the band. The band’s released their debut album, The Rhumb Line (which was named after the seafaring term for the imaginary lines on the earth’s surface that cut the meridians at the same angle), in 2008 on Barsuk Records with new drummer Gabriel Duquette. The album’s nine tracks married crunchy pop and rock hooks with organs and strings, on-top of sharp song-writing, with many of the lyrics originally conceived by Pike. “Alexandra and Rebecca studied classical music. The rest of us have less formal training. I took guitar lessons – nothing structured though,” says Bonacci. The result managed to sound incredibly somber, full of reflections on death and dying, while at the same time sounding like a band who had suffered greatly and was now looking to a brighter future.

Then the accolades poured in. The Rhumb Line was voted as the 38th best album of the year by Rolling Stone, and reviewer Kyle Anderson said that “Ra Ra Riot combine Arcade Fire’s orchestral reveries with Vampire Weekend’s pop sensibility for an album that’s both effervescent and heartbreaking.” The band that had started out opening up for bands including Editors, Tokyo Police Club and Art Brut, was now stepping into a spotlight of their own, and played everywhere from Iceland to Illinois. Their popularity was also bolstered by a number remixes done by the well-known international outfit, the Remix Artist Collective. In fact, the main man behind the remixes, happened to be a good friend of the band. “Andrew [Maury] is our touring sound engineer,” Bonacci tells me. “The RAC did a remix of  “Manner To Act” and somehow Andrew got involved with them.”

As of lately, the members of Ra Ra Riot have been involved in other projects, both musically and non-musically. Lead singer Miles formed Discovery, an electronic and indie rock project, with Vampire Weekend’s Rostam Batmanglij. The entire band has also gotten involved with the Yellow Bird Project, and designed a shirt, with proceeds going to the John Ryan Pike Memorial Fund. “We were asked and thought it was a good idea,” says Bonacci. The funds raised by their charity will go towards providing public access to musical instruments, and helping to faciliate a creative and collaborative learning environment for musicians.

But what about Ra Ra Riot fans craving new music from the band? Well, Bonacci has some good news for them. The guitarist tells me that the band’s recently completed tour will be the last tour the band will be doing with The Rhumb Line. Ra Ra Riot will then go back into the studio this winter to record their sophomore album. Bonacci tells me that it won’t be easy, but he is looking forward to it. And why not? After all, the band has already proven that they can overcome any challenge thrown in their paths and make beautiful music.

***

For more Ra Ra Riot,

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

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Let’s Chat: Mika Miko

August 3rd, 2009 | By: Guest Contributor

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:

MySpace

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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,
MySpace

By Cashlyn Teggart

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