Mammoth Groove cultivates mammoth-sized grooves!

Calgary Beat: Mammoth Grove

by Christine Leonard
14 September 2017

September’s back-to-school regime is a questionably welcome event, but for Calgary students-of-life Mammoth Grove the requisite first essay question of ‘How I spent my summer vacation?’ is one worth crowing about. While others spent their dog days mowing lawns and painting fences, Mammoth Grove has been growing its fuzzy beard, working on its psychedelic moontan and observing the migratory behaviour of the Cowtown concertgoer.  

“In my experience music has been one of the most consistent, most enjoyable, most beneficial ways to make a living,” extolls lead singer-guitarist Devan Forster of his summer employment of choice. “I have a pretty hard time sticking through things I don’t care about, don’t believe in and don’t want to be a part of, which how I’ve felt about most jobs in the past. So music has been great, especially recently I’ve been jamming a lot. I’ve been downtown playing gigs, solo shows, open mics and just being out there and it’s working really well.” 

Catching the waves of humanity that wash across the core throughout July and August, Forster (who also performs solo under the name Silver Moss) has had ample opportunity to exercise his mind, polish his craft and gain a more fulsome understanding of the relationship between performer and audience. 

“I was out a lot for Stampede which is great, of course. Happy, smiley, drunk people everywhere. I was playing outside of the gates of the [Calgary International] Blues Festival as everyone filtered out and the middle-aged crowd was having a lot of fun. I’ve never been offered more joints, roaches, doobies, piece of hash, one-hitters. Mom and Dad like to have a good time out! On the train ride home afterward I had the entire car singing along to “I Won’t Back Down” on the Green Line. What can I say? Tom Petty’s been a gold nugget for me.” 

Sure he gets plenty of requests for CCR, Neil Young and Steve Miller, but it’s Petty who’s illuminated Forster’s quest for authenticity and self-awareness. By his estimation, it’s not just looking the part and delivering the goods, but bridging the gap between generations while exuding a signature sound that is entirely unique. 

“I play very few covers, I don’t really know many at all,” explains Forster.

“Right now the point of busking for me is to try out all these new songs I’ve been writing. And I’ve been writing lots! Mammoth Grove has this massive back catalog that we want to record and do stuff with, but we’re just kind of relaxing right now. After we went toured out to B.C. in May we figured let’s do our own things and enjoy the summer by soaking it up on the coast and playing on the streets back home.” 

Although this post-tour summer hiatus has been the longest of their collaboration, Mammoth Grove has been busily cultivating all of the elements necessary to flourish throughout the dark, cold winter months. Bound with wood, wire and an unquenchable thirst for beauty, Forster’s methods and approach have only grown stronger thanks to weeks spent pounding the pavement during his 21st-century troubadour bootcamp. 

“The biggest thing for me was just getting over that initial fear of busking. I was scared and I was nervous, but now I’m really into being able to rely on my voice and guitar," he continues.

"Mammoth Grove is always electric, but this summer I’ve been really only playing acoustic because it’s lighter to carry around. So, that definitely changes the sound and dynamic and everything about it. I’m really focusing on simple songwriting. I’ve noticed while busking that people connect with your voice way more than your guitar. I’ve been working on my vocal technique and range and it feels great to be confident in just what I am right here and now. ‘Blam!’ Until recently I felt like I had to be the singer, now I feel like I get to be.” 

Mammoth Grove performs September 21st with Yawning Man and Alex Perrez & The Rising Tide at The Palomino Smokehouse & Bar (Calgary). 

2/3 of Nothing: Punk on the Rocks

2/3 of Nothing:
Please Enjoy Responsibly! 

by Christine Leonard

9 September 2017

Hindsight may be 20/20, but that doesn’t mean you don’t gain a lot of clarity by going through that shit the first time around. For Calgary-based hardcore rock outfit 2/3 of Nothing the gravelly road to rock ‘n’ roll notoriety represented a tough age for the band who spent four years slogging it out in the pit before hanging up their gloves.

“Back in 1997, the jam space smelled like beer, cigarettes and pee. We didn’t take ourselves or our music seriously. It was more about hanging out and having an excuse to party. All of the songs were written under the influence so they could be played under the influence,” confirms guitarist Mike Davies.

That pattern of self-immolation started to take its toll and Davies was ready to take a step back from the proverbial canvas at that point. And he wasn’t alone.

“With so many conflicting drugs-of-choice, ego being one of them, infighting and addiction shortened the life of the band and we broke up in 2001,” fellow founding guitarist Trevor Lagler explains.

“Fast-forward to 2015, with several years of recovery under our belts, and Davies and I rekindled our friendship, which inevitably led to a discussion about putting the band back together. We wanted to go into the studio and record our lost songs.”

Recovery is a loaded term for 2/3 of Nothing, as the group may have distanced themselves from those negative habits and attitudes, but the goal of writing and performing riveting punk and metal-tinged tunes continues to be a shared obsession. Salvaging their friendships was the easiest part of the equation, according to Lagler; he credits the band’s comradery and willingness to laugh at themselves as being essential to the process of going back to the drawing board and drafting the plans for the future. Fortunately, the passage of time had not diminished their instrumental or songwriting talents and only served to amplify them.

“Dave (Countryman) is one of the most solid and under-rated bassists playing in the local scene,” confirms Lagler.

“He and Mike Davies go all the way back to the mid-80s; they co-wrote and arranged all of the band’s original songs. Mike is considered to be one of the best punk rock guitar players in Calgary and his level of experience, sense of humor, and personality help to keep things in the band light, and fun, which is one of the main focuses of this project.”

With that promise of keeping things pleasant and clearheaded, Lagler and Davies had little trouble roping Countryman and (recently retired) drummer Rich Johnson into their idea for a proper 2/3 of Nothing reunion.

“When the four of us got back together we discovered a different energy and perspective,” recalls Countryman.

“We were playing together again because we love each other and we enjoy playing as a band. Total 180-degree turn. This time we had an opportunity to grow the music as a brand and put some pride into it. We’re now coming from a place of humility, and just having fun. This album, we’ve created together, is called The High Cost of Low Living. It’s a historical record of the band and it is everything that has come before, with our new perspective stamped on it.” 

There’s nothing more empowering than an unclouded mind and a fresh mouth. For these Calgary rock vets that’s just two-thirds of the big picture.

“My lyrics range from taking the piss out of everyday mundane situations (from a very tongue in cheek perspective) to the more serious subject like life and addiction. Basically, we have serious songs and seriously silly songs. It’s all about maintaining balance,” says Lagler.

“Recording this album means finally tying up loose ends that are decades old. We are intensely proud of this accomplishment because this was the reason we got back together. People can expect us to be loud, tight, make jokes at our own expense and play some kick-ass punk rock ‘n’ roll music!” 

2/3 of Nothing celebrate their album release September 16 with headliners Gaytheist and Solid Brown at The Palomino Smokehouse & Bar (Calgary).  You can listen to the record online at https://twothirdsofnothing.bandcamp.com/.   

Yes: Days of Future Past

Yes: Rocking into the Progressive

Days of Future Past 

by Christine Leonard

30 August 2017

There are few things progressive rock and roll pioneer Gary Downes hasn’t attempted in his storied career. As the sole member of the legendary band Yes to possess a musical degree, his expertise on the keyboards has opened the doors (or gates of delirium, if you will) to some remarkable adventures. Opportunities that the innovative synth-player has embraced time and again, as further evidenced by his work with The Buggles and Asia. 

“I look at all of the different bands I’ve been in as books, or films, really,” begins Downes.

“I think that certain events happen throughout a band’s history. Talking about Yes, it’s an amazing series of chapters that have happened over the years. And I think that every musician has contributed at some stage when they’ve come into the band. I consider myself to be present in a few chapters of the band at least, which is nice.” 

Taking a page from his own book of life, Downes’ current collaboration with Yes members; singer Jon Davison, guitarist Steve Howe, drummer Alan White and bassist Billy Sherwood, is focused on bringing that joy of discovery to a new demographic of prog-rock listeners. And, when it comes to condensing the band’s half-century run of 21 albums into a single concert event, Downes’ is definitely a fan of the divide and conquer approach.  

“On this particular tour we’re doing a chronological review of the first 10 albums, plus some extra tracks. And it’s been very successful in terms of the fans getting to hear a couple of cuts they’ve never heard before. We put it together like that in a way that’s interesting from a musicology standpoint in that you see how the band progressed and how the influences moved on. By connecting one song from each album to the next, you see the progression of the group through the years.” 

Appreciation for Yes’s time-dissolving long-distance opuses has gained an almost religious quality over the decades, as their popularity has grown despite a persistent disregard for the commercial viability of 10-minute long songs. Given the cult of followers who have embraced the group’s attention surplus disorder, Downes hasn’t really moved that far from his roots as the son of a church organist and choirmaster in Stockport, England.  

“The music is quite dynamic, and at times dark in parts, but the end result when you listen to Yes music is one of an uplifted spiritual outlook. The name of the band is positivity. I’ve come across a lot of young musicians like Taylor Hawkins of Foo Fighters who’ve decided Yes is one of their favourite bands of all time. So, you can tell that the music isn’t just the domain of progressive rock fans, it’s spread right across a number of generations and genres.” 

He laughs knowingly at the mention of fellow progressive groundbreakers Rush. 

“When Yes was getting inducted this year at the Rock and Roll Hall of Fame, the presenters were Alex and Geddy from Rush. They both said that they were hugely influenced by Yes from the very beginning. There are whole eras of different bands and styles of music that appreciated what Yes has had to offer over the years. And I think a lot of that comes down to the individual musicianship being to the fore, as well as composition. You could probably say that we’re the ultimate modern-day musician’s band.” 

A bonafide musicians’ musician himself, Downes was reputedly entered into the Guinness Book of World Records for the most keyboards played in a live performance. That’s a record only one with his prowess at tickling the ivories and pushing the envelope of music can hope to achieve. 

Catch Yes September 5 in performance with Todd Rundgren at the Queen Elizabeth Theatre (Vancouver), September 7 at the Northern Alberta Jubilee Auditorium (Edmonton) and September 8 at the Southern Alberta Jubilee Auditorium (Calgary).

Shooting Guns: Are in Flavour Country

Shooting Guns: Welcome to Flavour Country 

by Christine Leonard
7 August 2017

Born out of the icy boredom of a typically “brutal” Saskatchewan winter, Saskatoon’s Shooting Guns had no illusions of doing anything but keeping themselves amused (and warm) when they first started their heavy, psychedelic instrumental rock group. 

“It was still four original members, myself, Chris Laramie (Switching Yard), Keith Doepker and Jay Loos and that was what got us through that first winter in 2009,” recalls percussionist Jim Ginther.

“The following spring Steve Reed joined us on synth and that was the line-up for our next four releases: our debut album, Born to Deal Magic (1952-1976), two split 7-inches in 2012 and 2013, and our sophomore LP, Brotherhood of the Ram, later that same year.” 

Spurred into action by an invitation to record the score for the 2014 Canadian cult-horror-comedy film WolfCop, Shooting Guns quickly outfitted their aptly named Pre-Rock Record Label and Studios in order to complete the project within a narrow six-month timeframe. They succeeded, discovering a great deal about their own resourcefulness in the process. 

“In early 2014 Steve had moved away and we were approached with the prospect of doing the WolfCop soundtrack, so we brought Toby Bond on board cuz he’s a synth-wizard and classically trained piano and viola player. He actually used to play in the Saskatoon Symphony; it really gave us a whole new set of tools to work with. Being an instrumental band there are only so many avenues you have and top-40 radio isn’t really one of them. The idea of soundtrack work had always appealed to us. This was a gift-wrapped opportunity, so we used that panicked enthusiasm to get it done in time.” 

Invited to repeat this feat for the sequel to WolfCop creatively dubbed Another WolfCop (which premiered at Fantasia Film Festival in Montreal just last month), amidst an active touring schedule, Shooting Guns has expanded their artistic horizons while earning accolades and fans along the road to Hollyweird.

Most recently, the Polaris-nominated band has turned their headlights back toward home, focusing on the launch of their new album, Flavour Country. Mastered by longtime friend and trusted producer John McBain (ex-Monster Magnet), the vorpal tones invoked on Flavour Country conjure a post-prog prairie dust storm that will have you running. Not for the root cellar, but for your black leather jacket. 

“We have Pre-Rock Studios set up in such a way that we just record the whole time whenever we jam. Having everybody playing together captures a bit of that live energy,” reflects Ginther.

“I think a good take goes farther than the best sounding remix. Flavour Country starts hard and heavy and then releases into a relaxation at the end, whereas the side-b is these two gritty eight-minute, one-off jams (the title track and “Black Leather Jacket”) and takes you on a psych-metal journey. You’re shifting gears on one side and going on a sojourn on the other side. It’s just one of the things that makes this album unique.”
 

Shooting Guns release Flavour Country on August 11 via RidingEasy Records. You can pre-order or buy the album at http://www.ridingeasyrecs.com.

Zaum: Vinyl Destination

Zaum: Vinyl Destination
for a Slow Revolution 

by Christine Leonard

5 August 2017

Drawing a straight line between two points is usually the fastest way to chart a course, but when it comes to Moncton, New Brunswick’s resident psychedelic doom band, Zaum, “It’s about the journey, not the destination.” 

Or, so says bassist/vocalist/synth/sitar player Kyle Alexander McDonald, who along with bandmate drummer/percussionist Christopher Lewis has been painting black vinyl overtures for the soul since forming Zaum back in 2013. Named for the linguistic experiments of Russian poets Velimir Khlebnikov and Aleksei Kruchenykh, Zaum’s string theory seeks to decelerate the rhythms of life until vibrational escape routes appear between the notes.   

“It’s funny, we never intentionally set out to make a song long, it’s just the way things turn out,” says McDonald.

“Most of our tempos are just so unbelievably slow that when you take the structure of a normal four-minute-long song it can quickly turn into a 16-minute song. When you watch the band it probably feels like we have to have more of a memory, but surprisingly being in the band itself it doesn’t really feel that way at all.” 

Touring heavily throughout Europe (where audiences are more likely to seek out bands that they’re unfamiliar with, in McDonald’s estimation), the band made a name for themselves by laying down heavy atmospheric sets that established a hypnotic state of mind for the audience.  

“We’ve been so busy touring overseas that we haven’t had the chance to play in Canada maybe as much as people would like, but I almost feel that you’re better off doing it that way than over saturating,” says McDonald.  

An imaginative amalgam of exotic Eastern and progressive Western ingredients, Zaum’s latest release Eidolon appeared in October of 2016 via underground curators I Hate Records. Crafted for vinyl, the vine-draped Eidolon follows the path of their 2014 debut, Oracles, and their impressive 2015 split 7-inch with fellow stoner rockers Shooting Guns, dubbed Himalaya to Mesopotamia. Consisting entirely of a pair of sprawling tracks, including “Influence of the Magi” and “The Enlightenment,” Eidolon’s enthralling emanations take the listener on a deep-listening voyage through caverns measureless to man, to quote Coleridge. Fans of Sleep, Om and Yob would be well advised to experience Zaum’s sonic sherpa sessions for themselves. 

“It is a trip. There’s no way around that it’s psychedelic-based. I mean, there’s delays all over that thing as far as you can reach.” 

Prepared to astral project themselves across Canada after a lengthy absence, the Music NB award-winning duo is looking forward to road tripping with supporting act Flying Fortress. To make things even more interesting, Flying Fortress’s drummer, Steelrider, is tied-up so McDonald will be pulling double-duty and filling in for him. 

“I feel like it’s the first time I’m going to bite this much off. So, it might be more than I can chew!”

Concludes McDonald, “But I’m coming in really prepared and I know that band very well and I’m super familiar with the material. I’m looking forward to playing with our old friends, and new ones in the future, it’s just such a crazy deep pool of up and coming bands out there.” 

ZAUM perform with Flying Fortress August 12 at the Brixx (Edmonton) and August 18 at Distortion (Calgary).

Pervcore: As Raunchy as They Wanna Be

Pervcore:
a weighty yet agile
six-piece raunchcore ensemble

by Christine Leonard

30 July 2017

You don’t have to be Tammy Wynette to know that sometimes it’s hard to be a woman, but that doesn’t mean you have to whine about it. Not when you can yell it at the top of your lungs while strange men guzzle draft beer from your cleavage. But, I’m getting ahead of myself. Meet Pervcore, the most inappropriate band at your friendly neighbourhood BBQ. Good thing they’re usually the ones hosting.

“The band obviously likes to have fun and is a sleaze-thrash party band and that reputation is still intact, but everybody realizes that we’re trying to put on a performance and equality counts,” says guitarist Mike Davies (2/3 of Nothing).

“I think of this band as being akin to something like Nashville Pussy; we’re all about entertainment and empowerment. The musical content has evolved to the point where you can’t really perform properly with 15 beers in your system. Everybody’s still having a good time, but it’s more about putting on a great show.”

Since being formed four years ago by co-vocalists TerraLee Doolittle and Emi Van Der Pol, Pervcore has become a genre-defining band that puts female talent upfront without pulling any punches.

“It’s how I get my anger out,” says newlywed Doolittle. “For example, the song “Get Fucked” is based on a true story. Some guy hit me with a bat, so I got up and hit him right back. Take that!”

Backed up by the instrumental support of Davies, along with Emi’s bassist/spouse, Kuba Van Der Pol (he took her name, how cool is that?) and TerraLee’s husband/percussionist Dallas Lobb (Electric Revival), and founding guitarist Craig Kubitzki, the band began generating some seriously vitriolic material.

“Craig makes up the metal contingent and I would be the punk rock component,” veteran string-slinger Davies elaborates.

“Like any good thrash band, we’re a punk-metal crossover. Most of the songwriting is done from the punk rock side of things and then it gets spiced up with some Iron Maiden-esque split guitar solos. We take the three-chord punk thing and put a really big melodic spin on it. Then you throw in the two female powerhouses and the dynamic of the two works together really well. They’re both tremendously vocally talented and have huge range and presence.”

Romancing audiences as a weighty yet agile six-piece raunchcore ensemble, Pervcore thrives on blurring that fine line between the provocative and the profane. Stepping off the curb on their forthcoming release, Tales from the Gutter Volume I, the sextet is primed to seduce new fans and reward the old with a combination of guile and gusto that has to be seen, heard and perhaps even tasted live to be truly appreciated.

“I get a lot of feedback from girls about how they love what we say and the way we say it,” reports vocalist Van Der Pol. “A lot of the lyrics and song content are based on things that a lot of girls want to say, but don’t normally get to, because of politeness.” 

Pervcore releases Tales from the Gutter Volume I will be released at Distortion on August 5 (Calgary). 

Melvins: King Buzzo Doubles-Down on New Album

King Buzzo : 

"I don’t know what you’re used to, 

but we had a good time making it!”

by Christine Leonard
10 July 2017

If memory serves, the last time yours truly spoke with Roger “King Buzzo” Osborne of the legendary sludge rock outfit The Melvins, it was 2010 and the Godfather of Grunge was contemplating the merits of finally having made the Billboard Magazine’s list of the 200 top-selling albums. The actual number of records sold on that effort was nominal (say 3000 units), but the implications of the hardcore punk act traversing the lamestream and gaining commercial appeal was far greater. At the time, Buzzo estimated that such an achievement could only be a prelude to the end of the world as we know it.

“I don’t think music’s any worse or better than it ever was. I like music as much as I ever have. I don’t’ think that there was ever a ‘Golden Era.’ But there are very few bands that I actually really endorse. There never was,” Buzzo confirms.

“I like all kinds of new stuff, but I also like the same stuff I liked when I was 13. I never quit liking a band I really liked. I never grew out of stuff. Now there’s this huge expanse of stuff that I like, but I’m not afraid of liking new music or old music. Not at all. It’s either good or bad it’s not anything other than that. If it was good, to me, and it came from 1965 that’s great, or 1985, or 2015 it makes little or no difference to me.”

Seven years on, The Melvins are still pumping out obtuse yet intense albums with remarkable frequency. Remarkable because group that originally arose in Montesano, Washington back in 1983 is showing no signs of slowing down in their old age if anything they’re picking up speed in their old age.

“Yes, that’s kind of the point,” Buzzo agrees.

“I feel like we are afforded the opportunity to make music for a living and with that, to me, comes a responsibility of holding up my end of the bargain. Which is that I will continue to work and make music as long as I can. We’ve done a lot of work, and it’s difficult because you don’t want to do the same thing over, and over, and over again. So, we try to work differently, as well. Sometimes that’s exciting and sometimes it’s not. Essentially, I like doing what I’m doing. I’m going to continue what I’m doing but beyond that. I don’t’ really need motivation. I mean, it’s nice to have records where you listen to them and it makes you want to make your own records, but it doesn’t always happen. You never know where inspiration is going to come from.”

Hedging away from the everyday, The Melvins recognize the inherent value of stepping outside of one’s comfort zone. Lately that’s meant taking on monumental challenges that have drawn the exuberantly heavy band into the locus of an album/soundtrack/filmmaking enterprise that has been as demanding as it has rewarding. But despite the inherent risks of going out on an artistic limb, Buzzo remains steadfast in his convictions and comportment when it comes to boldly going where no band has gone before.

“We’re not afraid. No, no, no. What’s the worst that could happen? I’m only really trying to please myself,” Buzzo admits.

“People take that as meaning I don’t’ care what the audience thinks and that’s not true. I care what they think, but I make music that I like figuring that other people will like it too. I would never make something that I intentionally wouldn’t like. I have to like it. If I stand behind it, I think other people will stand behind it and I don’t see anything wrong with that. I figure that’s really the key: making music that you like.”

Using that skeleton key to unlock the next chapter in his discography, Buzzo doubled his efforts and his output to produce The Melvins’ latest, a dramatic dual-release titled A Walk With Love And Death. A multifaceted release, the album consists of a dark stand-alone LP called Death and a moody film score LP called Love.

“It’s an album, as well as a soundtrack, and it’s all called A Walk With Love And Death, which is a little confusing for people, but we’re used to that,” he muses. For what is this life, if not a walk with both love and death?

“Fair enough. I guess you could stroll with love and death. The two halves are very different and there’s something on there for everyone. Maybe. Depending on what you’re used to. I don’t know what you’re used to, but we had a good time making it. It was a huge undertaking and we put a lot of work into it. The film is getting made right now as we speak. It’ll be out at some point and time with a different edited-version of the soundtrack.”

Surprisingly, this release marks the first double-album from the 34-year old band that has brought us such headnodding classics as Ozma (1989), Bullhead (1991), Houdini (1993), Stoner Witch (1994), and more recently The Bride Screamed Murder (2010) and Basses Loaded (2016). All along the road, the collective work ethic of long-time friends and band members; drummer/vocalist Dale Crover (who performed and recorded with Acid King, Nirvana, Hank Williams III), bassist/vocalist Jared Warren (Big Business, The Whip, Karp) and drummer/vocalist Coady Willis (Murder City Devils, Dead Low Tide, Big Business) has allowed King Buzzo free reign to surmount the trivial and fully explore his artistic intentions.

“It’s always interesting to me when people say things like ‘I don’t like your new material.’ Well, it’s not necessarily new. Some of the stuff on the soundtrack album we’ve had for a while and there’s one song on the other album (“Yuthanagia/Euthanasia”), which is a song that we’ve had since the early ‘90s that just never made it on to an album. It was on a 7-inch, it was on a flexi-disc, back then, so it’s the first time we put it on the record.”

Having finished the album and awaiting the imminent completion of the accompanying short film, directed by Jesse Nieminen, which shares its name with the twinned albums, Buzzo is eager to progress to his next benchmark assignment. Motivated and interested in the business of making music, Buzzo’s ability to overcome procrastination, forego the trappings of fame (he’s notoriously private), and remain true to his vision has set Melvins apart, and above, for decades. And while some musicians tend to look back on their storied professions with a certain degree of misty-eyed nostalgia, Buzzo isn’t one for dwelling on the past.

“We’re going to play some material off our new album, but we have a lot of records. You can’t play everything, so we had to kind of pick and choose what’s going to fit into the set and we’re working that out right now. So, who knows? Some songs I like more than others, but I don’t’ listen to my own music. We make the albums, like A Walk With Love And Death, and by the time it comes out I’m done with it. I’ll have moved on to the next thing, whatever that may be, ‘cuz we finished it months and months ago. When you finish a project, you’ve just gotta let it go out into the world and let someone else have it.”

The Melvins perform July 17 at Union Hall (Edmonton) and July 18 at The Marquee (Calgary).