Wondering what to get for the hip hop fan on your holiday list, who already has everything (including this, this and this)?
Why not consider picking up the new Madvillain action figure, created by Kid Robot. Or, if your hip hop holiday is more traditional (read: ol skoo!), consider Chuck D & Flavor Flav of Public Enemy. Or, perhaps the late, great Notorious B.I.G. (now incongrously 8.5 inches tall) would fit the bill?
What strikes me most about these figures is their similarities, despite being made by different companies (Kid Robot made the Madvillain figure, as well as figures of Gorillaz, and PE & Biggie were made by Mezco Toyz). Roughly the same size, made in a deliberately chunky style with extra bling, their most notable similarity is probably the disproportionately large hands. Cuz you know what they say about hip hop guys with big hands (they make tiny action figures).
Perhaps some company will make an 8.5 inch tall likeness of The Power for these hip hop heroes to fight...
Thursday, December 14, 2006
Friday, November 10, 2006
A Note on the Amen and Apache Drum Breaks
I was inspired on the weekend, reading Will Hermes' piece in the New York Times about a recent re-issue of material by The Incredible Bongo Band. The Bongo Band's song "Bongo Rock" produced the drum break most widely known as "the Apache break", which, depending on exactly how Ol your Ol Skool knowledge is, could be considered the most widely sampled drum break in hip hop history.
Those who know hip hop really know hip hop, and I am not going to argue about the specifics of hip hop history--particularly when reprisals can be so dangerous.
However, when you begin to include trip hop, cinematic hip hop, electronic music and other hip hop offshoots, it would seem the most widely sampled break is either the Amen, or Funky Drummer.
All of this is noteworthy to me for a simple reason: sample culture is awesome. While I maintain that the chasm between the merely mediocre and truly brilliant producer is significant, there is something culturally cool about referencing the same source material and taking it in new directions. Not unlike jazz solos that riff and reference other jazz pieces, sample-based music may be linked by a common passion for what each DJ or producer carries in their crate, but it is also linked by a few artists and motifs that act as pillars for the overall aesthetic.
Some further reading on the Amen break.
Those who know hip hop really know hip hop, and I am not going to argue about the specifics of hip hop history--particularly when reprisals can be so dangerous.
However, when you begin to include trip hop, cinematic hip hop, electronic music and other hip hop offshoots, it would seem the most widely sampled break is either the Amen, or Funky Drummer.
All of this is noteworthy to me for a simple reason: sample culture is awesome. While I maintain that the chasm between the merely mediocre and truly brilliant producer is significant, there is something culturally cool about referencing the same source material and taking it in new directions. Not unlike jazz solos that riff and reference other jazz pieces, sample-based music may be linked by a common passion for what each DJ or producer carries in their crate, but it is also linked by a few artists and motifs that act as pillars for the overall aesthetic.
Some further reading on the Amen break.
Thursday, November 09, 2006
Ed Bradley's Music Writing
Ed Bradley (1941 - 2006) is being euologized in the press right now. All the tributes are glowing and I have not disagreed with a single one.
He worked in mainstream media and that carried a certain puffiness with it, but his ability to work inside the medium was skilled and subtle. He could get the tough questions asked without hardening his affable, cool demeanor. He unlocked doors, he offered some light.
The footage of his career, especially early reportage out of Vietnam, is impressive. His interviews with 60 Minutes were well regarded (18 Emmies) and well known. But less recognized is Bradley's musical knowledge.
His interview with Bob Dylan in December of 2004 offered insights much richer than Dylan's autobiography at times. His love for and knowledge of jazz was well known, hosting the Jazz from Lincoln Center performance series and generally supporting the music.
But I prefer his piece on U2, which just goes to show that if you want to hear Bono say something pretentious, just ask him a question. Or, possibly, stand near him for awhile.
He worked in mainstream media and that carried a certain puffiness with it, but his ability to work inside the medium was skilled and subtle. He could get the tough questions asked without hardening his affable, cool demeanor. He unlocked doors, he offered some light.
The footage of his career, especially early reportage out of Vietnam, is impressive. His interviews with 60 Minutes were well regarded (18 Emmies) and well known. But less recognized is Bradley's musical knowledge.
His interview with Bob Dylan in December of 2004 offered insights much richer than Dylan's autobiography at times. His love for and knowledge of jazz was well known, hosting the Jazz from Lincoln Center performance series and generally supporting the music.
But I prefer his piece on U2, which just goes to show that if you want to hear Bono say something pretentious, just ask him a question. Or, possibly, stand near him for awhile.
Robert Allen - 1946 - 2006
Many Montreal writers have been reflecting on the recent passing of Rob Allen. I just wanted to take brief moment to recognize this loss, and give some space to the tributes that are being written for him.
Rob was the Publisher of Matrix Magazine, and will be fondly remembered by the many people who he touched, toasted and taught. My own experience with Rob was limited -- a few conversations at Matrix meetings or book launches -- but it seems that everyone I know has a story about Rob. I think, in the end, that's the most fitting tribute there is.
Rob was the Publisher of Matrix Magazine, and will be fondly remembered by the many people who he touched, toasted and taught. My own experience with Rob was limited -- a few conversations at Matrix meetings or book launches -- but it seems that everyone I know has a story about Rob. I think, in the end, that's the most fitting tribute there is.
Monday, October 09, 2006
Pop Montreal Coverage in Midnight Poutine
Whew. It has been a very busy few days, checking out some stuff at Pop Montreal for local blog Midnight Poutine. As it is all music related, I thought I would post a link to it in this post, rather than re-producing all the content here (everything I write for MidPout is also available via the links at right).
I particularly enjoyed the set by A Northern Chorus, and would gladly see them any other time they come to town.
Also picked up some more material for review, so there will be stuff about that in the coming days.
In the meantime, have a read of this stuff.
I particularly enjoyed the set by A Northern Chorus, and would gladly see them any other time they come to town.
Also picked up some more material for review, so there will be stuff about that in the coming days.
In the meantime, have a read of this stuff.
Wednesday, October 04, 2006
The Graveyard - Matrix Magazine issue 75
This is The Graveyard column from Matrix Magazine, issue 75. The columnists tend to not be carried on the Matrix website, so I'm posting it here in its entirety because it features reviews of 5 noteworthy independent Canadian artists. Enjoy.
The Graveyard
by Scott W. Gray
Announcements about the Echo and Polaris prizes came to me around the time I was writing this issue’s piece, and I must say I’m pleased that independent artists are finally being recognized on their merits. Both of these prizes are juried by media flacks and awarded for songwriting, rather than unit sales, genre, or sculpted, muscular booties.
As these prizes recognize, there is an abundance of great bands in this country. There always has been, of course, but history shows that groups die out due to a lack of exposure and subsequent financial problems. Recording and distributing an album (not to mention touring a country of this size) is expensive. The Canadian industry has grown up a lot, market economics have changed a bit in the digital world, and there’s now a real possibility for independent bands to be reasonably successful here.
Exposure, however, still means everything to this process, and I can support anything (like the Polaris and Echo prizes, odd blogs, etc.) that shines the spotlight on the great talent here. With this in mind, here are songs by five artists that were in regular rotation on the Graveyard stereo over the last few months. I urge you check them out.
Christine Fellows: When I first heard Mary Margaret O’Hara’s “Body’s In Trouble” I stopped dead in my tracks, my thin teenage shoulders pulled up like I expected a crash behind me. Utterly arresting, disquieting, and inimitable. Christine Fellow’s song “Vertebrae”, from her Paper Anniversary album (Six Shooter), has much the same quality. It’s an exercise in restraint and tense understatement. Excellent musicianship (particularly from the strings and percussion) accompanies a voice that’s clear in the upper register and slightly frayed in the middle tones. Warm electric piano sounds and cello sweeps trail out over not-as-goofy-as-you’d-expect glockenspiels. If you think she’s prodigiously talented when she says, “I am deadfall. Deadfall,” then wait for the chorus. One of the most startling albums I’ve heard recently.
The Besnard Lakes: From Besnard Lakes’ yet-to-be-released album Dark Horse Transmissions, I spent a good deal of time listening to “Ride the Rails”. This new Besnards album (to be released on Jagjaguwar this fall) is considerably more orchestrated than Volume I, their previous release, with strings, choir-like vocals, and field recordings that jackknife into the arrangements against the Besnards’ signature guitars (high-volume, dive-bombing). “Ride the Rails” displays their development: essentially two songs in one that pivot on a single guitar riff nearly two minutes in, “Ride the Rails” features members of Bell Orchestre complimenting a very-70s mood piece that shifts into a solemn but hooky chorus drenched in reverbed vocals. As well, the vocals on the new album are stronger than in the past, offering more confident deliveries and tighter harmonies. If Volume I was the Besnard Lakes’ Loveless, then Dark Horse Transmissions is their Pet Sounds.
Islands: Formed from the brittle little bones of the Unicorns, Islands emerged in 2006 with Return to the Sea (Equator Records). Full of some of the smartest dumb pop you’ve ever heard, this is the sort of album that ends up in endless repeat because you hum it to yourself for hours after hearing it. The track that stuck with me most was “Rough Gem” (though “Don’t Call Me Whitney, Bobby” was a very close second), with its ‘Come On Eileen’ melody, tiny pizzicato string breaks, and tight but not flashy drums, this song left me scratching my head and pumping my fist. As an added touch, I like hearing Nick Diamonds singing about diamonds.
World Provider: What most music writers will tell you (over beers that you will have to pay for) is that a great deal of material arrives for review that sounds just like everything else, even among the non-mainstream albums out there. But nothing really sounds like World Provider’s Lost Illusions (out on Ta-Da). You can draw associations among the art-rock bands that he could be referencing (Devo, for example) but it takes a very strange sensibility to put them together as World Provider does. Strange tastes, oddly unsettling. The most successful songs on Lost Illusions follow a synth driven melodic lead, with interesting vocal harmonic lines – sometimes manipulated digitally – and very simple snare-kick, hat-handclap percussion. “Valentine” made onto my mix discs and took me through most of this summer. Featuring a guest appearance by Leslie Feist, “Valentine” merges a loping, neo-country vocal twang over fuzzy electro in a surprisingly effective way. Sneaks up on you, then bam! you have a weird moustache and you’re dancing in unfamiliar clothes.
Bell Orchestre: Bell Orchestre’s stunning instrumental debut album Recording a Tape in the Colour of the Light (released on Rough Trade in late 2005) is a roiling weird of french-horns, violins and trumpets that I listened to all spring. I was impressed by the subtlety and interplay between the instruments on quieter tracks, but I was unprepared for the way “The Upward March” rocked out. Built over a very simple digital click, the band adds textures and colours to create a piece that by its end is locked in a solid groove, while still tearing against itself. A sort of hyphen band (i.e.: post-rock, or math-rock, or classically-inspired, all of which apply), Bell Orchestre create pieces rather than songs, but there’s a vitality to them all that keep them fresh and unpretentious. Long, murmuring drones open out to raucous crashes and stabbing horns; the music is a stormy affair. “The Upward March” is probably the most luminous and anthemic on the album, so it’s an obvious repeater on the ipod, but the album as a whole creates a mood worth pursuing.
With independent Canadian talent increasingly being recognized by labels and media (and ugh…”tastemakers”) outside the country, listeners here deserve to know what that faint buzz is about. If you haven’t heard the five albums above, or any of the finalists in the prizes I’ve mentioned, I recommend tracking them all down. Each artist is unique but they share some strange commonalities - quirkiness, a sort of optimistic sadness, rich, idiosyncratic songwriting, and ultimately, independence.
(from Matrix issue 75)
Thursday, September 21, 2006
Final Fantasy wins Polaris Prize
The Polaris Prize was announced this week, going to Final Fantasy - solo project of Ontarian Owen Pallet - and his album He Poos Clouds.
Like Magnetic Fields meets Andrew Bird, Final Fantasy brings witty lyrics together with a violin that is kicking against its own tradition. He has a good voice and sense of melody but more impressive is how his music is out of synch with most things except itself: like he was just born sounding this way and didn't have to practice his ass off for it.
For his troubles, Pallet is awarded $20,000, which he says he will share with his Blocks Recording Collective pals (and who could be more deserving than they?). Any of the finalists for this prize would have deserved winning it, but I must say my own bent toward solo artists makes me particularly chuffed about Final Fantasy taking home the prize.
Canadian Press article here.
Like Magnetic Fields meets Andrew Bird, Final Fantasy brings witty lyrics together with a violin that is kicking against its own tradition. He has a good voice and sense of melody but more impressive is how his music is out of synch with most things except itself: like he was just born sounding this way and didn't have to practice his ass off for it.
For his troubles, Pallet is awarded $20,000, which he says he will share with his Blocks Recording Collective pals (and who could be more deserving than they?). Any of the finalists for this prize would have deserved winning it, but I must say my own bent toward solo artists makes me particularly chuffed about Final Fantasy taking home the prize.
Canadian Press article here.
Wednesday, September 20, 2006
Elliott Brood - Ambassador
Elliott Brood
Ambassador
Six Shooter, 2005
Ambassador’s outer sleeve looks like a wooden box, maybe meant to mimic a cigar box, or perhaps ammunition or something. The sleeve contains a reproduction of a train ticket from 1929 (one-way in coach, New York to Detroit, overnight), and includes album info on what looks like draughtsman velum. The effect (especially with the ticket) reminds me of the Who’s Live at Leeds. These are great details that downloading culture has made us forget that we love.
This album, like a good night of hard drinking, is a loose rambler, starting off with a determined momentum that slows over time, and fades into a melancholic trot as the album continues toward its conclusion. This is not to say that the album loses its purpose, but rather that like aging and arguing, things mellow with time. The album does the same, and it’s fitting.
Elliott Brood remind me of a cross between Luther Wright & The Wrongs and Pleased to Meet Me-era Replacements. There are raspy vocals and tweed-and-tube guitar licks over intricate banjo plucking, and a sense from the listener that the band has that tired-but-cool presence about them. Perhaps it’s endless touring. I’d suspect it’s the booze.
At points Ambassador flirts with being too straight for my tastes, sounding like a “rock album” in the way that the Black Crowes sounded like a “rock band”. But for the most part, with Ambassador, Elliott Brood have put together a solid record of indie-inspired alt-country, without being utterly cheerless or affected. It seems this is an album of deliberate intention, worth checking out.
Ambassador
Six Shooter, 2005
Ambassador’s outer sleeve looks like a wooden box, maybe meant to mimic a cigar box, or perhaps ammunition or something. The sleeve contains a reproduction of a train ticket from 1929 (one-way in coach, New York to Detroit, overnight), and includes album info on what looks like draughtsman velum. The effect (especially with the ticket) reminds me of the Who’s Live at Leeds. These are great details that downloading culture has made us forget that we love.
This album, like a good night of hard drinking, is a loose rambler, starting off with a determined momentum that slows over time, and fades into a melancholic trot as the album continues toward its conclusion. This is not to say that the album loses its purpose, but rather that like aging and arguing, things mellow with time. The album does the same, and it’s fitting.
Elliott Brood remind me of a cross between Luther Wright & The Wrongs and Pleased to Meet Me-era Replacements. There are raspy vocals and tweed-and-tube guitar licks over intricate banjo plucking, and a sense from the listener that the band has that tired-but-cool presence about them. Perhaps it’s endless touring. I’d suspect it’s the booze.
At points Ambassador flirts with being too straight for my tastes, sounding like a “rock album” in the way that the Black Crowes sounded like a “rock band”. But for the most part, with Ambassador, Elliott Brood have put together a solid record of indie-inspired alt-country, without being utterly cheerless or affected. It seems this is an album of deliberate intention, worth checking out.
Tuesday, September 19, 2006
Ammoncontact - With Voices
Ammoncontact
With Voices
Ninja Tune, 2006
This is a collaboration between Carlos Nino and Fabian Ammon, who I gather are pretty involved in the LA music scene. The album is dedicated to J. Dilla, which speaks to the production style Ammoncontact are into – MPCs and trap kits, dubby sounds and soulful vamps. The record could work as an instrumental, arguably better, but I guess that’s the whole point of the “with voices” angle. And I salute the ambitiousness of it.
There are some pretty heavy medium-fi players on this album, including Daedelus, and Cut Chemist, as well as jazz outsider greats like Yusef Lateef. The best tracks put down a groove with oblique loops over top: asymmetrical rhymes, lopsided guitar parts, slightly non-conventional melodies. Aspects remind me of some nameless acid jazz stuff that Josh Neelands and Anthony James Peckover gave me years ago.
It’s difficult for me to feel entirely comfortable with songs that rhyme about the sun, moon, and stars and love and life and all that (“Beautiful Flowers” for example), so I admit to a certain aversion at times. But these elements are hit and miss; some lyrics work really well, and given how ridiculous hip hop can get sometimes I can get behind lines that preach positivity rather than blind consumerist pleasuring. Titles like “Elevation”, “Drum Riders”, and “Earth’s Children” (one of the best by the way, with a really subtle sample and kit combo) create an ‘all weed and dimmed lights’ vibe - in the very best sense. It’s an album that given the right setting, you can submerge into its thrubby darkness.
On the whole, the production on With Voices is pretty unreal. Great balance and dynamics, and a good mix between digital and live percussive sound. Each track feels like a short trip across an ever-changing, glitchy landscape, rough with digital grit. Recommended, but lyrical parts may be too sunshiny for the unprepared.
With Voices
Ninja Tune, 2006
This is a collaboration between Carlos Nino and Fabian Ammon, who I gather are pretty involved in the LA music scene. The album is dedicated to J. Dilla, which speaks to the production style Ammoncontact are into – MPCs and trap kits, dubby sounds and soulful vamps. The record could work as an instrumental, arguably better, but I guess that’s the whole point of the “with voices” angle. And I salute the ambitiousness of it.
There are some pretty heavy medium-fi players on this album, including Daedelus, and Cut Chemist, as well as jazz outsider greats like Yusef Lateef. The best tracks put down a groove with oblique loops over top: asymmetrical rhymes, lopsided guitar parts, slightly non-conventional melodies. Aspects remind me of some nameless acid jazz stuff that Josh Neelands and Anthony James Peckover gave me years ago.
It’s difficult for me to feel entirely comfortable with songs that rhyme about the sun, moon, and stars and love and life and all that (“Beautiful Flowers” for example), so I admit to a certain aversion at times. But these elements are hit and miss; some lyrics work really well, and given how ridiculous hip hop can get sometimes I can get behind lines that preach positivity rather than blind consumerist pleasuring. Titles like “Elevation”, “Drum Riders”, and “Earth’s Children” (one of the best by the way, with a really subtle sample and kit combo) create an ‘all weed and dimmed lights’ vibe - in the very best sense. It’s an album that given the right setting, you can submerge into its thrubby darkness.
On the whole, the production on With Voices is pretty unreal. Great balance and dynamics, and a good mix between digital and live percussive sound. Each track feels like a short trip across an ever-changing, glitchy landscape, rough with digital grit. Recommended, but lyrical parts may be too sunshiny for the unprepared.
Monday, September 11, 2006
Black Turtleneck - Musical Chairs
Black Turtleneck
Musical Chairs
Normals Welcome, 2006
There is a mincing seriousness to this album, which makes their name a wry puzzle. There seems to be an element of poking fun at the humourless chin-scratching electronic crowd, while the band also steps right into some of the stereotypes they are mocking. Perhaps they’re just acknowledging the preciousness in electronic music that often emerges when vocals are involved. A slightly English sounding vocal part here, a single line drenched in delay there, suddenly its 1985 and your hair hurts from the gel.
Black Turtleneck is a collaboration of Jason Amm (of Solvent) taking care of synthesizers and programming, and Thomas Sinclair, who handles programming and vocal duties. In some ways they are very similar to Solvent, in the furry, vintage-synth sounds, video game bleeps and nostalgic step-sequenced stuffs, but the vocals add a different element. The vocals meet somewhere between New Order and Depeche Mode, but can also sometimes steer toward the more interesting and irregular stylings of Tarwater. The Black Turtleneck aesthetic is decidedly retro, and done with skill—suitable for those nights when it’s just you, your leather bodysuit, sulkiness and a half-bottle of dry sherry. Technocracy! Remorse! Drizzle!
Finally, Musical Chairs is an album of infinitely danceable music without requiring the thumping quarter-note bass attack you hear from every passing Civic, and the melodies are quite catchy to boot.
But again, I can’t be certain about whether the album is in homage to the 80s, or stuck in them, and that uncertainty makes this album one that’s spun selectively. When I’m really in the mood, and my bodysuit looks particularly maudlin without me.
Musical Chairs
Normals Welcome, 2006
There is a mincing seriousness to this album, which makes their name a wry puzzle. There seems to be an element of poking fun at the humourless chin-scratching electronic crowd, while the band also steps right into some of the stereotypes they are mocking. Perhaps they’re just acknowledging the preciousness in electronic music that often emerges when vocals are involved. A slightly English sounding vocal part here, a single line drenched in delay there, suddenly its 1985 and your hair hurts from the gel.
Black Turtleneck is a collaboration of Jason Amm (of Solvent) taking care of synthesizers and programming, and Thomas Sinclair, who handles programming and vocal duties. In some ways they are very similar to Solvent, in the furry, vintage-synth sounds, video game bleeps and nostalgic step-sequenced stuffs, but the vocals add a different element. The vocals meet somewhere between New Order and Depeche Mode, but can also sometimes steer toward the more interesting and irregular stylings of Tarwater. The Black Turtleneck aesthetic is decidedly retro, and done with skill—suitable for those nights when it’s just you, your leather bodysuit, sulkiness and a half-bottle of dry sherry. Technocracy! Remorse! Drizzle!
Finally, Musical Chairs is an album of infinitely danceable music without requiring the thumping quarter-note bass attack you hear from every passing Civic, and the melodies are quite catchy to boot.
But again, I can’t be certain about whether the album is in homage to the 80s, or stuck in them, and that uncertainty makes this album one that’s spun selectively. When I’m really in the mood, and my bodysuit looks particularly maudlin without me.
Wednesday, May 17, 2006
A First View of "The Graveyard"
So, Matrix Magazine, who have been publishing my album reviews for some time now (under my real name and a few pseudonyms), and where I'd been the Music Review editor for awhile, have decided to give me my own column.
The Graveyard debuted in Matrix issue 74, and discussed the Exclaim Cup Hockey Tournament, and new albums by Destroyer and Raising the Fawn. Here it is in its entirety. I hope you enjoy it and pick up the next issue of Matrix.
I've just returned from 5 days in Toronto, having played in the Exclaim Cup Hockey Tournament--a tourney loosely (but gamely) organized around Exclaim Magazine and its community of ruffians. This was my seventh year in the tourney, playing with The Humiliation, a team of mostly West Coast ex-pats I started when I lived in Toronto. This year, we got sporty new track jackets, and our thumbs-down logo is emblazoned over my orange heart as I write this. We look awesome, in a Humiliating way.
I am clearly a big fan of the Exclaim Cup, and I marvel at its progression from a 2-team pond hockey game to a truly national, 30-team, 4-day extravaganza, rife with musicians and artists of all stripes. What I don’t understand, though, is why there’s such scant media coverage on the tournament, given our country’s obsession with all things hockey. It’s a tournament of colour and creativity, fair play and flair, and it stands in stark opposition to the tiresome controversies of big league sports. With each team gaining extra points for penalty-free games, supplying food to local food banks and instruments to youth-at-risk, and required to provide a solid 20 minutes of entertainment on stage or risk being tossed from the playoffs (and face condemnation by the rest of the teams), these games highlight what can happen when a bunch of creative people all do their part in a community setting.
Strangely though, most media coverage of this large, sprawling event tends to focus strictly on the involvement of the “superstars” of Lo- and Medium-Fi Canadian entertainment. Sloan’s Chris Murphy (a member of the Halifax-Dartmouth Ferries) appears in interviews and radio programs, the Rheostatics’ (and Morningstar defenseman) Dave Bidini appears on national TV talking about his new book about the tournament, and CBC’s George Strombolopolis (playing for the Chart Attack Hack) was featured in full-gear (minus gloves, oddly) on the cover of Eye Weekly during the Exclaim Cup weekend, despite having only played hockey for two years. Now, I have no issues in the least with these players talking about their involvement in a tournament they clearly love and respect, and each has just as much right to talk about the tourney as I do. What I am more concerned with is the media’s coverage of this expansive sporting weekend, which reduces it down to the participation of a few well-ish known individuals. If this is a tournament that, by its very nature, shuns the addition of ringers, why is the media coverage solely focused on celebrities, rather than the talented, sincere rabble of individuals that constitute each team? Let’s look at this in terms of music.
When we read about the membership of the New Pornographers, we tend to read about the involvement of alt-country crooner Neko Case, or pop craftsman A.C. Newman, rather than the lesser-recognized Dan Bejar, aka Destroyer. Likewise, when we read about Broken Social Scene, the numerous threads to members of Metric, Do Make Say Think or Stars are prominently displayed, while John Crossingham’s Raising the Fawn tends to be overlooked. While both Destroyer and Raising the Fawn could be considered less notable in the context of these sort-of-supergroups, each should be recognized in their own right, as both have recently made albums full of wonder, idiosyncrasies and intelligence.
Raising the Fawn’s newest album is called The Maginot Line (Sonic Unyon, 2006), named after the series of sub-terra fortresses erected by the French in World War II to protect their border from German invasion. However, despite the intense firepower in these French fortresses, the Maginot Line was easily defeated when the Germans simply drove their tanks up and around the fortresses’ cannon turrets, entering France through Belgium. Seems a fitting title for the newest Raising the Fawn album, given that its tremendous power, efficiency and undulating tension are qualities that could easily be ignored by music consumers due to the band’s fairly low profile. Hopefully small pieces like this will help broaden the band’s fan base, because for the last few years Raising the Fawn have been crafting some of the most mature and unpredictable music in the country. The Maginot Line forces the Raising the Fawn sound out somewhat, employing sustained feedback swells, falsetto vocals and the rolling thunder of floor toms to create a stormy work, dark and suggestive, then histrionic and emotive, then snapping back again. This album adds new elements such as Ebow and synthesizers to their traditional three-piece, to create a wintry album of fierce dynamics: howling, severe crashes buttressed against tiny, scraping burbles. If you have not had a chance to hear Raising the Fawn I highly recommend dedicating a week of your life to The Maginot Line; set yourself up in front of the band’s cannons on endless repeat, and let them pummel you into a melancholic submission. That shit will fuck you up.
On the other side of the scale we have Destroyer’s Rubies (Merge, 2006), a loose, rambling record of seemingly off-handed melody and wit. I remember first hearing Destroyer about ten years ago in a musty basement suite just off Commercial Drive in Vancouver. At that time, his work was really stripped down, and my impression was that he was trying too hard to be weird. Now, however, Destroyer has a full group around him, and seems to have hit his stride as a songwriter, ably weaving casual vocals over what are clearly deliberately chosen motifs. There’s an idiosyncratic balance of humour and seriousness here, in the lyrics, vocals and musicianship on this album, and I find it refreshing because of how solidly it sits in the rock tradition. Reminiscent of Dylan’s early electric period, Destroyer’s Rubies features 1960s-esque honky-tonk pianos and simple, driving rhythms around vocals with lyrics often tightly packed into verses—as if the ideas are coming too fast for Dan Bejar to fully realize in the set verse length. This is an album where the lyrics matter, a revitalizing switch from so many records that just build a hook over a phrase and repeat ad nauseam. Destroyer’s Rubies is a record that is deceptive in its intentions, wanting to both grab you buy the lapels and compel you to listen, while forcing you away with some rather heavy subject matter. Many people I speak to are unsure of this album because of Bejar’s (nasal, odd) voice, however, I’ve found that once you are acclimated to his vocal style, this album stands up on so many levels and marks a significant work by a talented artist just hitting his full potential. Perhaps Destroyer’s Rubies could be considered a great summer album, if you hope to have a very strange, somewhat unsettling summer.
Both The Maginot Line and Destroyer’s Rubies represent somewhat hidden gems found in the larger collectives of musicians known as Broken Social Scene and the New Pornographers. Much as how the Exclaim Cup Tournament is becoming known as a result of media attention paid toward a few of the better-known, hockey playing celebrities on the ice, Raising the Fawn and Destroyer can hopefully begin to enjoy some media coverage due to their own associations with their better-known collaborators. But make no mistake, Destroyer and Raising the Fawn are significant acts in their own right, unique, creative and worthy of their own praise. If you have not heard either group, I recommend you seek them out, and experience another two pieces in what could be called a renaissance in Canadian music.
(from Matrix Magazine Issue 74)
Sunday, January 01, 2006
Monks, malts & Montréal: Can making beer & cheese be holy? Trappist monks think so
Photo by Stefan Schmuhl
Article from ascent magazine, Issue 28 (excerpt on ascent site)
Monks, malts & Montréal: Can making beer & cheese be holy? Trappist monks think so
By Scott W. Gray January 2006
In 1869, American author Harriet Beecher Stowe had this to say of Montréal:
“Montréal is a mountain of churches. Every shade and form of faith is here well represented in wood or stone, and the gospel feast set forth in every form and shape [will] suit the spiritual appetite of all inquirers.”To that end, I am sitting down in my Montréal apartment to satisfy my own appetite, with a lunch steeped in spiritual history: Oka cheese and a bottle of Chimay Grande Reserve beer, both crafted by Trappist monks. These foods follow a tradition passed down from brother to brother and perfected over several centuries in cloistered, reflective communities. I spread the cheese onto a fresh baguette and wash it down with some peppery beer, all the while hearing – I kid you not – the tintinnabulations of church bells filling the autumn air. It is an incidence of strange serendipity, but indeed typical of any Saturday afternoon in Montréal.
The park across the street is teeming with life, the sun is high and clean and a cool autumn wind – foreshadowing, always, the winter to come – blows across streets and buildings, and off in the distance the bells of a church peal and reverberate through the area. If you were to climb any of the city’s numerous and prominent wrought-iron fire escapes for a look around, you would probably be most struck by the conspicuous number of church spires dividing up rows of aging brownstones and factories. Every block or so, another set of double spires creates a landmark for this city’s devout communities.
Article from ascent magazine, Issue 28 (excerpt on ascent site)
Monks, malts & Montréal: Can making beer & cheese be holy? Trappist monks think so
By Scott W. Gray January 2006
In 1869, American author Harriet Beecher Stowe had this to say of Montréal:
“Montréal is a mountain of churches. Every shade and form of faith is here well represented in wood or stone, and the gospel feast set forth in every form and shape [will] suit the spiritual appetite of all inquirers.”To that end, I am sitting down in my Montréal apartment to satisfy my own appetite, with a lunch steeped in spiritual history: Oka cheese and a bottle of Chimay Grande Reserve beer, both crafted by Trappist monks. These foods follow a tradition passed down from brother to brother and perfected over several centuries in cloistered, reflective communities. I spread the cheese onto a fresh baguette and wash it down with some peppery beer, all the while hearing – I kid you not – the tintinnabulations of church bells filling the autumn air. It is an incidence of strange serendipity, but indeed typical of any Saturday afternoon in Montréal.
The park across the street is teeming with life, the sun is high and clean and a cool autumn wind – foreshadowing, always, the winter to come – blows across streets and buildings, and off in the distance the bells of a church peal and reverberate through the area. If you were to climb any of the city’s numerous and prominent wrought-iron fire escapes for a look around, you would probably be most struck by the conspicuous number of church spires dividing up rows of aging brownstones and factories. Every block or so, another set of double spires creates a landmark for this city’s devout communities.
If you were to remain on your fire escape and look west, you would see Mont-Royal – the city’s famous landmark – ornamented with the enormous cross that looks down upon this extraordinary city. Sailors who met stormy seas in the St. Lawrence Seaway and were in danger of shipwreck erected this cross in 1645. Praying for their safe passage, they made a pact that if they should be spared, by God’s graces, they would erect a cross on the highest peak they found to reflect their salvation for years to come. Those of us living in Montréal today still live under the gaze of this cross, ever aware of the presence of God, if the churches, mosques and synagogues on nearly every street corner were not reminder enough. In 1881, Mark Twain said that visiting Montréal was “the first time [he] was ever in a city where you couldn’t throw a brick without breaking a church window,” and many of the same churches exist today.
Back at my kitchen table, lunch continues. The Oka cheese is a whitish-yellow wedge with a crust of dusty orange. The label shows its unusual origin, with a drawing of the La Trappe monastery in Oka, Quebec, and a small diamond saying: depuis 1863. This is a soft, surface-ripened cheese, with a crumbly orange skin around its edge. It smells of old wood – a little musty, but not unpleasant and certainly not as pungent as some cheeses I’ve had since moving to Montréal. Oka is surprisingly subtle, tasting creamy without any sharpness on the upper palate, and lingers in the throat. It is a cheese that is distinctive and proud without being overly forceful, and I cannot help thinking that this reflects the monks who craft it.
While the cheese made by these monks is well respected, Trappist beer is created with such care and skill it has vaulted into a prominence out of step with supply, and I think out of step with the humility of its brewers. There are only six official Trappist breweries in the world (five in Belgium and one in the Netherlands), yet their products are sought the world over. To retain the title of “Trappist beer” these six breweries must follow three rules: that the beer be brewed in a Trappist abbey or directed by Trappist monks; that income from the brewery be used for charitable work and not for the abbey’s profit; that the monks retain control of the brewery, its brewing choices and decision-making.
Dedicated to a life of work in the service of God, monks live in keeping with rules set out by St. Benedict, considered the father of all Christian monks. St. Benedict’s book of seventy-three chapters (known colloquially as St. Benedict’s Rule, but more formally as Regula Monachorum, Regula Benedicti) governs Christian monasteries, stating among other precepts that a monastery should produce everything it needs to survive. Chapter 48 says that, “you are only really a monk when you live from the work of your hands,” so the monks dedicate every day to prayer and manual labour. However, this dedication to labour and prayer was subject to some interpretation. In 1666, around the same time as the cross was erected on Mont-Royal, in fact, the Cistercian order of monks divided into two camps, based on “mitigated” or more casual observance of monastic duties, and “strict observance” of monastic duties. The monks who adhered to strict observance were the Trappists.
Every day the Trappist monks alternate seven prayer sessions with work such as cooking and cleaning, tending gardens, crafting beer, or selling the beer and other wares they’ve made. Trappists are known for these handcrafted goods, offering to the lay public cheese, wine and liquor, beer, soap, children’s clothing, and vegetables they’ve grown, mostly for the communities around the abbey. The aim of the Trappist monks, like so many spiritual renunciates in so many different traditions, is to be a living vessel of the Godhead. Ascetic and humble in lifestyle, living in a community of chastity and poverty, the Trappists dedicate themselves to prayer, and aim to elevate their work to the level of prayer – a concept that some of us may know as Seva, or Karma Yoga. It is a simple life that has remained largely unchanged since the seventeenth century. The centuries that have passed have given the Trappist abbeys time to hone the harvest of their work, and develop beers that are unsurpassed in quality. These products represent the spiritual service of the monks, and are sold solely to sustain the abbey and its inhabitants, and raise money for charitable work.
However, in today’s world, and our culture of gratification (often regardless of cost), the monks are finding their products to be in much greater demand than they can meet. The internet has brought new “specialty beer” connoisseurs into existence, and created a portal where, generally speaking, consumerism reigns.
In June 2005, a Trappist beer from the St. Sixtus monastery in Westvleteren was voted the finest beer in the world by an internet site dedicated to beer (www.ratebeer.com). The site’s survey featured thousands of votes from beer aficionados from sixty-five countries, and St. Sixtus’ Westvleteren 120 emerged ranked first. It is created in a small abbey, home to thirty monks, and primarily available only to those who visit this cloistered Belgian community. Faced with a sudden interest in their beer and facing more demand than they could meet, the Trappists of Westvleteren ignored the rules of the market and refused to boost production of their Westvleteren 120. They simply sold all the beer they had already brewed, and prepared for next year, as they and the fathers before them have done for many years. But it is interesting to note that this is not an anti-consumerist move, or a rejection of the market; it is simply a choice in priorities.
The father abbot of Westvleteren has said, “We are not brewers, we are monks. We brew beer to be able to afford being monks.” Rather than become a brewery run by monks, the brothers at Westvleteren chose to remain monks who brew beer, a choice that emphasizes the supreme objective of every monk: a life of prayer. To cater to the demands of the market would, in some ways, show too great a reverence for this world, and risk missing the overarching goal of the Trappists. After all, they didn’t become monks to make money.
Sitting here at my kitchen table, I can’t help but be struck by the disconnect between the world I see around me, and the Trappist monasteries that made my lunch. It seems as if anything, even the most sacred, can be bought for a price. Montréal’s churches experience declining numbers of parishioners as a generation ages, and increasingly churches are sold to private developers. Most conspicuous to me are the condominiums in Montréal’s Little Italy, which feature upscale apartments for sale inside the church itself. The fact that I could even buy a Trappist beer from Belgium in a small liquor store in Montréal seems odd to me, but I am not immune to taking it for granted. While Chimay is a wonderful beer conveniently located at a store in my city, I have to admit to feeling affronted by the fact I couldn’t just walk out and buy a bottle of Westvleteren 120. By these standards the Chimay – which is the spiritual yield of men who have given their lives to God – is not good enough for me, the consumer. Perhaps I need to take a page out of the Trappists’ book and be satisfied by simpler, more spiritual things in life.
I pour another portion of the dark Chimay ale into a large wineglass, as per the bottle’s instructions, and see its malty colour and white, foamy head. It smells like dusty fruit, and tastes at first of caramel and pepper. It is fruity and sweet on the tongue, but the taste changes as it stays in the mouth, giving off hints of orange and coffee, and finally malt in the back of the throat. I spread more Oka cheese onto a fresh slice of baguette, take a sip of beer, and listen to the church bells echoing amongst the double spires on this typical Saturday afternoon. Soon enough the snow will blanket the city and fill it with a profound winter quiet, as if we are all ensconced in a cloistered community under the cross on Mont-Royal. But for today it is enough to be thankful for the simple products of a life of prayer and faith, in a humble apartment, under a clear autumn sun.
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