The New Pornographers: Unconditional Supergroup

The New Pornographers: Life Imitates Art

by Christine Leonard

22 September 2017

Orchestrating the polyphonic activities of the Vancouver-spawned supergroup known as The New Pornographers for over a decade and a half has given singer-songwriter/guitarist A.C. Newman a certain knack for capturing a musical snapshot of a moment in time and preserving its essence like an insect suspended in amber. Recently, when tasked with pulling together a cohesive sting on compositions for the band’s ongoing tour, Newman discovered that skimming through a scrapbook of past recordings unlocked the sweetest of memories. Those that have yet to be made.

“We always try and mix it up, it’s just about the math of how we’re going to split up songs, which takes a while cuz at the beginning of a tour because you’re just sort of guessing what the set will be,” says Newman.

“I feel like these days, we’re trying harder, especially on this record and Brill Bruisers (2014). It was the first time where we said, ‘Let’s go out there on stage and just try to be as close to our albums as possible.’ Whereas before that I think we were a little more lackadaisical about it, now we’re slightly more disciplined and it’s cool to go out there and go like, ‘Okay what you hear on the record – We’re going to try to do that live.’”

Thus far the popular response to conductor Newman’s dynamic, high-fidelity approach with Whiteout Conditions has been overwhelmingly positive. After all, what better way to secure affections of a new generation of listeners than by fulfilling every frustrated delinquent’s wildest fantasy and running amok in the hallowed halls of education? John Hughes would applaud the scorching adolescent angst vented in The New Pornographers’ video for their latest runaway single “High Ticket Attractions.”

“We were just talking to directors and Dan Huiting said ‘Okay, I know of a high school that’s slated for demolition and I think I could destroy it.’ And I said, ‘Let’s do that.’ The cool thing is that what makes that video look so high budget. It was real, filmed destruction! I made a couple of contributions to the video; I wanted the kids to have medieval weapons and I wanted a flaming motorcycle and after that, I was just, ‘Do what you want!’”

Ordering up battle-axes and stuntmen on a whim may seem out of character for a thoughtful alt-rock troubadour who has coaxed so many to crash on the floor, or psychiatrist’s couch, of his well-appointed artist’s studio. But truth be told, Newman has always had his eye on the prize, it’s just that the prize in question has gradually gotten a lot more impressive.

“We just did The Late Show with Stephen Colbert and every time I’m in those situations there’s always that feeling of, ‘Holy shit. How did I get here?’ It’s almost like the nightmare where somebody throws you into a situation that you’re not ready for. But before we ever did TV I use to think, ‘Can you imagine? What else it there? That’d be the coolest thing in the world to ever experience that – to be a band that performs on a late-night TV show!’ And then it just becomes this weird thing where it becomes our reality. And it’s always surreal, and it’s fun, but there is an element of that nightmare scenario where you’re like ‘Oh my God. I’ve got to go play my song in front of a million people and I can’t fuck it up!’ It’s like child is the father of the man.

The New Pornographers perform with Born Ruffians at The Commodore on September 29.

Yawning Man: And the Revolt Against Tired Noises

Yawning Man: And the Never-Ending Battle with Boredom

by Christine Leonard

14 September 2017

Waging a never-ending war on boredom, the lumbering Californian desert rock entity known as Yawning Man dates back to the golden era of the psych-rock fringe when the likes of Brant Bjork, John Garcia and Josh Homme caught wind of their free-wheeling space rock ways. From pulling off clandestine generator parties for a few friends the desert back in the mid-80s to performing in front of thousands of devoted fans at venues around the globe, founding guitarist Gary Arce has never forgotten the desolate internal and external landscapes that informed his early years.

“I actually lived at the Salton Sea, and believe me, the Salton Sea is not that romantic!” Arce recalls with a chuckle.

“I used to live near there, I grew up in the Palm Desert also known as the Low Desert. The place is a running joke with locals; cuz tourists would go there and find just a toxic puddle with dead fish on the shore everywhere. I just remember going there and walking along the shore thousands of dead fish and meth heads walking streets like the walking dead. In between where I lived and Mexican border, there was this weird culture of illegal immigrants mixed with meth heads mixed with dead fish.”

These days Arce is looking forward to hopping the border together with the band’s original bassist Mario Lalli and their 2014 addition known as drummer Bill Stinson, as Yawning Man prepares to bring their ponderous machinations to Canada for the second time in recent memory. Having fallen under the thrall of the land of ice and snow at last April’s 420 Music and Arts Festival in Calgary, the sidewinding trio is set for autumnal return, but this time as headliners.

“I’ve toured all over the world and I love Canada. It’s so beautiful and breathtaking and the people are super sweet and it’s just a rad place. This tour we really wanted to go back there, so we asked the agency for that to happen. This time we’re going as a headlining band and it’s our first time going out on our own!”

Hard to believe for a band that’s had such a lengthy and influential run. Although admittedly inconsistent, Yawning Man’s discography has attracted ample attention and garnered them many comparisons to other so-called stoner rock acts, although he understandably shirks that unimaginative label.

“I’m excited and I’m just hoping that people come out to see us because we get type-cast into this weird metal-desert-rock thing like Kyuss and all those bands.

And yeah, we’re from the same town as Kyuss and we’re friends with all those bands, but we are nothing like Kyuss. And I think hopefully people will start to realize that we are our own band.

We’ve never followed trends. Never tried to be metal or this or that. We’ve just done our own thing.”

Sighting the work-ethic and nonconformity of his favourite punk acts for a point of reference amidst the ever-shifting sands of public opinion, construction-worker-by-day Arce’s primal howl dredges up the heart of darkness from the bottom of the Salton Sea.

“Music for me is like another job; I do have a hardcore job. I do concrete and construction and I have to have a side of me where I’m mellow and I do love ambient dark music. I’ve always found something in it that’s mysterious and innocent. I’ve always been into that kind of sound.” 

Known for his ability to take a simple musical phrase and spin it out into an epic multihued shamanic yarn, Arce has come to realize the importance of channeling his creative impulses into increasingly defined forms. Edging away from amorphous compositions like those found on their foundational albums Rock Formations (2005) and Vista Point (2007), the threesome’s newest constructs refer to a predetermined set of musical blueprints.

“I started all these projects,” Arce explains.

“I’d call up all these friends and go ‘Hey, dudes let’s drink beer and jam!’ We’d take the best of improvised jams and make a record. It got to the point where all of the recordings I was doing were all fuckin’ jammie with no song structure and that started to get boring for me. I was under the gun and I just stopped. I told myself Yawning Man was one band where I couldn’t afford that attitude of just working off-the-cuff. Mario has moved and now he lives right near me, so we have closed the distance. We’re starting to get focused and write more structured songs, coming up with riffs and going back and forth and playing it until we both think it’s cool enough to keep.”

He concludes honestly, “I’m kind of a dick about the beats being a certain way. I always tell our drummer ‘Don’t play a silly four-four beat. Give me something different that fits, don’t play a dumbass rock beat over again!’ cuz I’ll get bored and once I get bored I get lazy and lose interest.” 

Yawning Man performs September 21 at the Palomino Smokehouse & Bar (Calgary) and September 23 at the Starlite Room(Edmonton). 

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).