CityFolk Day 2: Lisa Leblanc, Walk Off the Earth, Les Soeurs Boulay & Alex and the Subterraneans
CityFolk has a new location, new setup, new programming, and new name. The only thing that stayed the same is delivering great acts to Ottawa music lovers.
A fair warning that much of this review will be in French or even bilingual as Lisa Leblanc and Les Soeur Boulay stole the show.
The highlight of the night for this music lover was fun-loving, banjo-slaying, Acadian songstress Lisa Leblanc on the Raven Law stage. She killed it as always and proved herself once again to be one of my favourite live acts. Mlle Leblanc était exceptionnelle et on point. Après quelques chansons elle a dit: “Ça vas être un show franglais… tu sais à Ottawa tout est traduit.” Elle a gardé sa promesse.
Tout le show, elle sautait du français en anglais, parfois elle arrêtait pour traduire ce qu’elle venait juste de dire en français pour “the English people.” Elle a joué plus de tunes en français, mais il y avait de la musique pour tous grâce aux chansons de son album le plus récent Highways, Heartaches and Time Well Wasted. Une de ces chanson est “Katie Cruel”. Avant de la jouer elle a dit, “this next one is an old folk song. All old folk songs either end in death or alcoholism. This one does both.” Lisa Leblanc joue le banjo comme personne d’autre, pis son sens de l’humour est captivant. Elle a toujours un gros sourire pendant le spectacle, c’est claire qu’elle s’amuse et la foule s’amusait en masse au même temps. On chantait à voix haute tout le spectacle. Avant de jouer “Kraft Dinner”, une chanson d’amour à des nouilles couvert de fromage, “I wrote a love song about Kraft Dinner, need I say more?”
Elle nous a aussi joué quelques nouvelles chansons, dont une instrumentale sur le banjo qu’elle a écrit lorsqu’elle était à Dead Man Flats en Alberta, et voulait faire une randonnée mais avait peur de se faire manger par un grizzly. Et une des chansons d’amour la plus canadienne possible intitulé “5,748 kilometres”. Les paroles: “Let’s get this straight you’re in Vancouver and I’m in New Brunswick… That’s a six-day drive if you don’t stop to pee too much, this is the dumbest idea I’ve ever had but I love you.” Avant de jouer “Aujourd’hui, ma vie c’est d’la marde” elle a dit, “Hey, you can learn to swear in French with this song. Tonight is a good day.”
Pour conclure son spectacle elle a demandé à la foule si nous voulions un cover de Shania Twain ou de Motörhead. Je n’ai jamais entendu une foule crier Motörhead aussi fort de ma vie. Lisa et son band ont d’abord joué “Ace of Spades.” Un banjo a jamais rocké autant!
Alex Silas and the Subterraneans keeping it fresh at CityFolk in Ottawa.
After Lisa, we watched Wintersleep. The Ravenlaw stage area was packed for their laid back alt rocking ways. I watched about half their set, enough to hear “Weighty Ghost.,” and then headed to see local act Alex Silas & The Subterraneans. I got there just in time to see a packed stage as other locals The Adding Machine and Eddie Quotez joined him for “Zombeez.” The high energy hip-hop act backed by live music was an excellent change of pace. Silas and his band were on point especially during “This Town,” “Mouton Noir” and his new song “Champagne.” He topped it off by popping a bottle of champagne and passing it around. The crowd wanted more than just champagne though, they wanted more music. So Silas and crew came back for an encore that flowed so smoothly, and even included a Pat Benetar reference and the great line “I don’t have the word to describe the curve of your lower back… but.” As always a real treat.
Walk Off The Earth playing at CityFolk in Ottawa.
Before Lisa Leblanc was Walk Of The Earth, a band that made it big off of Youtube videos of them performing covers going viral internationally. This band has come a long way from the time I saw them performing as a ska/punk three-piece at Warped Tour in Montreal, say six years ago or so. Now the stage has six people on it, plus sound techs that join in often to play along with them and there are nearly as many instruments as an orchestra on stage. The crowd of all ages absolutely loved them packing the main stage area and singing as loud as they could. They played all the hits, such as “Red Hands,” “Rule the World” and “Summer Vive.” They even gathered all around one guitar to play their great rendition of Gotye’s “Somebody That I Used to Know.”
Les Soeurs Boulay au CityFolk à Ottawa.
Back to French as Les Soeurs Boulay kicked off my evening. Après avoir joué leur première chanson, elles ont demandé “combien d’entre vous parlez français?” et était pas mal surprise par le nombre de monde qui ont crié. Les sœurs, Mélanie et Stéphanie Boulay, jouent du folk super fun et cute. Elles m’ont vraiment impressionné parce qu’en les écoutant enligne avant leur spectacle je croyais qu’il aurait un band avec eux quand elle joue live, mais ce n’était pas le cas. Chacune joue la guitare ou le ukulélé et le tambour, des fois tout au même temps. En plus, Mélanie joue le kazoo pendant quelque chansons. Pas mal sharp. Elles étaient tellement choyés d’être sur la scène. “C’est la troisième folk fest de ma vie et entre un à l’autre j’oublie a quelle point ca me fait du bien. Quelle beaux moments,” elles ont dit. Les Soeurs Boulay ont joué plein de chansons de leurs premier album, Le Poids des confettis, tel que “Cul-de-sac”, “Des shooters de fort sur ton bras”, “Ton amour est passé de mode” et mon préféré “Mappemonde”. Elles ont aussi joué des nouvelles chansons et ont annoncé qu’elles lancent un nouveau disque, leur deuxième, dans un mois. Elles ont conclue en disant : “On vous remercie de sortir de chez vous et de vous rassembler pour voir de la musique. C’est tellement important!”
Breakdown Wednesday’s Christmas Spectacular: We Were The Fires Of Rome, The Adding Machine, Rydell & Willows
Breakdown Wednesday’s Christmas Edition at Zaphod’s was the most eclectic show I have attended all year. The night saw electro, pop-punk, hip-hop and progressive metal bands grace the stage.
Kicking off this night was Willows, a very interesting band to say the least. Playing only their second show, this electro duo was really impressive. What really stuck out was the vocal range of the singer. No song really sounded the same on his end as he displayed great variety over some pretty captivating beats. Definitely looking forward to seeing and hearing more from these guys, in the mean time I strongly recommend you check out their song “True.”
Rydell live at Zaphod’s in Ottawa, Ontario.
“Come have fun with us, most of these songs aren’t even Rydell songs,” is how Rydell lead-singer opened up their set. He wasn’t kidding as the band opened with “Sex” by The 1975, “Mr. Brightside” by The Killers, and “You’re So Last Summer” by Taking Back Sunday. “It’s like karaoke without the screen and I know the words,” said the singer. Rydell was playing a bunch of covers because they have been writing so much new material and figured it would be fun to play others’ music. It started off okay but then took a little turn down a rocky road as they jumped into Yellowcard’s “Ocean Avenue.” They struggled with the lyrics pretty bad after getting through the first verse and chorus. They did recover, however, by performing possibly the first ever hardcore breakdown during a Yellowcard song… After that they decided to play songs they knew better, like their own, playing a new song off their upcoming album and then “Lost Boys.” They left us with a great image, “We are the drunk uncle that shows up at Christmas and kisses you on the cheek. Merry Christmas!” The bass player also happens to be one of the most animated musicians in town.
Up next was local rap trio The Adding Machine. They were super in-your-face heavy aggressive rap, which is not 100 per cent my preference in the hip-hop world, but it was still an enjoyable set. I must compliment them on how fast they spit it sometimes though, it blew my mind. They also had pretty good energy and really moved around on stage using all the space. What was really interesting was that the vocalist from Willows is part of the group and had I not seen it with my own eyes I wouldn’t have believed it. With Willows he appeared a little shy, awkward and sang some love songs, but with The Adding Machine he sported a completely different personality.
We Were the Fires of Rome slaying it at Zaphod’s in Ottawa, Ontario.
Headlining the show was a band called We Were The Fires of Rome. The local prog-metal group impressed me right away, starting their opening track with violin and some keys – not what you see everyday. We Were The Fires of Rome are a pretty perfect match for fans of Protest the Hero, but what is great is they navigate the genre perfectly avoiding most clichés. They don’t fear or shy away from off beats and integrate pretty technical guitar playing seamlessly. It was super entertaining to watch the singer/screamer bounce back and forth from his mic at the front of the stage to playing the keys and singing at the same time. And when he was tired of the stage, he got down with the fans, leaving the stage to sing during “Dreams.” I am always impressed when a singer can also be the screamer and do it as well as they do and nailing the transition so smoothly. The track “Kissing Knives” is a really solid track, probably my favourite of their set. The band was tight and also put on a very entertaining show – two things that do not always go hand in hand, but are much appreciated as a fan in the crowd.
Roots Album Release: Alex Silas’ Family Reunion
Saturday night, Alex Silas and the Subterraneans celebrated the release of their album Roots in a special edition of Bars & Breakbeats at Ritual Nightclub. Rocksteady Bookings loaded the lineup from top to bottom with nerdcore, alternative rock & hip hop balladry that swept away an involved crowd.
Alex Silas took to the stage for fourth or fifth time that night, finally as the frontman of his band that defies definition. Well, short-winded definition. It’s bilingual, it’s rock, and it’s hip hop beats with a dash of alt country. Silas took to the stage with a drumroll and started off with “Mouton Noir,” the first track of Part 2: Lotus of Roots. The aggressive beats & rhymes contrasted the recorded melody of Katie Bourque on the verse, as he reflected on his vagabondism and his search for a little more excitement in everyday life. Looking for love, making the most with what you got & giving peace a chance all shone as his favourite themes from the first song onwards. A confessed love of psychoactives, definitely another clear theme of the evening, was riffed on often as that possibility for adding spice into life. As the subject matter of the introspective “Alpine,” he shared his worries and the story of his pépére battling and dying of alcoholism.
The crowd was rapt, most of them sporting different versions of “HIP HOP HIPPIE” tees, as Alex Silas made musical love to them just as our MC Sully forewarned. Sully a.k.a. Shaun Sullivan, a spoken word poet, is also featured in Roots on the previously mentioned “Alpine.” His encouragement of the night’s performances were hilarious the night through. He carried us from act to act, warmly presenting artists who know how to speak for themselves but got the love anyway.
As Silas metaphorically bearhugged us with his considerable biceps, the Subterraneans brought the album to life with gusto. Liam Burke on guitar, the recent addition of Matt Robillard on drums and J2xF on beats, keys, MacBook & bass were on point for their proud leader. Really, it was more of a family reunion than a performance. The violin of Brigit O’Regan was one of my highlights, showcased on “Lions and Tigers and Bears.”
Missing LinX warmed up the stage before Alex Silas stepped up, bringing the energy of the evening to a peak. Hyf the Gypsy Sun, Prufrock & Just Jamaal take their poetry to the next level with a tangle of heavy bass and beat that ensnares the listener. Their political & social rhymes charged the night, stabbing out at injustice and preaching perserverance. Their sound is primal. It gave me the feeling that something big was coming after us in the wilderness.
Eddie Quotez killing it at Ritual on Saturday for the Roots album release.
Polishing the stage for the Ottawa rap royalty was my discovery of the evening: Eddie Quotez. Half cheerleader, half enfant terrible, fully a unicorn to be reckoned with. His style was raunchy, glib and speedy. “I only have one rule for my set — everyone has to participate. Say it with me: PAR-TI-CI-PATE!” His first song came out swinging and left us wanting more, immediately. His professed sexual desires & nerdy metaphors pushed the crowd to start moshing and afterwards start chanting Eddie’s name. Alex Silas joined him on the bass for a song, just as Eddie later joined Silas for “Last Song.”
Best song of the night was “Game Over,” introduced as: “This song is about loving somebody so much that you let them use Player One.”
Ottawa’s The Stringers playing for Ritual on Saturday, November 15.
As Alex Silas plays alternative rock with his hip hop, so The Stringers brought out the rockers in all of us. Their indie shreds & alt hooks had the floor dancing and chanting as they made their way through their recent EP See You At 7. They bridged the gap between the other hip hop acts & the headliners, playing sweet new songs and covers, one from the Arkells and another that everyone knew by heart, “All the Small Things” by Blink 182. Hats off to Jordan Lewis for indeed bringing the four-string thunder. Hey, his mic should have been louder though. All four lads were charming, especially in matching HHH tshirts.
Before a small pause in the program, Sully invited the second group of the night to come up. A trio known as The Adding Maching took to the stage. E.on, Defckon & R.A. the ADDwolf didn’t take in a single breath as they boomed through a fast-paced set — it was all exhalation. Backed by J2xF on the beats, they barreled through stage-thundering dance moves and jumped into the crowd to start a little pit. Their rhymes were so plentiful, so tightly packed, it was alliteration.
Sully had set the tone by walking through the crowd at the beginning of the night, performing three poems before he presented the acts. He covered his boozin’, the homeless in the city & “L.I.V.I.N.” Then he let “craziest motherfuckers in the city,” those Bastards, level out a horror-soaked set. Peek-A-Boo, their debut EP, just released last month, and they’re already set on releasing an LP this December. Their roar came from the dark part of my cranium, reminding me to pack a Louisville bat in my trunk from now on.
Captain Trips a.k.a. Odcmplx a.k.a. Fly on the Waltz a.k.a. one mean Bastard, howling for the night to start.
The Adding Machine & Bastards both ran similarly in agressive lyrics, but each with their own distinct styles. Both have new albums coming out soon and were joined by special guests during the sets. The Adding Machine had Eddie Quotez run the gambit and Bastards were joined by Andre KING Thibault & Aron the Alien for a special track that led to Ottawa expat Aron performing a song he really needed to spit. “Hometown (613)” had the whole of Ritual screaming out our area code. It was enough to warm the heart of Prince Luke, who almost didn’t make it to the show. Alex Silas & Doc Savage joined in for the anthem that made everyone feel part of the family.
The roots of Roots : A sit down with Alex Silas
By Fly on the Waltz
Today marks the release of the LP Roots: The Opera Of June Mañana by Alex Silas & The Subterraneans. A 16-track project split into two discs, titled Tiger Lily and Lotus respectively, the LP is Alex’s first full length project. I sat down with Alex a week before today to discuss how he went from Alex Silas to Alex Silas & The Subterraneans and the process behind Roots.
I’m here with Alex Silas of Alex Silas & The Subterraneans. For those who don’t know, who is Alex Silas & The Subterraneans?
Alex: Alex Silas & The Subterraneans is me, Alex Silas, and the Subterraneans would be collectively myself, my guitarist Liam Burke, and my DJ Jean-Francois Frenette AKA J2xF.
And how did you meet Liam and J2xF?
Well I’ve known them both for a while. Liam and I met when I was 16 he was 15 or something. We met a Loblaw’s pushing carts. And then we became friends through that. We used to ditch work and go play games at Future Shop or go to the O-Train tracks and put change on the tracks so it’d get flattened. And we became friends through that and then just hung out a lot and then as our friendship grew we started collaborating more and more on music. And even before the Subterraneans he was composing guitar for some of my tracks and was actually part of the first attempt at a live band setup I did a few years ago. So we’ve been friends for a really long time. And J2xf and I met at Hip-Hop Karaoke. He did a Jon Lajoie song and I thought that was funny. I did Big Pun something. And then Atherton mentioned something along the lines of, “How does a boy from small town New Brunswick get into hip-hop?” So JF comes up to me after and is like “I’m from NB too,” and I’m like “ Oh shit, no way.” We start talking, and eventually exchange info. A little bit down the road he asked me to jump on a track with him, a Lisa Leblanc remix, that we still do live sometimes. And it’s the first time (the only time) I’ve tried writing in French. We kept hanging out and eventually I had a need for a DJ so I was like “Hey man, how would you like to try DJing for me?” and he joined the fold and Liam joined the fold and now we’re the Subterraneans, the Subby Subs.
Do you remember your first show with Liam & J2xF?
I can’t. We’ve done a lot of shows together in the relatively short span that we’ve been jamming together. It’s been a busy year. But I think probably our first show as the Subterraneans, the lineup we have now, would have been I think last September maybe, at Babylon, with RockSteady Bookings. My first headlining gig too, really cool.
Let’s talk more about the man himself. Like you said, you’re not originally from Ottawa you’re from New Brunswick.
I am, I was born in Moncton. My parents split up at a really young age, so me and my mom moved to Fredericton and after a while we moved to Barachois, which is a community of 2,000 people. Actually Greater Barachois is 2,000 people. It’s a really small town, you know, the kind of place that has one church, one corner store. I lived really close to the beach, that was cool. Walking distance to the ocean, I miss that a lot. But I love Ottawa. I would say I’m from Ottawa, as much as the Maritimes are still very much in my heart and I consider that home, Ottawa’s home too and I’ve been here 10 years and I’ve grown a lot just being in Ottawa. It’s a great city.
What was your first taste of music? What was the first piece of music that really got you?
The Slim Shady LP. “Brain Damage” specifically. That’s probably what got me. I was listening to lots of stuff back then. There was a time where I really discovered and then fell in love with hip-hop and dove into it headfirst and for a while forgot about any other genre of music, anything else really. Slim Shady LP by Eminem of course.
Do you remember when you started writing your own rap music?
Yeah I was 14, in 9th grade. And I just didn’t have a lot of friends, so I was looking for something that would help me fit in or stand out or just you know something that I could be. Cause in high school you get the mentality that everybody is “that guy,” this is the skateboard guy, this is the pothead guy, this is the really smart chick, this is the preppy chick.
And you wanted to be a guy of some kind.
Right, I wanted to have some sort of social circle that I fit in and I don’t believe in any of that bullshit anymore, but that’s your whole world in high school. So funny enough I started out trying to make beats. I downloaded FruityLoops but I was so shitty at it that I was just like “Nah, I’m just going to rap actually.” Went from there. I mean I remember being in 9th grade and staying up nights and just writing, five, six songs. And they were shitty, but just to write them, just for the practice, just to get it out, just to get better at it, you know. Recording on my laptop, eventually to a booth and closet with a nylon sock on a coat hanger, that is the old story, that’s pretty much how every rapper goes through it.
If The Slim Shady LP is what got you into rap music, what is the music that makes you want to wake up every day and write another song?
You know I’d have to say it’s a blend of the new stuff I hear coming out and the old stuff that I hear or rediscover. You know sometimes you hear an old record and it blows you away. Cause I get inspired by old blues stuff like Billie Holiday and Muddy Waters. I go through phases with music sometimes, so I’ll spend a week just bumping Muddy Waters in my headphones. That stuff it inspires me, I think there’s a lot that’s still there that can be revived in today’s music. But then there’s also new music. There’s a lot of like really progressive, really game changing, really pushing boundaries music that’s out there. Like Childish Gambino, I was talking to my cousin about Childish Gambino the other day. He is one of the best new school guys out cause he’s doing really cool shit. The other day I was listening to Odd Future, and I never thought I’d be into Odd Future but it’s like damn, this is weird and it’s fucked up, but it’s cool. You know it’s different, stuff that’s different I guess keeps me going. A lot of what I hear coming out of the city. I do genuinely love the music that’s coming out of Ottawa, and I think there’s a lot of cool shit happening and there’s a few people that impress the shit out of me, keep me on my toes, push me to make something that’s going to stand out and leave a mark of the city, just be part of it.
Let’s talk about Roots, coming out today. Where did the title come from?
Originally when we finished working on Songs for Lovers and Fighters, which was my last EP, we were right back in the studio. There was a few working titles, like the Underdog EP, but then I had all these song ideas and I decided to make a full-length. And I wanted to really do something that I wasn’t going to want to jump right back into the studio afterwards. Not that I don’t still have creative urges, obviously I still do. But I couldn’t shake the feeling after releasing Catania and Songs For Lovers & Fighters that like I could of made it better and that I should of changed this to that. I didn’t want to do that again. So I took this project a lot more seriously. And I put a lot more into it. I put a lot more thought into the writing, I mean I don’t think there’s a song on Roots I wrote in one sitting. I lost count of how many times I wrote, and rewrote, and rewrote these tracks. I wanted it to fit together. There’s this Bob Dylan quote that I bring up a lot when talking about Roots. I forget how it goes every time, something about “When putting together on LP you need to take it seriously. You need to make sure that not only each song is whole, but that the LP, the album itself works as a whole.” So I really wanted to try to do that. I guess as a general theme, I thought about making the album about where I was from, where I was, and where I saw myself going, where I wanted to be going. Yeah that’s the long babbling on answer but the short is Roots is about growth.
And you recorded the album at Studio 169 with Bryan Ruckstuhl. What’s it like working with Bryan?
Bryan is the man. I mean Bryan is one of my best friends; he’s been a mentor. He’s been completely invaluable to the music I’ve been making. I really feel like, I’m trying to get the right word. I was going say something like if Roots is my baby, Bryan is…
Yeah! And Liam and JF would be the cool uncles. But yeah Bryan is great; I’ve been working with him since Catania. A little before that actually. Our relationship has evolved and grown into something really cool. We work really well together, we vibe really well together in the studio. I mean it’s even to the point where sometimes, we know what the other person is thinking, almost telepathically, like he’ll know what I’m about to say. He’s been a huge part of Roots. I feel like I’m learning more how to produce on my own, you know shape the sound. But Bryan has been and still is a huge part of my sound.
And how prominently do the Subterraneans feature on the recorded version of Roots?
That’s interesting too cause the Subterraneans formed, like Voltron, while I was working on Roots. So when I started working on Roots I didn’t have a band, I was working with my guitarist buddy Anthony Nahas, who contributed a lot on the project too I should mentioned. And Liam was going to contribute too, because as I said we were friends and we worked on music and stuff together. I mean a lot of his songs were songs that we had talked about for a while. Liam and I had been joking about doing a pub song for probably a couple years now and got together and did it for Roots. There are a lot of songs on Roots that feature a lot of session musicians, Liam and JF being among them. But then there are a lot of songs that are really just Bryan and I, we made a beat and I rapped or did spoken word to it.
And do you have any other collaborations on the album?
Like I said I got tons of session musicians, Brigit O’Regan on violin, Jordan Gauthier and Vince Karimi on drums, and Katie Bourque on ukulele and piano on a couple songs, and just sings like damn on “Mouton Noir.” That girl has a crazy voice. I did a song with Karolinka Kaminska, “Lions, Tigers, and Bears.” Karolinka features, Katie Bourque on Mouton Noir, kills it with the vocals. I got Poetic Elements and Eddie Quotez on a track. Just dope. Like I was saying, talking about people in my city who inspire me to keep me going.
The Adding Machine is also on the album.
Yeah, on “Zombeez.” That track was cool too cause it came together very last minute and I was very happy that we were able to put it on the album. That was kind of a late idea and I was worried we weren’t going to be able to come together and do it. But yeah everybody wrote their verses quick things, we got together in the studio, recorded it. I was actually writing my last four bars on the way to the studio. Tragic from Philly Moves is also on the record, on “Hip-Hop Hippie.” That was cool to get him on it too. We’ve known each other for a while, probably known Tragic for at least three years now. I first met him cause I was just a fan of Philly Moves’s shit, and I had opened for him once at some random show, but like the kind of show that has 15 rappers. And I had met up with him to buy a t-shirt and just you know wanted to pick his brain and stuff on how I should push my stuff. And he didn’t know me but he talked to me for 20 minutes about college radio and stuff like that and it helped a lot. So it was important for me to get Tragic on the record. Shaun Sullivan and I also co-wrote a spoken word piece about drinking that’s on there.
You also had a local artist do the artwork for Roots. Could you talk about that?
Mister Robbie Lariviere AKA Miner. He’s cool as fuck, man. I had been to Fall Down a couple times just to buy clothes. And I think I followed Fall Down on Instagram and then I was seeing all these pictures he was posting of his art and he has a really cool trademark style, he calls it party animals or something like that, and it’s these cool little animals and people drinking 40s and smoking blunts usually. It’s really cool. So I just reached out to him and was like “Hey, would you be interested in doing the back cover for an album I’m working on?” He was down, he showed me the piece and he blew me away. The idea for the back was that I wanted a bunch of animals playing musical instruments. I actually asked certain people what animal they wanted to be represented by. I’m a bear, Liam’s an owl, JF’s a gryphon playing an MPC in the sky, and Bryan’s a dragon. And I was having some difficulty with the front cover. So I reached out to Robbie again. He obliged and again, blew me away. It was cooler than what I had in mind or what I had described to him. And it’s cool it came together that way cause the back matches the front, thematically it all works together. I’m proud of it, it’s hanging in my living room right now.
Going into the release of Roots, how do you feel about the project?
I feel really strongly about Roots. It’s just the most that I’ve ever put into anything in my life; I’ve never put so much passion into any one thing. It’s a strong feeling; I wouldn’t even classify it good or bad, just a strong feeling. I remember as we were finishing the mastering though, pretty much during the whole finalization process, partly due to the fact that I was in the studio so much and still working full time, I was kind of running on fumes at some points. Like I said before I wanted to take it very seriously making an EP making a full length record, I didn’t want to just throw out a collection of 15 songs. I wanted to really make something, pour all of myself into something. And yeah it wasn’t always easy to do, and it wasn’t always fun to do.
Do you have any other projects in the works?
I have one with my friend Fly On The Waltz called Synesthesia we’re working on. I’m also working on something with Eddie Quotez. Eddie Quotez and I have been talking about working on a project since we met. This project has always been called In The Morning. But it’s just always been hard for us to find time to sit down and work on it. But now might be the time for us to actually do it. In The Morning should happen soon. We’ve had a few writing sessions, and gotten some beats together.
I have some extra questions here for you. I’ll ask a question, give you some options and you choose one. First off, Goku or Gohan?
Goku all day, man.
Favourite Teenage Mutant Ninja Turtle and why?
Raphael. I always thought he was the most relatable.
Stir fry or pho?
To quote my friend Aron The Alien, and I want this in the interview, “pho is the most overhyped shit I’ve ever had bruh.”
Tupac or Biggie?
Pizza or Poutine?
Jambalaya from The Daily Grind.
Beer or Liquor?
Liquor. Whiskey to be precise. Irish Whiskey to be extra precise.
Well thank you very much Alex. Do you have any final thoughts to pass on to the readers here at Ottawa Showbox?
Peace and love.
You can purchase Roots by Alex Silas & The Subterraneans at http://alexsilas.com/roots, or in person at their upcoming show July 16th alongside The Extremities, Notes To Self, Maya Killtron, Philly Moves, G. Grand, and King hosted by Rocksteady Bookings.