The idea is excellent. Who wouldn’t want to go to a punk show in a decommissioned Cold War bunker? The Diefenbunker is a place that captures the imagination, and it has a certain amount of mystique. The night of punk rock, zines, and crafts at this historic site had been building anticipation for a few months.
Granted, it’s not easy to get there. The museum knows this, and provided a free shuttle to and from downtown Ottawa. No excuses!
Here’s how the night went down:
Back of the bus
30 minutes is a reasonable distance. I’ve travelled longer for a concert.
It’s a similar distance to the Blacksheep Inn in Wakefield, though the countryside offers different things. Outside the window was a rural-industrial landscape—I was particularly taken with the sign advertising “culverts.” It may not be a covered bridge, but it’s arguably more important to be exposed to the outlying areas of a city, especially if you like tap water and well-maintained infrastructure. (I do.)
There was slight miscommunication with the transportation company, which led to the shuttle attendees waiting an extra half hour for the buses to arrive. Still, everyone was very patient. I am not a punctual person myself, which means I’m not allowed to be annoyed when I have to wait.
Finally, a blue wayfinding sign indicated the Diefenbunker was near. The anticipation builds.
It could be the most unique entrance to a venue in this town.
Strolling down the blast tunnel into nuclear safety, I couldn’t help asking the delighted visitor next to me — “Have you been here before?” It was curiosity, not a pick-up line, and she she was literally bouncing.
“This is my favourite place in the world!” she said, “I’ve been here almost ten times.” Her friends confirmed that she does, in fact, talk about the Diefenbunker frequently.
After turning a sharp corner and greeting the staff, we descended 70 feet underground.
The Blast Tunnel. Photo by Shawn Katuwapitiya.
The cafeteria is the largest room in the Bunker, and the linoleum tiles provide a historic ‘50s feel. The hall is quaint and well-maintained.
That evening, visitors could make their own pins, enjoy beverages and $1 pizza, and contribute to a zine being prepared by Possible Worlds, which is a gallery and workshop space in Chinatown. Someone at my table was gluing a picture of a sea mammal to a page. “I came for the zines,” she said to me. “I’ve been reading them for a while but I’ve never made my own.” I later heard from a musician recovering from a knee injury, who also appreciated the alternate activities, because it meant that he didn’t feel any pressure to stand for the entire evening.
I spent some time flipping through the zine library on display, but I admit – I was there for the music.
The Mess Hall. Photo by Shawn Katuwapitiya.
Built to protect the Bank of Canada’s gold reserves in case of emergency, the vault is a safe pretending to be a room. There is a sense of danger and protection while inside. It is metal and concrete, with nothing to absorb sound. The sound technician was uneasy and explained that minimizing the reverb would be a challenge.
For each performance, the atmosphere was unique and exciting. The setting enabled us to suspend our disbelief, and I was pleasantly surprised that each band had representation by grrl rockers. Turns out, punk pairs surprisingly well with both feminism and nuclear destruction.
Bonnie Doon made quite an entrance in hazmat suits, engaging the audience with tight riffs and tales of the outside world. They are fixtures on the Ottawa music scene, but I’d never seen the group before. Their stage presence and accessible melodies will capture the casual listener, and they invited audience members to spray paint them after the show. Would recommend.
They were followed by DOXX, who were more hardcore and also louder. I could feel the sound tech starting to sweat, but luckily I had earplugs. I’m a person who is often drawn in by lyrics, and while I couldn’t identify many words during this set, I still enjoyed it. Punk has a certain rawness that is especially evident during a live show.
Nightshades were up next, and I enjoyed the first song. However, the idea of making my own crafts was at that point more appealing to me than listening to music, and I stepped out of the vault and sought out the button-making station. It was creative magic.
Nightshades make some noise in The Vault. Photo by Shawn Katuwapitiya.
What is it about the intrigue of the Cold War era that feels like a good fit for the Diefenbunker?
I spoke to a self-identified ‘retired punk rocker’, who provided his opinion on the location. “It’s an iconic and triumphant moment for punk rock. We’ve taken over a government sanctuary.”
I further inquired about the philosophy behind the punk movement. According to him, punk is about “not letting anything you are born into – be it race, wealth, gender, not letting that define you. It’s about finding individualism in a world that is trying to tell you who you are.”
There is a new band in town, partners, and they are full of alt-country, twang, and heartache.
GINNY is the latest band formed in the nation’s capital with members of a bunch of other great bands. Fronted by vocalist Lesley Marshall (Bonnie Doon), guitarist Catriona Sturton (ex-Plumbtree), and bassist Kristy Nease (Area Resident), GINNY’s haunting country styling arrives just in time as we flirt with the return of spring but keep being reminded of the harshness of winter.
GINNY’s first single, “Choose the Wrong Man,” is a slow-building little alt-country number about having bad luck in love. Have a listen below as Marshall’s ghostly vocals of country singers past shines over the band’s blues-tinged and rock-influenced country sound.
The band is poised to release their debut EP on Friday March 16th at The Concorde Motel in Ottawa, supported by The Railway Hotel and Ommie Jane (details here). We interviewed Marshall ahead of the show to get a better sense of how the band came to be and what to expect of this little known venue.
Ginny is quite a shift from your other project, Bonnie Doon. What attracted you to making country music?
I drifted towards country music in the last five years. I’ve always been a big fan of folk rock and folk music but I got really into classic country when I heard Loretta Lynn, Townes Van Zandt, and Patsy Cline. They were all singing from the heart in a way that really resonated with me.
We used a Patsy Cline song “Crazy” as a temp track in one of my first films and I began to sing it a karaoke, then I started to singing Dolly Parton’s “Nine to Five” and started to really see myself in that music. I had been writing a lot of sadder and melodramatic songs since high school on a tiny air organ and they didn’t fit into the party vibe of Bonnie Doon. I fell in love with some of the romanticism of country music and wanted to learn more.
Learning the history of racism and blues and the industry’s separation of the genres that exists today—interesting stuff, but yeah, it was the emotion that was coming out of my voice that led the way. I couldn’t describe it and, well, it was friends that said it was country. I was with DJ Lamb Rabbit one day too showing her my tracks and she showed me Mary Margaret O’Hara “Miss America” and was like— “did you know that this is what you’re doing?”
The band is somewhat of a local super-group, made up of Catriona Sturton and Kristy Nease (Area Resident). How did it come to be?
Oh my gosh. Yeah, well I am a lucky duck here. I had been spending time with Catriona and Kristy as they are buds and Kristy at the time was doing a lot of Gamelan Orchestra and Catriona was starting to tour on her own. I had told Catriona about some of my songs and she mentioned she wanted to tour in the southern states the following winter and visit her friends at Dollywood with another drummer friend from a Philadelphia band The Pretty Greens and asked if some of my songs would fit as an opening act. I am a person of the variety who says yes even if I am unsure—so I said yes! Being on tour is kind of my dream state, even though it is very hard.
All this to say, I had wanted to explore working on these songs and so I brought them to Kristy to help nail down the musical framework. Kristy is a a genius with the bass and percussion so she took the demos I made and we jammed them out to the songs they are today with Catriona coming on with those heavy blues guitar riffs. The first incarnation of the band was a drum machine, an air organ, Kristy on the bass and me singing through a 16mm projector. We later added a drummer to get that classic country feel. I had always intended the project to be a newer eerie kind of country, so this show at the Concorde will feature DJ Jas Nasty on the theremin.
A glimpse at the mysterious, seldom-used venue called The Concorde Motel. Photo taken from Facebook.
And how is it working with them on this project?
Working with Catriona and Kristy is a dream come true. Kristy has supreme work ethic and execution and Catriona is a wizard. She just kind of comes in and brings her ideas and flare with the her classic guitar sound. They both have such great taste and understanding of music it’s like breathing in and out. I feel like coming in with my voice, I have to bring a lot and do!
The release show is taking place at The Concorde Motel, quite an unusual and unknown venue to most. Can you tell us a little about it and why you chose it?
The Concorde Motel is just down the street from my partner’s house in Vanier so we started going for drinks there. The first time I walked in I was blown away by the absolute size and decor of the bar. It truly is a relic. Back in the 1970s and 80s it was one of the ‘go-to’ spots for country music as there were 6 active country clubs with live bands playing 7 days a week. Times sure have changed and they stayed open as a bar but stopped operating as a venue. Since the bid to change the whole block including the Motel into the controversial super shelter came around last year, we thought it would be a rare chance to have a show like this there.
What should people expect from the live performance on March 16?
March 16th is gonna be a full night of hanging out in the Concorde, people can play pool, and listen to the jukebox between bands and expect a whole night of great music from Ottawa Alt-Coutry Folk and Blues with Ommie Jane and The Railway Hotel opening up the night. GINNY has a full set and will be playing songs from our self-titled debut EP, but also songs on the air organ that couldn’t fit on the EP and guest performer and singer Matt Miwa will be adding his lounge singer-songwriter air.
Another year in the books for music in the nation’s capital and another year of countless great releases. This list is in no way a complete and exhaustive wrap up of all this city had to offer, but simply a listing of the 17 albums and EPs that stood out and really captured our attention over the calendar year of 2017. Check them out below, have a listen, get out and support local music. We can’t wait to see what 2018 has in store!
Top 17 Local Albums of 2017
Mushy Gushy – More Butter
Released: July 7, 2017
What is butt rock, you may ask. Well, Mushy Gushy’s sound can best be described as a good blend of experimental garage pop with the occasional hint of surf rock. It makes for good time rock that makes you smile, bob your head, and maybe even sway your hips. It’s perfect for those hot summer days on the way to the beach, but also excellent for those warm summer evenings on a patio or at a cottage. […] It is not always about complicated progressions and incredible prose—sometimes the best medicine is music you can just put on and sing along with while you relate to what the writer was feeling at the time. — Excerpt written byEric Scharf
Telecomo – For Sale
Released: June 6, 2017 (Record Centre Records)
I think the world could always use some more fun and punchy garage rock, and that is exactly what this band is offering us. The simple chord structures, unflashy vocals, and lo-fi aesthetic give Telecomo a genuine throwback feel. The Detroit garage rock gods of the 80’s would surely open their scuffed, wrought iron gates for Telecomo. — Excerpt written by Matías Muñoz
Slack Bridges – Joy of Joys
Released: November 11, 2017
[…] everything Slack Bridges has put out since their inception has met a seemingly self-imposed benchmark of production and musicianship. Their debut full-length “Joy of Joys” is no exception. The album was self-produced by the band at Swell Studios and received some esteemed TLC from Phil Bova at Bova Lab Studio, and Jason Jaknunas at Metropolitan Studio. It features a veritable roller coaster of soul (I’m not gonna say soul-er coaster), both lyrically exploring themes of struggle and searching for hope, but also exploring different aesthetics and dynamics musically. — Excerpt written by Anthony Cardozo
Heavy Medicine Band – ERSATZ ERA
Released on: April 22, 2017 (Record Centre Records)
Of all the bands making music in Ottawa—or even Canada, for that matter—the Heavy Medicine Band is pursuing a style and sound that is wholly their own. It’s phsyc-rock dipped in folk noir, driven by the profound lyricism and vocal prowess of Keturah Johnson. On their debut full-length ERSATZ ERA, the band weaves together texturized soundscapes that could be the soundtrack of a dream…or a really good trip. They build on and expand upon the foundation laid out on 2015’s Conduit EP, paving a path for listeners to get lost deep in their world. The intricate and reverb-laden instrumentation are a foundation of the album, often droning into the fringe of our imagination on tracks like “teeth” and “breath.” Johnson’s remarkable voice cannot be understated, however, and this band’s undeniable chemistry makes them one of the most exciting in town. — Matías Muñoz
Tapas – s/t
Released on: November 17, 2017
Tapas is the name of a new hip hop trio in Ottawa, but they’re anything but rookies. The group consists of two of Ottawa’s finest MC’s—G.Grand, and Hyf—along with locally-renowned producer Jeepz behind the beats. Together they are a force to be reckoned with. Their self-titled debut may very well be one of the best hip hop records to come out of the capital in the last five years. — Excerpt written by Matías Muñoz
Moonfruits – Ste-Quequepart
Released on: May 12, 2017
The husband and wife duo Moonfruits released their second full length album this year. Ste-Quequepart is a 10 song French-language folk concept album that plays like a short film soundtrack and really emphasizes the couple’s voices and lyrical content. Their beautiful and powerful voices which complement each other so well are on display from the get go in the title track. While the music and instrumentation of the album is rather simple, at times just a banjo or a guitar, you never feel like anything is missing. Much of the album is a little laid back, however my favourite song “Le Maire” picks up the pace and teleports you to a kitchen party or a campfire jam with charming clapping and great sing a long moments. Have a listen to the album Ste-Quequepart on a cold winter night, close your eyes and let Moonfruits take you away to a different place.
Galapagos – Potential Space EP
Released on: June 13, 2017
The final version of Potential Space was recorded on an afternoon in May, 2017, with Cameron Steacy (Organ Eyes) both playing drums and recording the EP.” You can hear some of their folk beginnings in the second song “What I Deserve,” but you can also hear Steacy’s influence throughout the EP, especially on “Again” combined with the band’s vision to really make it a fuller sound. Steacy has recorded, mixed, and mastered other Ottawa artists such as The Yips, Bonnie Doon and Fire Antlers.
Potential Space is a great starting point for a band that has already seen several members changes and has grown from two-piece to four. I really enjoy how much diversity of sound they fit into a four song release and see much potential in all the different avenues for the sound to continue to grow. — Excerpt written by Eric Scharf
Bonnie Doon – Dooner Nooner
Released on: May 21, 2017 (Record Centre Records)
Masks. Clouds of smoke. Decked-out pickup trucks. Skulls. These are all reasons to love Ottawa surf-punk queens Bonnie Doon. But there’s so much more to them than that. Their brand of fuzzed-out, bass-heavy sludge-rock is meant to captivate audiences and shock the senses. Their energy, weirdness, and overall “we do whatever the fuck we want” attitudes are what really define this group as something special.
Bonnie Doon’s latest album Dooner Nooner (released on Record Centre Records) is an acid trip through and through, and will take you from heavier face-punching tracks like the opener “Haunted Life,” to wild lo-fi experiments like the closer “B-Hole.” — Excerpt written by Matías Muñoz
Dead Weights – Mountain Arresting
Released on: August 1, 2017
Mountain Arresting is a big step forward for Dead Weights, and clearly the product of a lot of work. The band strikes a balance of heavier guitar and bass parts with melodic flourishes, all woven together with rough and grumbling vocals of Jonathan Becker and Steve McCrimmon. Their signature sound comes through loud and clear on this record, as they tightened up their instrumentation even more and obviously had some chemistry in the studio. It doesn’t hurt that Dead Weights have been playing together for years, with lots of shows under their belts in recent memory. — Excerpt written by Matías Muñoz
Nightshades – s/t
Released on: November 15, 2017
Nightshades’ self-title release this year was their first full-length album. There has been some change in membership (Dean Morris joined them on bass) since their last release and also some slight change in sound. The band’s sound is a lot more mature and refined in all the best ways. They have kept true to their garage origins, but come at it a little cleaner and polished than past works. The track “Very Blue” sticks out in particular on the album as it appears to me to be the song that best encapsulates their transition from old to new Nightshades. “Very Blue” has many of the raw elements and darkness of older Nightshades while still very much being new and a step forward. Lead singer Mallory Giles’ vocals sound better than ever on this release and really shine on tracks “Wasting Time” and “Broken Bag.”
— Eric Scharf
New Swears – … and the Magic of Horses
Released on: June 23, 2017 (Dine Alone Records)
And the Magic of Horses is another fun-filled record featuring tons of sing along and clapping moments, with sprinkles of mosh-inducing build ups, group harmonies, and fun riffs to carry you through the summer. The opening track “Dance With the Devil” sets the stage for the whole album, as it has a little bit of everything mentioned above. It doesn’t take much to see how they could spice it up even more and have some fun with it live.
This album goes well beyond their usual focus on all-day partying and raucous—but don’t worry, there’s still plenty of that, it’s just not the focal point of every track. The band explores more existential subjects like life, death, friendship, screwing up, and legacy. It is great progress to witness, and what it is even better is how they have done it without losing their edge and fun which they have become synonymous with. — Excerpt written by Eric Scharf
Area Resident – Delano
Released on: October 13, 2017 (Record Centre Records)
Some may recognize Doug Hempstead’s voice as the dependable CBC radio traffic reporter here in Ottawa. But when he’s not on the airwaves talking about crashes and delays, he’s making music under the moniker Area Resident. The album is all Ottawa Valley, and a perfect mixture of the folk songwriting and crunchy alternative instrumentation that great artists from this area have pursued in the past. Hempstead himself is a talented multi-instrumentalist, and on stage he is the drummer lead vocalist. He is also supported by guitarists John Higney (The Flaps, Two Minute Miracles) and Paul Jensen, and bassist Kristy Nease (who also happens to be his CBC cohort). Delano draws on Hempstead’s experiences growing up in the valley outside of Pembroke and the things he’s encountered as a journalist. He expertly weaves together these anecdotes into poetic lyrics, imposing them into songs that aren’t tethered by a singular genre or stylistic direction. This album is full of life and demands to be listened to over and over again. — Matías Muñoz
Dark Plains – 00001
Released on: October 29, 2017
The Dark Plains is a band whose members have been making music for a long time, featuring ex-members of Okara and Shotmaker, who were relatively well-known acts in the 90s post-hardcore scene. While their experience extends beyond two decades, these guys are making fresh-sounds that contains elements of punk and hardcore, but the songs take their own trajectory all together. 00001 is an album that requires deep listening, and demands one’s total attention. — Matías Muñoz
Lake Urmia – Wine Time
Released on: June 16, 2017
Lake Urmia is a newer melancholic queer-pop band in town that is making serious waves, and their debut album Wine Time brings together warm tones and jangly riffs for us to grab and hold on to. The album was self-recorded by band member and vocalist Elsa Mirazei, and they also mastered it along with Chris Love of Pith and the Parenchymas. This DIY production gives the album a wonderfully imperfect quality, where the listener is given a raw and unrefined collection of beautiful (and sometimes sad) songs to ingest and mull over. The unrefined aspects of this album are what make it so easy to connect with, and Elsa’s soft vocal melodies are so naturally interwoven into the instrumental parts. Fans of Julien Baker and Frankie Cosmos will fall into the arms of Lake Urmia with ease, and we’re really excited to see what this band is going to get up to in 2018. — Matías Muñoz
Cody Coyote – Mamawi
Released on: November 1, 2017
Cody Coyote has exploded onto the hip hop scene over the last few years, and has garnered a lot of well-deserved praise for his recording and vivacious stage performances to date. The rapper is of Ojibwe/Irish decent with ancestry from Matachewan First Nation located in Northern Ontario, and has been writing music since the age of 16. Mamawi is Objiwe for “all together” in English, and the album combines extraordinary lyricism and storytelling with a range of modern hip hop and experimental beats. The album itself is centred around reconciliation between Canada and Indigenous people, togetherness, love and unity, and tackles some difficult issue involving the history of oppression and abuse of indigenous peoples that continues to this day. Not only is this album integral in today’s political conversation surrounding indigenous rights, but Cody Coyote is following the trail blazed by Ottawa’s A Tribe Called Red and his voice is one that we should all be listening to. — Matías Muñoz
Outside I’m a Giant – Point Comfort
Released on: October 7, 2017
The intricacy and scrupulous instrumentation that is woven throughout Point Comfort is made immediately apparent, and the cinematic qualities that each song contains evokes moving imagery draped over emotions. Caron’s deep, rumbling vocals compliment the storytelling and instrumentation beautifully, grasping the listener in a comforting way while guiding us through the tumultuous journey. In some ways it is reminiscent of The National’s Matt Berninger, and Caron similarly utilizes his vocal prowess in ways that indulges the eardrums without overpowering the gentle instrumental moments, or distracting from the tapestry created by the strings. — Excerpt written by Matías Muñoz
PINE – Pillow Talk EP
Released on: June 9, 2017
PINE has released their first album through No Sleep Records, an emotional five-track effort that spans genres and bring the listener into a world free of sonic boundaries. Their songs are raw and untethered pieces that use intricate instrumentation and emotive lyricism to create a powerful experience for listeners. — Excerpt written by Matías Muñoz
We’ve compiled a few albums that were either too short to meet our 4-track minimum, or didn’t quite fit into our top 17. Here are some honourable mentions worth listening to.
Her Harbour – Go Gently Into the Night
Gianna Lauren – Moving Parts (Forward/Record Centre Records)
Masks. Clouds of smoke. Decked-out pickup trucks. Skulls. These are all reasons to love Ottawa surf-punk queens Bonnie Doon.
But there’s so much more to them than that. Their brand of fuzzed-out, bass-heavy sludge-rock is meant to captivate audiences and shock the senses. Their energy, weirdness, and overall “we do whatever the fuck we want” attitudes are what really define this group as something special.
Bonnie Doon’s latest album Dooner Nooner (released on Record Store Records) is an acid trip through and through, and will take you from heavier face-punching tracks like the opener “Haunted Life,” to wild lo-fi experiments like the closer “B-Hole.” Their latest video for “Now or Neverish,” which premiered on Clash Music this week, is probably unlike any you’ve ever seen—and it comes just in time for Halloween. Take a dash of classic surf rock, a pinch of doom, and a swig of spiked punch, and that’s what “Now or Neverish” feels like spinning on the turntable. But, you need to see it to believe it.
Watch the new video for “Now or Neverish” by Bonnie Doon below. Produced by MAVN.Stream and purchase Dooner Nooner here. Be sure to catch Bonnie Doon live at House of Targ on October 10, along with Weaves and Organ Eyes. Ticket info here.
Back in May, we celebrated our five-year anniversary with a couple of shows at The Record Centre. That was a whole lot of fun, but we’re not quite done yet. Because why stop there?
Over the past five years we’ve had the opportunity to meet countless musicians in Ottawa, go to hundreds of shows, and really dig deep into the music landscape here. These artists continue to impress us, inspire us, and keep us doing what we do. It’s been our mission and raison d’être to support these musicians through coverage of new album releases, interviews, live reviews, and much more.
We’ve put together a compilation called Five Years – Ottawa 2012-2017 which contains music that has impacted us since Showbox started in 2012. This span of five years, in our mind, was a crucial period in the Ottawa music scene. More DIY musicians than ever before came out of the woodwork and made albums, and many were released independently without labels. Some music was underground, some wasn’t.
Different types of music pervaded throughout this period, demonstrating Ottawa’s potential hub in the Canadian landscape. Our hope is that this compilation will act as a snapshot of a strong and robust local music scene in Ottawa between 2012-2017, and allow folks to have a view into the music that came out during this period. It goes between garage, punk, hip hop, folk, and
While we could have double or tripled the size of this compilation with all the incredible artists out there, we kept it modest and capped it at 51. So while this list is encompassing, it’s certainly not meant to be comprehensive by any stretch. Please enjoy a free stream and download of the Five Years – Ottawa 2012-2017 compilation below.
A huge thank you to all the artists who contribute their music to this compilation, and to Pascale Arpin for designing such a good album cover. Enjoy!
The compilation is PWYC, and any proceeds will be donated to Girls+ Rock Ottawa in memory of Jean Sebastien Belleau. A special fund in his name has been established for the maintenance, repair and preservation of their growing instrument library, made in the spirit of honouring JS’ much deserved legacy as a passionate supporter of the Ottawa music scene.
The Famines are a Montreal-based noise garage music duo made up of Raymond Biesinger (who also happens to be an incredible illustrator) and Drew Demers. But they are not just a band, the duo is also a “DIY-minded experimental record label thing” called Pentagon Black.
In early 2016 Pentagon Black released it’s first compilation containing 23 unreleased songs from bands from across the country as a 20×30″ double-sided newsprint art poster with download code. They had 17 compilation release shows including 30 bands at various locations across the country for it. In April 2017, they did it again with compilation number 2, once again on 20×30″ double-sided newsprint art poster with a download code.
Pentagon Black are back with another compilation, and while they stayed true to their other compilations, they changed it up a little. Pentagon Black Compilation No. 3 is a “phone comp.” It is named as such as 16 diverse bands between Edmonton and Saint John recorded original unreleased tracks live via phone (no multi tracking allowed). This time they went with a smaller format of a 6X6″ postcard with download code.
Eric took some time to discuss with drummer Drew Demers about being a band and being a record label, as well as the story behind the compilation and the inclusion of bands from Ottawa.
Interview with Drew Demers of The Famines/Pentagon Black
What inspired/motivated the two of you to not only be a band but be a label?
Drew Demers: After releasing music on vinyl for the better part of a decade, we realized that it was becoming increasingly difficult to manage/produce. Turn-around times don’t work in anyone’s favor. We were sitting on a recorded full length and didn’t want to have to wait an additional 4 or 5 months just to get a test pressing back. On top of that, the cost was just too great for us to be enthused about it anymore, so we decided that we would just produce things as cheaply and quickly as we could on our own.
[…] we weren’t really trying to establish anything specific. We are a punk band, and so we typically play with like-sounding artists.
Subsequently what pushed you to put out these trans-Canadian compilations?
Drew Demers: We had already released a single and a record on the newsprint poster format, the latter as Pentagon Black and the former in partnership with Psychic Handshake in Montreal. We were discussing what to do next, and the idea started as a split record with The Famines on one side, and then another band on the other. The problem was, we were at odds over whether it was going to be Century Palm or Kappa Chow. We played a show with a ton of pals at this crazy fest called Strangewaves outside of Hamilton.
The lineup included a ton of bands that ended up on the first compilation, and it was beautiful because there was hardly anybody at the show outside of band members. We all just got up and played for each other and there was this sense of communal spirit behind everything. It took us maybe one day to realize that we needed to make something bigger and connect more scenes together, and the first compilation was born out of that notion. BTW, the lineup for that show: Strange Attractor, The Famines, TV Freaks, Mick Futures, Century Palm, Kappa Chow, Lizzie Boredom, and Flesh Rag.
How did you select the bands and decide how you wanted the first two to sound?
Drew Demers: The first compilation was an amalgamation of friends we’d made on tour. There really weren’t that many artists we didn’t personally know on the thing. The second time around, we wanted to focus on hitting specific zones we hadn’t traveled to in a while, and so we enlisted some close friends to give us suggestions on who we should talk to that might be interested in a project such as ours. There are a small handful of people involved in the second compilation we’ve actually never met.
In terms of the sound that we were going for, we weren’t really trying to establish anything specific. We are a punk band, and so we typically play with like-sounding artists. There is an obvious tonal undercurrent that runs through all three of the compilations, but there are significant departures happening on each of them as well.
What makes this third compilation special?
Drew Demers: This third compilation is all about spirit. The songs are rough, in many cases unfinished, and in all cases under-produced. It’s exciting to think that sonically it’s an even playing-ground for each of the tracks. For the most part, it sounds like all the bands recorded in basically the same room with the same gear. It’s also special because it’s the first time we’ve outsourced the art side of things. Historically Raymond has taken care of the art side of Pentagon Black/The Famines, but this time we placed the project in the esteemed hands of Lisa Czech. We explained the project to her and she absolutely nailed the chaos with her cover art.
This has been our most inexpensive and rapid turnover for a compilation. The postcards cost basically nothing to print, and all of the bands recorded their tracks in a three week time frame. Also of note – this one was released not too long after our second compilation, and it came out as a surprise. We were originally planning on dropping it the day of our showcase at Ottawa Explosion, but instead we just decided to jump the gun because we felt like it this week, and a project like this allows us the freedom to do that.
I am excited to see Ottawa bands on all three comps, what drew you to the Ottawa bands you selected ?
Drew Demers: We have a ton of respect and admiration for The Yips, and knew that we couldn’t release our first comp without them involved. Bonnie Doon are officially Pentagon Black royalty. They were on the first two comps, and played both the compilation releases with us in Montreal. Deathsticks are actually fairly new acquaintances of ours, but we feel connected by the sisterhood of two piece bands. They were suggested to us via our pal Karol aka garbageface in Peterborough. We can’t wait to play with them and hang out with them in Ottawa next weekend!
If you track Raymond or myself down in person, we can become pen pals and send you a postcard.
If you’re a little more adventurous, you can head to a show in your town featuring any of the 48 bands we’ve worked with and ask them very kindly to dig one out for you.
What do The Famines and Pentagon Black have planned next?
Drew Demers: Famines have a couple things up our sleeves, including but not limited to writing material for a full length album to come out under Pentagon Black sometime in the next decade. Ottawa Explosion is actually the only show we have booked right now, and it’s exciting facing a blank canvas. As for Pentagon Black, we intend to keep things fast and easy. After releasing the PRIORS record, we realized that we’re open to the idea of putting out music for other bands and want to move forward with that in the future, however that will work.
Night two of MEGAPHONO took me to Black Squirrel Books to see Bonnie Doon and Lonely Parade.
There is something very interesting about watching bands play surrounded by shelves stocked full with books. The intersection of serious songs and historical works with lighter and sillier tracks and the graphic novels is quite fascinating to me.
Lonely Parade playing at Black Squirrel books – Photo: Els Durnford
Unfortunately I arrived too late to catch Scary Bear Soundtrack, but heard they did a wonderful job as usual. Fortunately I did make it in time for Lonely Parade, the great three-piece from Peterborough. A lot of the songs they played were new songs and didn’t have names yet, they introduced two songs as “That was just New 3 and this next one is New 5.” It has been a lot of fun watching the band grow up in front of my eyes over the years and these new songs certainly show them tightening up musically. They have come a long way from when I discovered them and their song “My Mom Got Hit on at a Punk Show,” four years ago.
Lonely Parade also found time to squeeze in some of their “older” songs much to the joy of many there, including the tracks “Johnny Utah” and “Night Cruise.” They also dedicated a song to Bonnie Doon and mentioned how excited they were as “We are totally going to pizza shark later.”
Lesley Demon rocking out at Black Squirrel Books – Photo: Els Durnford
Bonnie Doon took the stage with a couple of members in cheerleader regalia and pompoms cheering for the Ottawa U Gee Gees. Bonnie Doon also played a lot of new songs and let us know that a new album is coming out this spring on Record Centre Records. Some of these new songs saw the band being joined by saxophone player Mara. It was a very unexpected and cool addition to their noisy garage sound. A lot of their stage banter revolved around their love for Buchipop culminating with the band playing a song they called “Buchipop Hole,” cementing their love for refreshing local kambucha beverage brand. They capped off their great set with words of advise “This one goes out to Lonely Parade… do not get the pepperoni…” and then they played fan favourite “Pizza Shark”
Year three is in the bag for MEGAPHONO and once again it brought me to very cool venues to discover bands that I had never heard before and see bands that I love. Well done to the entire MEGAPHONO team!
We are happy to bring to you a brand new video from one of our fave wacky bands in town, Bonnie Doon. The song is called “Pants and a Face,” which we heard earlier this year on the Pentagon Black Compilation No.1. It has been about two and a half years since the Bonnie Doon EP came out, but it really feels like yesterday.
The video is by local artist Phil Osborne, and is a perfect fit with the uptempo sludgy, lo-fi track by the band. He describes it as “a hipster post-punk mutant that intermorphs and transmutes into different past incarnations of itself as it walks downtown looking for a good time.” The video itself is a colourful psychedelic trip that features fire and even a UFO. Check out more of his stuff on his YouTube channel here.
Winter has come to Ottawa, smothering us in her immense white wings and piling up snowy drifts that look you in the eye as you walk down the street. We all knew she would return, and so some of us made plans. Rock and roll seemed as good an idea as any to me.
Step inside Pressed and one is presented with a sandwich shop that refuses to be known as such. Recent renovations have removed half of the bar and made way for a cozy, couch-cornered nook at the far end of the stage. The eight o’clock door time was strictly adhered to and it wasn’t long before the narrow room was thick with bodies. Coats were thrust beneath church pews, acquaintances were met or avoided, and the bar was rushed.
Shoe Blog were the first band slated, a new act in town playing their third show. With brief snippets they displayed during their soundcheck, an attraction was built and the crowd approached the stage. Shoe Blog are a quartet consisting of bass, drums, guitar, cello, and vocals, and with these elements they create a landscape of psychedelic rock and roll. It is impossible not to speak in the geographical when describing Shoe Blog. They explore a musical topography of progressive and psychedelic styles, borrowing textures and feelings from a vast array of influences; the steady highways of German motorik, the foggy drones of West Coast psych, the craggy mountains of Beefheart, and delicately draw us a map to follow through their world.
Their set was a tightly constructed series of dynamic moments; songs created quiet, entrancing grooves that were stretched in every direction, spiking and rising as guitar chords collided with the crash of the cymbal and sent sparks through the air. Vocalist Rachel Weldon (who also promotes shows through Debaser) chooses small phrases to repeat in mantric obsession, often rising in intensity and subtly inverting and re-arranging her lyric to create a cyclical sense of hypnosis.Her voice bounces off of drummer Ben Deinstadt’s impeccable rhythmic control – he is a fulcrum of energy for the band, the roots that ground Shoe Blog and prevent them from spiraling into the sky. Like the lyrics, the rhythms are always constant, always changing.
They ended the set opposite how they started, with a blistering crescendo of free rock, while Weldon quoted and distorted Patti Smith’s ‘Horses’ ending immediately and wounding their audience with the silence. The word ‘encore’ was on the tip of my lips.
Long Branch playing at Pressed. (photo: Long Branch’s Facebook Page)
Next to take the stage were Toronto’s Long Branch, currently on tour and supporting a 7” single. The quartet play a haunting and often heavy form of Canadian roots rock. There is a distinct whiff of pine smoke to their sound, but they separate themselves from too much familiarity with a triple guitar wall of notes and a beautifully elastic and driving rhythm section. Four voices provide plaintive close harmonies and drift through the thick, often grungy sound – think CSNY transplanted to 90’s Seattle. On paper it seemed a strange choice, sandwiched between the two other, more confrontational acts, but it immediately became apparent how good a fit Long Branch really were in the evening overall.
After Shoe Blog’s tickle and piquing of the imagination, and before Bonnie Doon’s eardrum annihilation, we took a brief sojourn through the somber haze of a dewy Ontario morning, finding time to stop and rock out beneath the waving pines.
Swiftly, before allowing the Ottawans to respond to their biological clocks and head home, the evening’s headliner Bonnie Doon unfurled a massive curtain of doom rock around the perimeter of the room and sealed us all inside the sightless dark of a punishing bass riff. Bonnie Doon is a Scottish phrase denoting the picturesque hills and green fields of the old countryside though there is absolutely nothing pastoral about the Ottawa quartet’s sound. The huge attack of the twin bass and the steely stabs of guitar speak of noisy traffic and concrete walls livid with art and the shouted, yelping vocals are of one desperate to be heard above the din of the crowd.
Their style is a self-described ‘sludge punk’, which is too accurate an appellation to avoid quoting. Their sound pits the high-pitched frequencies of vox and guitar against the rumbling murk of their bowel-loosening low end. Vocalist Lesley Demon shrieks like a corpse re-animated – an uncanny, paranoid howl that is confrontational, at times frightening and totally unfettered by the limits of the human throat. It is the exact voice ones does not want to hear from the shadows of a darkened crypt. Place this voice upon the primal splatter of ripped up fuzz bass and wild, driving rhythms and one has the perfect antidote to February’s placid poison. Listen to two brand new tracks that the band just released below.
The thermal energy generated that night by the three acts was conducted through the venue and rose into the sky, causing the temperatures to climb and the rain to fall, reducing the banks and ridges of snow to a cold, grey soup. The city may now be slowly flooding, but it was all worth it.
The final day of OXW is always kind of bittersweet. On the one hand, there are usually some great bands scheduled to play in the afternoon and, in this case, it was a gorgeous day out with no clouds in the sky. On the other hand, a lot of us were pretty burnt out from all the drinking, excessive punk rock consumption, and sweltering heat that comes along with no clouds in the sky. But let’s be honest, those of us who remained were excited for what Sunday had in store, putting any complaints aside.
The day started off strangely. A few of us were hanging outside at the SAW courtyard when all of a sudden we heard a massive crashing sound. The sound of metal hitting metal at a considerable speed is unmistakable, and it sounded bad. We ran out to check what had happened, and as it turns out a brand new cherry red Ford Mustang had been sideswiped by an SUV. Everyone was OK, but we all felt bad for the Mustang’s driver as he had to wait hours before being towed (his wheel well was damaged and he couldn’t drive).
Things started a bit late since Chloroform canceled their OXW appearance, and Ottawa’s own Baberaham Lincoln kicked off the final day’s festivities. The cleverly-named three-piece group played some dissonant noise rock that threw me back a few decades. Armed with Jenna Spencer’s Fender Strat, Cory Lefebvre’s hollowbody, and Hillary Lawson’s drums, the band eased us into the day with atmospheric, over-driven songs that served as a welcome balance to the high number of punk bands we had all heard for the last four days. The tone on Cory’s guitar was hypnotic, and the simple layering of the band’s instrumentals drew the crowd in and put us all back into the zone. Jenna’s soft, and at times eerie vocals contrasted well with the fuzzy tones coming out of the PA. Baberaham Lincoln didn’t throw any curve balls at us, but their mesmerizing sound and powerful builds kept the crowd wrapped around their fingers throughout the set.
Baberaham Lincoln at Ottawa Explosion 2015. Photo by Stephen McGill.
Next up was Gaycation, a band from Ottawa that I hadn’t seen yet but that I was really excited about. They just released a split demo tape with Weed Mom through Bruised Tongue a week or two ago which I highly recommend, and I was lucky enough to get my hands on that hardware right before they played. Gaycation is a queercore power-pop outfit, and all of us who witnessed their set got see how high energy this group really is. Faelan Sadboy took centre stage on vocals, looking more than comfortable on stage with a big smile on his face and producing powerful and emotive vocals. Above him also hung a Hello Kitty piñata, the destiny of which we could only guess was moments away. In the meantime the band played some fun tunes including “NBD” and “No Bros”, songs which correlated with the huge hand-made sign behind the drummer LP that said “KILL THE BRO IN YR HEAD” — a motto that many of us surely support. One of the band members thanked her mom for coming out to see the band play, after which Alanna jokingly proclaimed, “My mom didn’t come to see me play. She said that she’s already seen me before.” There were a few points throughout the set that Gaycation had some trouble keeping time with one another, and I’m sure with a little more practice they will make their live set really tight. The band closed their set with the fun, dancy song “Gaycation”, and yes, Faelan kicked the shit out of that piñata and candy rained down upon us.
Gaycation at Ottawa Explosion 2015. Photo by Stephen McGill.
Blue Angel is a group that I always look forward to seeing live. This three-piece grungy noise rock band consists of Caylie of Boyhood on drums, Sam Pippa of Organ Eyes/Pipahauntas on bass, and Lidija Rositis of Bondar on guitar — and all of them sing. Their lyrics are intentionally repetitive yet poignant, as clearly demonstrated in songs like “You/Me”. The three of them normally wear outrageous outfits or masks, this time opting for a simple face mask due to the heat during the day. Their heavily distorted guitar and bass take me back to the days of Sonic Youth, music that isn’t meant to be consumed comfortably but meant to evoke raw emotion or visceral sentiments. After a few intense songs, drummer Caylie Runciman stopped and joked that she accidentally swallowed one of her long hairs during the last song. Blue Angel ended with the song “Sweaty Belly” that is featured on their three-track EP released in 2014, and made it a memorable one as usual.
In between sets was Drone Zone, a series including drone artists presented by Debaser. It was definitely an interesting addition to the festival, one that had not been included in previous years. Drone Zone was an informal extension of Weird Canada‘s National Drone Day, celebrating experimental, ambient, and drone music. I caught some of Everett’s set, a group that included Willow, Elsa, Tyrin (of Weed Mom) and Fraser. I had never experienced a drone set before, and I made sure to go in with an open mind ready for anything. What I really enjoy about many artists featured on Weird Canada, and in turn drone music, is the off-the-cuff experimentation that can lead to beautiful abstract pieces of music. I was very impressed with Everett as they played their first performance ever, a relatively quick 15-minute drone set that included ambient noise coming from countless knobs and buttons controlled by Fraser and Tyrin. Willow and Elsa stood closer to the audience, and although it was hard to discern their lyrics at times over the drone, their short performance was authoritative and resounding. I look forward to hearing more from Everett as they produce more pieces in the future.
Everett at Ottawa Explosion 2015. Photo by Stephen McGill.
Bonnie Doon came on shortly after, having just come off an Eastern Canada tour a few weeks ago. A few fans were wearing the DIY tie dye band shirts they had made for the tour, while lead singer and co-bassist Lesley Demon wore a particularly ’80s looking business suit. Bonnie Doon dove into their wacky and wild set of noisy surf rock, enchanting us with two layered basses played by Lesley and Gina Vinelli, crunchy guitar parts by Madison Watson, and kept the beat going with Keltie Duncan on drums. Watching old people walk by and looking completely and utterly confused by what was happening was a highlight for me. At one point I heard two people walk to the front gate and ask what was going on in the courtyard. They asked, “Is this part of Fringe Festival? Because that’s where we’re headed.” To their content, Ottawa Explosion was not part of Fringe Festival around the corner, and the sense of relief was obvious. Bonnie Doon played some great songs such as “B Hole”, “Pizza Shark”, “Moon Tan”, and even treated us to a trip down memory lane by covering “Lump” by The Presidents of the United States of America. I was secretly hoping they’d break out into Weird Al’s version of “Gump”, but that was just me.
Bonnie Doon at Ottawa Explosion 2015. Photo by Stephen McGill.
My final Explosion set of the festival was Montreal’s The Famines, only because I probably would have passed out by the time Catholic Girls came on stage. The two-piece garage punk band played an intense set, with singer/guitarist Raymond Biesinger playing heavy and distorted basslines, and Drew Demers on drums shredding on the kit even though he appeared to be on the brink of heat stroke. I’d seen them open up for Big Dick at their album release party back in February, and I really enjoy their aggressive and raw brand of garage rock. Several times Biesinger went out into the crowd and played right beside us, and at one point turned to Demers and asked, “How are you doing buddy?” Demers replied very frankly by saying, “I’m fucking dying.” Everyone laughed, but the band was clearly uncomfortably hot, particularly Demers on drums since he was playing so fast and intensely. He powered through most of the set with no issues that we could hear, and Famines kept the party going almost all the way until the end when they had to stop for their own personal well-being. It was at that point that I fantasized about jumping into a nice fresh pool and decided to call it a day. What a festival.
A huge thanks to Luke, Emmanuel, and all the helpers and volunteers for everything they do. Explosion is getting better every year and it’s always what we look forward to most. Until next year folks!