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We thought it might be a nice idea to give you a few more helpful facts on the musicians and their affiliations. Our collaborators may be more recognizable to local gigsters in context of their bands. - Cadence Weapon Chart magazine named Cadence Weapon one of the 15 Canadian artists to watch in 2006. In addition to his own recordings, Cadence Weapon has also remixed tracks for Lady Sovereign, Ciara and Super Extra Bonus Party, and has written hiphop reviews for Stylus and Pitchfork. In 2007, Ninja Tune released ‘Breaking Kayfabe’ and March 2008 they release the new album, ‘Afterparty Babies’. www.myspace.com/cadenceweaponmusic Faunts: Formed in Edmonton, Alberta in the fall of 2000, Faunts original lineup consisted of brothers Tim and Steven Batke and Paul Amusch. After turning an old office space into a studio, the three spent a full year creating “High Expectations/Low Results”, which would later be re-released on New York’s rising label Friendly Fire Recordings. This remarkably assured debut album weaves together shimmering walls of pink noise with dreamy, languorous guitar, gently-treated vocals, and swimmingly beautiful melodies. In the following years, with the addition of Steve and Tim’s younger brother, Rob Batke, as well as bassist Scott Gallant, Faunts have evolved into a five-piece ensemble. Originally written for a live performance hosted by the Film And Video Arts Society, Faunts’ second release, “M4” is composed of scores initially created to accompany three independent short films. Harnessing the use of electronics and synthesizers, “M4” is determinately more ambient and atmospheric than Faunts’ previous work, but still demonstrates their love for layered melodies and soaring refrains. The EP, which was released by Friendly Fire on December 11, 2007, has also had its title track featured—to critical acclaim—in Bioware’s Xbox 360 video game, “Mass Effect.” Building on the success of their first two efforts, the fall of 2008 saw the release of “Faunts Remixed” featuring reworked tracks from both “High Expectations/Low Results” and “M4” with contributions from Cadence Weapon, Mark Templeton, Brightest Feathers (aka Saxon Shore), T.H. White, Paronomasiac (from Shout Out Out Out Out) and many others. www.myspace.com/faunts The Get Down: The Get Down was formed literally from the ashes of legendary Edmonton Rock Assassins, Les Tabernacles. Their first show was to raise funds when guitarist/vocalist Pat Bourne's house was burned to the ground due to a random act of arson. Bourne, bassist Ken Eisenbarth and guitarist/vocalist Ted Wright lost over $10,000 in gear. Drummer Scott Davidchuck was thrown into the mix, and the Get Down was born. The sound that developed is a monstrous blend of grimy, noisy rock with shades of seventies icons, the Stooges, MC5 and Black Sabbath. And they are ready to blow your eardrums. They have toured with Sir Ian and C’MON, and shared the stage with Whitey Houston, Twin Fangs, Huevos Rancheros (who reformed just to play the benefit show that spawned the Get Down!!), the Vertical Struts, Hot Live Guys, and Spread Eagle. The Press is beginning to take notice as well, with feature articles in the Edmonton Journal (a feature article on hearing loss - haha!), and Exclaim magazine. They’ve already blazed across Western Canada a couple times leaving dropped Jaws and blown eardrums in their path. One such stop in Winnipeg led to the band being invited to join the Happily Dysfunctional rock juggernaut known as Transistor 66 Record Co. The boys' are currently in pre-production for their debut release on ’66 this Fall. You’ve ‘bin warned! www.myspace.com/thisisthegetdown The James T. Kirks: To quote legendary rock critic Lester Bangs completely out of context: Look.... this is the greatest band in the world. That’s right kiddies, after 13 whiskey soaked years of rawknroll madness The James T. Kirks are still alive, still kickin' ass, still breakin' hearts, and still corrupting youth, just as they always have. With one cross-Canadian tour, countless live bootlegs, innumerable hall and bar performances, a live theatre score, and high profile shows in exotic locals such as Moosejaw, Vegreville & Penhold all to their credit, there seems to be no limit to the Kirks tentacle-like infiltration of civilized society. Much like Elvis in his famed 1968 comeback special, The James T. Kirks returned to the spotlight in 2002 roughly seven years ago after a lengthy hiatus, during which some or all members were rumored to have spent time in the Niagara-Falls area. Finally submitting to public pressure, the twang and buzz duo of Ted Wright (guitar) and brother Rob (Bass) re-recruited original drummer Silas Grenis in order to perform in two all-star showcases of Edmonton bands at the closing shows of both The original Likwid Lounge and The Rev. After these two explosive, swoon-inducing performances, widespread public outcry arose demanding that the Kirks return to active band status. And so, to the exultant joy of jaded rockers and under-age girls alike, The James T. Kirks have decided to permanently re-ignite the tiki-torch of Edmonton surf punk and to soldier on in the face of vicious opposition from concerned parents, church groups and several PTAs. The evil gospel of Instro-Punk must be spread!!!! www.myspace.com/thejamestkirks Red Ram: Red Ram is all about great songs. Strong hooks, rockin’ riffs, and catchy lyrics are the backbone of this band. The powerful three piece, blends electronic and organic sounds, creative arrangements, and a gritty rock and roll ethic to produce their own cutting edge sound. A powerful, riveting three piece, the band has been rocking live audiences across Western Canada for more than three years. Red Ram has appeared with Danko Jones, The New Odds, and Gob among many others. The band’s first album Stars Ablaze (2006) featured the single “Bad Bite” which garnered radio play on various Canadian modern rock stations in 2007. In February 2009, the band unveiled a new EP, Land of Dreams (2009). This exciting new release reflects the evolving sound of the band while maintaining the energy and innovation that Red Ram has come to be known for. www.myspace.com/redram11 The Secretaries: “The rocking-est band currently playing in Edmonton–sort of Heart meets Sabbath, but much cuter.” -Tom Murray, See Magazine, Best of 2006 We love… www.myspace.com/thesecretariesedmonton Shout Out Out Out Out: I suppose it is not uncommon for a band to be a product of their environment, but Shout Out Out Out Out is certainly a group as rich in paradox and contrast as the 780 area code. Edmonton is about as remote an outpost of a major city as you'll find anywhere in Canada, yet close to a million people choose to live there. Why would anyone choose to live there? Why would anyone choose to base a band there? Maybe it's because it takes a band like Shout Out Out Out Out to embrace their surroundings and use these harsh realities as motivation to actually do something, and to realize that if you're going to try to do something in Edmonton, there is no point in doing it halfway. And so it goes, Shout Out Out Out Out emerged from the frozen north as an all-rhythm section, high-kicking, collection of local rock stalwarts, diving headfirst into the world of electronic music. A formidable force and a live spectacle from the get-go, with two drummers, four bass players, and an entirely appropriate mountain of analog synthesizers. Like in every band's not-so-secret dream, local support grew to national buzz, national acclaim grew to international buzz, and the upward momentum just keeps pushing on. Through it all, Shout Out Out Out Out has maintained the juxtaposition involved in being an Edmonton band. Sure, this is dance music and really, it's a damn good time. Lyrically though, darker themes are explored, connecting those who listen closely enough to decipher the vocoded laments (we're talking Kraftwerk here, not T- Pain) with themes of disillusionment, debt, and inner struggle. Not unlike making the best of living in a geographically isolated permafrost city, Shout Out Out Out Out use dance music to help themselves and their listeners lighten the load of a heavier existence. Shout Out Out Out Out is: Nik Kozub, Jason Troock, Lyle Bell, Will Zimmerman, Clint Frazier, and Gravy. www.myspace.com/shoutoutoutoutout The Wet Secrets: It all started with a racy (staged) photograph snapped in dim light back in 2005, under the dankest of circumstances. Half-hearted promises to form a band were soon forgotten due to epic alcohol consumption, but would rear back like an angry stallion months later when it became apparent that The Wet Secrets might not be a bad idea after all. Formed out of contractual obligation (contracted while drunk most likely) The Secrets wrote and recorded the haphazardly magical ‘Whale of a Cow’ album in the seven days preceding the first gig. Tubas, paint cans and trombones poke into the mix of campy, homo-centric fuzz rock. Upon release, it teetered and lurched its way onto Edmonton area charts and lists, burrowed into the hearts and minds of the artistic and then scampered off into local band lore… A secret album by a secret band from a desolate place, eked out and sought after but rarely found. By 2006, time constraints from other projects (Shout Out Out Out Out, Whitey Houston, The Vertical Struts, Dirt City Films & Capital City Burlesque) forced the Secrets to conscript the Calgary-based Chilean ex-pat, Diego “my ears are fatigued” Medina, for a grueling, year long, multi-city recording experiment/fiasco. Of the 18 songs recorded between Jan 2006 - Jan 2007, nine tracks finally made it through the mixing and onto ‘Rock Fantasy’. Made temporarily available for free download on the band’s website, the song ‘Secret March’ surged to the #2 spot on CBC Radio 3 in the spring of 2007. Now, finally, ‘Rock Fantasy’ is being given wide release in spring 2008, with remixes by Cadence Weapon and Shout Out Out Out Out’s Nik Kozub. www.myspace.com/wetsecrets Whitey Houston: Born of hinterland depression, a mutual love of Texas hold'em and audiophile discontent, Whitey came to pass in 1999. The indie-rock approach of earlier efforts was quickly drowned out by the stereophonic roar of the bass guitar and the increasingly pugilistic trap stylings of GRAVY: THE CARDIAC KID. He was once heard to say, "I don't play the drums, I hit the drums." And crush those drums he did (and still does). The slow songs were being SHITCANNED for faster ones, which were in-turn not fast enough so those were SHITCANNED for even faster ones. It was pure, feral rock and roll complete with the right mix of swagger, humour, and arm windmilling. Fueled by vinyl loyalist sensibilities, the new sound pulled from diverse influences, from the garage soul of The Pretty Things and The Sonics to the arena rock pomp of Thin Lizzy, early AC-DC and Motorhead. Obscure 60Ís R&B screamers, Í77 punk and English metal, all were absorbed into the mix that would produce Whitey Houston's particular brand of frenzied rock 'n roll. After four years of relative sloth and prior musical commitments taking precedence, they came out swinging in '04. A renewed commitment to touring saw the addition of the maraca wielding Dancin' Kimballs, adding a touch of retro go-go camp to the live set. Excelsior! The Whitsundays: It could just as easily be 1967. But no matter the year, Edmonton, Alberta's the Whitsundays certainly have a knack for writing yellowed, reverb-wrapped pop music, borrowing from the grand tradition of English psychedelia, garage, and vintage organ rock. With reverent nods to the flower-picking whimsy of the Zombies, the red-faced bluster of the Animals, and the delightful inanity of Syd Barrett, the Whitsundays' self-titled debut is a vintage gem, and a charming hodgepodge of '60s musical ephemera. The main Whit, Paul Arnusch (who also logs time with starry post-rock supernauts Faunts) called on his ever-expanding collection of vintage gear, from archaic guitars to Rhodes and Wurlitzers, to document a loose, passionate love letter to the past 40 years of "timeless music." And if the haunting Beach Boys outro on "It Must Be Me" or the lithe vocal melody and gentle propulsion of "Already Gone" are any indication, this is one hell of a letter. Of course, none of this backward-glancing praise is to say that Arnusch's first offering with the Whitsundays sounds all that old. On the contrary, he manages to transport the antiqued sounds of the '60s (walls of dreamy harmonies, straight-away drumming, boney guitars, whirring organs…) across the same updated palates employed by bands like Dressy Bessy, Apples in Stereo, The Shins, and Belle & Sebastian. And while this is quite the departure for Arnusch, who is more used to pounding out labyrinthine experiments behind the kit for Faunts than such lovely sock-hop simplicity, his experimental sensibilities still peek through on the Whitsundays’ self-titled debut album. In fact, these curiosities and quirks are perhaps the album's strongest suit, tugging a set of super-sweet diner pop through the ages, and somehow updating it along the way. |
| Last Updated on Monday, 11 May 2009 06:52 |