Scary Bear Soundtrack performs at Mirror Mountain Film Festival 2016. Photo by Petr Maur Photography.
Mirror Mountain Film Festival is accepting proposals from musicians and media artists for the live music and visual portion of the event. As the presentation partner in this year’s festival, Ottawa Showbox is helping to pair the city’s best and brightest musicians with the independent film festival which takes place December 1st–3rd at Arts Court Theatre.
The live portion will combine two key aspects – a live music performance and a film/media art performance that will run concurrently. Bands and filmmakers/media artists are encouraged to submit their proposals before the May 15, 2017 deadline. The festival will pair successful applicants together for the performance, but bands that have a firm idea of a filmmaker or media artist that they’d like to work with are also able to submit their application together as a combo. Only one band and one filmmaker/media artist will be selected to participate in this year’s festival.
To submit a proposal, follow the link to the official call here.
Check out some past performances by Scattered Clouds and Scary Bear Soundtrack below.
Jade Bergeron, a.k.a. Flying Hórses, has done things that few artists in Ottawa/Montreal have done before. Her 2015 album Tölt was recorded in Iceland at Sundlaugin Studio with the help of producer Birgir (Biggi) Jón Birgisson of Icelandic post-rock band Sigur Rós. The album is, as far as we’re concerned, a masterpiece in its own right (read our piece on it here). The emotional, cinematic soundscapes crafted by Bergeron are moving instrumental pieces, and a few of the songs –”Tölt” and “Attic” – have recently been made into music videos.
We caught up with Bergeron and spoke with about her recent endeavours, and her new videos for “Tölt” and “Attic” can be seen below. Be sure to catch Flying Hórses’ JUNOfest performance on Saturday, April 1 starting at 8pm at St. Alban’s Church along with Her Harbour, Charles Spearin (Broken Social Scene), and Pugs and Crows and Tony Wilson.
What have you been up to since returning from Iceland? Can you talk a bit about your involvement with Banff Centre?
I’ve been pretty busy. I got back from Iceland just in time to perform my first two solo-piano concerts as part of the Festival de Jazz de Montreal. I spent the summer writing new material and collaborating with videographers.
I was invited to go work over at The Banff Centre in the fall. Waking up every morning to clean, fresh air, in the middle of the mountains, and to be surrounded by talented, inspiring artists was so amazing. I had my own studio, with a grand piano, harpsichord, vibraphone and a few percussive instruments. The other musicians in my residency we’re singer/songwriters and we’re working on two or three shorter songs, but I decided when I got there that I was going to compose one, longer instrumental, movement. I had written a small part of the new track over in Iceland but the entire rest of the movement happened really organically during my first week in Banff.
Being back in nature, really brought the song to life. I had heard about the residency through Charles actually, and being a fan of his post-rock band DO MAKE SAY THINK and of his work in general, I applied. I guess both himself and Brendan Canning thought I would be a good fit for the residency. I ended up meeting a classical guitarist and experimental cellist, Alex Mah out there, who was there working with Richard Reed Parry (Arcade Fire) and after hearing him play, invited him to record cello on my new piece. Charles played horns and a few other musicians also contributed to the movement.
I wanted the entire recording experience to feel organic, and stress-free. The new movement was mixed by Efrim (Godspeed You! Black Emperor over at Hotel 2 Tango in Montreal and I just got the master back from Biggi (Sigur Ros) in Iceland. It’s a pretty heavy listen, but it’s colourful and it represents a really important recent time in my life. We are shooting a short film/video for the single right now in Iceland. I’m very excited about the whole thing. It’s going to feature a very well-known actor/model in the Icelandic community, so I’m really glad to be working with this team, overseas. The new movement and video should hopefully be out in the spring.
The video for Tölt is a beautifully crafted, yet tragic story of two young people alienated from the world in different ways. Why were children the subjects? Can you expand on the concept?
I wrote ‘Tölt’ during a time of reflection on my own childhood. The entire record ended up feeling/sounding like a soundtrack to the past. I used a lot of instrumentation that represented the innocence of being young and wide-eyed. When Alex approached me with the idea of making a video/short film for that particular track, he already had a lot of great conceptual ideas, and before even bringing up what the track represented to me, he was already story boarding about a childhood trauma. We connected on the video, immediately.
My contribution to the video was limited. Once Alex and I went over the storyboard together, he began casting calls for the actors, and it wasn’t long before they them. Production spent some time in the fall working on production and the post-production happened in the winter. The whole process was really amazing. Both young actors really did a great job, and I’m so grateful for the level of professionalism the entire team demonstrated throughout. It’s been an honour working with all of them.
What does the piano mean to you? How has music helped you through past struggles and traumas?
My relationship with the piano has been a roller coaster since I was a kid. I’ve tried my hand at a few different instruments over the years, but my heart has always lead me back to the piano. It feels the most organic. I enjoy having the keys right there in front of me, I’m a very visual person. I really have no idea what I was doing with my life, before writing and composing music, and I don’t know what I would do without it.
Is there anything you can tell us about the upcoming video for attic? Will it be related to the story in Tölt?
Attic was produced by Antoine S. Legault from Lonely Fire Productions. The song is one of the last tracks on the record. I never really intended for it to end up there, actually. It’s quite dark, heavy and creepy and I think is a transition between the really optimist, innocent, lullaby songs that start off the album, and the new single I’ll be releasing sometime in the spring. I wrote it while I was reflecting on memories (much like Tolt). The video opportunity came about organically, this past winter. I sat down with Antoine back in December and we talked about making this short film/video that was kind of dark, creepy and mysterious. Coming out of a bit of heaviness myself, I decided to focus the story on loss and melancholy. Antoine came up with the storyboard and we shot the video in one afternoon in an abandoned house. It was freezing cold and creepy, but it was a really awesome experience.
What does it mean to you to be part of the Juno festivities taking place in Ottawa?
I don’t perform very often. In fact I pretty much only played festivals last year. My focus has mostly been on writing new material, and catching up on the release of the record. Junofest asked me to perform as part of the only ‘instrumental/experimental’ showcase for the festival. It will be fun to share the stage with Charles Spearin again, and a good friend of mine Her Harbour is playing too. It’ll be nice to see so many great musicians roaming around Ottawa for The Juno’s.
Since 2012 the Doldrums Festival has been an annual respite from the cold and slushy tail end of winter in Ottawa.
This year, the two-night festival is taking place at Club SAW in the heart of the nation’s capital on March 24 and 25. Doldrums Festival is a great example of independent Ottawa organizers and musicians working hard to showcase the best and brightest this city has to offer. This year’s edition features all local acts and is made possible thanks to the support of community-oriented businesses such as CHUO 89.1 FM, Dave’s Drum Shop, Spaceman Music Ottawa, Happy Goat Coffee Co., and Ringbill Records.
If you’re into dreamy, psychedelic and experimental vibes, night one is a sure bet with a solid dose of synth and effects-driven acts – Destroy Clocks, Church of Trees, Kate Schroder and sbsst. Leave your preconceived notions at the door and be prepared to be taken on an otherworldly musical adventure.
Night two shifts gears from the whimsical to the rocking, as Saturday focuses more on electric guitars and grandiose percussion as the driving force. Expect an all out party filled with energy, as performances by Prayer Wheels, Nightshades, Shadowhand and The Vile Bodies are sure to get the crowd going.
So this weekend, escape the winter blues and march your way through Ottawa’s slushy sidewalks to Club SAW for two great nights of local music with a little bit of something for everyone. Check out a recent interview with Church of Trees by Sometimes Always below.
When you put on the first song on Jenn Grant’s latest album, Paradise, you immediately know it’s different from her past work. The listener is greeted by trance-inducing percussion that stimulates sensory inputs – a feeling that continues the whole way through the album.
Jenn Grant was born in Charlottetown, P.E.I., but currently resides in Lake Echo, NS. She has become renowned internationally as a successful folk-singer. Recognized for her highly acclaimed album, Compostela, she has created a name for herself as a Juno-nominated Canadian artist, and this album follows suit.*
The unique sound of Paradise started with the chosen core instrument. This is the first album on which Jenn chose to play the piano. With the help of her husband, she then paired that base with synths, bits of soul, and electronics to build the majority of the sounds. This combination was also paired with a heavier percussion than in previous albums, which, with her vocals, created a powerful fusion of sound that fully immerses the listener. When asked about these fundamental differences between her albums, she put it very simply:
“The colours of this album are different.”
The majority of inspiration didn’t come from something, but rather the lack of something – the empty spaces found in music over the last year or so. Major loses include the likes of David Bowie, Prince, and Leonard Cohen, just to name a few. They were all powerful forces in their own right within the industry, and have all had an impact on Jenn and her music over the years. Coming through lucid dreams, Jenn looked through her connections in the music community to form the vivid new colours that can be found on the album.
Curious about her ability to have full memories of these dreams, I inquired about how this was possible. She explained the dream she had inspiring the song Rocket, sharing that the night after David Bowie died she found herself flying through space with him.
Straighten your tie at the end of a golden road, thank you for coming by. Looking sharp, I saw your face and thought, my god, is this good bye?
…let us not pretend now, that we’ve got all the answers.
It was on this journey that he told her she should embrace her gifts. Though she only recently started to keep a notebook by her bed again, Jenn explained that vivid dreams like this one leave a lasting impact. They are hard to forget, although she decided to start documenting the special ones from here on.
Growing up on the East Coast impacted Jenn as a person, which subsequently impacted her music. Finding a tight-knit group of local artists created a “special bond” for all of them. All having a unique perspective on music and touring, they support each other through the process. To her, it’s a group of likeminded artists sharing a life.
As for Jenn’s plans for Ottawa, she says the show will be more fun, highlighting her new material. She has always liked playing in the city, which became evident last week when she surprised Black Squirrel Books with a pop-in show alongside CBC’s All in a Day host Alan Neal. Each show Jenn plays is different.
Her show on March 25th at the NAC will be different for a lot of reasons, including performing in a larger room and having a bigger sound than previous shows. She promises that it will be dynamic. There will be new stuff, bits of old stuff, and of course lots of love. Pricing and ticket information for the NAC show can be found here.
Jenn’s Song I Wish I Wrote But Didn’t – I Think We’re Alone Now by Tiffany.
Ottawa’s droney post-punk outfit Expanda Fuzz has released a new video for their single “Sonic Halo.” The track appears on bandcamp along with a cover of Earth, Wind, & Fire’s “September” in the wake of founding member Maurice White’s death last year.
The track is a minimalist psychedelic trip, with rolling percussion, a fuzzy lead guitar part, and mesmerizing vocals by Niki. The video’s aesthetic is dark and ominous, taking place in a remote field at dusk and featuring characters with strange masks and costumes. The video is not as dark and creepy as their video for “Flavour: Zombie” released last year, and it also contains beautiful colours of the sunset. However, the smoke-breathing Grim Reaper-type character also leaves the viewer with chills down the spine, and it’s not the kind of figure you’d want to run into on a dark, empty farm.
Although the song is just over two minutes long, it’s great to see a video being made that perfectly suits the sound of Expanda Fuzz. This song could have easily been incorporated into season one of True Detective, or even Apocalypse Now. The video accurately reflects that kind of imaginary trip into the darkness.
Expanda Fuzz is playing JUNOfest March 31st with Dilly Dally, No Fuss, and The Dirty Nil at House of TARG. Ticket and wristband information can be found here.
As soon as I walked down the steep black stairs and into the basement that is Ottawa’s very own House of TARG, I wasn’t only greeted by the lights and noises of the pinball machines but by the familiar faces of the members of The Great Sabatini. Before the event began, I was introduced to Jack (Jack Moves) and mainly stuck around either him or Rob (The Great Sabatini) and once the clock struck 8:40, so the show began.
Jack Moves opened, bringing a tremendous amount of talent to the table, and setting the standards high. With only a loop station at his disposal, I questioned what the performance would be like. I was pleasantly surprised, however, and Jack looping over his own voice was unlike anything I’ve seen before. Every song was built up from scratch and on the spot despite having already written and recorded them for his album. What was the most impressive was the capabilities that he possessed when creating specific sounds for the song he would perform, from the beat to the melody line, everything came from his voice. There were falsettos he later turned into harmonies and even layered certain lyrics over others. He was quick on his feet and certainly did not miss queues. Live looping is a make-or-break thing, and Jack has certainly made it.
His quick rhymes and whit payed off when it came to his lyrics and the sound effects created. With lots of small technical specs, it was important to stay on top of what was being done, and the sheer efficiency that I saw was beyond comprehension. The performance fell nothing short of jaw dropping and his creativity, when it came to producing specific sounds, certainly came in handy. If you listened to any of his music without knowing how it was being produced, it would have you fooled into believing it was created with synths.
After I had gotten all my photos and Jack had ventured to his merch table, I stopped to speak with him. Through the whole night, he was a very pleasant and modest person. You could throw a conversation at him about curling (which was discussed prior to the show) and he would engage in it. Unfortunately, conversation became a difficult task once The Great Sabatini ripped out some powerful chords and drumbeats for a quick sound check. With the very strange string of sounds and words uttered into the microphone, Steve made it known that something absolutely wild was about to go down.
I’m not typically the kind of person who throws myself into death metal shows and has the time of my life. I’m the kind of person who’s selective about their metal bands, and I certainly make sure they’re fantastic live and check their supporting acts but as soon as I saw The Great Sabatini were playing TARG, I shot a message to Matias about coverage. Maybe it was because they were inspired by some of the greatest metal bands that have existed and carried a very intense yet well-crafted sound, or maybe it was how friendly they were all in all the last time I showed up to one of their shows. To be frank, I’m still not sure which it is.
This time, I left my earplugs at home (although there is a small part of me that regrets that because I’m sure to lose my hearing by the age of twenty-five, I also don’t regret it all that much). I heard the solos much clearer this time around, and although the drumming was deafening (thank you Steve), it added many dimensions and really created that powerful and angry sound you find in death metal. The bassline stood out and there wasn’t a member of that band who didn’t become one with the instrument they were playing, and even though each one of the men screamed the lyrics into the microphones, they didn’t fail to keep up with their expertly crafted songs. Their setlist, handwritten but clearly well selected fell nothing short of impressive and made sure you got lost in the music no matter which band you meant to go see that night. Everything managed to meld together so well that you’d think it was done by someone who’s been known as a professional for the past twenty years. Both instances where I’ve seen them, they’ve blown me away (and this time my hearing).
The last performer of the night was a band called Swarm of Spheres. Truth be told, until a few nights ago, I hadn’t even heard of them but as a band that was described as something between sludge and stoner rock, I wasn’t entirely sure what to expect. All the information I had about them was either about the genre they played or that Mark McGee was an incredible drummer – the best some had ever seen. These two facts certainly were made apparent when the time came for them to perform. The trio took the stage with such ferocity they might as well have blown the low ceiling off of TARG. Mark went at the drums like Dave Grohl did back in his Nirvana days but despite how loud he was, his technique was mastered. The bassline, thanks to Andrew Rashotte, was incredibly strong and prominent throughout each song which is probably one of the factors that really drew me into the sound this band was producing. That bassline, and everybody in the room, buzzed with energy despite the show drawing closer to midnight than anticipated. Jay Chapman shred on the guitar and his string bends were skilfully placed. He clearly had a knack for intense bends and he got right back into the songs he played after executing them without fault.
After much hard work, sweat, and good laughs in between, the night drew to a close. When I had the time to actually step back and look around I noticed that a good portion of the crowd was composed people from other local bands who came out to support their friends, some were fans, and some were just at TARG to enjoy the live music but sneak in a few games of air hockey during the sets. I found a few people, and spoke to them including Steve, earning a pat on the back from him and being told that he had yet to use the photos of them I took back in February. After this, I slowly made my way out but not before stopping to say goodbye to Rob. Despite the influences of the band and how metal they might look, I guarantee they’re the sweetest people. Rob made sure I stayed safe and in touch, ending the night with a pleasant note of “friends don’t say goodbye, they say see you later.”
Lunenburg, Nova Scotia, is made up of about 2,200 permanent residents, while Dartmouth has about 67,500. The City of Ottawa has more permanent residents than the entire province. It’s easy to be recognized, its easy to know of a lot of people, and if you are a public figure like Joel Plaskett, it’s no shock that pretty much everyone can find a connection to you.
Joel Plaskett is known around town not only for his music, but his work in the community. Advocating for the arts in Nova Scotia through organizations like the Khyber, growth of Dartmouth’s downtown core, and producing up and coming local artists. Encouraging growth in the arts is something that is found within many members of the Plaskett family. While living in Lunenburg, Bill Plaskett was one of the founding members of the Lunenburg Folk Harbour Festival. This festival has continued to be one of the towns flourishing events, highlighting local artists on its many stages, including Joel. The most recent project undertaken by the Plaskett duo has been the appropriately named Solidarity album released in February.
When I was told that I had a chance to speak with Joel, I knew that I wanted to highlight the importance of community, family, and to showcase the importance of that word solidarity. I chose to reach out to my community to find which questions they would want to ask. I was not disappointed. I learned more in that part of this interview process than I expected to in the whole thing. Many were interested in family, wanting to know what it was like to produce an album with his Dad, and how much of an influence his dad was on his career. Some were interested in his work in Dartmouth, some of his past experiences, and others interested in where he saw things going in the future.
When creating Solidarity, partnering with his dad changed the album’s sound from his usual influences, and it brought him a sense of grounding. The process led to the exploration of parts of the self, bringing back the sounds of traditional folk. Discussions of the album began about a year before they decided to go ahead with it, booking the tour before solidifying the albums production. The deadline was tight. They started the recording process in October of last year with a deadline in the first part of November, which gave them about 30 days to record and produce it in it’s entirety. Having shared a stage in the past with his father, Joel wanted to take that further and give his dad more of the stage. Bill takes lead on five songs on the album, which are rooted deeply in tradition. A sound that was also inherited by Joel, bringing him “full circle” in his dad’s influence on his music. This was an influence that started by digging through old record collections, finding interest in certain musicians that have impacted the sound Joel carried into his career. The guitar style he was interested in was very much his dad’s, an influence that he noticed come through more on this album than on other albums. This album mixes Bill’s ‘social’ musical style with Joel’s more professional approach to music production, bringing the “living room to the stage.”
Growing up, Joel was influenced by music from a variety of sources. His love of rock music began from a lesser-known source, which was his time spent at Camp Wapemeo. Located in Yarmouth, Joel attended this camp with Ian McGettigan and Rob Benvie, who would later join him to form Thrush Hermit. It was at this camp where Chef Bobby got up in front of the whole camp and air guitared Stairway to Heaven at campfire. For Joel, that moment wasn’t about the air guitaring, but about having his first taste of Led Zeppelin. He talked about his “a-ha” moment, sitting at the fire thinking, “WHAT IS THAT SONG?!” He was 12 or 13 years old, and he admits that those camp moments changed his life.
Camp, like most kids, left a lasting impact for Joel. Memories for him also included a song well known which was sung by all the kids at Camp Wapemeo. That song was Leaving on a Jet Plane. Years later, well into his career, Joel was asked to play at a camp located in Ontario. He ended up finding out that his song, True Patriot Love, became the “Leaving on a Jet Plane” song for that camp, and thinking, “Yes. I made it!”
Understanding the ins and outs of music industry is important when working the way Joel does. Running an all-in-one record store/barber shop/coffee shop/recording studio in Dartmouth keeps him in the loop about what the local industry looks like, while also giving him the ability to produce records for musicians on-site. The New Scotland Yard Emporium has provided the space for many locals like Mo Kenney to build their foundation in the music industry. Other renowned artists have gone through NSYE, such as Cancer Bats and, of course, Frank Turner who recently played a pop-up acoustic show while on tour last month.**
Growing this hub in Dartmouth has made the profession accessible for him, and other musicians in the area. Sharing worries about the financial sustainability of the industry, he says there is little money in recording and that artists can only find security through money earned while on tour. Streaming has impacted the ability to earn money off records, but has had an impact on developing a fan base for shows while away. Joel has been fortunate enough to develop an audience that has grown and gotten older with him throughout the years, many of whom are dedicated to coming to shows. Anyone who has been in that audience knows Joel takes pride in his shows, keeping it professional and casual. You’d find yourself excited to be there, and comfortable enough to go have a conversation with him after the show. Connecting with the audience and encouraging that his shows, and music in general, “is something everyone can be a part of.”
This mindset has kept him able to continue to work within the community. Avoiding the fan fair often associated with being a well-known performer, and wanting to maintain his ability to walk down the streets of Dartmouth. Relax and enjoy the simplicities in life, like disconnecting from the world of technology and telephones and going for walks around Lake Banook (one of Dartmouth’s many lakes, it is the City of Lakes after all). Keeping this small-town mentality allows for the ability to slow down, which, in true Nova Scotian fashion, also includes the boycotting of Sunday shopping – the belief that everyone needs a day of rest and relaxation.
Being on tour provides a different kind of relaxation for Joel. It provides the relaxing “feeling of being useful.” Knowing that in the moments while away, he is doing exactly what he needs to be doing. When getting on stage he is comfortable. He knows the tuning, he knows what to prepare, and knows that that first song should sound and feel like. Joel and Bill Plaskett will be playing the National Arts Centre on March 18th. He tells us to expect a shared stage. Opening for them is a “fuzzy-folk” duo, Mayhemingways, who have also been recruited to do some backing up for the Plaskett’s set. In addition to these openers, the tour will have Shannon Quinn joining for the first few shows, including the NAC. She is a talented fiddler who will be playing with them for the set, making it into a five-piece group in the end. This show will be different from what people are used to, and will showcase the fusion of Bill’s traditional folk with Joel’s upbeat rock. He also promised to bring in a few of his old songs as well.
Joel’s Song I wish I Wrote but Didn’t
Nina Simone – The Twelfth of Never (original lyrics by Johnny Mathis)_________________________________________________________
**Frank Turner and Joel Plaskett have a long-standing friendship after Turner went on tour with Emergency five years ago. Joel highlighted Turner’s stage energy, general positivity, and overall genuine kindness. Plaskett also highlighted how every so often Turner will be listening to Joel’s music and it will pop up on his twitter, and people from anywhere and everywhere will comment about checking it out. For that he gave a chuckle and thanks.
Music festivals don’t just grow on trees. Whether it’s a small-scale boutique festival like Sappyfest or a large-scale behemoth such as Osheaga, festivals are the end product of a whole lot of teamwork, labour hours logged, blood, sweat – and sometimes tears.
When Garett Bass decided to move forward with a new music festival called Bangers & Mash, he knew it wouldn’t be a simple undertaking. His first rodeo was 2015’s FOLK IT ALL Festival, a packed night-long event at The Rainbow which saw a number of heavier folk and country acts hit the stage, including headliners The Jerry Cans. But 2017 offered a new opportunity to bring together musicians that share a common funky thread – soul music.
“After seeing momentum build this past year, I feel like it’s a now-or-never moment to put these bands in the spotlight and help people realize the level of talent we have here,” explains Bass. “I felt like it was time to do something similar to FOLK IT ALL for the soul music scene here, which I’ve been in entrenched in for the better part of the last decade.”
The idea took form last year when Bass and his wife went to Blakdenim’s CD release at Mavericks, where a number of bands and DJs were showcased in a small amount of time. They did short and punchy sets, all acts shared the backline, there was an MC handing out prizes in between, and afterwards they reveled in how incredible and efficient it was.
“So I decided to do a soul festival where bands play their ‘bangers’ – I thought, ‘let’s get as many acts as we can into one night with the simple rule of playing only their best songs and then getting off stage as quickly as humanly possible.”
As a member of Ottawa’s own Slack Bridges, and a past member of bands such as Steamers, Tea For the Voyage, and Mackenzie Rhythm Section, Bass is no stranger to the stage. However, organizing is a different beast altogether, so he made sure to gather a team of dedicated organizers to help him from the start.
One crucial member of the team is Ed Lister, a musician himself and founder of London Gentleman Records. Lister is a member of Chocolate Hot Pockets, Thrust, Eru-Era and an impressive Chaka Khan tribute act, and has joined forces with existing bands such as The Hornettes and The Split.
“I chose Ed to run his own stage, because he’s been the number one instigator of action and collaboration in our soul scene,” Bass says. “Ed moved here from the UK a few years ago, he plays in more acts than I can count and has helped encourage collaboration between artists all over Ottawa.”
While there are some collaborations occurring in town, it’s difficult to define a particular soul music “community” in Ottawa. There are festivals such as Ottawa Explosion, Arboretum Festival, and Megaphono that act as a crucial hub for musicians to coalesce. However, there has been a gap between the soul music fans and the musicians themselves – a gap which Bass means to fill.
“Just look at The Souljazz Orchestra shows, which have been sold out and for years. People trust anything those guys put out. The Jazz Fest late night series has been a huge success for people who love to dance to live rhythms such as Snarky Puppy, Dirty Dozen Brass Band and Tennyson. Sharon Jones played here over half a dozen times to crowds of intense fans. Our most successful local nights are generally funky DJ nights such as Double Barrel or Timekode where people can go dance to DJs spinning soul music in its most authentic form – the 45 record.”
“Places like Irene’s and Bar Robo have picked up and have started weekly/monthly nights of funk jazz, and Mike Mikkelsen has been using his connections to host lots of local live and mixed soul music at Kinki’s Kitchen. Yet, I find the weird thing is that some of these bands still don’t know one another, there’s little collaborating within a genre that is historically built on collaboration.” All that to say, it’s clear that there’s no shortage of love for soul music in the capital.
Bangers and Mash will take place on the evening of March 18, and have two stages at two adjacent venues – Black Squirrel Books & Coffee and House of TARG – that will operate simultaneously. Live music and DJ sets will be staggered between each, giving concert-goers the option for either.
The impressive local lineup includes Mackenzie Rhythm Section, The Hornettes, Slack Bridges, Tropikombo, DJ Magnificent and DJ Zattar at House of TARG, while Chocolate Hot Pockets, Mack & Ben, Blast From the Sun, DJ Jas Nasty and The Full Time Groove hold the fort at Black Squirrel Books & Coffee.
“Basically anytime there’s a DJ on at Black Squirrel, there’s a band playing at House of TARG, and then it flips,” Bass clarifies. “We’re going to recommend that people plan their night well, as there may be times when one of the two venues is at capacity. Fortunately, there’s lots of amazing stuff to see!”
Bangers & Mash will take place on March 18, ticketing and event information can be found at www.bangersmashfest.com. This article appears in the March Edition of Ottawa Beat newsprint in the OSBX column.