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London’s Underworld — the ever-evolving electronic duo consisting of guitarist Rick Smith and vocalist Karl Hyde — are declaring August “Apple Month” and launching another North American tour in celebration of their recent developments with iTunes, the iPhone and QuickTime. “We’ve been using MacIntosh forever,” Hyde explains. “All of our equipment has been MacIntosh from the ’90s through till today and over the years I think they’ve come to realize that — between Underworld and Apple — we’re people that say what we’re going to do. They’ve always been really cool in coming to us with new ideas and asking us if we want to be involved in cool stuff and, of course, yeah we do.” Following the release of Underworld’s full back catalogue on iTunes earlier this year, the band collaborated with iZotope to bring fans the iDrum application (designed for the iPhone) which contains some of the band’s most famous tracks and also allows listeners to drop the kick drum on the 1996 electronic anthem, “Born Slippy.” “It’s quite funny because we’ve been toying with the idea of using [the iDrum] on stage during some of the shows when we come over,” Hyde shares. “I don’t know how possible that’s going to be, . . . we’re a very live band. But it would just be really quite . . . fantastic to do one tune off the iDrum. That’d be great.” In addition to the development of the iDrum, the band also announced plans to launch the world’s first live audio-visual broadcast via the iPhone during their stop at the Fox Oakland Theatre on August 7. Hyde states that the mutually beneficial relationship with Apple throughout the years has allowed for such exciting technological developments. “We’re always keen to explore the stuff that we haven’t tried before,” Hyde says, “and things like the broadcast and QuickTime have always been really supportive of us.”
“Underworld has always been about the people, and it’s the people that make the difference,” he states. “It’s the people at Apple who come up with these really cool ideas like the first-ever webcast. It’s about people and their ideas and commitment and their determination to do things that are inspiring, really. And that’s what attracts us. That’s the most invigorating thing about the relationship.” With a career spanning nearly 30 years, Hyde still views the upcoming tour as an exciting opportunity to introduce new listeners to Underworld, as well as a chance to create unique and memorable experiences for both the band and its audiences. “Underworld is never one to repeat itself,” he assures. “We have to go out every night thinking the night is going to be different than the night before, and we will respond with open hearts to the crowds that are there and treat them with respect from any different crowd that we’ve played to before. There’s always a suddenly different energy to every new event.” Underworld plays the Kool Haus on August 11. — Anne T. Donahue
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I’m at the kick-off party for the fifth annual Toronto Indie Music Week; dedicated to showcasing Toronto’s hottest up-and-coming independent rock bands. So why the fuck are there so many Irish people around? It’s a Wednesday night and Queen West’s Tattoo Rock Parlor has assembled a reasonably sized crowd; made up of mostly by who I assume to be members of bands that will be performing later this week. My suspicion is confirmed when an excited dude comes over to me and starts pointing at a photo on the inside-cover of an Indie Week flyer. “That’s me! Right there!” he tells me. “Me and my band are playing at the Reverb tomorrow!” I smile and attempt some small conversation with him which is soon blurred by the noise of the band onstage. They are loud and raw and are performing for an audience whose tattooed members greatly outnumber those who are not. This is not unlike what someone would expect from an indie festival party in Toronto, until the singer on stage addresses the crowd in a thick Irish accent. The band is FRED, an Irish act, who is followed up by the night’s special guests, a band from Limerick, Ireland: Vesta Varro. They are Indie week’s reining champion, having won the festival’s top prize last year. The band opens to a warm audience reception, as many people dance and sing along to their lyrics. What Vesta Varro lacks in height (three of their members are less that 5’6”), they make up for in sound. Vocalist Damian Drea storms the crowd with his powerful voice and entertains them with his performance accessories that range from a somewhat temperamental megaphone to a cowbell. Vesta Varro’s win at Indie Week 2007 led to surprising changes in this year’s lineup. While speaking with Darryl Hurs, the head organizer of Indie Week, he tells me how Vesta Varro has created an Irish presence at Indie week. “Since their win, I received more than thirty applications from other Irish bands”, Hurs says. “I went over to Ireland twice this summer to hold indie showcases and decide which bands I would bring over to Toronto.” Hurs arranged an Irish Showcase event on the Friday night of Indie Week at the Hideout and Vesta Varro is headlining. The members of Vesta Verro are enthusiastic about their participation in Indie Week and their growing Canadian fan base. “Winning Indie Week 2007 has been great publicity for us in Ireland,” guitarist Keith Forde says. Forde is a serious looking brunette in a pin-striped suit jacket who is still sweating from his performance that finished only minutes before I spoke with him. “We have been back to Toronto four times since winning last year and have built a fan base in Canada”, Forde says. “Every show we play, the crowd seems to grow.” This is true. Two of Vesta Varro’s videos have been played on Much Music and others have been played on American music television programs. The band is also excited about their new collaboration with Noel Hogan of the Cranberries, another native of Limerick, Ireland. “We met Hogan in a pub back home and had a few drinks with him, got to know him,” Forde says. “He has a studio in his house and offered to help produce us.” Vesta Varro is the first band that Hogan has produced. The band’s drummer, Shane Lee, stands at more than six feet tall and wears a brightly-coloured Kefiyah that seems slightly out of place compared to his husky beard and large stature. Lee talks to me about the band’s plans at this year’s Indie Week. “We are playing four nights in a row this time around, and doing a performance and interview session with Edge 102.1 and Martin Streak on Saturday,” Lee says. This seems appropriate; Vesta Varro’s catchy alternative rock sound is similar to the music that Edge, a Toronto-based radio station, typically plays. I ask Lee how Vesta Varro’s win last year inspired other Irish musicians to try their luck at Indie Week this year. “A lot of bands back home heard about us winning last year and wanted to come over to Toronto to play,” Lee says. “It really is the cream of Irish music over here this week.” Irish showcases and international champions may not have been the direction that Hurs and the other organizers of Indie Week predicted their event to head. But as Hurs says, “The main purpose of Indie Week is us looking for the band that is going to be the next big thing. In 2007, we had fifty-seven bands performing. This year we have ninety!” For this small Toronto festival, any growth is good and the organizers were smart to embrace the interest of the Irish music scene. It is Hurs’ eventual goal to organize a similar indie festival in Ireland and open the doors for Canadian musicians to showcase their stuff across the ocean. -Allison Smith
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The cool group of guys consists of band members Mordecao Harroch, vocals, Brandon Robinson, bass, Dan Walker, drums, Jeff Kenny, guitars, and Steve Andrews, guitars. The band is currently on tour but was eager to talk to Spill Magazine. “Generally I'd describe Westpoint as a pop/rock act but that definition might not shed light on the depth of the music,” described guitarist Jeff Kenny. “We strive for quality songs with hooks that people will remember. The diverse influences of everyone in the group get tossed into the mix and we've managed to develop some sort of sound.” Jeff Kenny’s own influences at the moment make for some popular names. “Personally I've been influenced by a lot of heavier bands like Metallica in the past. Recently I've been listening to Jimmy Eat World, Fall Out Boy and In Flames. Lots of different artists,” said Kenny. Of their past achievements at TIMA the guys of Westpoint seem quite proud and appreciate the recognition they’ve received. “It felt great to win the award for best alternative,” said Kenny. “Anytime that someone or a group of people single you out and say “Hey you're good enough to warrant an award” is very special. The award show was a great evening. Very fun.” Jeff Kenny can also appreciate the hard work that people put into recognizing those in the indie scene. He recognizes the fact that this type of event isn’t easily planned. “The TIMAs are extra special because they’re totally independent,” explained Kenny. “People like Daniela, who have a special passion for what they do, are a great asset to the music scene. The amount of work and planning that it takes to put on such a large event seems like more than enough to drive someone crazy. It's also great because having been at the awards, I know that it's a night for independent musicians to come together and celebrate what we do together.” The indie art scene in Toronto seems to be growing in popularity day by day. Everyday Toronto sees more artists coming out of their homes to share their music on the internet and beyond. Jeff Kenny sees two sides to this growing art scene. “The scene seems like a double edged knife to me. On one hand it's overflowing with incredible talent,” said Kenny. “On the other hand it's that very talent that makes the scene so competitive that it sometimes seems harder to succeed than if your band was based in a small town.” However Kenny sees this as a grand opportunity to be an artist. Without the pressures of only receiving success when backed by a major label, artists can now be themselves and work on their own terms. “The independent music scene in Toronto and Southern Ontario have definitely put out some great indie acts,” said Kenny. “To me, the decline in signings to major labels has strengthened the drive to be D.I.Y. and it's great that success is now coming out of this model of being an artist.” People interested in getting to know Westpoint and their music a little more can catch them on tour. The future plans of the band consist of a lot of touring and promoting. “This past March we toured Western Canada,” said Kenny. “As I write this right now I'm sitting in my hotel in Dawson Creek, B.C. getting ready to drive to Edmonton. We'll be playing live and supporting our new album, Goodbye Rocket, for the next little while in the future.” If you would like to find out more about Westpoint, their music or the tour dates, you can visit their website at www.westpointrock.com - Ana Cristina da Silva
___________________________________________________________________________________________________________ The Manchester daze of yore with Joy Division and New Order brought the northern English city to recognition during the late 70’s and early 80’s, followed by a 90’s resurgence with the likes of the Happy Mondays’ drug-induced fanatics and the drunkenness and battles of Oasis and Blur. Then there was another calm period until the most recent bitch slap wickedness of The Whip. These lads first hit the music scene in 2006 and 2007 with a couple of dance-infected 12” singles in the U.K., which were followed by several local gigs and a couple of high profile spots on the festival circuits at Glastonbury, SXSW, CMJ, and the Virgin Festival (U.K.). Danny Saville and Bruce Carter began as a duo throwing down sporadic parties at dive joints, and their musical bond quickly solidified. They soon started crafting their own beats which lead to the idea of forming a group, later rounded out by Lil Fee and Nathan Sudders. Their first full-length album, X Marks Destination, is a triumphant mix of synth-pop beats that is dance floor mesmerizing. It was released in North America on March 3, a full year after its European drop. “We look at in a similar way to leaving your favourite bit of your meal on your plate for the last most tasty bite,” Carter jokes. It’s more than what’s old is new again, as there’s actual lyrical content, real instruments and headstrong musicians involved. Opening track “Trash” has already infected the clubs of Europe and is now spreading toward North America. Forget the immunization, just lick it up and enjoy. Their initial shows were described as underground dance parties, much like the early 90’s rave scene. Carter agrees and says, “We'll play anywhere and the more random locations the better. We never tire of playing the songs, and we constantly play some new songs in our set to keep it all fresh. We also throw in remixes that we did of other peoples stuff.” They’ve toured with Simian Mobile Disco and Digitalism, and their current tour is with Nottingham’s Late of the Pier. “We live for touring, playing live is what being in a band is all about,” Carter states. However, even after travelling the world they still dig playing gigs back in Manchester where they can throw it down home-style for all their mates. X Marks Destination was produced by Jim Abiss (Björk, Arctic Monkeys), and North America now gets a chance to catch the buzz. The band starts recording their second album as soon as they get back home from their current North American tour. They’re also set to release a load of remixes done for their U.K. singles, with four tagged with a U.S. version. Whip it, whip it good! - Bryen Dunn
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With White Cowbell Oklahoma’s new album Bombardero recently hitting the shelves and everyone’s favourite festival, North by Northeast (NXNE), fast approaching, it was the perfect time to chat with Clem C. Clemsen about his band, the new record and their infamous live “The white cowbell is actually fashioned from white gold from the Aztec pyramids. The cowbell is a symbol of metronomic simplicity and glory. It’s the cornerstone of so much that we do,” Clemsen says. “I shouldn’t even be telling you this, but it’s the basis of our hypnotic, testosterone-crazed sexification that wows the audience - especially the females - and fills ‘em with metronomic magic.” The very same metronomic magic flows effortlessly from Clemsen’s mouth as he fills me in on the history of the band’s legendary centerpiece. Hearing of the “magic” contained within the bell, mastered onstage and in the studio by WCO’s Chainsaw Charlie, comes as no surprise to anyone who has seen the band perform live. It’s a hell of a show - a southern-fried rock-n-roll onslaught - and not for the faint of heart. But Clemsen stresses that White Cowbell Oklahoma is about more than just their crazy stage presence. “In Canada, in Toronto especially, we have trouble with the arm-folded hipster doofus writers and critics that aren’t even able to comprehend what we’re doing,” Clemsen says. “We’re going through some lineup changes and we want to concentrate on showcasing our musical expertise for awhile because it often gets overlooked in North America, people just talk about the stage show.” Which is a shame because, as Clemsen is first to let you know, WCO is about much more than just their show. Bombardero hit stores recently, the band’s third album, and it’s a whole new angle for the boys. It’s the least country sounding record to date, and much more aggressive. As Clemsen puts it, “We just started playing more notes. The riffs got more complicated. Musical notes were multiplying like syphilis.” Syphilis has never sounded so good. WCO rock out over the sprawling and psychedelic “Bombardero I,” “II” and “III”; create great riffs on “Keys to the Universe” and “This Cracker” and fill out the rest of the 11 track album with catchy, thumping, classic rock-n-roll. “On this one we wanted a little more complicated. There’s less two-chord sing-along anthems - which I love those, gotta love a catchy two-chord anthem,” Clemsen says, “and on the next one, who knows what might happen. We might be a kraut-rock band in black leather.” I don’t think anybody wants to see such a thing but at least we know Clemsen hasn’t lost his sense for theatrics. “For our North American tour we do have some crazy ideas but we’re totally switching it up,” Clemsen says. “We don’t want to repeat ourselves theatrically.”
“We usually do something: stunt shows, flatbed truck shows. Instead of doing a show we play a rough show on a truck,” Clemsen says. “This year we’re thinking of getting a yacht.” I’m forced to press Clemsen on the band’s ability to procure of a yacht and I’m informed, “We have access to all kinds of things. We were going to drop ourselves out of a hovering harrier jet but logistically it was unfeasible this year, so we’ll do that next year and this year play the yacht. You’ll just know when White Cowbell Oklahoma is upon you. Maybe you’ll see a giant White Cowbell Oklahoma beacon in the So keep your eyes and ears to The Spill Magazine, the papers, and the sky, because White Cowbell Oklahoma might be right behind you, and if they are, you don’t want to miss them. With their tour fast approaching they’ll taken to the far away lands of Europe and the South, so catch these southern-fried rock-n-rollers while you still can. - Joe Veroni
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White Rabbits have made their return through the looking glass with It’s Frightening, their second full-length album (TBD Records). After the critical success of their debut, Fort Nightly, the six-piece band had a lot to live up to. “The only pressure we had was from ourselves trying to write the album,” states drummer Matthew Clark. “Our label really put a lot of faith in us and didn’t hear any of the songs until we were getting ready to go into the studio. It was really great to have a label that will just let you do what you do, which is make music. It’s crazy to still hear stories of bands having to get album or song approval before the label will put out their album. I think if we had to get approval with this album a lot would be missing.” To the delight of new and returning listeners alike, White Rabbits lay out all the pieces on It’s Frightening and join them together to create an album full of intricate yet memorable melodies, textures and rhythms. “We just wanted to make an unpretentious rock record that didn’t have anything to do with anything that is happening right now,” Clark says. “There’s nothing worse than a dated sounding album.” The band has come a long way since their university days in Missouri. After moving to New York City to pursue music as a career, White Rabbits’ six members released Fort Nightly in 2007 and proceeded to tour alongside bands such as Peter Bjorn & John and The Walkmen. Their success can be credited to talent and a good old-fashioned leap of faith. “I don’t know if we thought the band had potential,” Clark says. “I know the six of us wanted to make music and that was more than enough reason for us to make the move. When we first started playing in New York it was 2006 so the music we were playing at the time I feel was different than a lot of what was going on.” White Rabbits quickly established themselves sonically, enhancing the traditional rock aesthetic through their instrumentation (featuring dense harmonies with two guitars, two sets of drums, bass and keys), live performance, and creativity. On It’s Frightening, the band refuses to sacrifice creativity for commercial gains, yet delivers a record sure to satisfy the average listener alongside the artistically elitist. The album’s sound is as diverse as the potential meanings behind its title.
Although the name’s meaning may be vague, the power of the album’s sound is crystal clear. Clark explains: “a lot of the album’s diversity came from seeing so much of the world and always coming back home to New York. And maintaining your life and relationships while being away for long stretches. All of those sights, sounds, and experiences you take in on any given day. A lot of the time we tend to find inspiration in things we don’t like also.” The personal growth reflected in the musical content of each track is also seen in the mature recording process and songwriting prowess of It’s Frightening. “We had no idea the first time around [recording Fort Nightly], and SOME idea this time around,” Clark says. “The first time took a long time with having to sneak into the studio after work and stuff like that and we were also really green. But that was what was really exciting about that time and recording Fort Nightly. This time we demoed nearly the entire album in our practice space and really had the opportunity to hear how the songs an album were going to flow. We also had time to try out a lot of new ideas and new sounds before going into the studio.” The release of It’s Frightening has opened up a wonderland of opportunity for White Rabbits, including a return to The Late Show with David Letterman and a performance at Bonnaroo Music & Arts Festival. They are currently touring to support the album, and enjoying every minute. “Touring for us is about the same as any other band,” Clark says. “You drink a lot, come up with inside jokes, are cramped in a van, get funny looks when stopping in Mississippi. But I think we try to have as much fun as we can. Which I don’t know if every band does. But maybe they have a different idea of fun. “Everybody has been friends for a long time so we know how to deal with each other. [Touring] does take a toll sometimes but I love being able to make music as do the rest of the guys so it’s in every one’s best interest to get along.” Looking forward, the band sees only music in their future, but takes nothing for granted. When asked where they hope to be five years from now, Clark predicts: “Just releasing our fourth album. Living to make the fourth album. And having people listen to it is always a plus.” Moving at this pace, listeners are guaranteed to do like Alice and follow White Rabbits through to their world of musical fantasy. - Heather Adamo
___________________________________________________________________________________________________________ When I caught up with White Rabbits in Chapel Hill, N.C., they were on the tail end of a tour that catapulted them out West and boomeranged them back East via the deep South. The night we spoke only one stop at D.C.'s Rock N Roll Hotel stood between them and the twin beds that awaited them in their recently adopted hometown of Bushwick, Brooklyn. Needless to say the guys were haggard but happy. Before a dinner break of burritos and beer, I spoke to Rabbits Alexander Even and Gregory Roberts about their recent tour, the genesis of their name and moving forward.
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It all started in the early part of 2006 at Wilfred Laurier University in the basement of the Music Faculty. A group of very talented musicians (most of them percussion majors at the university) came together to form the piano pop rock band, Will Currie and The Country French. The band consists of front man, Will Currie, on piano and vocals; Dan Beacock, guitar and vocals; Amanda Currie (Will’s sister), on vocals; Daniel MacPherson, bass and vocals; Aaron Mariash, drums and vocals; and Steve Wood, on percussion, Fender Rhodes and of course, vocals. When asked how Will Currie and The Country French came to be, Currie said, “Well I didn’t have much of a choice.” Currie had been doing his solo thing and playing shows but decided he wanted and needed more when opening for his friends, Tokyo Police Club, in September 2006. When devising the name for The Country French, originally Currie thought it would be humorous and witty if their name had been Will Currie and The French French Revolution (a pun on the popular video game Dance Dance Revolution) but later decided The Country French was a better fit in the long run. A huge influence for Currie is fellow Canadian piano man Rufus Wainwright who Will describes as “a good solid artist.” He also grew up listening to The Beatles and Elton John, which had an immense impact on him. Currie and the band love playing live but especially enjoy playing in Waterloo. The shows in the town of their alma mater always turn out great with large turnouts of loyal and potential fans. A Great Stage, released on Sloan’s Murderecords, is the band’s first album and Currie seems to be really happy with the end product. He described the experience of recording the album as being “very laid back”. He didn’t feel a lot of real pressure because they were no anticipations about the final outcome. They had no help from proper studio so instead they took it on themselves to record it independently. The album took almost a year to produce but successfully hit record stores across Canada on April 29th. Their CD release party was held on the same day at Toronto’s popular indie hang out Sneaky Dees. The album includes the very upbeat and stellar tune “Surprising Me” as well as other great tunes including “Friendly Fire” and “Centrefold”. As of right now the band have no tour plans for the summer. Currie said that there are a few festivals in the works but nothing is set in stone. Their Myspace page states they will be playing at The Drake Hotel for the North By Northeast Music and Film Festival in June. For more information on Will Currie And The Country French and to catch a taste of their sweet tracks before purchasing A Great Stage go to www.myspace.com/willcurrieandthecountryfrench or visit their official website at www.thecountryfrench.com. - Danielle Cowie
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“We’ve got lasers,” singer/songwriter Dan Werb of Toronto-based Woodhands states matter-of-factly. “We’re very laser-positive.” Referring to what we can expect to see for Werb’s band’s upcoming tour and not to some wacky new sexuality, this indietronic duo has been known to whip crowds up into a hyper-charged Bacchic frenzy during live shows, working their own asses off in the process. With the much-anticipated follow-up to 2008’s breakout record Heart Attack, Werb is excited to be hitting the road this February on a Canadian tour in support of Remorsecapade. Touring constantly throughout ’08 and ’09, attention from a multitude of international media has helped to create some impressive buzz for this little island of a band. Q named them “One of the Top 10 bands on Earth” in their post-SXSW wrap-up last year, and iTunes Canada listed Heart Attack as the best electronic album of 2008. While touring last year, Woodhands remixed Eddy Grant’s “Electric Avenue,” receiving props from Rolling Stone, NME and Grant himself for their spunky rendition. And while it may go without saying that being recognized for your hard work is in itself the major pay-off, when asked whether all of this attention has put the pressure on, Werb’s response is sincere, if not proud. “It’s lovely — it’s stressful at times because people you don’t know expect things of you, but it’s wonderful. I love making music,” Werb says, adding with a laugh, “I wouldn’t do it if I didn’t love it, and I want to be the best at everything.” For Werb, part of being the best at everything would include putting his all into their live shows, where the synth and drums duo paradoxically strive to achieve a greater emotional connection with the audience by way of their aggressive, hard-hitting songs. Pairing crunching electro noise with emotive lyrics and live instruments has made Woodhands somewhat of an anomaly in the electronic scene, no doubt helping them stand o But this is all a part of the master plan for Werb and bandmate Paul Banwatt, of not being trapped behind a cold barricade of computer equipment and pre-recorded tracks. Rather, it’s in making music and performing in earnest that the band in their current formation has always set out to tackle, but it wasn’t always this way. As Werb explains: “The project was initially something that I worked on, on my own, like a basement recording thing when I lived in Montreal years ago. I never really saw it as being live — it was just a way for me to explore and it was a way for me to express and just sort of do whatever I wanted. And it went through different formations, where there were more people in it, less people in it, but I think throughout the whole process, it was me wanting to meet the right person, and that person was Paul.” Similar in energy and enthusiasm, it was through collaborating with Banwatt where they felt real magic happen. A move to Toronto in 2005 and a supportive live music scene made them continue to perform and work on material to record. And while Woodhands does record fun dance music, it’s in their often improvised live shows where you will experience what they’re really all about: making every person in the room feel physically and emotionally connected to what they are doing. Let’s be clear here: when there are just two dudes on stage who are pretty much kicking the shit out of each song they’ve created or remixed, it’s hard not to feel a bit stoked. “We never really knew what the hell was going to happen, but somehow it worked,” Werb says. “Our entire show is based around the premise that we want to elicit an immediate reaction from the audience and we don’t want anything mediating the experience that we’re having and that they’re having.” Werb and Banwatt wrote most of the material for Remorsecapade while on tour last year as they both tend to live very busy lives outside of the band. The album treads along the same lyrical path as Heart Attack, focusing on love and all those insane feelings that accompany it. Intimate relationships are a central theme in the majority of Werb’s material, and not without careful reflection, for Werb tends to display his own matters of the heart on his sleeve when songwriting.
Pop songs, in general, are based on love and heartbreak; the difference with Werb’s lyrics and the band’s output of their songs is that love and heartbreak to them is totally maniacal. The first single off of Remorsecapade, “CP24,” is a play on Werb’s tendency to sensationalize emotions, fictitiously plotting ways in which to get on the news (the title is a reference to a 24-hour regional news station, making the song all the more visually hilarious). Another standout track, “Pockets,” sounds a bit like a countdown to Armageddon, and don’t be surprised if you find yourself listening to it again when it’s finished, almost not believing what you have just heard. In fact, a way to describe Woodhands’ music is just that: cleverly addictive. And if it wasn’t clear from the start, Woodhands is really excited to get back on the road and test drive the new tracks and stage set-up to a hopefully receptive crowd. “It’s going to be another fun journey into trying to basically . . . almost start from scratch, getting comfortable with the new equipment and seeing how the songs are received live and tweaking them live,” Werb says, “and that’s the really fun thing about the set-up: we have a lot of freedom to do things because of our set-up and because there are only two of us.” So when band and crowd unify in a club by dancing to songs about lost souls in clubs, it can make for a darn good meta-narrative. But unlike the sensationalized lyrics of their songs, Woodhands is in the end only two guys on stage, improvising and getting sweaty, and this time they have lasers. — Chloe Vice
______________________________________________________________________________________ If anybody needs some warming up this fall just put on some Winter Gloves and I don’t mean the ones that go on your hands. They are a Montreal-based band that has been together for less then a year and have already been satisfying the ears of many. “We were trying to be Radiohead,” he stated. “Winter Gloves was just so natural.” It was the first time he had been on the keyboard for a year and a half and it felt 100% natural to him to be back playing it. Charles wrote and recorded the first (three song) EP, titled Let Me Drive, by himself. It included the three tracks, Let Me Drive, I Can’t Tell You, and Piano 4 Hands. Charles knew he needed a band so he went out and got one. The band later recorded the full-length album, titled About A Girl. He found, after recording and listening back to it, that the album had to be re-remixed to bring it down to a friendlier, less powerful level and is really glad to hear the fans are enjoying it. On November 18, the synth-equipped Montreal rock act will a play free show at Toronto's Horseshoe Tavern, along with another freebie in the Big Smoke this Saturday (November 15) for CBC Radio's Go!<http://www.cbc.ca/go> ___________________________________________________________________________________________________________ 2008 was the year of Women. The Calgary-based band recorded their debut album, signed to Flemish Eye in Canada, then signed to Jagjaguar in the U.S., embarked upon a whirlwind international tour and topped just about every music writer’s year-end album list. Music bloggers everywhere named them one of the most underrated bands of the year and more notably, Pitchfork Media gave them the 18th spot on the top 100 tracks of the year and honourable mention for album of the year. Pat Flegel, Women’s vocalist/guitarist, remained unfazed when confronted with this year’s Pitchfork praises. “Oh yeah. I don’t know it’s kind of weird. It’s nice I guess. I just kind of laughed. I guess that’s good, you know. I mean, I don’t know. I don’t try to take those things too seriously,” he said. Women is brothers Pat and Matt Flegel (bass/percussion/vocals) as well as two former members of Azeda Booth, Michael Wallace (drums) and Christopher Reimer (guitar/ samples/vocals). They started a post-rock band out of high school but then went their separate ways until Women came about this year. Fellow Calgary artist Chad VanGaalen befriended Matt Flegel during Matt’s touring days with the Cape May and VanGaalen voiced interest in recording their debut album. Not long after, Pat Flegel found himself honing the reverb on his vocals by singing from an outdoor culvert, with VanGaalen hanging a microphone from a wildlife tunnel. A train station, a couple of old microphones and a tape deck also served their purposes in the recording process. Experimentation is not without its learning experiences; about a half hour of their early recordings was scrapped. “It sounded really canned and restrained and just kind of shitty, so we sort of started really messing around and worrying about it after it was recorded kind of thing whether or not we liked it,” Flegel said. VanGaalen is likely to produce at least part of the next album as well. Since finishing their tour and getting back to Calgary, Flegel is inspired and writing more music after seeing Deerhoof & Antwerp, one of his favourite bands, play during their travels. He plans on being in Calgary until Women’s upcoming February U.K. album release tour. “I like being from Calgary and that no one’s from here,” Flegel said. “I like being a part of nothing… it’s nice not to be from Montreal or Vancouver for whatever reason. It’s kind of cool to be your own thing and not have to be attached to anything else.” Although Flegel acknowledges that many album reviewers have described Women’s sound as lo-fi, he sees their sound as more of trying to sound old “like tape music, just bearing everything out there.” Their main influences are their favourite songs of the mid-60’s and early 70’s. “Personally if I’m just listening to an album, I’d like to throw it on and be surprised or not have every track sound the same and being sort of caught off guard a little maybe,” Flegel said. “That is kind of what I’d like to do and try and do something that’s sort of at least interesting, it might not even be good but at least something’s happening.” Women’s sudden burst of indie-cred and success within mere months after releasing their debut is not something that Flegel completely comprehends. “Certain people approve of what you’re doing and suddenly it’s okay for other people to do it or something,” he said. “You really don’t have anything to do with it. We just kind of did it for ourselves for fun and weren’t expecting anything to happen and then all this stuff happens. It’s just proof of how bored people are… desperate or something. “We have no idea what we’re doing, which is good.” In the long-term, Flegel wants the band to have albums and shows that they are proud of, as well as accumulate gear, ideas, and tours. “Honestly, even just what we’ve done so far I couldn’t be happier. It’s just so satisfying to be doing all of these things,” he said. “We’re just really excited to be doing it and that’s what we want to keep doing.” - Melissa Kim
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Over the course of two full-length albums, a Pink Floyd cover for Mojo magazine, and numerous singles/EPs, Woodpigeon has been consistently creating densely layered chamber pop that bridges the gap between simple folk music and avant-garde art rock. Led by singer songwriter Mark Andrew of the Hamiltons, Woodpigeon has built a name for themselves by matching sad and sombre lyrics with pastoral pop. Not unlike the Beatles, there is often a darker side to the poppy sound that is revealed in the confessional lyrics. Perhaps a more appropriate comparison are the songs of Ray Davies of the Kinks, whom Andrew considers among his greatest influences. “‘Pesky Druthers’ on the new album is my version of ‘Shangri-La.’ A ‘Shangri-La’ for Canada,” he says. “People come here expecting big cities and excitement only to find average folks hiding in suburban homes.” It’s all wonderfully melancholy. Though you don’t need to despair, there is humour as well, and rest assured that no matter what the songs state, he is not completely against argyle, and was once an advocate of the pattern himself. Andrew has worked with many musicians on past efforts. For his latest album, Die Stadt Muzikanten (available now), he reunited in his hometown with “Team Calgary,” a group of musicians who understand his methods and intentions better than most. “I can tell them how I think I want something and they’ll come up with a sound that is just right,” he says.
“Instead of traditional Verse Verse Chorus Verse style structure we found the structures more Verse Verse Chorus Bridge Bridge Bridge,” he says. “Like growing a beard to feel comfortable in crowds” is how Andrew describes the confessional nature of his songwriting. He admits that all the writing is indeed from his own experience, but often from behind a mask. (And if you’re into confessional there is a top-secret full-length bonus disc in Canadian editions that features what Andrew considers his most personal and unmasked song yet.) “I don’t set out to right unhappy lyrics, but find them more interesting,” he says. “It’s easier to list your top 10 songs about heartbreak than about unrequited love.”
This philosophy of using song as a weapon or technique to overcome emotional strife seems to chart back to a story that relates to Die Stadt Muzikanten’s evolution. As a child, Andrew’s grandparents had a painting of several animals, defending their town from evil-doers. It was entitled the Der Bremen Stadtmusikanten (The Bremen City Musicians), and in the album’s opening, he sings of these characters chasing the bad guys away with their music. In a similar manner, Andrew writes songs on painful themes as a means of closing off a topic and moving on. Beyond just a sense of closure, this also keeps his songs fresh and always coming from a different direction. “There’s nothing intriguing or cathartic in writing about the exact same pain or situation over and over again,” he says. Does he relate to the animals in the painting? “I’m probably the donkey.” — Daniel Demois
___________________________________________________________________________________________________________ Since the release of their fourth studio album, Songs of Shame, alternative folk band Woods have garnered critical praise and attention for their vintage sound and organic vibe. Consisting of Jeremy Earl, Jarvis Taveniere, G. Lucas Crane and Kevin Morby, the band is currently on a North American tour in support of their latest record and they’re looking forward to the road ahead.
“I’m looking forward to the long, hard, burrowing road.” Despite the fact that Woods have been playing and recording for years, it is their latest release that has caught the attention of critics, including an 8.3/10 review from Pitchfork Media. “I actually don’t think it differs that much [from our previous albums],” states Crane. “They’re all kind of records in the same spirit ... it’s just the way we’re used to working. It’s just that this is the one people are paying attention to.” With all but one member hailing from New York, the Brooklyn-based band cites the city as a prominent influence on their sound. “We’re all from New York, except Kevin the bass player, who’s from Kansas City,” explains Crane. “Brooklyn is a pretty fertile area to be making music, and to kind of devote all your time to passionate endeavours such as this. I’m personally very influenced by Brooklyn because I’m from here . . . so [I have] a very personal connection to the city. “New York is now on the upswing again, you know, with lots of music coming out and everyone just kind of hanging out and doing what they want. I think it goes along with the Second Great Depression.” However, with comparisons to the likes of Graham Nash and Neil Young, Crane maintains the band’s musical influence comes from their Brooklyn roots and peers in addition to musicians of days past. “[Brooklyn] is a pretty fun community of interconnected bands [and] friends and we all play together and hang out and have barbecues and stuff,” he shares. “As far as musically speaking . . . I know our sound gets compared a lot to older music or has, like, an older vibe to it and . . . I think that might just come organically from the personal way it’s recorded.
Woods undoubtedly draws their inspiration from bands of the ’60s and ’70s but align themselves with the notion of nostalgia as opposed to the increasingly generic “psychedelic” label. “If we were a photograph, we would be a Polaroid picture — we would not be a digital camera picture,” says Crane. “They made this Polaroid film that has gridlines that they used to use for taking pictures at like crime scenes and stuff. That’s the kind of picture we are.” Woods’ North American tour rolls into Toronto on Aug. 8 at Sneaky Dee’s. — Anne T. Donahue
___________________________________________________________________________________________________________ There is a new meaning behind The XYZ affair. According to Wikipedia, with the help of many references, the XYZ Affair was “a 1797 diplomatic episode that worsened relations between France and the United States and led to the undeclared Quasi-War of 1798.” When most (who have taken U.S history) hear this name they think exactly that, but there is a new meaning behind this name other than the terrible memories of the 1700’s. The XYZ affair is a talented four-piece indie rock band that resides in Brooklyn, New York. The band mates consist of Alex Feder, guitar, and vocals; Russ Maschmeyer, guitar and keys; Chris Bonner, on bass guitar, and Sam Rockwell on the drums. Feder chose the name in ninth grade history class while learning about the 1797 happenings and thought it would be a cool name for a band. He had a band in high school by that name which split and has since decided to keep the name with whichever band came up next. Feder was in music school at New York University for jazz but decided he was not really into it. He had a bunch of songs written and demoed as well. The guys met at the University and have been contributing to the indie scene and getting along just great ever since. The band originally was a five-piece and started back in 2002, but has only been a four-piece for the past two years. Feder said, minus him, that all the guys in the band have a nine to five jobs. Because of this, they do their touring on the weekends, driving around in their “old crappy van,” he jokingly said. Feder says that things have definitely been picking up for them though. When asking about their influences, Feder said, “we get a lot Weezer and Queen,” when talking about their album. The band is greatly influenced by artists and bands such as The Beach Boys, Brian Wilson, Sam Cook, and Otis Redding, to name a few. However, why the band is compared to such bands as Queen is because of the loud guitars and melody that they are capable of creating. This past summer the XYZ Affair filmed their music video for their tune ‘All My Friends,’ which features former TV stars for Nickelodeon. Also around the same time (this previous July), they were voted “band of the day,” on Spin.com. They are currently on tour and made a stop at Toronto’s Drake Hotel on November 10th, that being the first time they have performed in Toronto. This is a great way to promote their music all around because for the most part they tour New York, DC, Philadelphia, and Boston. Feder says the guys are still figuring out what their exact plans are after this tour. The band does plan on touring more and for a lengthier amount of time. They hope to record and release a new record the middle of next year. To check out their tunes, learn more about the guys and band, or to check their tour line up visit their official website at www.thexyzaffair.com or go to their Myspace page at www.myspace.com/thexyzaffair -Danielle Cowie Photo By: Meg Wachter
___________________________________________________________________________________________________________ Throughout history, musicians have used their roles as entertainers and public figures to spread their message. John Lennon and Yoko Ono urged us to give peace a chance, Bono has received countless awards for his humanitarian work. Even Muse’s recent live album is named for a conspiracy theory surrounding the High Frequency Active Auroral Research Program in the United States. Rarely though does a band immerse themselves as thoroughly into their beliefs as YACHT. Founded by Portland, Ore. native Jona Bechtolt, YACHT creates what they call “mildly-psychedelic danceable 2000s-era grunge musics.” Last year, the project expanded into a duo with the inclusion of vocalist Claire L. Evans, whose talents are present in much of their July release, See Mystery Lights. Musically, the album is a collection of upbeat electro anthems meriting their inclusion on renowned New York indie label DFA and an opening slot on tour alongside the Yeah Yeah Yeahs. YACHT, however, is much more than a musical group. The band describes themselves as a belief system and has even gone on to pen a book, The Secret Teachings of the Mystery Lights: A Handbook on Overcoming Humanity and Becoming Your Own God, with music being but a part of something much bigger. “We wrote it so that people would understand that the belief system of YACHT is essentially non-religious (i.e. we are NOT a cult) and actually very useful if implemented correctly,” Bechtolt explains. “That science and religion (and all other like human structures) are, despite their seeming conflict, essentially the same thing. They both attempt to articulate something which is completely, and inherently, beyond human grasp — that is ineffable. A scientific diagram, or a mathematical equation, is much like a golden idol of a God: it's a stab at representing physically something beyond representation. “If we understand this, then it's not much of a leap to assume that the non-representable thing in question is, in fact, the same thing in the case of both science and religion. It's simply that which is greater than us — it's the universe itself. That if ‘God,’ if you will, is the universe, then we are part of God as we are matter in the universe. We are part of the mystery and the unknowable. This should be empowering.” Bechtolt continues, explaining that, “as ‘gods’ ourselves, we have the power to make our own destinies, write our own holy books, make our own media, and think for ourselves. Furthermore, that all of the previously existing systems of transcendence — meditation, Zen, penitence, TM, self-flagellation, etc. — have been failures. We cannot transcend our animal natures to become somehow superhuman or separate from our humanity. We are sloppy, defensive, and animal — essentially. “This is because we are part of a chaotic, dirty, insane and unknowable universe and we should simply understand ourselves, nurture the creative parts of ourselves and strive to live happy and fulfilled lives instead of feeling as though we have ‘sinned’ by being human.”
“The Lights completely reorganized our belief system, as well as our naive understanding of the universe,” Bechtolt says. “We realized that for centuries of humankind, even the most banal phenomena in the world were inscrutable mysteries, before magic became science. In this information-rich world, and for people like us who grew up with access to computers, whose entire lives have been influenced by constant access to knowledge, the mystery that the Marfa Lights represents is very powerful. It's a perspective-changing experience. YACHT could never be the same afterwards, so we devoted ourselves to making music which reflected what we were feeling, the things we were meditating about in the presence of these Lights. “That said, this wasn't merely a phenomenological experience. The Lights triggered a latent part of our minds, and we delved immediately into research — into Western and Eastern esotericism, science fiction, conspiracy, magic(k), religious ritual and symbolism throughout history, and mythology. This may seem like a somewhat onerous task but we are fascinated with the extremes of human experience and the various modalities of experiencing the universe. For us, the Lights triggered a general interest in the unexplainable — we ratcheted over from left brain to right brain, if you will.” YACHT urges its fans to get involved with their philosophies, stating that all people are welcome to become members of YACHT, whether it be on a permanent or temporary basis. “The general intent of the ‘member’ concept is to encourage as much personal involvement as possible with us,” Bechtolt says, “and an attempt to break down the barriers between performer and audience, which we find to be an obstacle to real dialogue.” The group is an active user of social media, including a blog and Twitter to engage fans, friends and family, encouraging all to “dive down YACHT’s rabbit hole to search for answers.” “The album, See Mystery Lights, is only the most visible piece of an entire system of thought and belief that we are only now beginning to fully develop,” Bechtolt says. “That said, it's not as cut and dry as ‘questions’ and ‘answers.’ It seems to us that the most fundamental questions we ask as a species are always the vaguest: what is life? That’s not a question that can be answered satisfactorily by anyone. We don't aim to provide pat answers to these kinds of questions.” YACHT’s philosophies may be complex, but the heart of their music and belief system hits the proverbial nail right on the head: “Perhaps what we do is ask the questions back to their askers and appreciate how the echo sounds.” If it sounds anything like See Mystery Lights, we’re definitely listening. — Heather Adamo
___________________________________________________________________________________________________________ On June 18, you might walk into the Courthouse, perhaps already NXNE-jaded, half-deaf and mostly dead of hipster-itis. What will you expect to see when Toronto’s Zeus jump onto the stage? Who knows, but it will be wrong. Even if you’ve heard Zeus, or at least heard of them, you cannot prepare for the strike down the by the extraordinary (extrasensory) extra member of Zeus. It may appear, to the unaccessorized human eye, that Carlin Nicholson, Mike O’Brien, Neil Quin (“Neily” to the other guys) and Rob Drake are the only members. Certainly, all practical measures will point in that direction; for example, you will see only those four figures onstage playing, and if you were to set the stage on fire, there would be just four screaming, fleeing musicians (a generally accepted technique for discerning the number of people in any given situation). How wrong you will be, you dolt! Soon enough, you will realize there is an all-important fifth member of the band. He’s a legendary, wrathful, womanizer, and he throws thunderbolts, so if you thought Britney Spears wasn’t going to get her comeuppance for that unavoidable tribute song to him, well then you’re wrong about that too. Zeus’ presence is sure to strike the whole place and send it to a raucous and fiery rock and roll hell, the most enviable place to be. Actually, that’s silly and disingenuous. Zeus rock as much as they do because they do. “Aw man, we’re always ready to play,” Quin says, bashfully. They describe themselves as “humble messengers, spreading his will in rock form.” And lo, there was Zeus, and they begat rock and roll, and it was good. They do not claim to be Zeus or have god-like abilities but O’Brien adds, “he takes on a lot of forms too, which is suiting in that he might take on the form of a rock band.” Zeus, mythical king of the gods, was said to be the “cloud-gatherer” for his reign over the thunderous sky. Nicholson, meanwhile, is an “idea-gatherer” with a tape recorder on him at all times. The “romantic” device is his “little song bunker” to which he “owe[s his] whole life and whole catalog.” “You’d be surprised how having it and having it loaded and ready to go can be a challenge for a regular everyday musician,” he claims, and perhaps we have Zeus to thank for the conservation of tapes and tapes worth of musical preciousness. “When the atom bomb hits, you’ll know where to go for songs.” He’s not kidding: “between Neil and Mike and me, we have a wealth of songs aching to bust forth on the next Zeus effort…we’re itching to bring it to the people.” As O’Brien explains, he and Nicholson “have known each other since [they] were like early teenagers, so [they]’re able to really trust each other musically.” Nicholson, all limpid blue eyes, expands: “I’ve never been in a band where there was this much collaboration happening,” which he attributes to his reunion with O’Brien. “We sort of just started, not knowing what it was, and before long it had a name, and before long it had a band,” he explains. “But it’s always different, it just depends on who’s there. It depends on what kind of time you have to deal with and who you have to be there and what that time needs to be occupied with.” While the others are more focused with the present, almost reticent, O’Brien dares to express his hope that they “could be those same five dudes that grew up together and are from a small town and are on a huge scale and still keep their integrity artistically.” It sounds as though they have the tools, and unquestionably the material, to reach that place, with some luck. Interestingly, they attribute everything to each other, and very little to their namesake. Amid stories of 90s era radio surfing contests, recording session lingo, studio “powerdowns,” crusty leather jackets and the evolutionary origin Their exceptional powers of collaboration, their wit, their unique sound — it is all a purely human exclamation, and therefore even more affecting than anything Zeus could have created. So this Thursday night, or the upcoming, unmissable Wednesdays in July when they conquer the Dakota weekly, you might sense the presence of Zeus, and try to reconcile the transcendent rock and roll with the four very mortal dudes onstage. But remember, no matter how humble, no one else could channel the timeless power of Zeus, lightning-sharp and so very bittersweet. Plus, if you buy their EP, Mr. Neily (at least) promised to love you forever. - Sally Walker Hudecki
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Recently, Vancouver has established itself as a prominent musical presence, maintaining a nurturing environment to budding musicians while supporting bands that have earned national and international notoriety. As attested by Zachary Gray, lead singer and guitarist of the up-and-coming piano-pop progressive band, The Zolas, the emergence of a Canadian West Coast “scene” is long overdue. “I think what’s happening in Vancouver right now is more than just like, a pretty good music scene, and I think that most cities don’t get to enjoy that all the time,” he begins. “I think cities have their moments in the sun and then they fade a little bit . . . but I think that Vancouver’s has been a long, long . . . . cycle for the last little while, and only now do you have something really, really worth listening and worth writing about. There’s so many incredible bands coming out of Vancouver to the point where Vancouverites will actually listen to Vancouver bands. “Suddenly in Vancouver, there’s this explosion of local bands, and for the first time ever, being a local is a virtue, just because there’s so many good bands coming out of Vancouver right now. And what’s cool is that . . .[Vancouver is] the least cutthroat you can imagine. It’s a very supportive, open-hearted scene.” Following the dispersion of the Vancouver-based band, Lotus Child, three years ago, Gray and pianist Tom Dobrzanski used both their friendship and love of music to form The Zolas, creating a spirited and inspiring sound that echoed their sentiments of life in the city. “This album is about being in your twenties and living in Vancouver — although it’s really not that much specific to Vancouver, there’s only a . . . few, like, specific references to living in Vancouver,” Gray explains. “So it’s sort of like, being in your twenties and living in a decent-sized city, I think. “It’s about trying to talk to girls on the bus, and it’s about like, the feeling that maybe the idea of human beings not like, dominating . . . nature is a kind of relief in some way to some people, and it’s about the vapid side of hipsterism.”
“We decided to hang out like we were 15, and play music and not think about like, ‘the biz,’ because it was really annoying and uncomfortable,” Gray shares. “So we just wanted to have fun. . . . You have to be having fun doing it every step of what you’re doing. That’s what we did, and that’s where this album came from. Just us fooling around and like, playing in my parents’ dining room where they have a really nice piano, and writing songs and then being like ‘hey, I bet we can get grants to make this album.’ . . . It’s based on a foundation of like, ‘we’re having a really good time!’ and I think that comes through.” Regardless of their professional achievements — Tic Toc Tic has gone on to receive both critical and public praise — Gray and Dobrzanski’s musical bond and enthusiasm for creativity remains the key to their success. “What it really is, [is] the collaboration between me and Tom,” Gray reveals. “I’m a really frantic person and I listen to . . . a new album and all I want to do is sound like that band that I’m crazy about that week. And I think it’s going to change my life, and I wanna like, write an entire album that’s like, really, really heavy or something. “Tom is more of a rock that way. He’s not as swayed by the tides of pop culture and he’s not as, well, I’m not going to say manic, but I’m kind of excitable, that’s for sure. . . . He’s definitely the detail guy, and I’m the dreamer.” — Anne T. Donahue
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Regardless of the buzz created by Underworld’s recent endeavours, Hyde maintains that the most exciting aspect of each development is the people involved. 
THE WHIP: BACK TO THE FUTURE
Will Currie Reaches a Great Stage
ut from the pack. 
“I have a tendency to only write about my relationships,” he says. “I think if you only write about your relationships, no one can ever accuse you of being wrong; and everyone kind of knows what you’re talking about. But for this album a lot of the lyrics were really about trying to evoke an environment and a feeling rather than just talking about particular experiences — they’re informed by heartbreak and relationship stuff, but for a large part, they’re really just trying to paint a portrait.” 
WOMEN: LO-FI ON THE PRAIRIE?
While he does have an idea of a song’s structure before bringing it to the band, it’s with them that he stacks track upon track (“like lego”) often using his guitar or drum demos as a starting point. The result is an album that Andrew claims is a final push in the pop direction. In that respect, this album feels like a transition point in which he has not only reached a new level of poppiness but also branched out into newer territory he plans to explore on future releases. 
During the making of this album, he spent much time listening to the girl group comp One Kiss Can Lead to Another, all pop songs about heartbreak. It’s easy to see where the themes tie in, as well as how the wall of sound style production of these early tunes would have inspired the stacking of his own tracks. 
“Whenever you go on tour for an extended period of time — especially if it’s over two weeks — a strange [occurrence] happens on your body and mind that I would akin to a ‘pickling’,” begins Crane. “Other than that, I’m just looking forward to playing venues with a little better sound. 
This is definitely not your standard dance music. The aforementioned See Mystery Lights is thematically and lyrically based upon the Marfa Lights, a “paranormal optical phenomenon” visible in the Far West Texas desert. 
of differences between men and women’s natures, regardless of womanizing supernatural beings, O’Brien is right on the money when he says, “that’s what makes the sound of Zeus, is having all our influences working together.” 
Produced by Howard Redekopp of The New Pornographers production fame, The Zolas’ debut album, Tic Toc Tic, began as a way for two friends to create and bond over music, eliminating the business mindset that came to fruition during their time in Lotus Child.