Lang Lang was in town last week. On Friday March 13th, I headed to Place des Arts to attend Lang Lang's recital. Having had the opportunity to see him three years ago, I was eager to witness once again his world-renowned piano skills. In a day and age where pop music is put in the spotlight, it is pleasant to find oneself immersed in sounds that have transcended time and carved their place in the history of music. The modern edge of this recital has to do with the performer who by his twenties was already being praised as one of the best contemporary pianists in the world.
]]> Lang Lang, now 32 years old, has been playing piano since the age of 3. As a teenager, his performances were selling out worldwide, city after city. He has been continuously praised for his mastery of the piano and faultless renditions. Put in the limelight for his musical talent, he gained popularity by performing along other artists and also playing for important events, such as the opening ceremonies of the Beijing Olympics. His social involvement has expanded outside music halls. He has been involved with the United Nations as messenger of peace, and in 2008, he started the Lang Lang International Music Foundation. His organization creates outreach programs to connect to young audiences, with the goal of inspiring future generations of musicians. He has infused a breath of fresh air in the classical music scene by sharing his talent with the world and motivating others to do the same. Montreal, known for its musical diversity by being the home of great music festivals such as the Jazz Festival and Mutek, gave him a warm welcome with a week of sold out concerts. Lang Lang performed with the OSM for three consecutive evenings and gave a Shulich Masterclass at McGill, which also sold out. His recital was the pièce de résistance of his passage in Montreal, as he performed unaccompanied to a full house.The eagerness of the crowd was palpable as spectators took seat in the beautiful Montreal Symphony House, an architectural feat inaugurated in 2011, which has a capacity of 1,900 seats. The room, specifically built as a music hall, is suspended to avoid the ground from affecting the clarity of the sound, and the Quebec birch wood interior finishing was specifically chosen for its capacity to minimize echo and maximize the natural auditory resonance. An ideal venue for one of the world's greatest pianists. Lang Lang's recital consisted of Bach's Italian Concerto, BWV 971, Tchaikovski's The Seasons, OP. 37bis, as well as Chopin's four scherzos. Classic pieces seasoned listeners are familiar with... but the crowd was not here just to listen to music, they were here to witness Lang Lang.
The pianist indeed brings his own personal touch to his renditions. He is a fascinating character and his personality and individuality shines through his performances. It is mesmerizing to see his facial expressions as he feels the music. I catch myself wondering what the pieces evoke to him, since he is so well acquainted with them. He seems to sense the music, completely enthralled, and shows it like none other. It is yet another way spectators see how he truly is the human extension of his piano.
Listening to classical music is, for me, comparable to a meditation. One's mind drifts, and must constantly be brought back to the present moment. Thoughts invariably arise, taking us away from the performance and into our individual, private realms of consciousness. Closing one's eyes, the music transports us. Hearing sound coming from a real instrument, and not a recording or prefabricated synthetic tones, is a powerful experience. It is something everyone should be familiar with. It is a shame today's youth isn't exposed to it as easily as they are to pop music.
Eyes shut, one can let the musical flow take over. As captivating as the renditions were, I thought it would have been smart to put a carpet at Lang Lang's feet to diminish the impact of the sound his heels make as he frantically keeps the beat. Such extravagance is unnecessary and rather bothersome, in my opinion, since it hinders the piano's melody, which needs no percussion complement. And speaking of unneeded noise... Unfortunately, it is germ season, and many spectators did not have the grace to use cough drops or subtly clear one's throat in handkerchiefs, creating recurrent auditory interjections that made other listeners well aware they were in a room filled with almost 2000 people. Closing one's eyes and retreating to one's inner world, allowed a greater focus on the melodic talent being shared, but a public concert, remains, a public concert.
Standing ovations were given in between pieces numerous times. More established or reserved members of the audience were growling, trying to shush overly enthusiastic clappers in between segments of Tchaikovski's Seasons. Personally, I couldn't blame the fans. The performance was breathtaking and drew tears to my eyes more times than I care to admit. Applause was the crowd's way of sharing its appreciation as it felt it fit.
Lang Lang in the Montreal Symphony House in 2012
And appreciate, the crowd did. The ceaseless applause and acclamations led to not one but two encores. Lang Lang is known to be generous with them. The final piece, an extremely fast paced but precisely executed rendition of Chopin's Minute Waltz Op. 64 No. 1 made the room erupt in chuckles as he graced his audience with a last interpretation that really highlighted the personal touch be brings to stage. The applause was relentless, praising the innovative touch Lang Lang conveys to classical music.
More conservative music lovers grunt and hiss at Lang Lang's overt personality and individualistic touches, but I believe performers such as himself are giving a new life to classical music, helping it keep up with other music styles. It is a touch of fun and youth, to see individuality shine through pieces that are hundreds of years old. It is a beautiful way to keep the art alive. Lang Lang is but one of a series of contemporary musicians who bring their personal touch to a traditional art. I think here of the talented Yuja Wang, with her platform-heels and mini-dresses as she performs pieces that transgress the passing of time. I also think of Nigel Kennedy, famed violinist, with his Mohawk style haircut and unconventional attire.
Some believe individuality does not have its place in music halls. If many find Lang Lang to butcher classical pieces, it is mostly because their conservative edge prevents them from indulging the interpretation he brings. He is not everyone's cup of tea. However, I think seeing performers' individuality is what is needed to attract younger generations, for them to understand and appreciate classical music. I could see by the average age group of this recital that the twenty to thirty group was a feeble minority, and teenagers were practically absent. Classical music should be a part of everyone's education. Lang Lang's International Music Foundation, for example, is a way young, talented musicians are drawn to interpret complicated and timeless pieces of classical repertoires. By being inspired by celebrities of the music world, by getting a feel for the special touches individuals bring to timeless pieces, younger generations adopt a liking to classical music. There is a reason why these pieces have survived the passage of time. In our contemporary age, it should be our priority to celebrate those who can honor classical music by sharing their talent.
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"Do what makes you happy. Everytime you make a decision, think if it's going to make you happy in the long run."
In the cozy back room of Le Cagibi café, located in St-Laurent, fans, friends, and family gathered to hear local talent while supporting Jam for Justice. Jam for Justice is a showcase for local talent, where the ticket proceeds go to fund charities. Tricia Fitz, an aspiring Montreal artist graciously agreed to meet me before her set, to chat about music and life.
]]> Tricia Fitz has been to school in three different countries (Brazil, United States and Canada) and is pursuing a Bachelor in Education at McGill University. She used to work as a vocal instructor and spends her free time with her fiancé and two cats.This past summer Tricia Fitz made it to the final round in the Landmark Showcase Event, where she played for record labels such as Sony and Warner, at Club Soda. She's also played for the Nuit d'Afrique Festival and has collaborated with other musicians in Montréal. Her voice is accompanied by a guitar and bass duo. The bass is played by her fiancé Francois Dumouchel.
At the Jam For Justice Showcase she captivated the audience with her stage charisma; hypnotizing her audience with her dancing and folk voice. Her songs tackle dark themes but have an uplifting message.
The past:
What are your fondest musical memories?
In 2008, I was part of a band while living in Brazil. At one of our shows I did a stage dive. It was really memorable and is probably the last time I will ever do a stage dive. I'm glad they caught me.
Is there a particular song or musical passage that never fails to move you emotionally?
Florence and the Machine- Shake it out. When I'm not feeling very confident and questioning life in general, it always helps me get back on my feet again. It helps to balance me out.
How has your background influenced your music style?
Brazillian music doesn't influence me style wise. However, I do go for a similar vibe, like the charisma, happ, and festive feelings; that is what I want to give off on stage.
Music and creativity:
Which famous musicians do you admire? Why? What is your favourite album?
Devin Townsend, he is god, even though his genre is metal and not like my own. I really admire him since he does everything himself. It's his expression on stage that I'm highly influenced by. He has a very intense look and is really into his music. I want to be like that, performance wise. My favourite album of all time is his album Addicted.
What is your creative process?
When it was just me, I would come up with a melody first. I would have drafts and recordings of me humming on my phone. That's how the songs would get born. Then the lyrics would come and I will polish them for about 5 months before I perform the songs.
Recently, Francois has joined me on stage and sometimes comes up with a bass line to a new song first. Then we would create something on top of it. The process is a lot more dynamic now, which I like since I can't imagine some of the songs without the bass.
If you hadn't been born in this century, when and where would you have like to have lived and why?
The future, like 2092, so that we can be passed this twerking age and cats will finally rule the internet. I love virtual realities, so if I could live in one, that would be awesome.
Performance and life:
What are some of your pre-performance rituals?
I'm sorry if people think this makes me sound crazy, because I actually have a super intense ritual that I follow religiously.
My basic rules: no chocolate, dairy, or nuts - anything that creates mucous.
I have tea or rather a hot water ritual, where I chug four cups of boiling hot water and then have nothing to eat or drink four hours prior to the show. My throat is so dry right now, because I don't feel like I can sing without a dry throat. Maybe the difference is only apparent to me, but it's there.
Which language do you prefer to write or perform in?
English, because it's the language I'm most comfortable in. But I like to throw in one Portuguese song in every show. The cover I usually perform is by a joke band in Brazil. It's my inside joke with any other Brazilians in the crowd. Usually, it's just a little joke for myself.
How do you handle mistakes during a performance?
I make it really obvious that I've messed up, which I have been criticized about. People usually say, "to just let the show go on," but I feel guilty if I don't address it. So you will see it on my face when I make a mistake. I make it apparent to put it in perceptive, that I am aware of the mistake I just made.
What do you do to relax?
Video games, currently I'm playing Animal Crossing, I have two towns, so I just visit myself and it helps me de-stress. I also play The Sims, my childhood friend.
Do you have any hidden talents?
I'm a surprisingly good bowler. I do trick shots, like doing a somersault, throwing the ball and getting a spare. I didn't even need any practicing. I'm just Lucky. I must have done something really great in my past life, to have the luck that I do. I have really good karma and I feel that a lot of my talents are based off of luck.
What's the best advice you have ever received?
The best advice I've ever gotten was from my father -one my heroes- he's always told me to do what makes you happy. So if you're doing something that isn't making you happy or will make you miserable later, just nip it in the bud. It's always in the back of my mind, and if I don't want to do something, I don't. Which is a piece of advice I've carried with me since I've been a little girl and that makes me happy and proud of what I'm doing.
However, very recently with adulthood, paying rent, bills and grocery it's hard to go back to doing what makes me happy. I have been working on gettin back to that point.
Also stay humble, always be humble, which is something that I'm working on too.
Future:
You have been hinting at an album release on your social media. When can we expect it?
The main issue I'm having right now is money. I released the first single "Dance with me," last September. However, I keep changing my mind when I'm thinking about the album, which has delayed its production. I've been thinking about starting a funding campaign, like a Kickstarter. I'm just waiting for the right opportunity to do so, since some songs and other things need maturing.
I'm taking my time, which is good and bad. Bad, because people are waiting and expecting something and good since the album will be more polished and something that I can be proud of.
What influenced the album?
I love the idea of creating an ensemble of my works and setting a theme. This is my first album as a solo artist and I want to present dark themes in a light-hearted way. I believe that there are different ways to explore the darker corners of society and I want to present those dark themes as if they came out of a cartoon. Not in an oversimplified or naive way; more like in a fun and silly way. I want people to trigger their inner weirdo while at the same time make weirdoes feel like everybody else.
And finally:
Have you faced and conquered any challenges in your life that you would be willing to share with your fans?
I'm the kind of person who will say something and realize that it sounded much better in my head. I am aware of this and I have learned to be more careful, but I still face this challenge constantly. As an entertainer, I have to communicate with people so this makes it more difficult for me. I find it easier to express myself through lyrics than actual sentences. Sometimes I like to imagine how quirky I would be as a politician. Mandatory musicals for all!
How does it feel to have a crowd at your feet worshiping you? What is it like having fans?
I'm not aware of this. I want to know where the crowd of people that worships me is. Now that you mention it, it would be cool.
What I'm really going for, as an artist is more like a cult following, like the one for Arrested Development or Firefly. They have a small and really dedicate, loyal fan base, which is what I want.
I remember playing at Club Soda, and after the show, a girl came up to me and asked for a picture, and I swear I was more excited than she was. I'm not used to that, I'll probably be more excited to see people excited about me than they are to see me.
So please don't be shy to come up and say hi :)
You can follow Tricia Fitz on facebook, Twitter, Bandcamp, itunes, and Souncloud to find out more and listen to her music.
]]>]]>After a being on hiatus since 2008, the metal-core quintet Fayne returned to the Canadian metal scene at Montreal, QC's La Vitrola on November 20th, debuting their third EP 'The Queen of Kings'.
The Main Course
Fayne
The Main Course for the night, Fayne, surely filled Our Hearts and Bellies with core-filled fist burgers and motivated serenading side salads!! Fayne is back and with a Vengeance: that's for sure! The energy they created on stage powered their amps and reinforced the crowd. Surely Fayne has a message to spread! Thoughtful lyrical content brought us together, uplifting the crowd, spreading the power of oneness, and knocking down the walls of mind blocks that stand before us. And speaking of walls...the dense wall of sound created by the breakdowns surely raised a rumble of raised fists and energetic punters moshing heads.
The Sides
Dreams Of An Absolution
Watch out Montreal! Dreams Of An Absolution are here to stay/slay!! sludging grooves reminiscent of early Djent before the expensive emulated gear took all the hype. Head churning chuggs laced with dissonant melodies ride out songs unequal to the scene! Thanks for being unique! These younins are raw as fuck! Not typical from this modern genre. Keep an ear out for these guys as the brutality that oozes from there groove-focused structures are a tsunami ready to crush Montreal! BTW if those vocals don't eat you up who will?
Atsuko Chiba
Channeling passages from Rage Against The Machine, Pink Floyd, Five Alarm Funk, Tides Of Nebula all mixed together to form glitchy experimental electronic dance music (EDM). Will the promoters and Fayne take the band on-board the Mighty Valhalla Sound Circus?(http://valhallasoundcircus.com) Atsuko Chiba blend chilled atmospheric EDM with post rock in way you need not only hear but also taste! Layers, layers and more layers, imagine these stage beings as a full set of paint brushes each with there own color splurging a sonic riffage across the canvas faces of the audience.
Like RockFest, Woodstock en Beauce (June 25 to 29, 2014) is a festival where camping is the best way to go. It has also been refered to in the past as "MudFest". The lineup has yet to be revealed, except for PapaRoach. You can purchase your tickets now. They are $75 plus $45 for a camping spot.
]]>Last year's RockFest got a lot of negative publicity, but this doesn't seem to phase-out true metal fans. It might help that this year, Amnesia RockFest has teamed up with le Festival d'été de Québec and their sister company 3E-evenement to manage the logistical aspect of the RockFest. This proves that bigger organisations believe that Alex Martel who created the RockFest 9 years ago at only 17 years of age has some room to learn and perfect the event. PMiron Consultants (http://pmiron.com/projects/) is another firm with big event experience that will be assisting in the success of this year's RockFest.
Why will I not be going to RockFest? The location of this event is truly the only reason I would not go. In all honesty, I would not want to be camping in mud and sleeping less than 2 feet from my unknown neighbour. As for the hotels, Amenia RockFest claims that they are sold out a year before the event (I haven't called any hotel to confirm this information).
For those willing to get down and dirty, to wait in line to use a port-o-potty, I say have a blast! Buy your week-end pass now as they will sell-out quickly and are a steel at only $99. But I will also will you luck in finding a place to pitch your tent and park your car! You could even go by boat, but reserve your spot at the marina.
]]>After much wait, Evenko has finally released the schedule for Heavy Montreal. They are doing the release after Rock Fest released it's band list with much disapoint to fans. But Rock Fest has to repair the damage done last summer with bad management while Heavy Montreal had to please their fans with a heavier lineup than the one from which had Avenged Sevenfold as the headliner for one of the nights. I'm not saying Avenged Sevenfold is not good, but it's nowhere as metal as Metallica or Slayer.
This year's Heavy Montreal will have parents and teens. Fans from the early days whom are now in their 40s and 50s and the newer fans who are just entering adulthood. Metallica and Slayer are bands with street cred. They attract fans and sell tickets. Of course, some people say that Slayer is not the same with Dave Lombardo on drums, but I say to hell with that controversy. I saw Slayer at the CEPSUM last fall and Paul Bostaph having replaced Lombardo in the past does an awesome job. And Gary Holt seems to have taken his place after Jeff Hanneman's passing.
Metallica is doing "Metallica by Request" which means the show's songs are selected from the fans requests. *edited* Metallica's set includes 18 songs, 17 of which got the most requests from fans who voted online. To be able to cast your vote for the song you would most like to have on the setlist, make sure to request your special code when purchasing your ticket. You may be wondering about the 18th song? Well, from what I've read online, it's going to be a brand new song, so check YouTube and you might be able to hear it before the show since it'll be performed on the Eureopean tour.
Some people might be disappointed about not having more glam rock bands like there were in the past. But Kiss and Motley Crue didn't belong in a heavy metal festival. Also, a lot of people have complained that Heavy Montreal does not have the "Big 4", but darn it, it's the closest it's ever been. And to have the "Big 4" (Metallica, Slayer, Anthrax are three of the "Big 4"), the band list would need to include Megadeth, and after being part of the festival in 2013 and 2010, we should welcome the band list as is! Some metal fans are also complaining about the punk bands on the list, but I believe both musical styles belong together, if not as unhappy neighbours, maybe as drinking partners.
Weekend passes go on sale this Friday. They will sell at $165 pre-tax and the number is limited, hey Evenko wants to make sure they sell enough. You could also splurge $400 plus taxes for a "prefered seating" on a terasse which is new this year, see image below, as well as "exclusive toilets". If you plan on taking your 10 year-old cousin, note that kids under the age of 10 can go in for free with a paying adult.
For more information, visit http://heavymontreal.com/
]]>This show was true rockabilly, starting with the psychobilly of Montreal band The Brains who did an amazing job at warming up the crowd to another psychobilly band Nekromantix all the way from Denmark and California and Reverend Horton Heat's Texan roots who I have a hard time describing as psychobilly. All three bands were the standard trio of musicians with the signature slap bass.
The Brains did an amazing job. They had charisma and perfect hair! Their doing away with the makeup has taken nothing away from their talent. Their songs are true to form of the psychobilly style with the horror themes. They have been around since 2002 and you can tell they know what they're doing. They have six albums under their belt, so the material is available and the songs plentiful and catchy. I highly recommend their last album "The Monster Within". With names like Rene De La Muerte on vocals and guitar, Pat Kadaver on drums and Colin The Dead on stand-up slap bass, how could you not agree that this is the perfect psychobilly trio!
As for Nekromantix, they must have had an issue with the sound guy because they sounded awful! If they had pulled an "Axl Rose" move and cut in the middle of a song for a sound check, I would have applauded them! We could not hear anything from the backup singer/guitar player, Francisco Mesa. Lux was awesome on drums and what can be said about singer Kim Nekroman, but to marvel at his coffin-shaped slap bass! Had it not been for the sound trouble, the set would have been a-ma-zing.
As for Reverend Horton Heat, the set was much slower and less dark. The sound of the steel strings on his guitar make for an awesome sound. They sure did not have any issue with the sound. You could hear every note coming out of that instrument. Unfortunately, I had to leave while Deke Dickerson was performing on his double necked guitar. It was, after all, a work night.
Sleaze metal, what is it exactly? Sleaze metal was a born from a revival of glam metal in the nineties, some people say Sweeden is the birthplace of the genre. How would someone describe sleaze metal? It's a musical genre with roots in rock music and heavy metal. Don't call sleaze metal hair metal or you might offend someone!
We all thought grunge killed heavy metal, more precisely hair metal, back in the nineties, but lots of bands stuck around or have been reviving from the ashes of metal days.
]]> Sleazy Way Out, a Montreal-based band, calls describes its sound as "Sleaze Metal", but what exactly is Sleaze Metal? Where does it originate? And most importantly, who is Sleazy Way Out?Is a band who's done their homework. They have the recipe for making catchy tune and they are using it, with abusing it.
The band is made up of three musicians and one lead singer. They are: Stacey Sleaze as the lead screamer (as per their website); Cleve Hartwick on Guitar and backing vocals; J-F Daigle on bass guitar; and last but not least, Dany Cardinal on drums.
How did Sleazy Way Out come about? Cleve and Stacey ran into each other at a Saxon concert in Montreal in September 2012 (now, in case you are wondering, Saxon is a British metal band formed in the mid-seventies who are still rocking the metal scene). Cleve and Stacey discovered that they shared a passion for similar bands and that both were looking to start an original band. They got together shortly after and had their first jam (a jam in music is an improvised musical performance) with JF Daigle on bass. A few months went by before they finally found the perfect drummer at the beginning of 2013.
The band didn't sit still. They started recording songs and posting them on their Facebook page. Their fan base is close to 3500 in less than a year! Pretty impressive!
The strength of their self-recorded song drew the attention of Delinquent Records based in the United-States. They were offered to include a song on a compilation album. They recorded "Born to Booze" at Uplift Studio in Montreal with the help of producer Kevin Jardine (formerly of Slaves on Dope, you can read on article featuring Kevin discussing how difficult it is to break through in the music industry.
How woud you describe the sound of Sleazy Way Out? It's a mix of the best glam bands from the eighties (Motley Crue, WASP, Dangerous Toys and Cinderella), but with a heavier sound that one might expect from a sleaze metal band.
The band has a large repertoire of original songs as well as cover songs that they perform live. You can view some of their live performances on YouTube. They cover bands that were highly popular back in the heydays of glam metal such as Ratt, Guns 'n Roses, Cinderella, L.A. Guns, Skid Row, Faster Pussycat, WASP and Britney Fox. Those songs really get the crowds going! As for the original songs from Sleazy Way Out? They are in no way left behind during shows! They are high energy rock songs with catchy lyrics leaning heavily on the sleaze rock motto!
We can thank Bands like Sleazy Way Out for sticking it out and making sure the sound never dies and even progresses. Sleazy Way Out is not a lazy band who only play cover tunes, no, they actually write and record their own songs. You can listen to a excerpt of Born to Booze on the compilation album "Girls, Fire & Hairspray" on iTunes. You can learn more about Sleazy Way Out by visiting their website at : http://www.sleazywayout.com and you can see them live at Cafe Chaos on January 24, they are the headliners, scheduled to hit the stage at 10h30.
I do wish them all the best in getting an album out and getting their name known across borders. I do believe they have a chance at getting themselves known outside of Montreal. All they need is more exposure.
]]>The band consists of: Stacey Sleaze on lead vocals, Cleve Hartwick on guitar and backing vocals, Dany Cardinal on drums and backing vocals and J-F Daigle on bass.
ML: You describe your style as sleaze metal, which bands would you say influence you?
SWO: Cinderella, Hardcore Superstar, Britney Fox, Motley Crue, Dangerous Toys, L.A. Guns, Reckless Love
ML: Which band do you despise most in metal? No, NickelBack does not fit into this category!
That got the whole band laughing and they had to think about that one.
Dany: I don't like Death, Gore, M-Core stuff like that,
J-F: Speed metal, I hate speed metal.
Cleve: Dillinger Escape Plan it's not our thing. Jazz metal and that kind of music is not for us either.
Dany: Limp Bizkit as a band they don't like, but they argue it's not metal.
SWO: We hate Korn, Linkin Park and Limp Bizkit, but those bands should not be considered metal.
]]> ML: How long have you been playing music?Dany: 10 or 12 years
Stacey: almost 20 years
J-F: Over 20 years, born in music
Cleve: 22 years
ML: How did you meet the band members?
SWO: Dany, met the band members via the internet and auditioned. J-F and Stacey already knew each other having played together in another band which split up, Stacey met Cleve at a show and they discovered that they shared musical tastes.
ML: How often do you practice?
SWO: Usually we practice twice a week, but sometimes only once.
ML: Who is the biggest band you opened for?
SWO: L.A. Guns and Crash Diet are two of the biggest bands they opened for, but they agree that L.A. Guns is a bigger band.
ML: If you could play with any band, which band would it be?
SWO: Hardcore Superstar, followed by Motley Crue, but also Kiss and Reckless Love.
ML: How many gigs have you played so far and how often to play live shows?
SWO: In this lineup, since March, it's at least once a month, so about 10 or 11 gigs.
ML: How many other bands have bands have you been in before being in Sleazy Way Out?
SWO: J-F has been in too many bands, Cleve has been in at least 8 or 9 bands. They've been doing it for a long time.
ML: You already have a single on a compilation album; have been approached by a record producer to do an album with just your band?
Cleve: Yeah, the promoter for our upcoming gig of Friday November 29, was at our last gig of October 26, with Diemonds, he approached all of us and told us that we needed to go into the studio and record an album now. We would have an album, but we don't have the funds for it. So what we will be doing is raising funds by playing shows and some other means and get into the studio in early spring late winter.
ML: Regarding the song you recorded, have you sold many and does iTunes pay decently?
Cleve: We have sold a few singles, but it does not pay well. We only get a few cents per song sold.
ML: Have you considered about fundraising on the internet?
Cleve: Absolutely, Kickstarter and that sort of thing. Graph funding is actually our next step.
ML: Who writes the songs?
J-F: Usually Cleve and Stacey.
Cleve: I usually handle most of the music and then I'll pass it on to Stacey. I'll demo it with my recording software at home. I'll put it in rough format of verse-chorus-bridge-chorus-solo-whatever. I'll send to Stacey and he'll put a melody on it. We'll bring it here, we'll jam it, and we'll work it through. Then we'll put some words on it and voila!
ML: Where do you get your inspiration from when writing the songs?
Cleve: The inspiration comes from various sources. Girls, partying, love, booze. The songs usually come together pretty quickly once we have the basic structure ironed out. Sometimes in one jam, sometimes it takes two.
ML: Do you know any drummer jokes?
SWO: J-F The drummer sucks. It's not a musician. It's the guy who hangs out with the musicians.
Rapid fire questions
ML: Best show you've ever been to?
SWO: Saxon at Foufs (Foufounes Electriques), Motley Crue, Kiss, Ramstein, Iron Maiden (PowerSlave)
ML: Most disappointing show you ever saw?
Cleve: Iced Earth in London, Ontario, I had to leave it was so (bleepin') bad
J-F: Heavy Montreal every year
Dany: RockFest in Montebello, summer 2013
ML. Musician you would want to have a beer with, alive or dead?
SWO: Paul Stanley, the guys from Sleazy Way Out
ML: First album you ever bought?
J-F: I bought three the same day, Shout at the Devil by Motley Crue, Speak of the Devil by Ozzy Osbourne, and Iron Maiden's The Number of the Beast.
Stacey: BonJovi, Slippery When Wet.
Cleve: The first album was probably from Saxon, Crusader
Dany: The Mick Jagger and David Bowie single, Dancing in the Street
ML: Last album you bought? It had enough good songs that you would buy the whole album.
Stacey: Death Angel, The Dream Calls for Blood (2013)
Cleve: Crucified Barbara, The Midnight Chase
J-F: Black Label Society, Unblackened
Dany: Napalm Death, Harmony Corruption
ML: The last and the first show you ever saw?
Stacey: My first show was Bon Jovi, the last show was Death Angel a few weeks ago.
J-F: I was pretty young at the first show, when I lived in Ste-Marie-de-Beauce, it was tribute to Rush and it was a big set-up with pyros and lights. It was amazing and I was nine years old and that's when I discovered that's what I wanted to do with my life. The last show was the one I played in, there were other groups to see, not just Sleazy Way Out, Diemondz.
Cleve: The first show was Metallica with Queensryche on the And Justice for All tour. The last one was Diemondz. Before that it was Saxon.
Dany: The last show was Bon Jovi. The first show, I was too young, I can't remember.
ML: What are your thoughts on Arcade Fire?
SWO: Sucks big time! J-F: It's a good band, but not for me.
ML: With this band, have you ever had any rivalry with other bands?
J-F: There are three bands in Montreal playing basically the same styles, Rusted, Easy Aces, and Sleazy Way Out. You always want to perform better than the other bands, but at the end of the night, you shake their hands and that's it, they're friends and you have a beer together.
Cleve: There is no rivalry because we get along with all the other bands that are in the same genre as us.
ML: How difficult is it to get gigs?
SWO: For us, it's pretty easy. It also depends what you consider a gig.
Cleve: Getting a gig here is easy; getting paid is not so easy.
ML: Do you get paid to play or have you ever had to pay to play
J-F: We've never played anywhere we had to put our money on the table.
Cleve: We do a lot of work with Dungeon Works Productions here in Montreal and we get treated very well by them, they give us a guarantee every time that we play and they give us a cut of any tickets that we sell. So, regardless of how many people are there, we do make money playing. The more tickets that we sell, the more money that we make on the guarantee.
Dany: They (Dungeon Works Productions) have a good name
ML: What is your musical goal?
JF: (laughing) Getting rich? No, it's not even that, I don't care about being rich, it's about the music. Having fun, being in the band and feeling that it's heading somewhere. Knowing that you are in a band with guys who want the same thing as you. It's not important to make money at every show, what's important is having fun doing it.
Stacey: Make a living out of it.
JF: It would be cool, but it's a dream.
Stacey: It's a dream.
Dany: To play Club Soda and play sold-out shows on tour.
ML: Have you ever had any instrument stolen?
Cleve: I had a guitar stolen when I was in a Pantera tribute. We played in Niagara Falls and the singer was supposed to watch the truck full of gear, but instead he was off distracted by some girls and left the truck unattended while someone walked to the truck and lifted one of my guitars. I didn't notice it right away because the truck was so full of gear. The guy most likely picked up the first thing he saw and that was my guitar. And I'm still pissed about that.
Dany: Somebody stole my wallet in the studio a few weeks ago.
ML: Do you sell merchandise at your shows?
J-F: Yes and we will have more and more. It's our goal to have a lot of things to share with the fans.
ML: Anything else you want to plug in???
Stacey: Our next show. November 29 at Petit Medley.
Cleve: Famous Underground, Rusted, Sleazy Way Out. We go on first, so be there early. Buy our t-shirts, buy our posters, our guitar picks, pins...
]]>
Through his willingness to share and work with artists of all disciplines, he is responsible for influencing an entire music scene; always one to value the insight gained from others, Elliot has been at the centre of some of Toronto indie's most exciting collaborations.
Born and raised in the unassuming Ontario suburb of Thornhill, this humble musician got an early start performing in Christian-revival church bands, talent shows, and local shopping malls. Now in his mid-twenties, however, Elliot has made a name for himself as a versatile composer and multi-instrumentalist amid the haughty tastes of the Toronto and Montreal music underground. While most comfortable working from his Toronto based studio, Elliot has collaborated with some of the most notable Indie and electro outfits across Canada - the impressive list of those with whom he has worked over the years has grown to include such formidable acts as Formalists, FanService, Dubl-D, Mr.Mover and the Shakers and Kodiac Trail, to name just a few.
Better known within the electronic dance music, or EDM community, as one half of the disco DJ duo Sherman&Fraizinger, Elliot is equally respected across a wide range of musical genres for both his song writing and production expertise. His main project, The Neighborhood Watch - a four-piece indie-noise-rock collective in which he is the driving creative force - is poised to release their critically anticipated sophomore L.P. later this year, and has garnered considerable buzz both within the online sphere and on the streets.
To be sure though, Elliot did not find his success through here-today-gone-tomorrow blog hype or media promotion like so many others. Rather, through years of painstaking commitment to refining his craft and an undeniable ability to consistently push the boundaries of electronic music, his inclusive and energetic approach to the creative process has made him one of the most sought after artists in today's industry.
To understand why so many jump at the opportunity of working with him, or how he is able to successfully orchestrate numerous and diverse musical projects, it is important to have a better appreciation of who the man behind the music really is.
By any reasonable measure, Elliot is an accomplished individual. Fluent in several languages and holding degrees in both philosophy and electrical engineering, those in his inner circle regard him as epitomizing a modern Renaissance man. At the age when most of us were still learning our ABC's, young Frazer occupied himself by composing piano sonatas and taking apart old transistor radios. Voted by his high-school classmates as most likely to become a rock star and most likely to make significant contributions to science, his mutual interest in music and technology has resulted in a dynamic synthesis of digital and analog mediums. While he is proficient at playing virtually any instrument within his reach, he does not limit himself to any single mode of expression. His extensive catalogue boasts over five hundred unique compositions in which he has performed and recorded instruments ranging from grand pianos to glockenspiels.
While he is not one to revel in the limelight or actively seek out praise for his numerous academic and professional accomplishments, the consensus is unanimous: bringing people together is what Elliot does best. In looking back at his past involvement with the indie and electro scene, it is hard to quantify the immense influence he has had on so many emerging artists. Pavel Gurvich, lead guitarist of The Black Carrots, relates one of the many examples of Elliot's charitable ethos:
"Yeah, Elliot is all about working with different people and getting together as many artists and instruments as he can in one place. He loves that [expletive]. I remember back in the day, like before any of us had any decent gear of our own, you know, he would always let us go jam at his place. This was a big deal to a lot of us because we didn't have money for rehearsal studios or anything like that, let alone sound engineers or access to recording equipment, but Elliot man, he would cut demos for us for nothing. I mean he really helped a lot of us starting out".
This is, however, only but one example of Elliot's contributions to his community. From what band-mates and people in the scene say of him, he is akin to being the patron saint of fellow musicians. From his willingness to fill in for a friend at a moment's notice, or to offer the services of his minivan, or to give advice to those in need, there are few who compare in generosity or modesty.
Having had the privilege of knowing Elliot personally, I, like so many, can honestly say that if not for him, I might very well not be pursuing my own passions. Through his actions and words, the lesson he most impressed upon me is that it is always better to include than it is to exclude; it is always better to embrace the reject; it is always better to oblige than it is to deny - because, in the end, we all benefit when we come together. In a time where so many only look for the profit or gain derived from things, I consider myself fortunate to have crossed paths with Elliot Fraizinger.
Check out the Neigborhood watch: http://neighbourhoodwatch.bandcamp.com/
Show them love on FB:https://www.facebook.com/TheNeighbourhoodWatch?fref=ts
]]>MADE IN IRON (formerly known as Power Slaves) are proud to announce they will be returning to Montreal on May 4th at L'Olympia and May 25th in Quebec City at Théâtre Capitole with its renowned Iron Maiden tribute show that showcases an experience like no other homage in North America. Experience 1984 Iron Maiden once again!
Having first performed in Montreal in 2009 at the Medley in full band character as Iron Maiden. MADE IN IRON demonstrated a four floor Egyptian stage setup, along with a twelve foot walking Eddie (a smaller version of Iron Maiden's best known mascot).
Then in 2010, they added to their success in Quebec City at Théâtre Capitole by enlarging their stage to the exact size that IRON MAIDEN had in 1984 along with a lighting show based on Live After Death and again an appearance of an Iron Maiden replica of Big Eddie standing twenty five feet tall.
Then in 2012, MADE IN IRON returned to Quebec City due to high demand to bring forth another stellar experience with drummer Maxime Beauséjour as Nicko McBrain with Iron Maiden's 1984 live drum setup.
Now in 2013, MADE IN IRON has big plans as they perform their largest tribute experience to date. The stage will move like maiden, sound like maiden and feel like maiden! With plans to be identical to Iron Maiden's 84/85 World Slavery Tour when the metal titans recorded their 1985 Live After Death live album.
"This is the first time we will be in Montreal with ALL the setup. Phase I of the project was launched at Le Medley in Montreal. Then Phase II was launched at Le Capitole de Québec. No one in Montreal saw our 25 feet tall Eddie, the new stage that is now twice bigger than what it was at Le Medley, and all the changes in the show like the new costumes and staging. It is also our first time at L'Olympia. We just can't wait to May 4th!" comments MADE IN IRON's Pierre-Etienne Drolet.
About:
Made In Iron founder Pierre-Etienne Drolet discovered Iron Maiden and their influential Live After Death when he was first 14. It was from listening to that album that Drolet turned Iron Maiden into his personal religion, listening non-stop to every musical endeavour they have created. As he grew older and strongly familiar with Iron Maiden and their tours. He had his epiphany of creating a tribute band for his most beloved idols and rebuilding the World Slavery Tour stage. It wasn't an overnight success, but it has been a project that has been building over the years as Drolet has gathered many resources such as musicians, artists, behind the scenes crew and business endorsements to make his dream come true. Live After Death 1984 returns with full stage setup, costumes, songs, and Eddie for the best Iron Maiden tribute experience on the planet.
DOWNLOAD for Radio airplay - MADE IN IRON - Trooper (Live) - http://fburls.com/65-rlaGHhrv
For more info and ticket information, please visit the following links:
Montreal - May 4 - http://www.madeinirontribute.com/Olympia/MADE%20IN%20IRON%20-%20Olympia.html
Quebec City - May 25 - http://www.madeinirontribute.com/Capitole/MADE%20IN%20IRON%20-%20Capitole.html
]]>Glen Matlock, the original bassist of the Sex Pistols, took over Montreal's Pirhana Bar to play an acoustic set a couple of weeks ago. Glen is currently on the Acoustic Anarchy Tour with Scott Kempner from the Dictators.
The small venue was packed with younger and older fans. A tour-like Acoustic Anarchy drew a certain type of fan base, afan base that rocked tattoos, piercings, black clothes, spiked jackets and crazy hair. Despite their tough exteriors, the crowd embraced Glen when he walked up on stage.
Glen's set included songs from his latest album, Born Running. He also played a couple of Sex Pistols songs, and most memorably he played Ambition, a song he wrote for Iggy Pop's album Soldier. He introduced the song with great pride saying it was the only song that he wrote entirely that Iggy put on the album. An extra amount of gusto was put into the words, "Don't lose your grip, don't lose ambition!" He finished the show with a rocking, acoustic duet with Scott that got the crowd charged with energy.
After his set, Glen sat at a table along with his beautiful wife and met any fan who approached to sign autographs and take pictures. He even took a few minutes to give us an interview.
]]>Blankfest Quebec, the music charity event that has been raising awareness and clothing for Montreal's homeless and shelter the Old Brewery Mission for the last four years are proud to announce they have raised nearly 800 clothing items and $281 at this year's 5th annual winter clothing and fund raising event.
Montreal is known for having one of Canada's harshest and coldest winters, and every year it's unfortunate that those who are homeless must endure the reality of living on the street. Blankfest Quebec was founded for that reason when event organizer Jon Asher heard about the original Blankfest created by Kenn Rowell (The Baghdaddios) 17 years ago in New York City.
Taking place this past Saturday on March 9th at the Piranha Bar, the event was supported by local bands Vinyl Hero, Fist of Freedom, Dissension and Forbidden Sin along with support from the Heavy Metal Music Association of Canada (H.M.M.A.C).
"I'm proud and thankful for everyone's help for the Old Brewery Mission. I believe that awareness, aiding with funds and clothing items for the homeless is a necessity in our community whether it is this cause or another. I want to thank the donors who came out to support the event, the musicians, H.M.M.A.C., Piranha Bar, Frite Alors, DungeonWorks, the ladies of the Steger Residence and their donation of knitted scarves and tuques and every volunteer who helped make this a successful clothing collection and fundraiser." comments event organizer Jon Asher.
In addition to the Blankfest Quebec V, the Heavy Metal Music Association of Canada also held a fundraising brunch at Frite Alors the morning of March 9th along with a panel discussion on the topic of How Music Helps Charity & How Charity Helps Music with panelists Johanne McDonald (Executive Director - Old Brewery Mission), Jon Asher (Blankfest Quebec), Jason Rockman (Slaves On Dope, CHOM 97.7FM), Norm Zimmerman (Steve's Music Store), Ray Howard (Vinyl Hero).
With this year's total of 796 items collected, Blankfest Quebec has approximately surpassed 3200 clothing items collected for the homeless.
This year's Blankfest Quebec saw the following clothing items donated:
About: The Old Brewery Mission Soothing homelessness. Solving homelessness.
Founded in 1889, The Old Brewery Mission is the largest resource for homeless men in Quebec and for homeless women in Canada. This non-profit organization provides a range of services that respond to the needs of Montreal's homeless people as well as those at risk of becoming so, and endeavours to enable them to take control of their lives and assume their rightful place in the community. It is estimated that there are close to 20,000 homeless people in Montreal.
About: Blankfest Quebec is organized by Jon Asher, in collaboration with the Old Brewery Mission, and was launched after Jon read about his friend, New York City indie rock veteran Kenn Rowell of The Baghdaddios, who founded Blankfest in 1997 and has been organizing the annual blanket fundraiser in New York City for the past 17 years.
In the past, Rowell says, Blankfest NYC has raised more than 6,000 total donations that have been distributed to the homeless in the New York City area and has inspired similar efforts in New Jersey, Manhattan and Nottingham, UK. Among the many distinguished artists who have performed at past international Blank-Fests are: Rothberg (EMI), Buddy Cage (Grateful Dead), Marc Rizzo (Soulfly) and Meg Griffin (Sirius Radio).
]]>The Voice is one of the many reality television shows that have followed in the footsteps of others, like American Idol and X-Factor. This show, however, prides itself on its distinct judging format. Unlike other shows, The Voice is based solely on a person's talent as opposed to their look. One of the more controversial issues most singing shows have is that they are supposed to be judging individuals on their voice alone, but, instead, find themselves judging based on star quality. This has been an issue for most, seeing as many people getting sent home were amazing singers. This is where the concept of The Voice comes in handy. They have coined their format as "The Blind Audition". Knowing that it is almost impossible to not judge someone based on look, they have come up with the brilliant idea to have four judges facing away from the talents as they audition. This allows the judges to select contestants based on voice alone. If a judge likes the voice, they press a button which spins their chair around to see what the contestant looks like. At this point, the contestant knows that they have been chosen to be on the show and as a part of the team of the judge who turned his or her chair. If two or more judges turn around, however, the contestant then gets the opportunity to choose which judge's team they wish to be a part of.
Once all the judges have finalized their teams, the contestants move on to a "Battle Phase". This phase consists of each judge pairing off their own teams into groups of two. After that, each group of two gets assigned a song. They must then practice together and sing it in front of The Voice audience and all the judges. Once, their performance is over, one gets eliminated on the spot, by their own mentor/judge - thus reducing each judge's team by half.
The "Final Phase" consists of the contestant's competing against each other in a live broadcast. At the end of each live broadcast, a voting poll is then opened for people to either call and vote for their favourite contestants or submit their votes online. The public gets the right to vote, up until the top four, where at this point they share the vote 50/50 with the judges, to ensure that one contestant from each judge's group passes on to the next round of the competition. After this point, the public re-gains full control of the voting process, until the winner is announced. The winner of The Voice gets $100,000 in cash as well as a recording contract with Universal Republic.
The concept of the show is great and it is very distinct from other talent shows that are currently on air. Like other talent shows, they have expanded and have brought their show to Quebec - "La Voix". Using the same format as the American The Voice, the French based show has four judges who are recognizable in the francophone music industry - Marie-Mai, Marc Dupre, Ariane Moffatt and Jean-Pierre Ferland. However, what most people might not know is that you have to audition for the "Blind Audition". Just like American Idols famous audition round, where thousands of people wait outside in line for an opportunity to see their dreams come true, The Voice runs a similar Audition for their show - but we don't get the opportunity to see it on T.V.
I was extremely curious to know who goes to these auditions, why they go and how it feels to be a part of the process. This next interview, should give us a behind the scenes look and feel of these un-aired auditions.
Q: What's your name?
A: My name is Amelie Cloutier.
Q: How old are you?
A: I am 18 years old.
Q: Is singing a fun pastime for you or a serious career path?
A: For now it is just for fun, but I would certainly love to make a career out of it, in the future. I'd love to take singing lessons and gain experience before doing that, though. But it is definitely my dream!
Q: How long have you been singing for?
A: I've been singing ever since I could talk - to the extent that it became annoying to my family. I sang ALL the time!
Q: Were you raised in a musical household? (If so, do you have any childhood memories or stories to share?)
A: Yes. I have a few stories. The artistic side of my family is all on my mother's side. My mom's family would gather the entire family on weekends and they would all bring their musical instruments and sing songs and party all night. My family loves to sing. We have a special living room that we keep to sing along with each other and have a karaoke system in the basement. We love having karaoke nights. There is not one day where me and my mother don't sing .
Q: Who were your musical inspirations growing up?
A: As a child, I loved Britney spears, but my inspiration, right now, would be Adele - she's such a great person and is so talented.
Q: If you had to categorize yourself, what genre would your voice fit into?
A: I have a voice to sing country, R&B, blues and jazz. I have a certain Soul in my voice.
Q: Let's talk about the auditions ...
Where were they held?
A: In Montreal, in a hotel. The line up went all the way outside. It was crazy.
Q: How many people would you say showed up for the audition?
A: My audition number was somewhere in the 2000's and it was only the second day, so a lot of people showed up.
Q: What made you want to audition for the show?
A: I thought the experience would be fun. My mom spoke to me about it and I didn't hesitate. I knew I wanted to go.
Q: Is this the first time you've ever done something like this?
A: Yes it was, but I loved it.
Q: Take me through your journey ... How many steps did you have to go through before auditioning in front of the judges?
A: Well, we arrived at the auditions at 9am and only ended up leaving at 8pm. There were so many people. When we first got to the line, we started talking with other people who were auditioning. We waited approximately 2hours outside. Once we got in, we waited another hour before getting to a table where there they hand you an Ipad so you can fill out all your personal information; information like: your age/song/ info about you and if you ever took singing lessons. At the table they told us that we couldn't pass the audition that day, because there were too many people a head of us. My mother and I, were then lead into another room to fill out another information form, but this time, it was for a call back sometime, later on, in the next week. While I was waiting to give in the call back information, a woman came to me, and three girls around me, to say spots opened up and we could audition that day, if we wanted to. I said yes, so they took my picture and gave me my number.
Q: What happened next?
A: Well, by then it was maybe 2pm. So, my mother and I left to go eat at a nearby restaurant. We came back for 5pm and still had to wait another 2 hours and a half. As we waited, we sang with other singers, in the audition room. Some had their guitars and everyone would sing together; it was simply amazing.
Q: What happens when your number is called and you are up to audition?
A: When they called our numbers, we were sent to wait in a hallway where there a person would come to explain to us how the process would happen and what we were supposed to do. We were going to wait quietly outside until it was our turn. They asked us whether we had a cd or an instrument to sing a long to. Then we took the elevator to level 5, where there we needed to wait in another room, but this time with only 15 chairs. Whenever one got up to audition, we were informed to switch chairs. The door was right in front of us and we could here the people singing inside. They were so good.
Q: Was that stressful?
A: Yes. That's actually when the stress kicked in. The closer you get to the door, the more stressed you get. Then, once it is your turn, you go in to the audition room. It's dark and you have to stand on the X, so that the cameras are on you. There was only one spotlight, in the room. It was so dark you could barely see the judge's faces. You tell them your name and age and what you're going to sing then the music comes on. I had time to sing my first verse, bridge and chorus of Set Fire to The Rain, by Adele. The judges were watching me on a prompter to see if I looked good on screen. Once I was done singing, I was led back into the waiting room; all that for just 1 minute of singing. Then you go home like nothing happened.
Q: Were the actual 4 judges there or were they random, unknown people?
A: They were well known French artists, but they were not the actual 4 judges. I forget their names, but I knew Stephan Laporte was one of them.
Q: Were the judges welcoming and talkative or very straightforward and not wasting any time?
A: Straightforward but respectful. They weren't arrogant and they didn't look like they were fed up at all.
Q: What was your reaction from the judges during your audition and after?
A: I looked at Stephan while I was singing, which was kind of funny, but he nodded and smiled while I sang and spoke to the other judges - that was nerve racking because I didn't know what they were saying or what it meant that they were talking. After he smiled and said thank you Amelie and that was it.
Q: So no feedback?
A: No. None. They didn't have time for that.
Q: What is the time frame that you hear back from them, if you make the show?
A: The audition was in September and if they didn't call you before November 20th, you weren't chosen.
Q: After your experience, was it everything you envisioned it to be?
A: Yes it was. It was actually even better than I thought.
Q: What would you have changed if you could go back and do it again?
A: Well, I would love to get feedback, but, next time, I wouldn't take an Adele song because nothing can compare to Adele.
Q: Thank you so much for allowing me to interview you.
A: It was no problem at all.
March 28 Glen Matlock(SexPistols)+Tommy Ramone(The Ramones)
May 8 Pain of Salvation
Les Productions Dungeon Works et DeadNa présentent:
https://www.facebook.com/
GOD MODULE
www.godmodule.org
avec/with
LUDOVICO TECHNIQUE
www.ludotechnique.com
MORDACIOUS
www.mordacious.com
FRONTAL BOUNDARY
www.reverbnation.com/frontalbo
CELLROT
et DJ NA
March 17th, 2013
le 17 mars, 2013
8PM / 20H00
@ Piranha Bar - 680 Ste-Catherine Ouest
18+
13$ - 16$ portes
billets disponibles:
tickets available at:
www.admission.com/event/god-
et bientôt à:
Boutique Labyrinthe
Cruella
Sound Central
------------
Les Productions Dungeon Works et Piranha Bar présentent:
https://www.facebook.com/
ACOUSTIC ANARCHY:
GLEN MATLOCK (Sex Pistols)
http://offthemenuentertainment
TOMMY RAMONE (Ramones)
http://offthemenuentertainment
HOBO OUTLAWS
www.facebook.com/pages/Hobo-
THE HEROIN HAYRIDE
http://www.facebook.com/TheHer
March 28th, 2013
le 28 mars, 2013
8:30PM / 20H30
@ Piranha Bar - 680 Ste-Catherine Ouest
18+
15$ - 20$ portes
billets disponibles:
tickets available at:
http://www.admission.com/event
et bientôt à:
Boutique X20
Piranha Bar
Sound Central
commandité par:
sponsored by:
Revolutionary Longboards
Absolute Underground
------------
Les Productions Dungeon Works et Extensive Enterprises présentent:
https://www.facebook.com/
PAIN OF SALVATION (Suède)
www.painofsalvation.com
avec
HEAVEN'S CRY
www.heavenscry.com
KING CROW (Italie)
www.kingcrow.it
IMMINENT SONIC DESTRUCTION (USA)
imminentsonicdestruction.com
May 8th, 2013
le 8 mai, 2013
7:00PM / 19:00
@ Foufounes Électriques - 87 St Catherine E.
18+
25$ - 30$ doors/portes
VIP: $50
billets disponibles bientôt chez:
tickets soon to be available at:
www.admission.com
Boutique Labyrinthe
Boutique Profusion
Foufounes Électriques
commandité par:
sponsored by:
Belle Gueule
H.M.M.A.C.
Revolutionary Longboards
Absolute Underground
Boutique Labyrinthe
Since its conception, Blankfest Quebec has been raising awareness and clothing (over 2,500 items to date) for Montreal's homeless and shelter the Old Brewery Mission.
This year sees the return of the fifth annual charity event with city's music community coming together once again to help those in need. Blankfest Quebec V will be held on March 9th at Piranha Bar (680 Ste. Catherine W.) with blues rockers Vinyl Hero, society fighters Fist of Freedom, metallers Dissension and the politically charged Forbidden Sin.
In addition to the Blankfest Quebec V, the Heavy Metal Music Association of Canada will be holding a fundraising brunch at Frite Alors (680 Ste. Catherine W.) the morning of March 9th at 11am to raise funds for the Old Brewery Mission along with a speakers panel on the topic of Charity & Music.
Note: H.M.M.A.C. will be accepting donations of rolled pennies at the brunch for those interested in getting rid of them.
]]> Cost for brunch and panel is $20 with $5 to be donated to Old Brewery Mission.Speaking Panelist are the following:
Johanne McDonald - Executive Director - Old Brewery Mission
Jon Asher - Blankfest Quebec
Jason Rockman - CHOM 97.7FM
Norm Zimmerman - Steve's Music Store
Ray Howard - Vinyl Hero
Blankfest V 2013 - Event Details
Facebook Event - https://www.facebook.com/events/224310721027493
Facebook Fanpage - Blankfest Quebec - http://www.facebook.com/pages/Blankfest-Quebec/124607864221341
Old Brewery Mission - www.oldbrewerymission.ca and http://www.facebook.com/pages/Mission-Old-Brewery-page-officielle/168973503131279
Date: Saturday, March 9th, 2013
Time: 8pm
Venue: Frite Alors, 680 Ste-Catherine W.
Cost: Admission is a Blanket or Donation of Winter Clothing
- 30 -
About: The Old Brewery Mission Soothing homelessness. Solving homelessness.
About The Old Brewery Mission
Founded in 1889, The Old Brewery Mission is the largest resource for homeless men in Quebec and for homeless women in Canada. This non-profit organization provides a range of services that respond to the needs of Montreal's homeless people as well as those at risk of becoming so, and endeavours to enable them to take control of their lives and assume their rightful place in the community. It is estimated that there are close to 20,000 homeless people in Montreal.
About: Blankfest Quebec is organized by Jon Asher, in collaboration with the Old Brewery Mission, and was launched after Jon read about his friend, New York City indie rock veteran Kenn Rowell of The Baghdaddios, who founded Blankfest in 1997 and has been organizing the annual blanket fundraiser in New York City for the past 17 years.
In the past, Rowell says, Blankfest NYC has raised more than 6,000 total donations that have been distributed to the homeless in the New York City area and has inspired similar efforts in New Jersey, Manhattan and Nottingham, UK. Among the many distinguished artists who have performed at past international Blank-Fests are: Rothberg (EMI), Buddy Cage (Grateful Dead), Marc Rizzo (Soulfly) and Meg Griffin (Sirius Radio).
]]>Following the success of the inaugural edition in 2012, Dungeon Works Productions and Evenko are proud to present En Route to Heavy MTL 2013 and the selected twenty bands that will be battling it out over the next five months to win one of two opening slots at this year's 2013 HVY MTL.
Battle 3 of the BOTB will take place on Thursday, March 7th at Les Katacombes (1635 St-Laurent Blvd) with special guest judges Dan Lilker (Brutal Truth, Nuclear Assault) & Flo Mounier (Cryptopsy) along with local music industry for the death metal night.
Competing bands: Death Metal Night
TUNGUSKA MAMMOTH
http://tunguskamammoth.bandcamp.com
PRONOSTIC
http://pronostic.bandcamp.com
BROUGHT BY PAIN
http://broughtbypain.bandcamp.com
DERELICT
http://www.derelictmetal.com
Event Details:
Link: https://www.facebook.com/events/538264052860653/
Ticket Purchase: http://www.admission.com/event/en-route-vers-heavy-mtl-2013-bataille-3-tickets/708091 & La Boutique Labyrinthe: 486 Ste. Catherine Ouest
Date: Thursday, March 7, 2013
Time: 8:30PM
Cost: $12 Advance / $15 Door
sponsored by:
Budweiser - http://www.budweiser.ca/
Jagermeister - http://www.jagermeister.ca/
Galaxie - http://www.galaxie.ca/
Revolutionary Longboards - https://www.facebook.com/RevolutionaryLongboards
Godin Guitars - http://www.godinguitars.com/
Delta Hotels - https://www.deltahotels.com/Hotels/Delta-Montreal
Italmélodie - http://www.italmelodie.com/
La Boutique Labyrinthe - http://www.labyrintherock.com/
Slick Styled Steel Tattoo & Piercing - http://www.slickstyledsteel.com/
HMMAC - https://www.facebook.com/HMMACANADA
Absolute Underground Magazine - https://www.facebook.com/groups/10034445807/
For more info, please visit (www.dungeonworksprods.com & http://heavymtl.com/en/jouer-heavy/)
Rounds to come!
Prog/Power/Epic Metal Night:
Transcend - http://www.reverbnation.com/transcendband
Eclipse Prophecy - http://www.facebook.com/eclipseprophecy
Kalter (Quebec City) - http://kalterofficial.com/
Unbeing - http://www.unbeingmusic.com/
Deathcore Night:
Rosewood - http://www.facebook.com/RosewoodMTL
Self Collapse - http://www.reverbnation.com/selfcollapsemetal
Pandora's Wake - http://www.facebook.com/pandoraswake
Death Lullaby - http://www.deathlullaby.com/
The world's most prestigious metal festival, Wacken Open Air, known for its elite lineup of the globe's best metal bands is bringing the largest metal contest on the planet to Canada. Wacken Metal Battle Canada will be recruiting one independent Canadian band to perform at this year's highly celebrated gathering of metal heads in Wacken, Germany. Searching for the strongest contenders, Metal Battle Canada will showcase Canada's premiere talents for one true champion to represent the nation with highest honor at the Wacken Open Air Festival.
Being held in Toronto, ON and Montreal, QC during the months of May and June, Canadian metal bands from across the country will challenge one another to join a list of Canadian heavyweights such as Voivod, Exciter, Razor, Annihilator, Anvil, Kataklysm, Cryptopsy, 3 Inches of Bloods, Despised Icon and Danko Jones who have performed at the festival in years past.
The W:O:A Metal Battle was founded in 2004 to encourage future generations of heavy metal and rock, as Wacken Open Air believes in supporting the future of metal music and its musicians.
Submissions for Metal Battle Canada can be completed via the online application at the following link below and will be open from Feb 18th to deadline on March 10th. (Please remember to select the city in which you would like to potentially compete.)
]]> Metal Battle Canada application link - http://www.metalbattle.ca/
Promo Video - Wacken Metal Battle Canada
http://www.youtube.com/watch?
Battling rounds for Metal Battle Canada will be held on the following dates:
TORONTO DATES:
QUALIFYING
April 28 - Rivoli - Toronto, ON
May 2 - Hard Luck - Toronto, ON
May 5 - Rivoli - Toronto, ON
May 9 - Hard Luck - Toronto, ON
May 12 - Rivoli - Toronto, ON
May 16 - Hard Luck - Toronto, ON
SEMI-FINALS
May 24 - Hard Luck - Toronto, ON
May 31 - Hard Luck - Toronto, ON
June 7 - Rivoli - Toronto, ON
MONTREAL DATES:
QUALIFYING
May 9 - Katacombes - Montreal, QC
May 15 - Katacombes - Montreal, QC
May 22 - Katacombes - Montreal, QC
May 31 - Katacombes - Montreal, QC
MONTREAL SEMI-FINALS
June 7 - Katacombes - Montreal, QC*
* 2 MONTREAL BANDS MOVE TO FINALS - June 22 at Opera House, Toronto, ON
FINALS - METAL BATTLE CANADA
June 22 - Opera House, Toronto, ON
All bands that wish to participate in the Metal Battle must read the following rules and guidelines. Bands who send in an application automatically agree to the rules and terms.
If a band overruns its allotted performance time, then the band-members should be aware of the fact that in this case their sound will be faded out. The running order for the concert will be released a few days before the event takes place.
About Wacken:
Wacken Open Air (W:O:A) is a summer open air heavy metal music festival. It takes place annually in the small town of Wacken in Schleswig-
The festival was first held in 1990 as a small event for local German bands. By 1998 the event had become the major festival on the European metal calendar and has included over 70 bands from all over Europe, North America and Australia. W:O:A is usually held at the beginning of August and lasts three days, during which the festival-goers camp on several large camping grounds surrounding the actual festival area. The 70 or more bands perform across four separate stages over the course of the event.
Since 2002, the Wacken Firefighters, the local volunteer fire department band, opens the festival.
The 2009 edition set a sales record when it sold out its 70,000 tickets by December 30, 2008, just 200 days prior to the festival. However, the 2012 edition broke this record; when it sold out on November 29th, 2011, 8 months before the opening of the festival with 75,000 tickets sold. The W:O:A 2012 took place with 137 bands, performing on seven stages.
For more info on Metal Battle Canada, please visit these links:
Official Website: http://www.
Facebook: https://www.
Twitter: @MetalBattleCAN
]]>]]>
Video - Acoustic Snippets - http://youtu.be/PgZloW0ndtY
EPK - Glen Matlock - http://
About:
Glen Matlock is one of the most respected, if underrated British musicians. In a career that has spanned over thirty years, Glen has made indelible contributions to music as the original bass player with The Sex Pistols, formed the underrated Rich Kids, worked with a variety of artists ranging from Iggy Pop, fellow original School of '76 Brit Punk Rockers The Damned, through to neo-rockabilly singer Robert Gordon, whilst pursuing his own musically distinctive direction where melodic and inventive rock music thrives. To cap it all, 2010 sees Glen release a brand new album - arguably the finest to bear his name - in the shape of Born Running, as well as taking the coveted bass playing role in the reformed Faces.
Glen Matlock was one born on August 27th 1956, in Kensal Green, North West London. Growing up in London through the 1960s and early 70s, Matlock fell under the musical influence of the likes of The Kinks, The Who, The Faces andDavid Bowie. In 1974, whilst employed as an assistant in the King's Road, Chelsea clothing emporium Let It Rock(owned by Malcolm McLaren and his then-wife Vivienne Westwood) joined up with guitarist Steve Jones and drummer Paul Cook (alongside guitarist Wally Nightingale) in a combo that would become The Sex Pistols. The band line-up was completed by the recruitment of John Lydon (soon to become Johnny Rotten) as their vocalist. The Sex Pistols line-up eventually settled around Rotten, Jones and Cook, with Matlock playing bass and singing backing vocals. However, Matlock made the most crucial musical contributions to the Pistols, his innate grasp of melody and song structure essential to knocking the band song ideas into a workable shape.
After Matlock's departure from The Sex Pistols, he hooked up with old pal, guitarist Steve New, alongside drummer Rusty Egan and guitarist / singer-songwriter Midge Ure, formerly of Scottish pop band Slik, to form The Rich Kids, who signed to EMI and were quickly ushered into a studio to cut the album Ghosts of Princes In Towers with one of Matlock's heroes, Spiders From Mars guitarist Mick Ronson. The Rich Kids failed to live up to their promise, however and after they split, Matlock worked with Iggy Pop on his Soldier album and subsequent tour, and then formed The Spectres with former Tom Robinson Band guitarist Danny Kustow.
Matlock's autobiography, I Was A Teenage Sex Pistol, was published to great critical acclaim in 1990, and updated and reprinted in 1996 with insights and updates following the reformed Sex Pistols 'Filthy Lucre' tour, which revealed that Matlock was also a fine raconteur and witty writer.
Despite John Lydon's talent for quotable sound bites, it is actually Glen Matlock who is the most articulate and thoughtful of the Sex Pistols. When the Pistols former manager Malcolm McLaren died in April 2010, it was Matlock who provided the world's press and media with their main point of contact to the Sex Pistols, and provided a distinct, considered overview of Malcolm McLaren's contribution to contemporary culture and his legacy.
In April, 2010, Matlock toured Australia with US rockabilly singer Robert Gordon, along with Slim Jim Phantom of The Stray Cats and guitarist Chris Spedding. Spedding produced some demo recordings for The Sex Pistols in 1976, one of the few old school musicians who acknowledged the worth of the band, and Matlock returned that favour three and a half decades later!
In the spring of 2010, it was announced that three members of The Faces - Ronnie Wood, Ian McLagan and Kenney Jones - were to reform, with Mick Hucknall on vocals, and with Glen taking the coveted role as Ronnie Lane'sreplacement on bass, a huge accolade and confirmation of Glen's high standing amongst his musical peers, and a massive personal achievement for a lifelong fan of the band.
Glen's latest album, Born Running, offers up twelve more punchy and direct examples of Matlock's innate ability to craft timeless, melodic rock songs. It has an added poignancy insofar as it features the last recordings of guitarist Steve New,one of Matlock's oldest friends and fellow founder-member of The Rich Kids, who died in 2010. Also in the band's line up is drummer Javier Weyler, the current drumming incumbent with The Stereophonics, as well as guitarist James Stevenson, who, like Matlock, is a musical survivor from the original School of '76 British Punk Rock. The album was produced by Jim Lowe, who has produced numerous hugely successful albums for The Stereophonics. Born Running is the latest salvo from a musician and songwriter who is never satisfied with resting on his considerable musical achievements; there is much more to come from this hugely gifted individual.
Tommy Ramone - I Wanna Be Your Boyfriend (Live) - http://youtu.be/R0VOiNxC2Ao
EPK - Tommy Ramone - http://
About: Tommy Ramone began his musical career as Tom Erdelyi an engineer at New York's Record Plant recording studios. While there he worked with artists Jimi Hendrix, John McLaughlin and Herbie Hancock.
Several years later he, along with the great Johnny, Joey and Dee Dee Ramone, formed the rock group Ramones and participated in the birth of New Wave, Punk Rock, and Alternative music. As manager, producer and drummer for the band, Tommy Ramone helped create the sound, style and ideology for what was to become modern rock.
As an independent record producer Ramone has worked on recordings that include the single, Love Goes to A Building On Fire by TALKING HEADS, and the albums, Neurotica by REDD KROSS, Too Tough To Die by the RAMONES, and Tim by THE REPLACEMENTS, the later voted one of the best albums of the year by the writers of Rolling Stone, Record, The Village Voice, and The LA Times.
Presently Tommy Ramone has an indie acoustic duo with partner Claudia Tienan called UNCLE MONK, in which he sings and plays mandolin and banjo. They are currently recording their second album. He is also working as a solo performer.
Show Details:
Les Productions Dungeon Works et Piranha Bar présentent:
https://www.facebook.com/
ACOUSTIC ANARCHY:
GLEN MATLOCK (Sex Pistols)
http://offthemenuentertainment
TOMMY RAMONE (Ramones)
http://offthemenuentertainment
HOBO OUTLAWS
www.facebook.com/pages/Hobo-
THE HEROIN HAYRIDE
http://www.facebook.com/TheHer
March 28th, 2013
le 28 mars, 2013
8:30PM / 20H30
@ Piranha Bar - 680 Ste-Catherine Ouest
18+
15$ - 20$ portes
billets disponibles:
tickets available at:
http://www.admission.com/event
Rockie Fresh, is an American hip hop artist born in Chicago, Illinois signed to Maybach Music Group. He is known for his alternative rock influenced style of hip-hop, and his associations with recording artists Rick Ross, Patrick Stump of Fall Out Boy, and Joel & Benji Madden of Good Charlotte.
In 2009, Rockie began recording his debut mixtape Rockie's Modern Life in a small recording studio Chicago, IL. During the recording process, he met Andrew Koenig and Andrew Gertler, who became his managers and started APG Music Group, LLC. They released Rockie's Modern Life in December 2009, and followed it up with another mixtape, The Otherside in December 2010.
The success of the projects earned Rockie performances with Rick Ross, Twista, Big Sean, and at Bamboozle Festival, where he met Josh Madden, who would later introduce Rockie to his brothers Joel & Benji Madden of Good Charlotte. Rockie's music also grabbed the attention of Fall Out Boy lead-singer Patrick Stump, whom Rockie has cited as a major influence and has since toured with.
Since the release of The Otherside Rockie has been named one of Metromix's "25 Hottest Artists Under 25" and his music has been featured on The CW's nationally syndicated television show Nikita. He was also featured on Good Charlotte's project The Madden Brothers: Before The Fame according to Rolling Stone and Billboard magazines.
On January 21, 2013, he released his fifth mixtape 'Electric Highway', his first imprint under Maybach Music.
LIVE LINE UP - L-R - Andrew Fullerton - Guitar | Tom Emmans - Vocals | Joe Mullen - Drums | Jake Fortney - Bass | Bo Luther - Guitar (photo credit - Lana Nimmons - feinics.com)
Ontario melodic death metallers ODIUM are kicking off 2013 with multiple show dates in the province of Quebec along with a performance at this year's Drummondville Metal Fest V with the provinces top metal talents Cryptopsy (Montreal), Ghoulunatics (Montreal), Bookakee (Montreal), Chariots of The Gods (Gatineau), 101 Proof (Montreal), Trollheims (Trois-Rivieres), L'Habit Me Suce Le Moine (Drummondville).
In additional news, ODIUM are offering their latest track 'Blue Channel' for FREE DOWNLOAD exclusively on SMNNews.com at the following location here. The emotionally charged and ripping tune is from the band's latest album 'Burning The Bridges To Nowhere'.
Music video - 'No Way Out' directed by Chad Archibald of Black Fawn Films (HED p.e., Kottonmouth Kings, Arise and Ruin, Farewell to Freeway).
Show dates
Jan 24, 2013 - Piranha Bar - Montreal, QC - w/ Fallstaf, Branded By Pain, Endvade - Show Details
Jan 25, 2013 - Bar Le Scanner - Quebec City, QC w/ Mountains Unfold
Feb 8, 2013 - Bar Le Magog - Sherbrooke, QC
Feb 9, 2013 - Drummondville Metalfest V @ Salle Gaston Mandeville - Drummondville, QC - w/ Cryptopsy, Ghoulunatics, Bookakee, Chariots of The Gods, 101 Proof, Trollheims, L'Habit Me Suce Le Moine - Show Details
Feb 10, 2013 - The Atria - Oshawa, ON - w/ Fallen Legion, Dead 3 Days - Show Details
]]> BIO:Founded in 2006 by drummer Joe Mullen and vocalist Tom Emmans, ODIUM was born in order to create a focused project centered on the themes of growth and attrition. After being joined by bassist Dale Burrows and guitarists Bo Louther and Andrew Fullerton, it was clear the band was quickly becoming a cohesive group of musicians that had found their strengths in each other's abilities to contribute to the writing process.
Most convincing is ODIUM's arsenal of musical weapons that contribute to their overall sound, which was properly harnessed by Canadian producer Greg Dawson (The End, Moneen, Choke) on both of ODIUM's metal opus' underlining the quintet's penchant for writing metal songs that are as heartfelt as they are heavy with ODIUM's emotional hybrid of epic crescendos and fiery heaviness.
Over the years, ODIUM has opened for such well known bands as Alexisonfire, The Agonist, Beneath the Massacre, Divinity, Moneen, Fuck the Facts, Fairwell to Freeway and Arise and Ruin.
'Burning The Bridges To Nowhere' - Album Stream - http://soundcloud.com/odium_
Free Downloads
Insomnia - http://yearofthesun.
Identity of The Doomed - http://yearofthesun.
Burning The Bridges To Nowhere' - Album Stream - http://soundcloud.com/odium_
Free Downloads
Insomnia - http://yearofthesun.
Identity of The Doomed - http://yearofthesun.
Music Videos
'At The Bottom' - http://www.youtube.com/
'Populations Zero' - http://www.youtube.com/
- 30 -
Odium - Burning The Bridges To Nowhere - 2012 (Year of The Sun Records)
Release Date: April 24, 2012
Label: Year of The Sun Records
Distribution: FAB
Facebook | Twitter | Reverbnat
R.I.Y.L. = Killswitch Engage, Soilwork, Tool, In Flames, Lamb of God, Fiver Finger Death Punch
"It is clear that Odium knows how to be heavy and they utilize it exactly where it is most needed...This album is perfect for those who want to take a step back from the unrelenting aggression of many metal bands out there and appreciate that beauty and anger can harmonize." - TheNewReview.net
"Standouts like the album's opening title track pit detuned, jud-judding six-strings and double-kick drum rhythms with singer Thomas Emmans's varied vocal styles, which run from Maynard James Keenan-styled creep-crooning to esophagus-annihilating screams." - Exclaim!
"Melodic and brutal, the music of Odium's sophomore album is nothing less than one of the most technically precise Metal albums it has been my pleasure to listen to....The songs of 'Burning the Bridges' are spectacular; a mix of brutality and poetry; songs like "Blue Channel" and "Viral by Nature" are among my favorites, on a disc loaded with powerful standout material. Like Metal? Get this. Odium: Burning the Bridges to Nowhere - 9/10″ - Confront Magazine
"Odium posses very distinctive and strong melodic leanings, catchy riffing and undeniable prowess on the performing front - especially with the clean/growl vocal trade-off and the tight rhythm section....cuts like the thrashy "Viral By Nature", "Within the Distraction" and the title track, perfectly blend with the more expansive sound of "No Way Out" and the melancholic quasi-ballad "The Descent" among others to deliver a decently solid piece of modern Metal. " - PureGrainAudio.com
"They forge fast and pulsating melodic metal in the vein of In Flames, with biting verses akin to Lamb of God. Vocalist Tom Emmans rips through the tracks, delivering highs, lows and clean singing for the choruses...What sets them apart from other metal bands is their song structure, having uniquely arranged melodies that correspond with stadium and arena-like choruses. Imagine Tool ditching their progressive style and forming a supergroup with Unearth." - The Link (Concordia University students newspaper - Montreal)
"Plying a familiar form of modern metal that will appeal to fans of Killswitch Engage, All That Remains..." - TeethofTheDivine.com
"Burning the Bridges to Nowhere" has a constant flow and keeps the energy high and octane filled..." - XplosiveMetal.com
"Fans of Killswitch Engage or All That Remains will enjoy Odium's second offering...There is a lot to enjoy here, admirers of thrash metal will appreciate the chugging guitar riffs and Slipknot devotees will enjoy the heavy drum patterns. A softer side also develops through the album with 'Blue Channel' and 'The Descent'. Together with some orchestral moments they provide a welcome listening break within the record. The more sombre moments of "Burning Bridges To Nowhere" point towards Tool in many ways, including a dazzling vocal segway in "Claw My Eyes Out"." - ThisIsNotAScene.com
"You are getting your money's worth with this album. Anyone even remotely interested in melodic metal will quickly fall in love with Odium. Odium has taken a genre that is so often devoid of beauty and filled it to the brim with melody and substance without compromising their metal roots. " - TheNew Review.net (review for debut album At the Bottom)
"...At The Bottom is quite an impressive debut.." - Blistering.com (review for debut album At the Bottom)
1. Burning The Bridges To Nowhere 05:10
2. Within The Distraction 05:18
3. Blue Channel 03:35
4. Viral By Nature 03:57
5. Insomnia 05:24
6. A Ghost Upstairs 03:16
7. Claw My Eyes Out 05:03
8. Identity Of The Doomed 04:52
9. No Way Out 04:19
10. The Descent 04:27
Release Date: April 24th 2012
LABEL: Year of the Sun Records
DISTRIBUTION: FAB
CATALOG # YOTS 76149
UPC CODE # 8 44667 02418 0
• All songs performed by: Odium
• All songs written by: Odium except "The Descent" writtten by Thomas Ireland and Odium
• Produced by: Greg Dawson
• Mixed by: Greg Dawson
• Mastered by: Greg Dawson
• Single released: No Way Out, Insomnia, Burning the Bridges to Nowhere, Blue Channel, The Descent
• Available on: iTunes, HMV, Bandcamp
ALBUM LINE UP:
Vocals - Tom Emmans
Drums - Joe Mullen
Guitar - Bo Luther
Bass - Dale Burrows
Guitar - Andrew Fullerton
Shared stage w/
Alexis on Fire
Baptized in Blood
Fuck the Facts
Threat Signal
Endast
Arkham Awaits
Today I Caught the Plague
The Empire Shall Fall
Past Tours & Festivals
2011 - Southern Ontario Metal Fest
Discography
2009 - At The Bottom
]]>The Korean wave, also known as hallyu, may not have been a relevant phenomenon two years ago, but recently has been getting more attention in North America. Now even those who shun both pop music and Korean culture would have heard, seen, giggled at, or/and puzzled by Psy's outrageously catchy "Gangngam Style". Some even claim that Psy's (arguably incidental) exposure to international audiences on YouTube demonstrates that K-pop has finally achieved its hard-earned break into the North American music market. Others, like blogger and journalist Esther Oh, rebut with outright skepticism (Oh). But whether you anticipate it or are tormented by the possibility of a K-pop apocalypse, the genre, or rather, phenomena has made an impact on at least some North American audiences --a ripple effect, however small, that stirred an interest in me and other North American bloggers to explore, question and speculate.
]]> History and PopularityConsidering its history, K-pop strives to come to full circle and be embraced by the culture from which it originated. The very beginning of K-pop sprang from the introduction of Western culture and music in Korea. In its essence K-pop is a Korean adaptation of Western music, sung in Korean language and performed by Korean born artists. But since the early 90s, when Western music blended into the Korean music industry, a lot of purely Korean elements have been added to the mix, creating a brand new product. Yes, it still relies heavily on Western trends for musical inspiration, but the music videos and idols themselves (as well as their respective producers) are responsible for its unique message and image. Now K-Pop has grown to encompass almost all genres of Korean music: Trot, Pop, Indie, Hip-Hop, R&B, Rock, and others.
Soon enough its popularity extended to other parts of Asia: China, Japan, and much of Southeast Asia, especially Indonesia, Malaysia, Thailand, and Vietnam ("K-Pop History"). It has become particularly popular in Japan, so much so that many are worried that J-Pop is becoming obsolete. In fact, a lot of K-Pop idols learn Japanese in order to release Japanese versions of their songs, albums and even videos -and these are entirely different from their original Korean versions, not mere translations.
In the U.S and Canada some artists are also gainging popularity. Artists such as Taeyang, Rain, 2NE1 have enjoyed some commercial success in North America. Other artists routinely tour in North America, Australia and the UK, selling out large venues in the U.S, with the support of their English speaking fans. In 2009, The Wonder Girls were among the first to have a single in a North American music chart, only to be later surpassed by Psy's "Gangam Style" which topped the charts both in the UK and North America (completely unheard of for a Korean artist).
Psy's now infamous "Gangnam Style" music video.
The Legend of Psy
Unlike other K-pop videos that tend to have a trivial subject matter, Psy's video is a political satire about one of Seoul's well-off neighbourhoods. Some aspects of the video of "Gangnam Style" bring to light the gap between the rich and the poor in South Korea, which both "mocks and celebrates it" (as a New York Times article suggests (Lee)). Wait, the New York Times? Yes, Psy's ridiculous video was taken seriously enough to warrant an article in one of US's top newspapers. Even celebrities like Ellen DeGeneres and American pop star Britney Spears were wildly entrained by Psy's MV. Spears tweeted that she would like to learn the dance, and Ellen invited her (along with Psy) to her show so they can dance the "invisible pony dance" in unison ("Surprise! Britney Learns 'Gangnam Style' from Psy!"). No one can deny that K-pop is making waves on the back of Psy's unexpected success, and now most reputable news sites around the world have covered the video.
But despite being a genuinely silly song, Psy's "Gangnam Style" is often at the core of heavy social and political debate. The key issues discussed often are: the prospect of a political conspiracy as the driving force behind this million dollar industry, the repercussions of K-pop's marketing of unattainable perfection on its audience, and its market appeal and capacity for North-American crossover. How can the trivial popularity of boy and girl bands affect the great and ever-so-complicated scope of Korean politics? A video podcast ("K-pop Diplomacy"), lately compiled by The Stream has produced a variety of opinions on the subject. In it the hosts and several other experts explore the possible political intentions behind the K-Pop industry. It includes Simon and Martina (Eat Your Kimchi), blogger Esther Oh, and others, as they debate the viral sensation that Psy's "Gangnam Style" has become, and what it could possibly mean both for Korea and North America.
Simon and Martina from "Eat Your Kimchi" reviewing Psy's "Gangnam Style" in their segment "Music Mondays".
Cross-Over via YouTube
Some of the featured experts seem to suggest that the South Korean government, taking an interest in this flourishing industry, are more inclined to invest in it for its potential visibility overseas ("K-pop Diplomacy"). For what purposes and how, is still only speculated, since K-pop had only recently began its steady climb up international music charts. Psy's MV has already garnered more than 300 million views since its release, and has become the first Korean song generate such wide publicity and interest overseas. The hit song has also reached the top of the music charts in the UK (Park) and is currently on second place on US Billboard's Hot 100 parade chart (Ahad), conquering two English speaking nations simultaneously.
YouTube is probably the main culprit for this sudden surge of interest. The reason terms like viral are often attributed to videos in general is because they are widely available to anyone with internet access, and so have the ability to capture the attention of international audiences. K-pop bands and idols, as well as production companies, usually have a well-maintained website and their own official YouTube channel where they post new released videos of their idols. I would even argue that they do this more readily without as many grueling copyright infringement policies.
Many North American music videos tend to be removed from YouTube shortly after someone has managed to post them (whether ignorantly or intentionally), whereas Korean production companies seem to hone in on the motto: "no publicity is bad publicity". K-pop MVs seem to be almost readily available on YouTube as soon as they are available anywhere else (in fact previews and sneak peeks as well as behind the scenes are often included to produce more anticipation for the fans). However this is not to say that companies don't exercise stern regulation either. Some videos which are banned in S. Korea disappear virtually overnight (though mostly released in curious countries like Japan as DVDs).
Is Psy Just a Fluke?
Blogger and writer Esther Oh, who is originally from Chicago but now lives and works in South Korea, has pointed out that "the media's coverage of hallyu and K-Pop feel-gooderies is ridiculously one-sided" (Oh). In one post she chronicles K-pop stars like Se7en and BoA whose initial success in the United States failed miserably. She also makes the distinction between hallyu (pure, unadulterated K-pop, produced and sung by Koreans, in Korean) and Korean idols or American-Koreans producing English albums and collaborating with a majority of American producers and Artists.
Oh reflects the stance of many critics, but I would argue the Psy does not fall into any of these categories. None of the aforementioned artists experienced such rapid and insatiable Western reception as Psy did; the enthusiasm to Psy's MV is unparalleled. Moreover, Psy never attempted to break into the North American market; it just happened. His song is about Korea, in Korean, produced mostly by him and includes nothing but Korean scenery and actors. The discourse is foreign to the American public, yet somehow has managed to reap great appeal. This is due to the universal nature of humour. Comedy rarely has boundaries, and it is because of Psy's endearingly comedic video that it was able to make an impression on any (and every audience). So, the content of the video hardly mattered.
However, I would agree with miss Oh about certain distinctions between different K-pop artists. In the mostly unnoticed grey areas of K-pop that are some that fit better than others. Meaning, Psy's music on the whole cannot be classified as K-pop along with boy bands and teen idols (like Teen Top, B2ST and Super Junior) for the simple reason that Psy is not an idol. He is a regular-looking guy, in a suit who raps surrounded with pretty girls and some ridiculous characters, accompanied by an infectious chorus and dance moves. His music can be more closely regarded as K-indie music, because on a whole his music is not nearly as widespread in Korea as that of many K-pop idols (who enjoy practically fanatic popularity).
Another inherent issue is that Psy as an artist fits better in the North American culture because his videos omit a huge chunk of K-idol elements, such as gender-bending clothing and makeup on male idols. The second issue that Oh brings up cannot be addressed at the moment. Will Psy's popularity wane like it did for the others? Or will the North American public will be more receptive and anticipating of more videos and music from this up-and-coming artist? That puts a lot of pressure on Psy, and remains to be undetermined.
What Would Governmental Involvement Mean?
Speaking of pressure: K-pop is a 4 billion dollar industry, coupled with Korean TV and cinema. It has been developed by 80% since 2007, and since then the Korean government has become interested in the industry for its potential visibility in the political international arena ("K-pop Diplomacy"). If Psy is the sole beacon of hope for the South Korean government he might lose the creative freedom he currently has in the production of his own music. The Korean government, after all, has the final say even in matters of music. In fact, if a K-pop video is reviewed and deemed offensive to the sensibilities of the "public of Korea" it will be banned from Korean radio and television (as has happened with previous music videos by hip-hop artists GD and Top, and R&P/ Pop singer Xiah Junsus' [see, "Intoxication"]).
Xiah Junsu's "Intoxication" proved too sexy for Korean audiences. Now the video is difficult to find even online.
To some it seems ridiculous that K-pop can be used as a political tool by the Korean government. K-pop, bubbly and innocent is just that. But if we consider it from a strategically political point of view, what would a North American crossover possibly mean for Korea?
There are some economic factors that cannot be ignored. More visibility, that is from having Korean pop music videos more readily available in North America, would produce a massive economic avalanche. Korean fashion and cosmetics industries (which are usually endorsed by idols) would get a huge economic boost when North Americans audience decide, that they want a dress just like Hyuna's from one of her videos. Needless to say, CDs, posters and idol-merchandise would stream into North American countries, given that popular demand requires it; if this would occur it might open an entire new industry of export and import relation in North America, that I don't believe in currently very developed. This could mean a huge boost to Korean economics if North Americans (and thereafter other countries that consume American culture) would take an interest in Korean music.
A video podcast discussing Psy's "Gangnam Style", K-Pop and the concept of Soft Power. What could this mean for S. Korean government to have a prosperous music industry overseas?
Not All Is Picture Perfect
Issues of Cross-Over:
But critics are [also] leery of an industry that markets perfection that will undoubtedly influence the Korean masses ("K-pop Diplomacy"). Though the well-groomed exterior of glamour is deceptive; Korean idols' true life reflects Korean's societal values: that of hard work and servitude to the common good. K-pop doesn't reflect Korean society as a whole, and its consumers should have that in mind. Korean culture has very different values when it comes to beauty, youth, femininity and masculinity. While it is important to note that K-pop does not accurately reflect these, it does have the possibility to produce negative body image in the youth that is globally exposed to K-pop. I also suspect that images of beauty are needlessly Westernized. There's a broken telephone effect between Asian and Western values regarding beauty; Asian girls cannot and should not resemble Caucasian women and vice versa, yet these truths seem lost in translation. Asian girls want to look white, some white girls want to have the petite figures of Asian girls -it is a vicious cycle, and a broken mirror.
Many critics are concerned with K-pop's overwhelming influence on young audiences and how it expands to Korean society and its values. Striving for perfection has always been an intrinsic value of Korean culture, as Koreans pride themselves in being hardworking and task-oriented. However with K-pop in the picture (excuse the pun) images of unattainable, artificial beauty are constantly imbued into the impressionable sub-consciousness of Korean youth (and soon, possibly even North American youth). Incidentally, S. Korea tops the charts as the country with the highest rates of plastic surgery in the entire world. Though the procedure is common, simple and regarded as very safe, the prevalence of the dual-lid eye surgery, for example, sends a message to Koreans that their naturally given eyes are not good enough.
Other physical augmentations that idols are often encouraged to undertake by their producers include nose surgery (to make their nose-bridge thinner) and many others that seem to cater to notions that having Caucasian features is more attractive. Images of unhealthy thinness (Korean idols boast to having BMIs as low as 18), social status, face shape, body shape and sexuality are also heavily debated considering K-pop's fanatically dedicated audience is composed of adolescents.
A duo between the girl band A Pink and boy band B2ST. The chorus goes, "skinny baby hot hot", and so on.
Sexuality or Androgyny?
Those that are not engrossed in the hallyu culture either don't understand or are flat-out repelled by the notions of K-pop. Since K-Pop displays very different images of beauty, femininity and masculinity, our society, which has more concrete standards regarding the division of gender and sexuality, might be initially puzzled. However, with recent acceptance and even embrace of androgyny in American fashion, this is beginning to change (hopefully). It is also important to note that K-Pop does not fully and concretely reflect the ideals of Korean society as a whole. An example of such response can be seen in a video compiled by a Christian YouTube channel AprilandWayneShow ("K-Pop promotes homosexuality, bisexuality, sexual perversion and cross dressing!"). The video's is title: summarises the core premise of the video. Though it mainly reflects an extreme Christian point of view, it has touched on some issues that North American viewers might have with K-Pop videos. These tend to include idols who are made up to look androgynous or effeminate, their hair dyed and their faces heavily made-up. Some include dance moves that can be construed as sexual, and others showcase instances of homoerotic interaction between same-sex band members.
An anti-Kpop video posted on YouTube.
However, K-Pop idols' appearance and public image is skewed to produce a specific affect (the love of a particular group of fans); thus, his appearance and behaviour doesn't necessarily reflect his true personality. Also, similarly to how North American MVs don't speak about Canada or America as a whole (nor do we dress and act like celebrities do in their videos and on stage), we cannot rely on such images to establish any valid opinion about Korean society.
The Bottom Line:
It is possible that Psy' "Gangnam Style" has paved the way for other K-Pop idols to make an impact on the North American music market. But the road to stardom won't be easy. Prejudice and homophobia could very well prevent this foreign culture from assimilating into our own.
Worst of all, if K-Pop does manage to please out finicky tastes, the repercussions could prove to be scary; this kind of unrealistic perfection that K-Pop propagates can affect our already confidence-ailing nation. But what if Psy has succeeded where many others have failed before? (So far, he has!) If K-Pop does spread like wildfire it would do wonders for South Korea's economy. With the help of YouTube and North American blogs like EatYourKimchi, a K-Pop apocalypse is possible. The prospect sounds scary. But the underlying truth is we would already be consuming something we have loved for decades: Western pop music, just packaged differently. I think this kind of change could be refreshing for the American music industry.
Resources:
Ahad, Abdul. "'Gangnam Style' stuck in second on US pop chart". Entertainment. Business Recorder. 4 Oct. 2012. Web. 10 Oct. 2012.
"K-pop diplomacy." YouTube. The Stream: AlJazeeraEnglish. 3 Sep. 2012. Web. 23 Sept. 2012.
"K-Pop History." Kpop Online News. Web. 11 Sept. 2012.
"K-Pop promotes homosexuality, bisexuality, sexual perversion and cross dressing!" YouTube. AprilandWayneShow. 22 March 2012. Web. Sept. 18, 2012.
Lee, Su Hyun. "Viral Video Gets Propaganda Treatment." Asia Pacific. New York Times Online. 20 Sept. 2012.
Oh, Sandra. "K-Pop taking over the world? Don't make me laugh." Tell Me About It. CNNGo. 16 May 2011. Web. 13 Sept. 2012.
Park, Madison. "'Gangnam Style' dominates UK charts." World. CNN. 2 Oct. 2012. Web. 10 Oct. 2012.
Simon and Martina. Eat Your Kimchi, 2008-2012. Web. 9 Sept. 2012.
"Surprise! Britney Learns 'Gangnam Style' from Psy!" YouTube. TheEllenShow, 10 Sept. 2012. Web. 10 Sept. 2012.
]]>Let me be the first to stand amidst a dusty street, while the townsfolk take shelter behind bartered doors, and cry: "The Asians are coming! The Asians are coming!"
Well, the "South Koreans K-pop idols are coming" more specifically but it's unlikely that these perfectly primped and made-up visitors, clad in colourful clothes and dangerously high-heeled shoes, would arouse such an unwelcoming response in their North American hosts. They are far too pretty for us to suspect of them having any ulterior political motives.
A decade ago K-pop would have been a completely foreign concept, but recently K-pop has been getting more attention in North America. Now it's very possible to meet another non-Korean Canadian with a keen interest in K-pop, whereas before attending a mostly Asian populated concert would put you in a white minority. Now even those who have no knowledge of K-pop or any other Asian culture would have been probably blasted with Psy's in-your-face music video for "Gangnam Style". The video's humour and playfulness have done the impossible: a foreign music video with a foreign theme, performed in a foerign lagnuage has proved to be universal.
]]>I guess, humour transgresses all barriers!
Yes, the Asian Invasion of North American culture, or as it is commonly referred to by knowing K-pop lovers: hallyu. I too have fallen victim to the allures of these gloriously exotic cultures, surrounded myself with the cinema (specifically East and South Eastern horror), pop culture (manga, anime) and food (give me green curry, give me sushi and I will ask pho more), as well as annoyed others when attempting to rehearse words and dialects I picked up from friends and movies.
It started innocently when I frequented a few Korean restaurants. Next thing I know, I'm putting aside my snobbish affinities for music to explore a genre that my friends have been turning their noses from since they've started carving metal bands onto their notebooks: Pop -unbridled, saccharine and unapologetic in its frivolousness. The silly, repetitive lyrics, the catchy tunes that seep into your brain but very soon expire from your palette altogether (these are all compliments, mind you) provided a needed escape for anyone living in a society of high stress and low attention span.
In light of this new musical development on the K-Pop front, I decided to enlighten the rest of the phenomenon (how kind of me!). So this blog will chronicle and discuss themes and issues relating to K-pop: the prospect of a political conspiracy as the driving force behind this million dollar industry; the repercussions of K-pop's marketing of unattainable perfection on its audience; speculations on its appeal and the possibility of a North-American crossover; its origins and key players in the industry, and other miscellaneous things.
As my blog expands it will come to include a better variety of sources and arguments, but in the meantime, this page will serve as a primer for concepts and issues related to the wondrous phenomenon that is K-pop.
Strangely enough the introduction of Western genres of music such as Pop, Hip-Hop, R&B and Rock was the thing that propelled the birth of K-pop. Essentially, K-pop is a Korean adaptation of Western music, sung in Korean language by Korean artists. But since the early 90s, when Western music blended into the Korean music industry, a lot of purely Korean elements have been added to the mix, creating a brand new product. Yes, it still relies heavily on Western trends for musical inspiration, but the music videos and the idols themselves (as well as their producers) are responsible for their unique message and image.
K-Pop has grown to encompass almost all genres of Korean music, be it Indie, Rock, Trot (which is a genre of music that has been around for longer than K-pop, and is usually widely popular among older Koreans, but is not considered traditional Korean music), R&B, and even Hip-Hop. K-pop has simply developed to mean "Korean Music". This could be due to the poppy, bubbly quality of Korean music and videos in general. They are typified by an affinity for colour, outrageous wardrobes, hairstyle of any shape and colour, and themes and fashions which are cartoon-like in nature. K-pop, overall, tends to reflect playfulness, innocence and fun.
K-pop is also incredibly popular in other parts of Asia. For example, in China, Japan, and much of Southeast Asia, especially Indonesia, Malaysia, Thailand, and Vietnam. It is particularly popular in Japan, so much so that many are worried that J-Pop and J-Rock are becoming obsolete due to K-pop's popularity. Actually a lot of idols learn Japanese and release Japanese versions of their songs, albums and even videos (these are entirely different from their original, Korean versions, not merely translated).
When it comes to K-pop, entertainment/ production companies are almost more important than the idols themselves. These agencies train and sculpt young idols and are almost fully responsible for their public image, their relationship with fans, their videos, music and essentially their everyday lives.
The ones that have been consistently producing successful idols and girl/ boy bands are SM Entertainment (South Korea's largest entertainment agency), DSP Entertainment, JYP Entertainment, and YG Entertainment.
Bands and idols that enjoy both Korean and (some) North American popularity are: TVXQ, Super Junior, Girl Generation, 2NE1, Rain, Big Bang (also, G-Dragon and TOP who now have a separate solo career as Hip-Hop artists), B2ST, Xiah Junsu, U-Kiss, F.T. Island, BoA, JYP, UV, Nu'est, T-ara, ZE:A, Hyuna, Psy, Tiny-G, Teen Top, and many others.
K-pop boy band TVXQ has been around for quite a while, but their popularity hasn't waned.
Ours being a visual culture, the spread of K-pop music has arguably occurred through visual media such as cross-cultural exposure to Korean cinema and television, and most prominently the internet. Film still-shots and idol (singers/ actors) photos and biographies are widely available on the internet. A simple Google search would produce numerous pictures of K-pop idols and bands, and direct you to numerous forums dedicated to singing the praises of that particular idol/ band. Undeniably, beauty has appeal that extends beyond our culture, and is more influential on a multifaceted and culturally encompassing society such as Canada and the U.S., so pictures alone can pique interest in an especially scrumptious K-pop idol.
North American bloggers who are interested in Korean music and culture are also a driving force behind this phenomena. Some discuss the music and review the videos, generating huge debate in forums about favourite stars and starlets. Others review and introduce Korean skincare and fashion to those who live overseas through makeup tutorials and makeup reviews. Eat You Kimchi is one such website that has transformed from a small at-home blog to a powerhouse of information regarding the latest and freshest K-pop news and music releases. Currently they hold a much subscribed to YouTube channel that traffics massive views per day for each one of their witty and clever segments, like "K-Pop Music Mondays" and "K-Crunch Indie".
YouTube is probably the main culprit behind this new and exciting interest in Korean music videos (MVs). The reason terms like viral are often attributed to K-pop videos, or any videos in general, is because videos which are so widely and freely available to anyone with internet access, have the ability to capture the immediate attention of international audiences. K-pop bands and idols, as well as production companies, usually have a well-maintained website and their own official YouTube channel where they post newly released MVs , interviews, sneak-peeks, and behind-the-scenes.
Artists such as Taeyang, Rain, 2NE1 have enjoyed some commercial success in Canada and the U.S. Wonder Girls, in 2009, were among the first to have a single in a North American music chart, only to be surpassed by Psy's "Gangam Style" which topped the charts both in the UK and North America (completely unheard of for a Korean artist). Other artists routinely tour in North America, Australia and the UK, selling out large venues in the U.S, with the support of their North American fans.
K-pop girl band Girl Generation dressed in funky sailor outfits.
Some either don't understand or are flat-out repelled by the notion of K-pop, while others, open-mindedly and curiously ask: What's the appeal? In a society of bigger, better, faster, K-pop music videos are able, for once, capture our attentions, even though we've already seen it all, heard it all and are on the cusp of mild boredom. First, K-pop videos rely heavily on Western themes that a North American would be familiar with. K-pop music, not considering the language, already sounds very similar to current North American pop music as it involves R&B sound, Western Hip-Hop styles, and electronic beats. In fact, most K-pop songs have English titles and choruses which recycle themes of Western pop. Words like "boy", "love", "baby" are used just as often as they are in any North American hit.
K-pop music videos also tend to amplify colours, costumes, makeup, and dances that are an integral part of North American music videos. Even though most of their videos are formulaic in that their components usually include a dance routine, a set and wardrobe that adhere to a specific theme, and the occasional sob-story, dramatic plot. Nevertheless, these videos have very vivid (almost lurid) colours, strange and cute sets, clothes and makeup that blur the lines between masculinity and femininity, and sometimes very unusual (at least to North American audiences) themes.
The product of combining all these elements usually produces either a poignant, heart-wrenching mini-movie, or a surrealist, cartoon-like acid-trip. I guess the appeal is that K-pop is familiar yet strange enough for American audiences to find it intriguing.
Example of the acid-trip variety, which hip-hop artist G-Dragon is famed for (though he occasionally does the deeper, more meaningful MVs to accompany his ballads):
The concept is used to describe K-pop from a political point of view. How can the trivial popularity of boy and girl bands affect the great and ever-so-complicated scope of Korean politics? A video podcast lately compiled by The Stream has produced a variety of opinions. Some seem to suggest that the South Korean government, taking a n interest in this flourishing industry, are more inclined to invest in it for its potential visibility overseas. For what purposes and how, is still only speculated, since K-pop had only recently began its steady climb international charts.
Many critics are concerned with K-pop's overwhelming influence on young audiences and how it expands to Korean society and its values. The strive for perfection has always been an intrinsic value of Korean culture, as Koreans pride themselves in being hardworking and task-oriented. However with K-pop in the picture (excuse the pun) images of unattainable, artificial beauty are constantly imbued into the impressionable sub-consciousness of Korean youth (and soon, possibly even North American youth). Incidentally, South Korea tops the charts as the country with the highest rates of plastic surgery in the entire world. Though the procedure is common, simple and regarded as very safe, the prevalence of the dual-lid eye surgery, for example, sends a message to Koreans that their naturally given eyes are not good enough. Other physical augmentations that idols are often encouraged to undertake by their P/Rs include a nose surgery, to make their nose-bridge thinner, and many others that seem to cater to notions that having Caucasian features is more attractive. Images of unhealthy thinness (Korean idols boast to having BMIs as low as 18), social status, face shape, body shape and sexuality are also heavily debated considering K-pop's fanatically dedicated audience is composed of adolescents.
Circular eye-lenses that change the colour and enlarge the diameter of one's eyes, as well as fake-lashes are basic necessaities in the makeup repertoire of most K-pop idols.
*Sources used to write this backgrounder can be found in my "Annoateted Bibliography" post: here.
Parallel
to his academic career is a budding, but equally impressive career in
music. He has a four track acoustic EP titled Decadence on Saturday,
that has received an esteemed reaction from the local Vancouver indie
scene. Late 2011, his debut eletronic release, Sleep Country, put out on his own start up label, Blenheim & Celtic, garnered international attention.
So how exactly does a pipe-smoking, scholarly musican and creatively-inclined being find the time, or even the motivation to
pursue so many lofty endeavours? Shannon, local and revered Vancouver
artist, along with Wolfey's mother, helps to shed some light on his
peculiar nature:
Long
ago, when Wolfey was just a wee tike, still fumbling with activities
like organized sport, his tee-ball team was having their season end
barbecue. Now, he was already considered to be something of an odd duck
amongst the team, but his actions that evening truly affirmed this
notion. On top of his baseball uniform, Wolfey donned a full-length
trench coat and matching floppy hat, making him look like a miniature
noir-fiction detective. The team was apparently used to his
excentricities by this point, so after his initial entrance, young Wolfe
almost blended in. As the afternoon went on, the barbecue's attendees
mulled about the back yard, enjoying their burgers and anecdotes.
Shannon did a quick scan for her son, but couldn't spot his Sherlock-ian
get up anywhere. But, just as she were about to utter her concern, a
little voice demanded the attention of the party. From the host's roof
stood a Wolfe-sized Batman, with his hands proudly stuck to his hips.
"Hey everyone, look at me!" he shouted, before whisking away into the
closest window, his cape billowing in the June wind.
Wolfe is a unique specimen indeed. He could very well have reclined into the comfort of his family's money, but in stark opposition to this notion he proves time and time again that he is one of the more driven individuals that I have ever met. He certainly disrupts the growing societal inclination raised by the recent Occupy movements that the wealthy are merely indulged misers. Wolfe is no such thing. He is a uniquely creative-entity and rare-intellect, and if you aspire to be anything of the sort, then I implore you to listen to his music and indulge in the thoughts that I picked from his brain (bellow), because his motivation surely reflects what one would hope to be their own.
He's
currently in the process of re-releasing his acoustic material, so
please enjoy this, his latest product, the Sleep Country EP, via the
link below
Wolfey - Sleep Country
The Interview:
S: When did you start creating?
W: In my dorm room in my boarding school in Los Angeles.
S: Not younger?
W: That's when I started writing my own songs.
S: How old were you at the time?
W: 15...16
S: Some say art is all mimicry. At a young age, what were those first tracks you covered?
W: we can actually check that out...(laughs)...so some of these songs.... Some Elliott Smith, some Iggy Pop, some Simon and Garfunkel, some Belle and Sebastien, some Girls, some Bright Eyes, Devendra Banhart,
S: Was there any one specific influence that really...
W: ... Bob Dylan, white stripes....
S: ... held significance?
W: Actually, yeah. At the very beginning I'd probably say, uh, like the white stripes and the elephent record.
S: Yeah, you can hear it.
W: It made me want to write songs.. and I love singing those songs, like The Hardest Button to Button. I also loved the record before that too, White blood Cells. It had Dead Leaves on the Dirty Ground on there and a few other awesome songs. But yeah, that's how I gota into those bluesy, sparse, pop-rock tunes... I would say.
S: Was being away at boarding school; being away from home... did that have any influence on your artistic realization, so to speak? Was it the environment, or just that time in your life?
W: It was probably a bit of both because I hadn't branched out and made friends with a lot of people. I just kindof made one really good friend who was really into music. But he was kind of an amateur. He had a guitar in his room that he occasionally picked up. And, I dunno, I was just sitting in my room and I had not a lot to do. And I remember I wrote that tune, Decadence on Saturday, and I have no idea why...
S: Was that the first one?
W: yeah, the first recognizable song. I dunno, yeah, I guess it was just because I had nothing else going on. I didn't really take it very seriously..
S: Until people started responding?
W: Well not even actually (laughs).
S: Obviously, Juan was one of them, but were there any other specific people that your coming into creativity?
W: In reality? (laughs)
S: Personally, yeah, from actually working with someone..
W: Well, my writing, not so much, but we got into playing with this guy, Al, who was like Charlie's gardner, and we did a lot of practices with him, and yeah, you know, music was always a really good time with them, but it didn't really influence my writing very much. I don't think so no. Maybe, actually Charlie is the only other person because he just writes so many songs, with really good hooks. I like good melodies and good lyrical hooks. And every once in a while he'd just come up with a golden line.
S: How'd you go about writing a song back then? Let's begin with the process specifically.
W: I'd usually pick up my guitar and start strumming chords until I found a 3 or 4 chord progression I liked and I would start humming on top of that, usually something in a minor key. Usually, like I said, I was doing a lot of blues songs, and a lot of them were in the minor pentatonic scale, and I'd just hum over top of it, noodling on the guitar until I found a melody that I liked, and I'd just stick in words as they came into my head, and eventually some sort of lyrical foundation would emerge from the mood that was happening with the rhythm and the chord progression and I'd just work around that mood; that atmosphere.
S: And is that how you go about things now?
W: I'm trying to be a little more... to have a little more of an idea, even if it changes, I wanna have more of a plan going into it and knowing exactly what kind of sound I wanna go for; what kind of artist it'd remind you of; what kind of record label you would want to be on; describe the type of people that would like to listen to your music? What other kinds of music do they listen to? And like, other considerations, like is your music made for chilling on an every day basis, or are you going to make dance tunes? I think these are all important considerations to make. Audience. Audience is really important... in any form writing.
S: I've heard you say that melody comes pretty naturally to you. Can you describe this process? Or does it simply materialize?
W: Well, Its kind of a mystery. I'd actually like to do some research in to it myself. Like, why the hell do some notes, in sequence, together, only those notes, excluding other notes, why do they sound good to us, and different combinations, like they're perfectly good notes, but for some reason they don't sound good to us, those paterns. There are certain patterns in melody, and in rhythm, that just sound fuckin' good.
S: 4/4...3/4....they're hardwired into us.
W: Yeah, I don't really know why they sound good, but they do, and I think that if any thing, being a music creator, is having an ear for what you like, and when you hear it - you can identify it, immedietley. Like when I'm going through my new music, well it'll sound like I'm not giving it a chance, but I'll get 16 bars into a tune, and I can kind of tell if I'm going to be interested or not, and eventually, I think that you just develop your ear, you hear what's missing, what could be there, and it's not always bang on, but it does feel as if it comes naturally to some extent. I mean, its probably to do with the fact that I just listen to a lot of music. I think that it also probably had something to with... I started playing violin when I was really young and I have this theory, I have no backing behind it, no substantial proof, but I figure that if you get a kid making music at a really young age that it can really imprint a sense of rhythm, and melody, and just over-all musicality.
There are some kids though, who are technically so much more skilled than I will ever be, at the piano, for instance, but a lot of people wouldn't necessarily describe them as being creative.
S: What are your lyrics about? Fiction? Non-fiction?
W; Both. Mostly, there's just kindof a combination of an atmosphere and an emotional feeling, and its just images that evoke that feeling, and sometimes some elements may have some inspiration from my personal experiences, but very loosely, like no song is about any one thing in particular.
S: You've recently been focusing on making electronic music. Why the switch?
I don't intend to stop making acoustic music, I may not be making songs in that style... but I might do songs with just my guitar and my voice I guess, but I found that it became really limiting. I was working in the same scales... I did like the songs... but I didn't have any flexibility with the sounds I could use. Basically, I just wanted to know how to produce. In the future, the producer has so much more flexibility to articulate their sounds. Like I said, you could be a pianist on stage in front of a bunch of rich people, but if you don't know how to produce, then that's the only sound you'll ever be able to make. I'm interested in so many different sounds. I wanted more than just my voice and my guitar through garage band, and not have to pay some studio producer to do it for me. That's bullshit. That's no way to go about creating something. I want to be able to just sit in my studio and just chill, just experiment. The thing is though, its like learning a new instrument, like if you compare it to learning how to play the guitar. I'm really not that far into producing. But.... I don't even know if that answered the question..
S: You're on track: Why the switch to electronic music?
W: Oh I don't even think I've been answering that question. Well, I want to use my voice in my productions... pretty soon, but I still havn't figured out what sound I want use... what I want to go for.
S: That's certainly a defining statement...
W: I feel that's one way.... It is one of my strong suits. I've never claimed to be a guitar player, but that's the one instrument that I'm actually comfortable using, my voice, but it's going to require some thought, some work. I've come realize: anyone who's making music these days, hey must have some knowledge of production, or at least have a friend who's a producer. How do these indie bands make records? They don't shell out and go in to a professional studio. How do they find these experimental sounds? You can only do this in an environment where you can actually experiment at leisure, and that's what affordable software and the internet has enabled any kid who's half interested in making beats....anyone who wants to make music can now conceivably do so. Especially with electronic music, which is not surprising. You can make huge dance tunes on Fruity Loops, which is free! Skream, to the best of my knowledge, still uses Fruity Loops to make his beats. It's a completely amature production work station, but he likes it because its so simple that he knows it like the back of his hand. Rusko uses Acid Pro, which is even simpler and with less capabilities. These are simpler equivalents to programmes like Ableton Live or Logic. But one thing that I've been hearing from a lot of producers and musicians is that all this technology, all these choices actually slow you down a tremendous amount, because you have too many avenues to fiddle around, too many instruments and you never actually connect with one of them. I think its important to not get lost in all the choices you have. I mean, all the synthesizers and sampled sounds... You need to make decisions and finish your songs; finish your work. That's something I'm still working on.
S: Thank you for your time and thoughts, Wolfe.
W: Thank you for yours.
]]>
Check out the latest and biggest rock concerts in Montreal.
Rock concert.JPG (Photo credit: Udy)
Hidden away beneath the shadow of its commercial, highly visible cousin, the world of underground dubstep is set to deliver an excellent year of releases. The third Deleted Scenes single from originators Distance and Pinch has finally dropped after three years of waiting, Goth-Trad's New Epoch LP is just weeks away and there are many rumored upcoming LPs from seminal artists such as Quest and V.I.V.E.K. I can think of no better way to herald what has the potential to be a monumental year than a brand new, totally unexpected, DMZ release. For their 22nd release, DMZ has chosen to put out a pair of Digital Mystikz (producers Mala and Coki) singles entitled "Marduk" and "Enter Dimensions."
The A side, Coki's "Marduk," comes as fairly typical fare. Over the years his releases have tended towards a restricted pallet of textures and moods, and this track is no different. Not that it isn't an excellent addition to anyone's library-it's sure to get dance floors going-but this is Coki, and if you know him, you know what to expect. The intro does an excellent job of building up a sense of tension and panic that gets released with the huge drop. The song shifts into his signature brand of heavy, choppy, sci-fi psychedelia that really digs into your brain, while the sound bed beneath that could fit right into the score of a horror film. Together, you end up with a truly demented sound.
To be perfectly honest, I've never really been the biggest fan of Coki, but seeing Mala at Igloofest this year and hearing him venture into the sonic realm that's synonymous with Coki productions on a loud system really opened me up to the possibilities there. It's aggressive, yes, and that can feel like it takes away from the deeper, meditative qualities that someone like Mala brings to the table, but when given enough space to breath, it becomes something else entirely. It takes on a heavily hypnotic quality that is equally capable of taking you into your own head as the best productions of his meditatively-inclined counterpart.
Speaking of, onto the B side. For me, Mala's "Enter Dimensions" is where this release really shines. It's little wonder that he's widely recognized as dubstep's most consistently strong and innovative producers. First off, the drop on this tune is huge; after a restrained opening, the bass just explodes out of the gate. I'm only listening to it in headphones and it's suffocating; I can only imagine the strength it hits with on a proper system. It comes in deep, rolls hard, and barely ever lets up throughout the whole song. There are moments where it'll cut out for a split second, but then comes right back. The silence serves as little more than a reminder of just how heavy this track is. The rest of the song remains pretty minimal, like a throw back to the early dubstep productions that DMZ really pioneered; I particularly like the ancient sounding sample that I feel should be from a kung fu movie.
For those who don't know, don't take my description here as fanciful rhetoric. There's a very good reason that proper dubstep tracks are described as "deep" or "heavy": this is physical music, and when you're hit by the first blast of bass - I mean really hit with it - you feel it down to your core; you'd barely think the human body was made to withstand this kind of pressure.
For anyone who considers themselves a fan of the deeper, foundational sounds of dubstep, this is an absolute must have. DMZ retains their throne as the top dog of dubstep record labels, and as long as they keep putting out stuff like this, I can't see that changing.
The concert led with a darkened Bell Center and screams of anticipation. While the guitarists punched holes through a wall that separated them from the excited audience, the lead singer bored one through that same wall with a laser cutter, expelling a glowing red light. This was it. It was about to begin. The minute he sang, I don't think anyone could help but notice the LED light was in his mouth! The drums exploded, ringing out like hammers. This was the beginning of a spectacle Montrealers had been awaiting for the better part of a decade.
After a ten-year absence from Canada, fans were beginning to wonder whether Rammstein would ever cater to North American again. The last time they were in this region was during the Mutter tour in 2001. However, December 9th of 2010 changed everything. They came back from their hibernation, rocked North America and are planning to do so again on May 1st, 2012. The German sextet is back and better than ever!
This concert was different than all the concerts Rammstein has put on. Although they have always dealt with pyrotechnics and other explosives, they used them more frequently and to a higher level. Although the atmosphere is already very energized and fun, it is mysterious because no one knows that the band is capable of anymore. With every tour, there is more amazement. The props bring mystery and wonder to the crowd. People expect the old songs that are very popular, such as Feuer Frei, where the band put attach flamethrower masks to their faces and then shoot a large stream of fire 25 feet into the air. This has become their trademark.
Figure 2: Pyrotechnics during Feuer Frei
The work Rammstein has done is very important to German culture because it has changed it. Germany went through a cultural crisis after the wall came down and Rammstein helped bring recognition to their country. Rammstein is a very popular band, everyone has heard about them and whether they are liked or not, people are aware of what their shows are like. The fact that they came to Montreal after such a long time drew a lot of attention. Through the show, they demonstrated what they had been doing during their five-year hiatus from touring and amazed all of the spectators.
I have been a Rammstein fan for the better part of ten years and I find that the concert was a very good experience. It was a very big production, especially seeing as though it was filmed for the new live-concert DVD. Rammstein uses a variety of fire equipment that make their concert possible. They include: Lycopodium Masks, Glitterburst Trusses, Pyrostrobes, Comets, Flash Trays and Mortar Hits (wiki). Not only does Rammstein use these explosions, but also they have light shows to create different effects depending on the song. They do this because, according to drummer Schneider, "99 per cent of the people do not understand the lyrics, so you have to come up with something to keep the drama in the show" (Wiki).
Figure 3: Pyrotechnics at the Plaines of Abraham during Ich Tu Dir Weh
This is exactly what they did in the December show. However, there were some technical difficulties that did cause the effect of the show to diminish. The worst feature of the show was during the song Engel, when front man Till Lindemann had massive angel wings strapped to his back that could spout fire out of the ends. One of the wings failed to ignite. It was still amazing to see, but it would have been a lot better is the other wing had worked. Another weakness was that the show took place inside. I went to the Rammstein at the Plaines of Abraham during the summer and the band could do a lot more because they were outside. They set up tens of fireworks in the air during the song "Ich Tu Dir Weh" which wowed the crowed. Doing that in the Bell Center would be a little far fetched and dangerous, not to mention the Habs would have to find a new place to play hockey. When you know there is something great coming up in the song and it doesn't happen, it's a bit of a let down. It also would have been nice if there had been screens for people who were farther away from the stage.
That being said, the show was very much a success and filled all expectations. Rammstein delivered everything they should have and more. A few songs from their new album "Liebe ist fur Alle Da"were played, like Rammlied (the first song), Bückstabü, Waidmanns Heil, Wiener Blut, Frühling in Paris, Haifisch, and P****. During the song Waidmanns Heil, flames shot out from the first level of the stage. It was dangerous, seeing as though the flames were all around the lead singer. If he were off just a little bit, he would probably look like a singed Wile E Coyote. It was quite amazing to see and it was very well done! Through this particular event, the spectators can see how experienced and talented the band is. In Ich tu Dir Weh, keyboardist Flake got up some courage and hit Till Lindemann. However, his actions were short lived as Lindemann picked up the 6'8 Flake and dumped him into a bathtub and poured fire sparks in it. Flake emerged about a minute later in a sparkly jogging suit and danced all the way back to the keyboards before an explosion went off, engulfing him in smoke. This, of course, completely entertained the crowd and made everyone laugh. During P****, which was just before the first Encore, Till Lindemann got on a cannon that shot white confetti all over the crowd. It was great because it made everyone feel so connected.
The band also took the crowd back in time. They performed songs from their first album, Herzeleid, such as "Du riechst so Gut", which featured a light show and a little dance by a few of the band members, which amused the crowd. It was nice to have some variety in the show and not have just the songs from the new album. The audience knows what the old songs like that and what the band does during them. They've been together for 17 years. They played their most famous song, Du Hast, where everyone in the Bell Center knew the lyrics. During the chorus, however, fire shot out of the bottom and top of the stage and no one could see the band! It was a wall!
Figure 4: Pyrotechnics during Du Hast
In all, I found the Rammstein concert to be an amazing one. The band did a very good job in bringing back their most popular songs and playing songs from the new album with new pyrotechnics. It was the best concert I have ever been to and I think everyone in the Bell Center would have agreed. The band put a lot of effort and time into making the show a success and it was obvious. With the new show coming up this May, it will be curious to see what they will come up with next!
Bibliography:
http://myaimzistrue.blogspot.com/2011/05/concert-review-rammstein-at-air-canada.html
http://www.evenko.ca/en/show/pressrelease/1501
http://www.mtv.com/news/articles/1427256/kmfdm-rammstein-speak-out-about-columbine.jhtml
http://en.wikipedia.org/wiki/Rammstein
5. The Bell Center
This immense capacity may also be the Bell Center's greatest vice. It's
clear that the venue was built with the primary function of housing
sporting events as its cavernous rafters don't provide the best
acoustics. Sound quality may vary between decent and pretty terrible
depending on where you're seated. Witnessing a concert from the front
row can be an impressive sight, but don't expect a comparable listening
experience. The same goes for anyone who gets stuck with seats along the
side of the stage. Most bands have to pump out their music at eardrum
popping levels in order to fill the arena. At this intense volume many
bands end up sounding somewhat distorted and unclear.
All this aside, you can firmly bet that if the band you're going to see is capable of attracting such a large crowd, enough money and technology has probably gone into making one heck of a show. It isn't an intimate experience by any means, but something magical does happen when so many people gather in one place to appreciate a band's music. There are few things more emotionally invigorating than witnessing a crowd of 20,000 fans singing their favorite song in unison. For a pure sense of grandeur and crowd atmosphere, the Bell Center is my 5th pick.
4. Club Soda
What Club Soda lacks in size, it makes up for with heart. Located smack in the middle of Montreal's "quartier des spectacles," this venue (which can accommodate just shy of 1000 people) is usually quite full no matter who is playing.
Known as a place where many famous bands played their first shows in
Montreal (Club Soda's website lists such acts as The Tragically Hip,
Oasis and Soundgarden), it isn't a place where you will typically see
huge acts play. However, if one of your favorite artists does happen to
book a show there, you can guarantee that it will be a good one.
One of my best concert experiences was seeing Raine Maida (of Canadian
band Our Lady Peace) play there in promotion of his solo record. I was
standing at the foot of the stage, literally feet away from him, without
the usual intrusion of some sort of barrier patrolled by security
guards that you often find at concerts of the sort. Not only was my
proximity to the performers amazing, but so was the sound, even in my
less-than-ideal listening position. If you find yourself farther away
from the stage, then you will benefit from great sound quality. With the
venue's fairly small dimensions and streamlined (some might say boxy)
interior there isn't much place for the music to go before it gets to
your ears.
Viewing the show from the rather flat floor can be difficult for those
of us who are vertically challenged, but if you don't mind being
slightly farther away, you might try to find a place on the balcony
where you won't have any trouble seeing the show.
Due to its limited size, you're unlikely to find huge international
acts visiting this venue, but if you do happen to watch a show here, you
will probably find a great deal more intimacy than in many of the
city's larger venues
http://www.clubsoda.ca/en/index.php
3. Le National
Far less modern, but with much more history behind it, Le National and sister venue La Tulipe, represent a totally different side of the Montreal music scene. Originally open in 1900, Le National has been a highly trafficked spot for francophone artists in the city. One only has to take one look at the walls and floor to know that this venue acts as a time capsule, preserving a little bit of the city as it was over a century ago.
Having been both a spectator and a performer at both Le National and
Club Soda I can say that there is a distinctly different feeling between
the two of them. Despite having similar capacities, Le National Feels
larger and more open. Visually it gives up any attempt at modernity for a
warm, rustic look. With a rather steeply curved floor and upper
balcony, seeing the stage isn't a problem from anywhere in the venue.
In terms of the entertainment available at Le National, its schedule is
generally dominated by francophone acts, but hey, what better way is
there to get a taste of Montreal culture than to embrace its French
music scene? You will also find many music events celebrating a
particular era or style which is worth checking out in its own right.
Regardless of your taste in music, Le National is an active venue where
something is happening almost every night. If anything, it's a beautiful
place to go and see something unexpected and take in a little bit of
the city's history at the same time.
2. The Olympia
If Le National represents a bit of history, then the Olympia represents a lot of it. At more than double the size, this theatre is made for larger events. While sharing some of the characteristics of its smaller cousins, the Olympia takes things to a grander scale.
Built in 1925 for "cinematic theatre," this unique venue has lasted the
test of time and remains a real treasure in the music scene. From the
red walls to the old fashioned moldings on the ceiling; it retains a
distinct look not shared by any other venue in the city.
The Olympia is large enough to accommodate popular touring bands while
still maintaining a certain sense of closeness and intimacy. Many
serious international acts (including many hard and alternative rock
bands) have chosen to play at the Olympia when they stop in Montreal,
even though they could easily fill up a larger venue. Why could this be?
Simply because when you play or watch a show at this venue, it gives
you a sense that you're part of something even greater, part of the
history of this city. It's a feeling that you won't find in many other
music venues.
Whether the theater is configured with seats in place, or standing room
on the floor, it's easy to see the show and you feel relatively close no
matter where you are. The balcony is a slight exception. It's nice, but
it doesn't wrap around the venue like most modern ones, so if you are
sitting up there you may feel a little bit removed from the event.
If you do find yourself seated up there, don't worry because you will
still have a clear video of the ample stage and you'll also get the best
of the sound that the venue has to offer. For infusing a sense of
history with the contemporary ability to accommodate modern rock bands
and put on some unforgettable shows, the Olympia is my second pick.
http://www.olympiademontreal.com/en/olympia/
1. Metropolis
If you're a Montrealer, you've been waiting for this one. It's a
commonly used name on the island, made all the more popular by achieving
the 9th spot on Pollstar Magazine's list of Top 100 Worldwide Club
Venues in 2011, as the highest selling club in Canada. Known for hosting
mostly rock bands, Metropolis is where the majority of concertgoers end
up when their favorite groups come to town.
But why is this venue so popular? Like many of Montreal's music venues,
Metropolis underwent a significant transformation since its construction
in 1884. It started out as an indoor skating rink and endured countless
renovations and reconstructions, serving as a cinema and theatre until
in 1997 it became the live performance venue it is today
(metropolismontreal.ca). Ever since, it has drawn consistently large
crowds and hosted some of Montreal's most memorable concerts.
Metropolis can accept up to 2300 people, making it large enough for any
major act, but without causing the sense of detachment from the artist
that can be experienced in mega venues like the Bell Center. Sound
quality is also infinitely better and makes for a complete and enjoyable
overall experience.
Its layout is similar to that of Club Soda, albeit quite a bit larger.
Its upper balcony features television screens that display live shots of
performances as they go, a nice feature, but you should be able to see
the stage perfectly well from any position.
Some of the best shows I've seen have taken place at Metropolis (Pixies,
Them Crooked Vultures and Silversun pickups to name just a few) and I
am among many Montrealers who have succumbed to its charms. For its
ability to take all the strengths from the other venues on this list and
very few of the weaknesses that go along with them, Metropolis is
undoubtedly The best spot to watch an indoor rock show in Montreal, and
it gets first place.
Moving to Montreal had a huge impact on Bowly's musical journey. "I was really involved with music, but that changed dramatically when I came here, because being in France - being in a small town - there was not much happening in my hometown." After moving to Montreal by sheer chance, driven by a desire to experience something different than the environment in France, Bowly met a community of likeminded people, including many people he's still involved with today that make up the E.S.L. crew (a group of DJs and promoters in Montreal that were the first to push the UK Funky sound locally), like Skinnybones. In Montreal he's found what he describes as a small scene that's built primarily on the strength of the individuals within it. He doesn't feel the city has one coherent sound, but instead fluctuates and changes with every new new sound a well-known local artist adopts.
That diversity is present in Bowly's own music. As a producer, he makes music that's influenced by a blend of dubstep, grime, UK Funky, garage, electro, techno and house. His fascination with bass heavy genres began when he picked up Burial, Kode9 and Boxcutter's first albums. "I got them all on the same day after reading a review in 2006. I was like, 'Alright, what is this thing they call dubstep?' It's funny, because if you listen to all three they're really not cannons of what dubstep is." His love of techno and house go back further to when he first moved to Montreal, they were the styles that he was first introduced to. These then distinct musical genres were finally brought together when he discovered UK Funky, which he describes as a combination of house and techno with UK sounds. After hearing it, he decided it was the music he wanted to make. However, he says he's never been the type of producer who can finish up with the track he set out to make. His track "Our Groove", a New York garage influenced, bass heavy house track, for example, started out with an attempt to produce a techno track. Because of this, he has a hard time really describing the music he makes. Rather than give it a name, he just wants there to be a line that can be followed that makes something sound like his style.
When he first started attempting to make UK Funky, it was the very beginning of the movement; there were few producers making it, and even fewer from outside the UK. He reached out to his favourite artists through MySpace, and that's how he managed to grab the attention of Geiom, which led to his first release. Geiom liked his productions, and they developed a back and forth conversation; Geiom would send Bowly extensive break downs of his songs, and pointed out areas to work on. Getting such close attention from a well-established producer helped him develop his sound quickly, and in short order Geiom selected two songs he liked, "Idee d'Une Tropique" and "Bleeps" for release on his label, Berkane Sol.
To get a taste of this DJs wide range, you can tune into his weekly radio show on Nasty.fm from 7-9pm (or later) every Saturday night, alongside his other E.S.L. crewmembers.
]]>"A brief history of electronic music's place in popular culture"
How did a style of music, once exclusive to the seedy underbellies of international metropolises and pale audiophiles futzing with their university's hardware, evolve into a Bill Board-topping, Grammy-nominated, Bieber-endorsed genre? After decades of sub-culture prominence, electronic music has emerged as a force within the mainstream. Thanks to globalization, the beeps and clicks of yesterday are now the tunes stuck in the heads of fifth grader's, young adults, and baby boomers alike.
So what exactly is everybody listening to? They are listening to music generated electromechanically or produced using electronic technology. Trust me, they are.
]]> It began in the early 20th century, with technologies from American, then Russian, then Italian, then German inventors and engineers. Then, after further advancements from Americans, Germans, French, and Japanese, we arrived in the 60's, the so-called, "fertile years," of electronic music.
Though the RCA Mark II Sound Synthesizer installed in the Columbia- Princeton Electronic Music Center in 1957 is considered the first ever programmable synth, it was Robert Moog that released the first ever commercially available modern synthesizer that really fired-up musicians.
The Monkees were the first popular act to make a purchase. Months later, the Rolling Stone's released, "2000 Light Years From Home," followed by the 1967 hit from The Doors, "Strange Days."
-Robert Moog gives Paul McCartney the grand tour
The Beatles also hopped on the Moog train, but it was the largely unsuccessful progressive outfits, like Beaver and Krause or Tonto's Expanding Head Band, that pushed the boundaries of these new electronic possibilities.
Let's fast-forward past the 70's, past Genesis, Brian Eno, The Human League, and Devo, and into the 80's when the first ever drum machines were released and popularized. The Roland TR-808, for instance, saw widespread success after its use on Marvin Gaye's, "Sexual Healing," in 1982.
Now equipped with drums and synthesizers, the electronic music genre took its plunge into the subculture by late 1980. Disco, defined by the cocaine-dusted corners of infamous venues like Club 54, was one of the first styles to use the "4 on the floor," beat so popular today. This developed in Chicago, and later in the UK, into what is now known as House music, defined by its minimal progressions, lengthy build-ups, and raucously illegal warehouse parties. Producers huddled around turn tables and sub woofers as the decade went on. Genre's like Garage, Jungle, Breakbeat, Drum & Bass, and, most significantly, Dubstep, also emerged from this considerably shady taste in music.
- Just your average rave
This underground rave scene continued through the 90's and early 2000's with only brief hiccups into the mainstream, from artists like Daft Punk, The Prodigy, and Moby.
Now, in 2011, over 50 years after the release of the first electronic instrument, we hear the styles once exclusive to the subversive employed incessantly over every major radio station across the continent.
As I write this, the top two spots on the American Billboard are filled with the electronic dance music of LMFAO and Calvin Harris. Uk dubstep relic, Benga, reached the number one spot earlier this year with his collaboration with Katy B. American dubstep producer, Skrillex, has just been nominated for a Grammy! Pop artists are now flocking to this new breed of producer to claim their slice of the cake. Rihanna teamed up with Jamie xx. Britney Spears hired Rusko. And it doesn't stop there.
Festivals known to feature this once sparsely loved genre are now expanding and even breaching capacity. Canada's largest electronic music festival, Shambhala, sold out for the very first time last year. The almost mythical Burning Man Festival is rumoured to be in its final year due to the obscene number of people that made the pilgrimage last year. Montreal's own Igloofest once saw a humble 4,000 attendees. Now, only 6 years later, over 60,000 ravers will flock to the Old Port Quarry to frolic in the sub-zero temperatures and even cooler Dub, Dance-hall, Electro, Minimal, House, and Future- Garage sounds.
- Igloofest 2011
Why?!
The metaphorical answer would be the Ipod. That nifty piece of tech-and-plastic serves as a fine symbol for the dawn of media file sharing. Kids young and old could for the very first time handpick their music library. It became a form of self-expression. It was your music.
This, combined with the ability to download music cheaply and easily, lead to a demand for more music. Luckily, with production software more affordable than ever, every eager musician with a few dollars, or a knack for pirating programs, could hide in their basement and supply this demand with their modern synthesizers and drum machines.
And they did.
Sure, acoustic outfits still reign supreme in the music industry, but since artists have had the ability to create, record, and distribute electronic music so effortlessly, the prominence of the genre as a whole has spiked significantly.
So does that mean electronic music isn't cool anymore? Is it too mainstream? Of course not! Its progress! Its evolution! Its thrilling! The future of music, electronic or not, has never been brighter. Sure, genre's will ebb and flow, but all this proves is the remarkable elasticity of one of man's greatest passions. Though, I must admit, if I hear, "Everyday I'm shufflin'," one more time, I'm going to shove that shot inevitably dangling before their wet lips straight down their throat, glass included.
-Chart toppers, LMFAO
Bless-
Samuel Scott Rutledge
]]>Oh Montreal, hippest of all Canadian cities, bursting at the seams with culture, excitement, energy, and music; I'd like to ask a few simple questions. Why is it so difficult for a band to get a break in a place so well known for its impressive music scene? Why does no one really care to support the local act, the struggling artist? And furthermore, why isn't this great city a larger dot on the musical map of North America? My experience in a band has allowed me to see just how difficult it is to break out in a city like Montreal, and while these may seem like the incoherent rants of a frustrated musician, think of them merely as the concerns of a person who genuinely loves music and feels like the odds in this town are stacked particularly high against budding local talent. Here are some of the reasons why.
]]> Reason 1: VenuesOne obstacle any determined young band will have to face at some point is the headache of booking shows around town. Venues are plentiful in Montreal, but it isn't as simple as booking a gig, rocking it out in front of a full crowd and going home with 100 new fans. Most music venues in Montreal come at a cost (think anywhere between $500 and $1500 for a show, depending on the size of the place) and rely on the groups to promote themselves, (at least your friends and family will get to enjoy watching you play...right?). Want to play at a place with a regular circulation of people? Better know a few cover songs, because it's rare to be accepted into one of these popular bars as an original act. Competition to play at these places is also fierce and dominated by veteran groups, leaving almost no chance for a new group looking for exposure.
Reason 2: Audience
I'll be the first to admit, going to see an amateur band that you've never heard before isn't usually the most enticing way to spend an evening... or $12. Professional promoters know this very well and will do everything they can to attract inexperienced bands. Each group sells tickets, they play a big show, marathon style, in front of a decent number of people who are really uninterested in your music because only came to see their friend's band play. Another thing, what happened to all the money from ticket sales? Oh, that's right, it's in the promoters' pockets. This method of playing shows is not for those who intend to make any cash. You do the hard work selling tickets, you bring the crowd, your gear and your best tunes, and you walk away with... usually nothing more than a migraine from the 14 metal bands you just listened to.
Reason 3: Over-saturation
Those 14 metal bands are among thousands of amateur acts in Montreal looking for some spotlight. The problem, essentially, is that no one cares. An overabundance of bands in Montreal has not only created stiff competition for attention in the music scene, but also a sort of numbing effect on the fans. In a smaller town people might be interested in going to see a local rock band on a Saturday night. In Montreal, people would much rather got to the Casino or a strip club. Not only are there way too many bands floating around the city, the majority of them are beginners with no real experience... or talent. In my personal experience as a musician, I find that this creates a kind of stigma against new bands. Montrealers are definitely open to new music, and it is possible to stand out from the sea of amateur groups, but you need to get an audience's attention before you can impress them, and getting the chance to get out there and create a fan base is a true challenge.
For a city that embraces music and culture with such open arms it's really a shame how difficult it is for a band to make a name for itself here. Montreal is the proud hometown of such acts as the Arcade Fire, Sam Roberts and (depending on who you talk to) Simple Plan... But these are few in comparison to Cities like LA, Seattle and New York. Paying to play doesn't simply refer to money, it means being prepared to make sacrifices and to fight for recognition in a place where everyone is doing just that.
Check out a discussion about this topic on MontrealMusicScene.com
Here's one Montreal club owner and promoter's take on the underground music scene
Upon entering the home of 17-year-old Brandon Mignacca, one of the first things you're likely to notice is the soothing sound of classical piano, serenading you as you approach the music room in which he spends hours a day practicing. That is, unless he's out unleashing a sonic hurricane with his band, Chair Warriors.
"I'd say my taste in music is pretty wide," says Brandon, brushing strands of stray hair from in front of his glasses. "I grew up playing classical, but my band is very "alternative rock," and on my own time I like listening to house and techno."
Brandon was thrust into music at an early age by his dad. "I was a musician when I was a kid," says his father, Bruno. "I wanted to give Brandon this gift, something he'd be able to hold on to for the rest of his life."
Although uninterested at first, Brandon quickly became hooked on playing piano and took lessons for the following 8 years, but he didn't start singing until he was in high school.
"I never considered singing until I signed up for the school play," recalls Brandon. "I was shocked that I passed my audition, and even more shocked when some older kids in my high school asked me to sing in their band."
This was to be the start of an incredible journey for Brandon, who at only 14 would be placed at the head of a band that would face some serious challenges in the coming years. Chair Warriors, as they were called, got together in the summer of 2008 and immediately started thinking of ways to get recognized. Their first move was to sign up for a province-wide battle-of-the-bands called Can Your School Rock. Having only been a band for a period of weeks, Chair Warriors outlasted 42 other high school bands and made it to the top 4 in the competition. They were eliminated in the final round.
Their defeat lit a fire under the group and the next year they auditioned again. This time the stakes were higher as the competition was expanded to include bands from Ontario and was to be aired as a mini-series on Global TV. With an extra year of experience under their belts, Brandon and the Chair Warriors took the title of Global TV's Can Your School Rock: Season 2 Champions. With this great victory, however began a period of turbulence for the band.
"On one hand, Can Your School Rock was a great experience for us," says Brandon. "It forced us to sit down and write music because we needed to play new material for each round of the competition. On the other hand, once we won we kind of sat back and waited for everything they promised us to happen... We're still waiting."
Among the bands winnings was supposed to be the recording of a full-length studio album. Unfortunately, business problems within the organization prevented this from materializing.
"I think we're past all that now," says Brandon on the matter. "We've wasted a lot of time waiting for people to deliver on their promises, but now we're taking matters into our own hands."
Today the band (down from 5 original members to just 3) feels stronger than ever. They have started independently working on their debut album with renowned Montreal producer Glen Robinson and are planning for an early 2012 release.
"It's really exciting," muses Brandon. "We're paying for this ourselves. No one is telling us what to do. What you're going to hear will be exactly what we are, what the three of us have become over the last 3 years."
It isn't hard to imagine the band's evolution over the years, but its more challenging to pin down Brandon's individual style as a musician.
"I try not to restrict myself by putting labels on myself as a musician," Says Brandon. "I love all kinds of music and admire vocalists like Matthew Bellamy from Muse and Jared Leto from 30 Seconds to Mars. I always just thought that the more music I listen to, the more unique my combination of influences will be and the more it'll show in my music."
Despite being the youngest member of the band, Brandon long ago earned the respect of his band mates in a big way. "We wouldn't have asked him to join if he wasn't that good," explains Chair Warriors drummer Ryan. "He's a talented kid and he continues to impress us. Our band definitely wouldn't be the same without him."
Although Chair Warriors are his main focus, Brandon has contributed his talents to a number of other local bands, playing keyboard live for Basement Superheroes and lending his voice in studio to Don't Ask Why.
"It can be refreshing to work with others," says Brandon. "If anything I think it makes me appreciate my band mates even more. All the bands I've worked with have a different way of doing things and it makes me realize what a unique thing we have going on. But Yeah, it's good to change up your atmosphere every once in a while, that's why I enjoy helping out other bands, it's a different experience."
When asked where he thinks his future in the music business is going Brandon answered with certainty. "Well I think that if you don't believe you can make it, there's no way you will. No one is going to believe in you if you don't believe in yourself first. That's the way I see it. I think we have what it takes to get somewhere with our music, but where exactly, only time will tell."
You can check our Chair Warriors videos on youtube
Like them on Facebook and follow them on Twitter @ChairWarriors