Intro by Matías Muñoz | Interview by Eric Scharf | Photo by Colin Medley
Shedding the past and moving forward from the confines associated with youth, heartbreak, and growing up in a small town is no easy feat. The Lonely Parade have boldly taken a stab at reconciling some difficult experiences and major life changes they’ve experienced as individuals, and as a band. They’ve also relocated from Peterborough to Montreal, which is a big step for the group.
The band has always had a knack for delivering the goods through their music. If you’ve ever stood at the front of a Lonely Parade show, you’d get an idea of how tight this band is. They rip. They always have. Their chemistry is obvious, and their songwriting abilities are jaw-dropping. Eric and I have seen them many times over the years, and every time we leave the show thinking “the world needs more of this shit.”
Their latest LP The Pits is out today (Sept 14) on Buzz Records, and it’s a culmination of years of hard work making music, and a way to deal with some difficult experiences and a toxic social scenario. The album is everything fans of The Lonely Parade would want, and more. It’s honed, and their brand of frenetic post-punk explodes from the seams. It’s full of crunch, angular riffs, writhing bass lines, percussive onslaughts, and profound lyrical depth rooted in real life experiences. Fans of groups like The Pixies, Hooded Fang, Ty Segall, and Jay Reatard are sure to fall in love with The Pits.
They’ll be playing their Ottawa LP release at Black Squirrel this Saturday, September 15th with BBQT and Sad Baxter. More info here.
Eric had a chat with drummer Ani Climenhage about the new record and where they are at now.
Interview with Ani Climenhage
I have been into your band since my friend first sent me a clip of “My Mom Got Hit on at a Punk Show” years ago. Could you tell me about how that song and the band came to be?
That song is the product of starting a band and writing songs when we were just barely out of middle school. Back then we wrote songs together and they were usually more on the joke-y side or were so angsty we have to laugh at them now. The three of us have known each other since early elementary school. Starting a band just felt like a natural thing to do.
What was it like playing in a band at such a young age?
We were fortunate enough to have had an incredible all ages venue in our hometown called The Spill. It offered many artists who were just starting out a supportive space to perform to an audience. When we started playing shows in other cities, we quickly learned that not all bars and venues were as accommodating or welcoming to musicians under the legal drinking age. We had to deal with a couple years of being harassed by show promoters and getting kicked out of venues before we all turned nineteen. And now Charlotte and I get to do it all again as minors in the USA! Yee haw! All ages/inclusive music and arts spaces are so important.
How was your recent tour in the USA with T-Rextasy? Any fun stories to share?
They put on a good and weirdo show all the nights we saw them! And some friends of T-Rextasy took us to a Harvard business-boy party in Boston on our last night of tour.
You have already shared the stage with many awesome bands over the past 6 years. Which have been the most influential and or important to the band’s growth?
So many bands! In Peterborough we took influence from the bands we often collaborated with like Stacey Green Jumps, Prime Junk, Nick Ferrio, and Hello Babies. Plus artists we have met through touring like Wares (from Edmonton), Power Buddies (Edmonton), Best Fiends (Halifax). and Crossed Wires (Halifax). We have been lucky enough to share bills with bands we admire after years of enjoying their music (TV Freaks, Weaves, Fake Palms, Fet.Nat, Casper Skulls, etc.) That was a big plug but it’s hard to narrow it down!
Switching gears a little bit, you are touring a new album called The Pits. What is new with this release? And can you please tell me a bit about the themes and how it all came together?
It feels like we are finally coming into “our sound” with this new record. The songs formed a bit more naturally and we tried to write them with more of an intent to be played live. The year leading up to the recording ofThe Pits was a rocky one. Bad relationships, messy endings, and a depressing winter helped us decide that maybe we’d outgrown our hometown in some ways. We’ve gone back to our angsty teen roots but the lyrics are very personal to Charlotte and Augusta and feel a bit more nuanced.
What is your favorite thing about playing in Ottawa?
Sad to see OXW go!! R.I.P. But we’ve always played fun shows in Ottawa. We have always appreciated how age inclusive the Ottawa music scene is. Also there’s lots of good food in Ottawa so we eat well before any show.
What should people expect when you roll into town on September 15? Anything else you would like Ottawa Showbox readers to know?
The three of us haven’t seen each other in a little while because we’ve been so all over the place this summer so this weekend is not only an album release but also a reunion. We’re starting fresh this fall to tour The Pits and we’re nervous and excited to go all in. We are really proud of the new record and excited to share it.
The group consists of multi-instrumentalist Zachary Perron and songwriter/vocalist/synth player Amanda Lowe, who have come together once again to bring us a larger-than-life album that transcends sonic boundaries. On first listen, Collapse seems to inherit much from its predecessor in the Novusolis catalogue—the exceptional debut entitled Fevered Dreams.
However, when listening closer, there are some specific features about Collapse that set it apart—not only from the group’s past work, but also anything else that the nation’s capital has to offer.
Collapse is the product of some very clear growth by the band. It is an expansion of their sound, and a refinement of their approach and arrangements. Novusolis create an ethereal soundscape from which the listener can bask in, layering reverb-heavy backing synth parts with staccato guitar and restrained percussive elements. This is particularly evident in tracks such as “Closer” and “Collapse.”
Lowe’s vocals are the element that, for me, tie the whole thing together. While her voice offers a delicate cushion for the listener to fall back on, it is also a powerful and emotionally impactful aspect of the album. Lowe’s songwriting emanates her experience and growth as a musician, as she harnesses her own strengths and combines them more effectively than ever with Zachary’s instrumentation. The arrangements are complex, and truly create a dream-like atmosphere throughout. While I’m not particularly familiar with the genre of post-rock, their music certainly reflects the grandiosity of artists such as Sigur Rós and Explosions in the Sky. I’m sure that anyone who has an appreciation of those bands will fall into Novusolis with great ease.
Be sure to keep your eyes and ears out for live show announcements from Novusolis, as their live performance is something you don’t want to miss. Have a listen to their album Collapse below.
Hip hop is like any other genre in the music industry. There are some real artists that work hard and pay their dues to bring listeners and fans material that is impactful in one way or another. But there are a lot of people out there that find shortcuts, step on others in their community, and rip off material to get ahead, too. That’s the music industry, in any genre—it can be a dark, dark place.
Buck n’ Nice is a group that consists of two entities. On one side there is producer, beatmaker, Cypher radio host, and DJ—DJ So Nice, who has been cutting his teeth in the art of hip hop beats since he was 13 years old. He’s a huge grassroots community supporter who throws some of the best parties in town, not least of which is the monthly Hip Hop Karaoke at Elmdale Tavern. On the other side, there is Sawbuck—a proven MC who came from difficult circumstances and worked his way to where he is now. His honesty and untethered lyricism fist in seamlessly with his masterful delivery, digging deep into his hip hop influences such as Mobb Deep, EPMD, Wu Tang, and Gang Starr.
That’s the subject of Ottawa hip hop duo Buck n’ Nice’s new album EMAG. Good hip hop is clever with words (obviously), and it took me a second to realize what “EMAG” actually meant.
“After getting our feet wet with our debut album, we learned from the inside out how backwards the industry is,” they say. “It’s a machine filled with appropriation, shortcuts to success and all-around deception. This is the theme of EMAG, an album titled so because the GAME is backwards.”
With the duo’s sophomore release, they aren’t mincing words or beating around the bush. Having gained momentum in Canada’s hip hop landscape with multiple releases since 2014, Buck n’ Nice have taken from their real life experiences in the music industry and applied them to their new record. It doesn’t take long for them to sink their teeth into the subject, as they dive right into it on the second track, also called “EMAG.”
It’s important to mention that although this concept may sound jaded or negative, I don’t get that sense when listening to the album all the way through. They’re not saying “fuck the music industry” per se—they’re pointing out the problematic parts of it, the deception and fakers, the toxic people and money that drives a lot of the music made in it. To me, what goes part-in-parcel with these criticisms are the things that do matter in music—things like community, real life experiences, people’s everyday struggles, and most of all, valuing more than just money when making art. One of my favourite rhymes from the album is from the track “Leader”, which goes “What’s the difference between me and you? I see the bigger picture, you crop the image just to see the view.”
On EMAG, the duo collaborate with talented artists such as Prufrock Shadowrunner, REKS, Freddy Printz, Whitney Delion, Cheko Salaam (a.k.a. Hyf), as well as Patience and Bender of Flight Distance (RIP Bender), among others. These guys are part of a hip hop community that is stronger and more cohesive as ever. On tracks like “Le Coeur” with Cheko Salaam, both he and Sawbuck bounce words off each other, with rhymes that weave seamlessly and that effectively builds the climactic pillars on the album. In “Ocean or Shallow End” with the guys from Flight Distance, So Nice slows things down and the sample includes strings. Their metaphor of “Ocean or Shallow End” comes across effectively, and hits the listener right in the face. The brilliance with tracks like this is that although the beat is more restrained, the rhymes and lyrics are highlighted to an even greater degree. The same can be said for “Three Sides” close to the end of the album—there’s no letting up here.
After giving EMAG a few listens, any hip hop fan should know that these guys are for real. There’s no filler. There’s no bullshit. Buck n’ Nice had something to say and they did that by packing all of their ideas into an album with a tonne of dynamite and then lighting the fuse. The result is an intelligent, groove-laden record that pays homage to hip hop of old, while keeping true to their own style and modern interpretations of rap. This album will stand the test of time, and will surely make waves across communities in Ottawa and the country as a whole.
Buck n’ Nice are officially releasing EMAG at a party called ANIMAL HOUSE this Saturday, July 28th at The 27 Club (27 York St.), where a triple album release will be taking place. Other releases at the party will be the Feel EP by Freddy Printz, and SpaXe Camels by Missing LinX. Needless to say, if there’s one party you don’t want to miss this weekend, this is it.
Stream EMAG below or click here for full list of streaming links. Check out their full album video on YouTube here.
Ottawa’s Jonathan Becker & The North Fields recently released their debut full-length album Sober Dawn. The album builds on the success of the band’s previous EPs as well as their excellent live show which has graced many bars and pubs across Canada—and a few big festivals such as Ottawa’s Bluesfest and Cityfolk.
The twelve-song release is soaked in roots and folk with country flares and a certain punk-rock ethos surely amassed by the various influences of the many members, some of which currently play or have played in several bands around town. With that in mind it isn’t hard to understand why Jonathan Becker & The North Fields are for fans of Lucero, Drive-By Truckers, Waterboys, Replacements and Leatherface.
Fans of the band will hear a familiar sounds right from the first song “Tiger Lilies” from the band’s 2015 EP Cigarettes, Strings, and Other Breakables. The track was previously my favourite song by the band and they somehow found a way to make it even better. The combination of Becker’s gritty voice perfectly meshed with Laura Sinclair’s delicate keys and Luke Pearson’s guitar had already wowed me. Then version on Sober Dawn sounds crisper and all the instruments and vocals complement each other just that much more this time around.
Another song that may be familiar to some is the lead single “New Blood,” which the band has been performing live for some time now. It is great to finally hear the song in recorded form. The very catchy chorus makes it perfect for sing-alongs, arms wrapped around your friends at the show or by yourself at home thinking of what to do next. I’m also a sucker for songs with local shoutouts, so the opening line about local tattoo artist Jesse Germs opening Otherside Tattoo parlour immediately puts a smile on my face.
Becker’s impactful songwriting and gruff vocal style is unavoidable in the best possible way. I love it when a band has a calling card or some great consistent feature that makes you go “That is 100% a Jonathan Becker & The North Field song” for all the right reasons. The songs on the album, while rocking and intricately assembled, are very accessible and ones so many of us can relate to. From love to cold sobering mornings of lost love, to the interwoven good and the bad side of alcohol consumption, you can’t help but feel like Sober Dawn is the best sounding house show you have ever attended with a friend needing to open up and share some introspection.
It is also important to highlight the musical progress of this band and not just their frontman. The instrumentation has gotten tighter and fuller over the years, while still feeling very true to their beginnings. I also love the additions of Marlena Pellegrino on violin and Pascal Desgagne on pedal steel guitar really help elevate certain songs to that next level.
Catch Jonathan Becker & The North Fields live at their “Sober Dawn” album release show July 27 at Babylon supported by Claude Munson playing with a duo, as well as Little Suns frontman John Aaron Cockburn. Details can be found here. In the meantime, listen to the album below and learn all the words so we can sing along together.
Following their most excellent show at Bar Robo in Ottawa on June 1, we caught up with Kingston’s doom-pop trio Deux Trois.
Deux Trois is the project of Nadia Pacey of Konig on drums and lead vocals, Benjamin Nelson of PS I Love You on bass, and Ben Webb of Carvings & We Are Adam West on guitar.
The band recently released Health—a must listen to album which is at times ideal for lounging in the shade on a hot breezy summer day and at time points transports you to a muggy sweaty dimly lit basement show. It has post punk ambience with hints of cosmic gloomy pop and sprinkles of early Yeah Yeah Yeahs, all wrapped up in very much their own sound.
Check out our interview below and then have a listen to Health.
Interview with Deux Trois
The three of you have all been involved in music projects in the past. What was the impetus for Deux Trois’ formation? What lead to you three making music together?
Ben Webb (BW): Serendipity.
Benjamin Nelson (BN): We met at the movie, Serendipity.
Nadia Pacey (NP): I had a contract with Princess Sammi Records in Kingston, ON, for which I was making a record as Konig. During some upheaval at the label, I started collaborating with Benjamin, and a few months later, after we’d toured some and decided that we needed a guitarist to give more heft to the mids, I happened to see Ben outside of his work for the first time in eight years, and knew that he would be right. There was a rightness – that what the sound needed was something that Ben would excel at writing, knowing his taste, history and skill.
Before the album release, Deux Trois released a few tracks—Dave and Late Night Girls. Can you talk about these songs and how they fit in to what you are doing with the new album?
BW: They’re definitely the most digestible songs.
BN: But they do –
BW: They have teeth.
BN: Those two are very good examples of the range of where the record goes—emotionally, thematically, the way the songs sound and feel, those are the opposite ends of the spectrum. The rest of the record is in between
Your music draws on 80’s influences that include post punk, dark pop, and synth. As this is a departure from all of your previous sounds, what has drawn you to the kind of music you’re making with Deux Trois?
BN: For me I think it’s all my education, time I’ve spent studying music that we’re now making – this is the band I’ve always wanted to be in.
BW: I think for me it’s like a natural sort of trying to – instead of trying to over-complicate anything, it’s all about serving the song as opposed to be the most complicated or heavy – this is the band I never knew I wanted to be in.
NP: Until I started writing music and reworking these songs with our band, I’d resigned myself to being quiet, being very shy about sitting behind a kit. I was afraid of being too loud; much apologizing for being so if I was. I was very uncomfortable with the snare in particular. Now it is one of my favourite instruments to play. I played tracks off of a computer or a cellphone for four years instead of performing music live because I didn’t have confidence in my ability to do it in front of people. Making the sound of the record, and it being a kind of thirty minute confession, was about finding a sound that feels good to play and not distancing myself from other musicians, or from musical experimentation; choosing to look right at some of my points of shame and challenge them rather than letting them sit in the back of my mind, where they can effect how I look at everything else.
What bands or artists are you listening to currently that inspire you or blow your mind?
BW: I’ve been listening to new Joan Of Arc – 1984. It’s a challenging listen at points.
BN: I don’t keep up on new music that much, because I like old music. The only new music I really hear by choice is top 40 radio, however, I am a big fan of Ariel Pink’s last record, entitled: Dedicated to Bobby Jameson.
NP: I just spent an hour listening to rap in the car. I keep going a little nuts over Leikeli47, forgot how much I love Eminem produced by Dre. The video and song both for Childish Gambino’s This is America are, together, mind blowing music at its finest. Also, seeing Sylvia Wrath [recently], I felt my soul in her coolness and songwriting. I recently heard a song called Sleep by Sasha Slug as well—that was very good.
What was it like putting together the Health EP and pressing it out on vinyl? For newer bands that are looking to do the same, is it a difficult process?
BW: Well as far as design, I really didn’t have much to do about that. Nadia and Ben sort of had that pretty close to done by the time I joined the band.
NP: We started the design process in October, yeah.
BW: As far as is it difficult: it’s expensive and I think you have to decide if that’s worth it for you. There are cheaper ways to get your music out there. I know it was important to us to have a physical release because we all love that format.
NP: It helped us that Benjamin and I are both designers, but that in particular Benjamin is a record album designer and has been for a number of years. The pressing itself we did not do – it was done by Precision Pressing, whose project manager, Tristen, was great in sorting us out. Paul, the sales associate who we originally spoke with to get the project going, was also very helpful. But yes, it’s an expensive deal.
We gathered together to listen to the test pressings we received, and discussed what we heard beyond the music. Before approving vinyl you have to be able to discern what is different about different pressings and make comparisons between them so that errors, warps, or too much scratching, can be recognized and acknowledged. It’s not difficult, but it is expensive and requires some research beyond having enthusiasm to do it well and right. To know that our record is a 12″ 45rpm record, and that the grooves and information are given more breath in their imprint because of that, is a decision that I feel very good about, and am glad that I can appreciate now. I couldn’t before.
Can you talk about what’s in store next for Deux Trois as far as new music and touring goes after the Health EP is released?
NP: We have a couple shows coming up, and might be speaking with a booking agent for future work. We have been working on three new songs, all of which we’ve played live since writing. I’m looking forward to the point when we collaborate fully as songwriters for the next record, and going to places we might not have been before.
BW: I’m personally excited for Wolfe Island Music Festival. It’s a festival that I’ve been going to and experiencing the excitement of for years, and this will be my first year playing. I’m feeling really good about these new songs; we’re sort of moving in different directions and looking at new sounds, which is always super exciting.
Ottawa indie-folk rockers Amos the Transparent are celebrating 10 years as a band with the release of their new album Anniversaries Saturday night at The 27 Club. And why not celebrate the occasion with some delicious craft beer? Music and beer go together like wine and cheese. The band has collaborated with Big Rig Brewery to release a special limited run of Amos Anniversaries beer—a 5.2% pilsener that will please the palate for many.
A decade and four albums later, Amos the Transparent have cemented themselves as a quintessential folk-canadiana. They have performed at RBC Ottawa Bluesfest, CityFolk, SXSW, WayHome, The Strombo Show, CBC’s Q, and even the Big Sound Festival in Australia. They’ve also hosted an annual holiday show around Christmas time that always sells out. Needless to say, Ottawa loves Amos.
I caught up with lead vocalist and guitarist Jonathan Chandler to talk about the band’s longevity and the new album. Have a read below.
Amos the Transparent releases Anniversaries Saturday, May 12 at The 27 Club along with another veteran Ottawa group who have gotten back together for a few one-offs—The Love Machine—as well as Rumfit Mosey. Ticket and show information can be found here. Upcoming shows:
May 12 — The Ottawa 27 Club
June 21 — Ottawa Dragonboat Festival
July 8 — RBC Bluesfest
August 25 — Neat Café (Burnstown)
Interview with Jonathan Chandler of Amos the Transparent
This band has been together for 10 years now, which is much longer than most. What is the glue that has kept Amos around until now?
JC: Honestly, the fact that we are indeed friends has kept it fresh over the years. Because we genuinely like each other, I think that creates an open space for everyone to feel valued and feel free to discuss concerns or ideas. A band is indeed a relationship—a big complex family relationship—and just like a regular one, you need to work at it.
How have families, new business ventures (like Shoebox Recording Studio) and the passage of time affected how Amos approaches writing music?
JC: Scheduling has never really been an easy task with this band and it’s numbers but with growing families and big boy (and girl) careers, the windows become even smaller so that element of compromise and understanding has to be pretty strong. That said, we have our regular scheduled time that we meet weekly and everyone knows that that time is precious so we use it to the best of our abilities. Be that writing, rehearsing or just having everyone present to chat about concepts or ideas.
The band collaborated with Big Rig Brewery to make an Anniversaries beer. What is that about, and how did this partnership come together?
JC: Last summer Chris ended up running into Big Rig’s Brew Master Lon and Chris Phillips and they ended up, you know, sharing compliments about each others ventures. The idea of celebrating the 10-year milestone with a record came up and Lon expressed interest in helping out in any way he could, because, you know he’s a gem. Fast forward many months and we reached out to Big Rig and the plan of launching the Pilsner together was put in action. We’re really stoked about it—the beer is awesome and it’s just a cool piece of memorability to hang on to.
Is there anything you can think back and laugh about now when looking at yourself in your early 20’s being in a band?
JC: I laugh at the idea that I once thought we could take a 9 piece band on the road. Mind you when this band started, I wasn’t a newb to touring but my expertise was definitely not… seasoned. There are photos of us playing NXNE or festivals of the likely with trumpets and a line of singers… just absurd.
The new album explores many sounds and textures, keeping listeners engaged throughout. Can you talk about a common theme or meaning behind ‘Anniversaries?’
JC: From a writing perspective, these songs span a couple years. When I listen to the finalized album, I listen to the music and arrangements that we made as a collective, as opposed to the lyrics. I feel that musically speaking, the band is at its best and most comfortable right now and it shows with what we’ve made here, as a collective. I’ve always found myself struggling a bit with lyrics, trying to not sound redundant or foolish (which I know I’ve missed a couple times!). Regardless, there are many songs here about reflection and acceptance and I do feel that some of the words are among those I’m most proud of.
It seems like the band is still having fun. Does this mean we’ll get another anniversary in 10 years from now?
JC: I think we’ve explored the option of calling it quits enough times that we know where we end up at the end of that conversation—making another record! So, as long as folks might be interested in hearing new songs, I’m pretty sure we’ll supply some in one way or another.
Ottawa’s Rich Chris recently released his first full length solo album, Tales of Nostalgia.
The 14 acoustic tracks were recorded over the last four years while Rich Chris has been busy playing with countless other bands, most recently rocking out in Positive Charge.
From the 14-second intro track all the way through to the final song, which clocks in at over five minutes, Rich Chris has his heart on his sleeve, remnants of parties in his beard and stories to share. His punk rock roots certainly shine through in some of his strumming patterns, faster songs and vocals, but you can certainly can’t deny the folk influences and the ever present troubadour mentality emphasized with the harmonica. It is rather fascinating that an album which spans so many years—and consequently several important life changing moments and being mixed/mastered by different people in different places—can still feel as cohesive as it does.
My favourite thing about Tales of Nostalgia, and Rich Chris in general, is just how real and down to earth every song feels. He is not trying to paint the magnum opus. This is an album you can throw on and close your eyes and feel like Rich Chris is in your living room or around a fire performing for you and a bunch of your best friends about things you can all really relates with. As a life long resident of Ottawa, I’m also a sucker for songs that mention local landmarks and trigger fond memories from my past. Songs like “228” which chalked up full of trips down memory lane for me, that even if I didn’t know Rich Chris back then I feel like we had several similar experiences at parties and local watering holes like 1848 and Nostalgica during our university years.
Have a listen to Tales of Nostalgia below and kickback with the friend you never knew you had, or for those who know Rich Chris listen to your good buddy’s great work.
Ottawa punk rock veterans The Creeps are back, releasing their first album since 2014’s masterpiece Eulogies on May 4th. Formed in 1999, The Creeps are by far one of the capital’s most accomplished and appreciated punk bands. I should also add that personally, Eulogies is my favourite record released by an Ottawa band. So what could we expect from a new album? How would new material measure up to the immensity that was Eulogies.
Well, fear not. The Creeps have spent years playing shows, touring, and continue to have fun doing it. Sure, they may no longer be teenagers, plus there are a few kids and grey beard hairs in the mix now, but that hasn’t changed the fact that this band knows how to write damn good albums—front to back.
Beneath the Pines is an 11-track offering, and it’s packed with goodies. The group has taken a new direction on this record, one they have never taken before. Traditionally The Creeps have written crunchy, uptempo, and in your face pop-punk that many of us have come to know and love. Skottie’s soaring melodies always rode the over-driven tones of his guitar, carried by Ian’s flurry of bass notes and Jordy’s percussive onslaught. Moreover, their music usually uses disturbing imagery to touch on themes such as death and suicide, and other things that are generally…creepy. These are staple characteristics of The Creeps, and the band actually released Old Crimes: Singles Collection 2009-2013in April of 2018 in advance of the release of the new album, and one listen through this collection will give listeners a great sense of how the band approached music in the past.
The Creeps’ new album Beneath the Pines will be available on vinyl May 4th. Photo taken from Facebook.
But Beneath the Pines is a departure from what The Creeps have done before. To call this album “slower” than its predecessors would be selling it short, and imply that it doesn’t have the same grit—that just isn’t true. While the band moves away from the darker themes that they faithfully pursued in the past, Skottie’s irresistible vocals and lyrical phrasing and the group’s catchy buildups to epic choruses are what weathered fans will recognize instantly, and fall in love with. The compositions are recognizably The Creeps, but the band experiments with different tempos, guitar tones, and a more open sound.
Songs such as “Bottom of Things”, “Scared”, and “In My Mind” are all more restrained instrumentally than most of us are used to. However, that doesn’t take away from the tracks, as Skottie’s vocals come through much clearer, with slight reverb, giving a lot of depth to the melodies he and the band weave. It is pop punk taken to another level, illustrating the maturation of a band that started as kids, now translating their ideas through the lens of adulthood. Old fans who have grown with The Creeps will almost certainly love the direction Beneath the Pines takes, and new listeners will surely fall into this album and appreciate its subtle intricacies.
Montreal’s Pallice are gearing up to release their debut EP Aesthetic through Ottawa label So Sorry Records this spring, and we’re excited to premiere their brand new track “Prince Charles” here on Showbox. Pallice’s minimalist synth pop balances simplicity in songwriting with textural and sonic mosaics that bloom with colourful flourishes. The comforting rhythm of drummer Jeff Kingsbury ties expressive guitar work and warm, flowing bass lines together.
The band is wrapping up a six-date tour of eastern Canada, and they will be playing the final tour date in Ottawa this Sunday, April 29th, at Pressed along with Shadowhand and mal/aimé. Advanced tickets can be found here. Listen to the new track “Prince Charles” below, and read through Gregg’s interview with multi-instrumentalist and songwriter Morgan O’Leary earlier this week.
Interview with Morgan O’Leary of Pallice
When did you write these songs?
MO: These songs all came about between fall 2016 and fall 2017. They started as little pieces and ideas early on and grew into what they are on the record over those two years.
How did you know they were done?
MO: It’s so hard to know when a song is done—is it ever done? We did a bit of arranging and added/removed parts in the studio. They only really felt done when the mixes were done!
What do you write about the most?
MO: Mostly I write about nostalgia, friends, family, dogs. A lot of it is about being young and taking your time in your youth.
What inspired “Prince Charles”?
MO: “Prince Charles” is named after a street that I grew up on. I met my still-best friend who lived across the street from me then, and we shared lots of dreams about growing up and being adults. Now that we’ve reached that we sometimes think back on that time and how funny it was that we wanted to be older. This song is kind of an homage to that youthfulness.
What’s different about the live show compared to your record?
MO: I think the live show has a lot of dynamics that you can only create with live instruments, especially after the addition of another synth player and vocalists on stage. The recorded songs are meant to be pop songs, but in the live version we stray a bit away from that by extending instrumental sections of songs and trying to play with audience expectations.
How many members are in the touring band? What instruments do they play?
MO: We’re touring as a five piece. It’s Yolande Laroche on synth and backing vocals, Wesley MacNeil on guitar, Julien Dussault on bass, Jeff Kingsbury on drums, and myself on vocals and synth. Yolande, Julien and Jeff are all members of the Ottawa band Pony Girl and those three together play in a project called mal/aimé who are playing sets on this tour as well.
When I say “Ottawa” what comes to mind?
MO: Ottawa is filled with friends of Pallice.
Your dream act if Pallice could open for any artist, dead or alive?
MO: Dirty Projectors
Your one wish for this tour?
MO: I hope that we can surpass some expectations of what people might have assumed we would be like—we all want to put on a really fun and energetic set. We hope that the live shows we play on this tour will get people excited for the album release.
There are few bands in Ottawa that have as big of a sound and stage presence as Saint Clare does. With each release the band puts out, their music becomes more grandiose. The band just released their third EP on April 20th, and it is arguably their most ambitious record to date.
The seven-piece outfit does not shy away from taking risks on EPIII. With bold and thunderous percussion from Daniel Devries leading the way—particularly in climactic, fuzzed-out tracks like “Burn Burn Burn”— Matthew Saint Clare and his band push it to the limit, without going overboard. When there are seven people in your band, it can be really easy to muddle up some of the instrumentation, ultimately decreasing the quality of the overall end product while also putting certain band members in the back seat.
That is not the case with Saint Clare. The EP was masterfully recorded by Jarrett Bartlett at Little Bullhorn Studios, and mastered by Andy Magoffin at House of Miracles, each of whom did an incredible job bringing out each tone, each horn, and each riff. When it all comes together, as it does in EPIII, the big-band sound is a beautiful thing.
The EP kicks off with the fist-pumping, foot-stomping track “Get You Down,” instantly hitting listeners with a solid dose of power-pop fused with garage rock, and sprinkled with the sound of ska-like horns throughout. “Closer to the Devil” is a song that we’ve heard before, as the band released a video for the track back in October. No matter how many times I’ve played this song, it just refuses to get old. It’s satisfying to hear how the other four songs fit around this previously released track.
The biggest treat for listeners is how this EP ends. “Burn Burn Burn” is a grimy, fuzz-filled track that makes you want to jump in your 70’s muscle car and slam on the gas in a cloud of burning rubber and never look back. I actually felt like I was watching the climax of an action movie with this one. Then, finally, “So Low” comes in to round off the album and injects us with all those warm and fuzzy feelings that throwback power-pop does when played loud, and repeatedly. This final track is my favourite on the album, and reminded me of other local heros such as The White Wires, Steve Adamyk Band, Sedatives, The Creeps, and other fun Ottawa Gaga era bands. Saint Clare measures up to the greats of this city.
This EP is a must-listen, and makes me even more of a fan of this band than I was before. These guys know how to put together a hell of an album, so crank up the volume and press play below.