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Home , Alexisonfire, Billy Talent, Chris Kimsey, Crabbuckit, Deryck Whibley, Econoline Crush

SSUMUM 4411 AALIVELIVE

IS B.S.? FLORIA’S FUEL IAN BLURTON~MINISTRY~~WILDHEARTS CLAIRE STANSFIELD~MOONEY SUZUKI~DFA 1979 THE JERRY CAN

The summer is the season of rock. Tours roll across the coun- try like mobile homes in a Florida hurricane. The most memo- rable for this magazine/bar owner were the and Wakestock, where such bands as , , , Closet Monster, and Crowned King had audiences in mosh-pit frenzies. At Wakestock, in Wasaga Beach, Ont., Gasoline, Fox Racing, and Bluenotes rocked so hard at their two-day private cottage party that local authorities shut down the stage after Magneta Lane and Flashlight Brown. Poor didn't get to crush the eardrums of the drunken revellers. That was day one! Day two was an even bigger party with the live again shut down. The Reason, Moneen and Crowned King owned the patio until Alexisonfire and their crew rolled into party. Gasoline would also like to thank Chuck (see cover story) and other UN officials for making sure that the boys in Sum41 made it back to the Bovine for another cocktail, despite the nearby mortar and gunfire during their Warchild excursion. Nice job.

Darryl Fine Editor-in-Chief CONTENTS 6 Lowdown News 8 Ian Blurton and C’mon – by Keith Carman 10 Sum41 – by Karen Bliss 14 – by Nick Krewen 16 Alexisonfire and “screamo” – by Karen Bliss 18 Smash it up – photos by Paula Wilson 20 Whiskey and Rock – by Seth Fenn 22 Claire Stansfield – by Karen Bliss 24 Tea Party – by Mitch Joel 25 Ministry – by Liisa Ladouceur 26 Death From Above 1979 – by Liisa Ladouceur 28 Wildhearts – by Eric Wilson 30 Mooney Suzuki – by Steve McLean 32 Classic – Trevor Hurst 33 Disc Reviews 34 Gig Posters

STAFF & CONTRIBUTORS Publishers Darryl Fine Harris Rosen Editor-in-Chief Darryl Fine Editor Karen Bliss Art Department Curtis Austin

Contributors Karen Bliss Dominic Bugatto Keith Carman K.Curtzel Colin Devenish Seth Fenn Tony Holiday Clayton Hayes Trevor Hurst Mitch Joel Nick Krewen Liisa Ladouceur Steve McLean Erin Smith Eric Wilson James Wright

Photography Dan Couto Heller Steve McLean Paula Wilson

Advertising Melanie Dark [email protected] 538 Queen St. W. 2nd Floor , M5V 2B5 P 416-203-1407 F 416-504-7571 www.gasolinemagazine.com Gasoline is published by Gasoline Magazine. All materials © Gasoline Magazine 2004. All rights reserved, may not be reprinted without the written permission of the publisher. LOWDOWN Galilieo, Killer Queen, and Khashoggi, the futuristic tale features more than 20 of Queen’s biggest hits, including “We Are the Champions,” “Bohemian Rhapsody,” “Crazy Little Thing Called Love,” and “Another One Bites The Dust.” “In many cases, it’s uncanny how much the songs tell the story that needs to be told at the time,” says Queen guitarist Brian May, musical supervisor on the production. Writes Fallen Follow-up “They are very dramatic and they’re often sung with the voice of someone who may be Evanescence has started writing for the frustrated or needs to break out of some- follow-up to 2003’s multi-platinum release, where, the expression of how he feels about Fallen. The Arkansas rock band had some his love and his life. time to work on ideas at home, before “I don’t know if it’s luck or not, but all our embarking on its summer tour. songs speak about human emotions and human The new material marks the fi rst time fears and human aspirations. It’s a good home singer has written without guitarist for the songs in the musical. It’s a rock show , who co-wrote all the material on like there hasn’t been a rock show before in Fallen, but left the band mid-tour last year. the theater.” – Colin Devenish Lee and her bandmates – guitarist John LeCompt, drummer and guitarist – are all contrib- uting to the new songs, but haven’t yet set a studio date. “We’re really enjoying the writing process,” says Lee. “Everybody’s been writing separately, then we’re going to come together with all the ideas.” With Fallen featuring such songs as “,” “Torniquet,” “My Last Breath,” and “Haunted,” Lee admits she’s still delves into her dark side for lyrics. “I go into a fog for a couple of days and lock myself up and work and it’s usually Hyde & Peep’s New Label somewhat of a dark place. It’s one part of myself, this band. It’s one aspect of me. en’s Marc Costanzo and That ‘70s Show’s “I’m a goofy, nerdy normal person really,” L Danny Masterson are forming a label with she says, “but I have issues, and the band’s two other partners. Leaning towards the a place for all my issues. For me to be that name La Famiglia, or simply The Family, they dark character and hone in on the things are talking with potential distributors in that are wrong with me, that’s where my Canada and the U.S. inspiration comes from, usually.” “We’re going to need somebody to A visit to a movie theatre even yielded a put some money into some of these acts. couple of vampiric ideas. “I saw Van Helsing (But) I (also) have my own studio so I – I know it’s stupid but I was visually (inspired) know how to make records for zero dol- and I went home and played piano all night.” lars,” says Costanzo. As for titles, she jokes, “One’s called ‘Helsing.’” The domestic signings are Baby Blue – Karen Bliss Soundcrew, which is managed by another partner Daymon Green, as well as rapper Bishop and reggae artist Fire Kid Steenie. Len’s U.K. manager Graeme Lowe is the fourth co-founder. He has given the label full rights to his management clients, including rock band Black Rebel Motorcycle Club (B.R.M.C.) and singer Amanda Ghost. Los Angeles-based Masterson, who portrays Steve Hyde on the FOX TV series That ‘70s Show, and appeared in Len’s video for “Feelin’ Alright” in 2000, is also a hip hop DJ. He plans to compile cool mix CDs with Queen Musical Will Rock Toronto television and film actors, athletes, and other well-known personalities. “He’s been dying The remaining members of U.K. rock legends to do stuff with all kinds of names,” says Queen will bring their musical, We Will Rock Costanzo. “It will blow you away.” You, to Toronto starting in June, 2005, at the Costanzo has struck a separate deal Canon Theatre. The playwright, Ben Elton, will with Outside Music in Canada to release direct the Mirvish Production. a Len compilation consisting of songs After a triumphant two–year engagement recorded between 2001 and 2004. Len’s in , , an American adaptation last album, 1999’s You Can’t Stop The Bum of the show recently opened at the Las Rush, sold more than a million copies Vegas. It’s also playing in and Spain, worldwide and achieved platinum sales in and is slated to open in Moscow and Germany. Canada, due in part to the enormous pop Featuring characters such as Scaramouche, single, “Steal My Sunshine.” – Karen Bliss IIanan BBlurtonlurton bbehindehind thethe boardboard aandnd iinn ffrontront ofof thethe micmic By KKeitheith CarmanCarman

CC’Mon’Mon : KatieKatie Lynn,Lynn, IIan,an, RRandyandy Phhotooto : PaulaPaula WilsonWilson

The air is thick with the sweat of a ized that there are a lot of amazing becoming one of Canada’s unsung un- night’s passion. A sea of cables wrap people out there that support great derground rock heroes, considering he around the room at Toronto’s Chemical bands. Today, I feel totally honoured was initially turned down for the drum Sound recording studio like some sort by the people that stand behind me. seat in a pre-major label Cowboy Junkies of electronic jungle. Various instruments There are so many people that do because of his age. Unfazed, the teenager in questionable states of repair lie about, this for the absolute love of it. That’s formed Change Of Heart, which put out abused by efforts to wring that special a beautiful thing (and) I feel hon- 10 independently-recorded . Two take from their mangled bodies. oured to be a part of that.” were licensed to Virgin , This is just another day in the life of Even more beautiful is watching C’Mon including the fi nal one, 1997’s Steel Teeth. Ian Blurton, legendary CanRock singer/ fl ail about the stage and hurl musical and It also spawned his production career. guitarist/producer. The scenario could verbal abuse at capacity club crowds. He has since helmed recordings for such either be for his own power rock trio Quickly becoming one of the country’s acts as Woo, The Weakerthans, C’Mon, kickin’ out a rousing set of MC5- strongest bands, C’Mon is the culmination Skydiggers, The Illuminati, Amy Milan meets-The Who rawk ‘n’ roll or behind of 20-plus years experience. Powerful and (Stars), Nefarious and MC Collision. the board as producer for one of the bold without being brash or confron- “(Recording) has always gone hand- many indie acts that seek out his talents. tational, this is a fresh side of Blurton, in-hand as far back as Change Of After a solid 22 years at this, Blurton accented by C’Mon’s strong connection Heart and recording us on portable is comfortable in either setting. Yes, with and talent of his girlfriend, bassist machines,” he relates. “Curious, even- 22 years, an endless lifetime commit- Katie Lynn Campbell (Nashville Pussy) tually I just started bugging bands to ment to the pursuit of the perfect song and drummer Randy Curnew (The Swal- let me record them. We tried stuff that has made the bearded, jean-jacket lows/Cash Brothers). The band’s inde- and it went from there.” sporting, enigmatic Blurton one of The pendent debut, Midnight Is The Answer, Yet despite the notoriety which Great White North’s more enduring, confi rms all expectations of high-octane, has gone so far as to see him dubbed respected and golden-haired messen- rock ‘n’ roll might. “Sir” Ian Blurton by Tricky Woo gers of rock ‘n’ roll. “C’Mon is a combination of trying frontman Andrew Dickson, Blurton From his earliest years (“half of my life, to get better individually with honing still maintains his humble outlook. 16 to 32,” he sighs) fronting independent our craft down to a point (and) all of “I feel lucky to be able to keep rock heroes Change Of Heart to blasting the elements of things we like,” says doing this,” he says. “Other people in lead for -based aggro- Blurton. “That’s why I started playing in society have chosen to make a stronger rockers Bionic, spearheading namesake the first place, to create music I’d want financial living and that’s fine for them. Blurtonia’s melodic output, and, most to hear, and I get that from C’Mon. I It hasn’t been easy all the time for me. I recently, forming C’Mon, Blurton has paid really love playing in this band. It’s given haven’t got any money, but I have great more than enough dues. But he’s been up me a renewed sense of joy in my play- friends and some totally fucked-up for it since day one. ing. There are childlike qualities in the experiences I could never buy. I just “I always knew what I was gonna do,” way I enjoy playing in this band. I always hope that I’ve played great shows and Blurton says, fresh out of a recording ses- wished I was doing things like that, but treated people well. If anything, I hope sion with Montreal punks Le Nombre. “I now it’s the ability to take everything that I’m seen as that.” just got caught up in that energy of early I’ve always wanted to do and put it into C’Mon is currently on tour in , KISS and . The one package. It’s exciting.” Canada this fall with Toronto’s The further I got into music, the more I real- Strange that Blurton would wind up Illuminati.

8 SSumum 4411 escapesescapes wwarar zzoneone wwithith CChuckhuck By Karen Bliss

Everyone is safe and sound at the Toronto headquarters from the group’s hotel to the UN compound, none of the for War Child Canada, a charity to aid children affected 13 tracks on Chuck are specifically about ’s life- by war. “It would seem that all our humanitarian work threatening experience there – not even the single. will now be done from these offices,” laughs Sum 41 “That song was being written while we were in the drummer , aka Stevo. Congo, so it doesn’t really have anything to do with the In May, thousand’s of miles away in Africa’s Democratic Congo,” says guitarist Dave “Brownsound” Baksh, 24, Republic of Congo, the multi-platinum Toronto-based sitting in the boardroom, his right arm freshly bandaged rock band; management assistant Jeff Marshall; War from a voluntary wound, a new tattoo. Child’s Dr. Samantha Nutt and Dr. Eric Hoskins; and “You can relate it to the Congo,” adds bassist Jason producer/directors Adrian Calender and George Vale “Cone” McCaslin, 24. found themselves trapped in a war zone, where they “You can relate it to lots of things,” says Stevo, 23. were filming a documentary, now titled Rocked: Sum 41 Sum 41 frontman , 24, who wrote In The Congo. the lyrics, is absent from the conversation, having just Three months later, under happier circumstances, Nutt, relocated to Los Angeles. Hoskins and three of the band members gather ‘round “We’re hopelessly blissful and blind to all we are,” goes Marshall’s lap top in War Child’s front office – not for a one line from the song, which juxtaposes an angry debriefing, but to hear Sum 41’s new single, “We’re All To forceful vocal in the verse with a softer reflective chorus. Blame,” from the forthcoming album, Chuck, (due Oct. 12), “It’s about the state of the world today,” Whibley says the follow-up to 2002’s Does This Look Infected? on the phone line a few days later from the set of the While the new disc is named after the Canadian United “We’re All To Blame” video shoot. “Whatever we are as a Nations volunteer who spearheaded the evacuation plan society and culture, it’s taken a while to get to this

Photography & Digital Imaging: Dan Couto / FactoryFoto Grooming: Eduardo Mella / The Artist Group Wardrobe Styling: Amy Lu / Judy Inc. point, and we’ve all contributed to and long-lasting qualities. It’s a completely “On the last record,” says Cone, “we it somehow. Everybody’s to blame, matured and positive indication of where ended with ‘Hooch,’ which was a fast somewhat, even if it’s just ignorance they’re going.” song, but had a soft sweet-sounding or if there’s a direct involvement.” melodic part, but was really slow and Back at the War Child offi ces, an unlike anything we had done. Deryck The band, friends since high school in appropriate setting for the interview, thought it would be cool to end it like Ajax, Ont. , just east of Toronto, signed to the guys say nothing of maturity and that again, but make it longer.” Island/Def Jam in the U.S. and Aquarius depth. The conversation, as usual, is Later on the cell, Whibley talks a little in Canada after the guys showed their fi lled with laughter and nutty comments about the lyrics he writes so well under true colours, via an electronic press kit, from Baksh joking about pulling out pressure. “There’s No Solution” is a complete with water-gun drive-bys and a didgeridu onstage in the band’s personal song about self-doubt, while a pizza grab. Subsequent showcases at newfound quieter moments to Whibley’s “The Bitter End” is about what happens the now defunct Ted’s Wrecking Yard in apparent adoration of Whoopi Goldberg when we die. “Angels With Dirty Faces” Toronto included a trampoline and Martin and her Sister Act fi lms. is about drugs, and “No Reason,” is about Lawrence cut-out. Now, this very same “The majority of the album is heavy. the “state of the world.” cast of characters wanted to do its part Some are heavier than others, like Originally, “No Reason” was supposed to help children in war-torn countries. ‘Welcome To Hell,’” says Stevo. to be the fi rst single, but the band wanted , Sum 41’s co-manager and “But there’s also some of the softest to insert a different chorus, taken from frontman for Toronto rock band treble songs we’ve ever done,” points out Cone. the song “No Control.” In fact, Sum 41 charger, sent War Child an email in The softest, “Slipping Away,” Steve still had that to do, plus other tweaking January, inquiring how Sum 41 could get calls a “half-song,” originally intended to the album, when it took a break in late involved – a benefit concert, an album to be an “intermission” between the May to go to the Congo with War Child. or, particularly, a trip oversees. Given album’s heavier material. information on the Sudan, Uganda “It’s only two minutes,” says Stevo. The violence in the Congo (formerly and Democratic Republic of Congo “Deryck played piano on it and there’s The Belgian Congo, then Zaire) has been to peruse, the band chose the Congo. at the end. There’s acoustic on and off since King Leopold’s reign. The Stevo, in particular, was passionate in parts, but it’s not like civil and regional war broke out again in about going there, after reading kumbaya acoustic.” historian Adam Hochschild’s 1999 book Of “Some Say,” Stevo says, it’s clearly King Leopold’s Ghost, detailing the not pop. “No, none of them are pop 1880s Belgian ruler’s colonization of songs, but that one is slower. There’s an the Congo and slaughter of millions. acoustic guitar. It’s softer…” However, before Sum 41 could make “It’s almost ,” says Cone. the trip, it had to make a new album. “Without the tie-dye,” cracks Baksh. Nori, who produced the band’s very Cone: “It’s in the same vein as ‘Handle Sum 41 escapes war zone with Chuck fi rst demos in 1996, and has produced all This’ from All Killer...” “ WELCOME TO BUKAVU, THE TOURIST CAPITAL OF THE CONGO” Chuck: In helmet

the recordings since, except for 2001’s All Baksh: “Same sort of idea, but it’s 1998, partly over pressure attributed to Killer No Filler, would again be behind the better, more melodic.” the Rwandan genocide, but also over the board. Matt Hyde (, , treble “The Bitter End,” Cone calls “a ripper.” country’s rich natural resources: oil, gold, charger) was hired as engineer. After Stevo: “That’s infl uenced by .” diamonds, timber, and a mineral called preproduction, in March, they went to L.A. Baksh: “Fast and heavy. There’s a solo coltan, commonly used in cell phones. to Sound City where Stevo laid down the that goes on for a minute. They said, ‘Hey, For the documentary, which will be drums. Then, to be closer to home, and make a solo that sounds like Kirk Hammett!’” ready to shop to television networks more cost effective, they did the rest in Did he make faces too? “No, no, but I in October, Sum 41’s agenda entailed Toronto at Reaction and Umbrella into did get the hair plugs,” Baksh quips. visits to refugee camps and child soldier early April. As usual Whibley wrote his Stevo: “He permed his hair.” rehabilitation centres in Bukavu. lyrics at the eleventh hour. “He always “Angels With Dirty Faces” was Staying at The Orchid hotel on Lake comes through,” says Nori. named after Whibley read an article on Kivu, a UN-brokered peace accord deal The songs include the heavy metal Sum 41. “The journalist called us ‘angels had been in place for two years and the assault of “The Bitter End,” complete with dirty faces,’ and was going off on idyllic town, full of UN peacekeepers, with a speedy guitar solo to the acoustic- how we do drugs,” recounts Stevo. had been calm for three. At the main launched “Slipping Away,” which contains Dirty with angel faces seems more accurate. entrance to the town, a big blue arched cello and piano and beautiful gentle vocals “Yeah, far from angels,” Stevo laughs. sign extends right across the road, from Whibley that barely sound like him. “I love the fact that even Christians declaring, “Welcome to Bukavu, the “Some Say” is almost pop with an Oasis- make fun of us,” says Baksh. tourist capital of the Congo.” type feel, and the closing track, “88,” goes “Next thing, it will be Scientologists. A week into their 9-day visit, the from pounding rock to orchestral back to and Kabbalists,” deadpans Stevo. members of Sum 41 had experienced rock to menacing metal and dissonant new The album finale, “88,” is so titled what Stevo calls “eye-opening” and age/avant-garde. because the tempo is 88 beats per “sometimes uncomfortable” talks with “For me, it’s the most substantial album minute – not because it goes in kids. “There were girls who had been they’ve done,” says Nori. “It’s got depth about 88 different directions. raped. It was diffi cult to listen to, but Cone I’m sure it was more diffi cult to tell, so it was bring my computer or my make-up bag?’ ‘No. important to have it be told. Put it down. Let’s leave.’” “Other times, it was fun,” says Stevo. “Dave “When we all got to the UN compound, it and I met these girls, around (age) 10, accused was all hugs and kisses,” says Cone. of witchcraft, who had been kicked out of But there was still more danger ahead. their houses, but they are normal, great girls, Eric Hoskins, War Child Canada’s president and all had crushes on Dave.” who is married to Nutt; information offi cer “You know, it turned out that they Sebastien Lapierre, the group’s Canadian actually weren’t witches,” adds Baksh. contact at the UN; and Igor Bulgakov, a senior “Then we just played soccer,” says Stevo. UN military offi cial at the joint operations When they returned to the hotel, there was centre had to get a different set of 40 people little to do, except drink, play dice, and sit in (there were about a thousand assembled at their rooms. The downtime would yield “We’re the compound) to the Bukavu airport, about All To Blame.” a 90-minute bus ride away – which meant Whibley awoke one day at 5 a.m., and, driving 10 minutes right through enemy bored, picked up his guitar. “No one was territory heavily occupied by gun-toting up yet, so I started writing. I was working rebels – to government-held territory. on the song all morning and then half-way War Child Canada had chartered a plane Deryck through the day, all the guns and bombs and called pilot Lary Strietzel of Uganda- started going off,” says Whibley. based MAF airline, which was on stand-by. The song escaped him as he escaped danger. He bravely came to get them in the middle Dr. Nutt, War Child Canada’s executive of the turmoil (not 24 hours later, rebels director, says UN peacekeepers notifi ed surrounded the airport and killed a number them that the Congolese had detained some of government troops and civilians). The party senior Rwandan offi cials who were trying to of nine took the two-hour fl ight to Uganda, pass back into Rwanda a kilometre away, and where they decompressed for a few days, they went back into town and started “an old before fl ying to the U.K. and eventually home. fashioned shoot ‘em up,” she relays. “We were Whibley visited a friend, then rejoined the in a hotel that was inconveniently placed – but guys for shows in the U.K. and U.S., and didn’t conveniently close to the UN.” get back to Toronto until two weeks later. Cone says they could hear the popping “The day that I got home, I started playing of the mortar rounds and gunfire. “It was my guitar and started playing this song,” really close.” Whibley recounts of “We’re All To Blame.” “It was day time,” adds Stevo. “You could “I was really surprised that I remembered it see attack helicopters that are the UN’s, and because while we were there, there was no Dave you could hear bullets (fi red). And then, when electricity, so I couldn’t record it. It was just in they started shooting more around the hotel, my head. And then the war started. the hotel shook.” “So when I got home, I remembered it Enter Charles Pelletier, the now infamous exactly. I thought that was a really good sign, Chuck, who hails from Victoria, BC and is so I made a quick little demo of the part that camp manager at Organization I remembered and I showed it to Greig and Mission in the Democratic Republic of Congo people in my record company, and everyone (MONUC). “He was a UN volunteer,” says said, ‘That’s the best song on the album. You Stevo. “He used to be in the Canadian military. have to fi nish that.’” He was staying at our hotel. When everything So they did, fi nally completing the album. broke loose, he went into military mode.” Taking refuge in ground-fl oor rooms, Pelletier herded the hotel’s 40 or so occupants into the lobby in small groups, along with two senior Sum 41 doesn’t know yet how Chuck feels South African peacekeepers. Together, they ran about his name gracing the cover of its third with everyone to armored personnel carriers, full-length album, but, by all accounts, it could’ve which took them to the UN compound just a been called Sebastien or Igor or Eric or Lary. half-kilometer away. Getting one of Canada’s top bands safely home, Stevo There was reportedly no Seinfeld or Almost and ready to rock, was a collective effort. Famous about-to-die moment, confessions of And the guys may never wish to repeat the love, hate, hit and runs, or sleeping with another’s event, but they will undoubtedly repeat the girlfriend. “Everybody was just really quiet. There’s story, perhaps embellishing the danger with not much to talk about,” says Stevo. every telling, and will be inextricably involved “The only thing you’re going to do by with War Child Canada. getting all vocal and weird is freak everybody As Stevo puts it so well: “All hell broke else out,” says Baksh. loose and we almost died, but I didn’t have “I did yell at a few people because they this religious epiphany. Given what happened were taking so fuckin’ long,” remembers to all of us, we’re still pretty grounded. I just Stevo. “Chuck was like, ‘You can’t bring look at the world a little differently now. I’d anything. You’re about to die.’ ‘Well, can I just like to help more. ”

12 Video Empress’s Ultimate Creation By Nick Krewen Floria Sigismondi’s internal manifestation of her frustration

the reason I enjoy doing them so much is that they come from me.” Before BTBB comes to fruition, there are a couple of mid-September exhibitions at New York’s Deitsch Projects and The Spike Gallery. And in 2005, a book of her photographs will be published by Die Gestalten Verlag, no doubt featuring Sigismondi’s unique and immediately identifi able signature. It’s a surrealistic vision that permeates most of her work, ranging from early videos like ’s “The Birdman” and The Tea Party’s “Save Me” to more recent classics: Amon Tobin’s “4 Ton Mantis,” Interpol’s “Obstacle 1,” ’s “The End Of The World,” Sigur Ros’ “Untitled No. 1” (MTV Europe 2003 video of the year) and ’s “Fighter” (MVPA 2004 pop video of the year). She’ll be the fi rst to admit you’re getting as much of her, if not more, than the artist you’re watching. “It’s more of an internal manifestation of my frustration, like Incubus’ ‘Megalomaniac,’” she explains. “Usually the lyrics conjure up some interest in me, unless it’s something like Sigur Ros, where the soundtrack made me cry. But what’s extremely frustrating to me at the time is Floria from Interpol’s “Obstical 1” where I need to put all my energy.” Her current preoccupation is war “ imagery, especially since the terror of In order to find ourselves, we must two weeks when I found out,” Sigismondi 9/11 occurred a mere block-and-a-half destroy ourselves. The human race admits from her New York apartment, from her Big Apple apartment. craves the experience.” although she’s negotiating to buy a house “It really affected me, because If you think this quote is a statement in Brooklyn where the family will reside all the soldiers were here, in their from one of those high-and-mighty when she’s not in Toronto. combat uniforms and wearing gas philosophers like Freud or Nietzsche, Used to long periods of solitude to masks,” recalls Sigismondi, who was guess again. The author is Floria stoke her fertile imagination, she explains, in Toronto at the time of the World Sigismondi, the Italian-born, Hamilton, “I was kind of unstable with the whole of Trade Center attacks, but returned Ont.-raised provocateur. what’s happening to me. And then, I was to New York two weeks later. Provided to introduce Come Part just thinking of the birth as the ultimate “It was incredibly surreal to walk Mental, her fi rst major exhibition of creative thing – the human being. Working around this big, international city at photographs, installations, sculpture and with kids on the Sigur Ros video, I night wearing this gas mask and hearing videos for the Museum of Canadian learned there was something really your own breath. That quite affected Contemporary Art back in 2001, the freeing and amazing about their souls, not me, and I think that’s where the Sigur quote could equally apply to the majority being dampened by the rules that we are. Ros stuff came from. of her disturbing, yet riveting, rock videos. “As adults, if we’re hungry, we just “War images are the ultimate Whether it’s the Mussolini go get something to eat. Kids yell, ‘I’m morbid images. My preoccupation is impressionism for her classic Marilyn hungry!,’ or ‘I’m tired!’ and they lie on more into that world, because they’re Manson clip “Beautiful People,” or the fl oor. It was incredibly freeing. I’d just so prominent today, and the idea the animated fury of Incubus’ chiding love it if people, when they were tired, of loss of control, too, I think that’s “Megalomaniac,” or the war-torn would just lie on the fl oor. what I’m feeling – where freedom is imagery of Sigur Ros’ “Untitled No. 1,” “So I think it’s just another stage of at the edge of the cliff.” Sigismondi’s visual fl air is dark, distinctive, things to discover and I’m actually looking Although she readily admits she compelling, and, perhaps, the most forward to it. But the isolation – I don’t doesn’t “intellectualize” her art or the consistently imaginative forays into a think I’m going to get that, am I?” motives behind it, Sigismondi does seek medium inhibited by MTV parameters Well, yes and no. Along with the the truth within, and, hopefully, some – and it’s made her an international demands of parenthood, the common ground with others. sensation in the music community. College Of Art alumnus plans to buckle “What I do intend is to go deep Perception being the fuel of down to the solitary task of writing inside and get the truth out of me, or creation, then it’ll be interesting a screenplay she intends to direct, something out of me if I’m afraid of it to see what the future holds for realizing a lifelong dream of helming a or angry,” she says. “Maybe once you go Floriavision because her life is about feature film. It’s important to her after deep down inside and get rid of all that to irrevocably change. In October, reaching an impasse for her own big stuff, maybe we’re all the same, with Sigismondi and her husband, Lillian screen version of the 1947 unsolved same desires or same angers.” Berlin, singer of the politically murder case The Black Dahlia. And perhaps the happiness and charged St. Louis trio “I just decided to write something of rewards that come with motherhood. Living Things, will welcome their first my own,” says Sigismondi of Behind The By the way, it's a girl. child into the world. Ballyhoo . “I think that’s maybe the “Who else is going to inherit my “It was a pretty scary thing for the fi rst best thing. If you think about how I create, wardrobe?” she laughs.

14 Is ‘screamo’ just a bullshit term?

By Karen Bliss of Alexisonfi re

Set 1973’s Exorcist star Linda Blair’s release had sold more than 20,000 to scream for the band in 2001, says demonic vocal emissions to aggressive copies, and is now gold (50,000). Many he had heard the term “screamo” or rock and you might have the roots of domestic signings with major label push “screamocore” tossed around back “screamo,” the newest buzz term in the and radio play haven’t sold as much. then, but not as much as nowadays. “I’ve music industry. It’s an unlikely lineage, In the U.S. where the band is on Equal always wanted to have a band that had but just as viable as tracing its roots to Vision, Watch Out! scanned 4,600 copies a frontman who was aggressive and in- metal, punk or sub-genres hardcore, fi rst week out, and continues to move your-face and that’s why I wanted to and . between 1,000 and 1,500 pieces a week, have George spitting on the mic,” he Haven’t rock singers always screamed? again without radio. The band is on Eat explains. “I don’t think we invented the Haven’t those who don’t understand the Sleep/Sorepoint in the U.K., Defi ance screamo market for Canada. I would music always complained “It’s just noise” in Germany, Shock in Australia, and never say that.” or “They’re just screaming”? Imperial in Japan. Mark "London" Spicoluk, co- Why is from Motörhead “There’s this underground network of founder of Toronto-based punk label any different than Entombed’s devilish with-it kind of bands and record labels and frontman growls? How the hell is one to that kids tap into and it’s been going for Closet Monster, believes‘90s Swedish distinguish between screamo and metal on underneath the noses of the major act was instrumental in bringing and hardcore and nu metal and and industry,” explains Pettit of how kids screamo to the generic punk rock fan oh-no and what the fuck? know about Alexisonfi re. with the Epitaph release of 1998'sThe In a nutshell, “screamo,” which stems Unlike some who abhor Shape Of Punk To Come. from another buzz-term “emo,” is simply being categorized, Pettit doesn’t scoff at "It's the most obvious reason for emotional music with a screamer, well the term “screamo.” everything in the underground turning emotional heavy music with a screamer. “There’s a defi nite ,” Pettit that direction," Spicoluk says. "As soon But as New Jersey’s Dave Ciancio, agrees. “It all kind of started in the as that record started selling they broke manager of Thursday, , mid-‘90s with this band called Grade up as a band, but kids went ape shit over God Forbid, and others says, “What from Burlington (Ont.). Grade got the it, and then everybody's band and their music isn’t emotional? Maybe you could ball rolling for (in brother started sounding like Refused." argue Jimmy Buffett isn’t emotional, but Canada) because you had these guys U.O. artist Rody Walker, who fronts if you’re not putting emotion in your that were from these known hardcore Whitby, Ont.’s , like music, then why are you writing music?” bands playing more melodic screaming Pettit, also cites the burgeoning of Leading the screamo pack in Canada music. It really took off, and then it kind screamo in Canada with Grade, but is St. Catharines, Ont.-spawned of disappeared for a little while, and the says it really caught on with the music Alexisonfi re. The band is getting zero to bands started coming out again. of Alexisonfi re and Burlington, Ont.’s no mainstream , but has rabid fans “(In the States), you had bands like Boys Night Out. PTH’s earlier sound, that sing along to every word. What’s Thursday, who were doing the whole Walker says, was derived from listening unique about the band is it pits George scream verses singing thing and, yeah, to bands like Dillinger Escape Plan and Pettit’s expressive screams against Dallas there’s defi nitely a scene for it now. If Between The Buried And Me, but still Green’s melodic singing, but both do you consider that in Southern Ontario infused melody. what they do exceptionally well. alone, you’ve got Silverstein signed However, he seems disillusioned Watch Out!, Alexisonfi re’s second to Victory. We’ve got us, obviously, with the genre now, after seeing such album (2002’s self-titled debut scanned Alexisonfi re. You’ve got Boys Night Out, marketable acts as and Story 30,000 copies) debuted in June at No. who are signed to Ferret. These are all Of The Year. “We’re really trying to 6 on the Top 200 Nielsen SoundScan bands that have the melodic screaming stay away from that screaming market Canada chart, selling more than 6,500 sound to them.” now. It’s just become over-used and copies in the fi rst week. Two months Alexisonfi re’s guitarist Wade MacNeil, very tired. The delivery is no longer later, the Distort/EMI Music Canada the guy who actually invited Pettit interesting. It’s just to compensate for

16 “My dad would just call the stuff heavy metal “– Josh Grabelle

lack of creative ideas. That’s my personal It’s just that metal turned into something sort of the thing, except the singer does belief. Screaming is supposed to be used a bit more groove oriented and not all the singing and the drummer does all as a very rhythmic instrument, and I so guitar solo heavy, and it changed the screaming, and then a lot of bands don’t think people get that. I don’t think from singing like Bruce Dickinson to the singer does everything.” it’s supposed to be used as a melody.” screaming half the time. You can’t go Manager Dave Ciancio just thinks the Besides Alexisonfi re and Boys Night anywhere else in metal. You’ve already whole screamo label is dumb. Out, lesser known Canadian acts like played as fast as you physically can “I’m probably not the best person Blue Skies At War, Abandoned Hearts – bands like Napalm Death. to ask,” he says. “I think the word Club, The End, and the now defunct End “Or tuned down as low as you can ‘screamo’ is an industry term and This Week With Knives fi t into that go – bands like Bolt Thrower and most bands that are being labeled as vein, but why then wouldn’t Billy Talent Cannibal Corpse. Or something that ‘scream’ have no desire to be labeled or Death From Above 1979 not be just growls and plays heavy riffs. And as screamo. It’s become an A&R buzz “screamo,” if indeed they have elements then you play as slow as you can in a word or industry people to be able of screaming? Where’s the line? genre of music like doom metal. They to genre-lize something. “It’s pretty hard to trace it,” says have Trouble that has been around for “I think if you went and asked the Pettit. “But hardcore came out of 20 some odd years and you have Kyuss if they were punk rock and all these sub genres and Cathedral and bands of that genre. , they’d say, ‘I don’t know. We came out of hardcore.” And there’s straight-ahead heavy metal play rock ‘n’ roll.’ And if you went up The differences are so subtle, they like Motörhead. Every genre has been to Thursday, , Story Of The border on absurd, believes Josh Grabelle, touched on at one point or another.” Year or , or any of these president of New Jersey-based Trustkill Carl Severnson, president of New bands that are being pigeonholed Records, whose roster includes Poison Jersey’s , which signed as that, they’d probably say, ‘I don’t the Well and . He cites ‘80s U.K. , Everytime I Die, know. We’re not that.’ hardcore band Embrace and ‘90s and Canada’s Boys Night Out, points “I think the favourite term is ‘punk ‘emocore’ band as the finger at music journalists for indie hardcore’ or ‘post hardcore.’ It’s spawning the genre 10 or 20 years ago. creating the term. “ and one of those things where I don’t think "My dad would just call the stuff heavy others are begging for a name to any band ever said, ‘We’re going to be a metal because he can’t tell the difference, hang on the next big thing and emo screamo band.’ Any band that is trying but someone who is really involved with wasn’t good enough I guess. But it to be a screamo band is doing it because it will call one thing metalcore, another kind of works,” Severnson admits. they’re trying to buy into the music screamo," says Grabelle. “It all stems out of hardcore music. business. People need to be able to "Screamo is definitely something As Warped Tour came along, and you associate things with a movement or a that the media picked up at a certain have bands that have roots in hardcore style or a genre, but it’s a bullshit term. It point, probably with some of my bands and punk rock, they expanded to more doesn’t really mean anything.” like Poison The Well or Hopesfall. people, and more and more kids got into So what’s next? Femo or femocore Everyone has their own view. A band it that didn’t have those older hardcore – a female emotional screamer? like Hopesfall, someone is going to call roots. They grew up on maybe Thursday Besides the raging Candace Kucsulain them metalcore and someone’s going or or stuff a little of Trustkill act Walls Of Jericho, to call them screamo. I just call them a earlier than that. they’re hard pressed to find. “There’s really cool rock band." “It’s defi nitely a newer spin. I could a little bit more of a female presence Greg Below, who runs Toronto run off a list of about 80 bands that are than there was, but, for the most hard music label Distort, which signed doing it right now. From Autumn To part, it’s pretty much a sausage Alexisonfi re, says it’s only natural that Ashes are probably the heaviest of all party out there, which sucks,” says new sub genres crop up every few the bands, but the drummer does all the Alexisonfire’s George Pettit. “I don’t years.“Music has to go somewhere,” he melodic stuff and the singer does all the understand why there aren’t more says. “Where did nu metal come from? heavy stuff. same girls in bands.”

Photography: Paula Wilson Stylist: Tony Holiday, assissted by Shawna Meggers Make up: Lisa Bromhead Hair: Dwayne and Jodi, Coupe Bizzare Clothes available at Spy Lab, Damzels in this Dress and Puma

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19 The Existence Of ngels ABy Mitch Joel “This band went through the fucking saddest of roller coasters, but came out the other side to some joy,” says Jeff Martin, frontman/guitarist for rock trio The Tea Party. “If you listen to this re- cord and you don’t get it, I seriously have to wonder if you indeed have a soul. “ Considered by many as dark, brooding and majestic, The Tea Party is back with its ninth disc, , an album The Tea Party turns tragedy into a musical triumph Martin considers “the best thing this band has ever done.” The band – Martin, (bass, keyboards) and but he always pushed me to try more.” time for any of the bullshit anymore. (drums) – formed The Tea Party 14 For Seven Circles, The Tea Party went The one thing that Steve taught us in years ago, in Windsor, Ont. Now based to Maui, “Steve’s favourite place in the his very brave battle with what he went in Toronto, it has become one of the world,” to record three songs with through is, and even though it’s a cliché, most recognizable rock bands in Canada, producer (Metallica, Bon Jovi, life is short. I needed to get to the always true to a driving that ). “It was great to watch one point as quick as possible. “ echoes with shards of , tradi- of the masters of rock take on The Tea Martin, who believed Hoffman would tional blues, monumental arrangements, Party and see his interpretations of our visit Maui with the band if it returned to and even modern electronica. music,” says Martin. “I obviously had some do some more songs with Rock there, Though many personal issues ensued concerns, but I kept them to myself and wrote Seven Circles’ “If I Promise An during the past two years, the most tragic let him do his thing. It turned out for the Ocean” for him. And “Stargazer” and the was the passing of its manager, Steve best for those three songs.” fi rst single, “Writing’s On The Wall,” the Hoffman, who stared down lung cancer The Tea Party fi nished the album in singer believes, is going to bring a lot of with dignity and strength to the very end Toronto with (Billy Talent, joy to others because of their immediacy. in October of 2003. Hoffman, 38, was an , Thornley), known for “Just listen to this record,” encourages integral part of the band’s success. bringing his vision to a project. “I wanted Martin. “I have seen a lot of fucking things Over the years, he encouraged Martin, a sounding board and someone who is in my life. I’ve seen both terrifying and who is overly protective of his band and very ‘now,’” says Martin. “Gavin was very beautiful things. I’ve always questioned music, to “let go” of his reigns as the main respectful of the whole situation and just the existence of angels. Since Steve has and producer for The Tea put his input in when he thought it was passed away, I do not question that any- Party. Martin admits that he relented for necessary. He was more of a song doctor more. My life was very much a struggle. the recording of Seven Circles, in part, as for the arrangements on the bigger songs When he was struggling, I was struggling. a tribute to his close friend and manager. to make them that much more accessible Every day since he has passed away, my “Steve believed that there was a way to for today’s climate.” life has exponentially become better.”

make an incredible Tea Party disc without For a band with a propensity for The Passion of The Tea Party me wearing all of the hats,” says Martin. Shamanism, esoteric books and lyrics and The Tea Party single, “Relearn Love,” “He knew there was a way for me to shrouded in mystery and hidden mes- from The Passion of Christ DVD, is already at radio, and the band may return to South Beach, FLA. to write a whole still be captain of the ship and be able to sages, Martin’s baritone vocal attack and album with the former Creed singer. “Steve used to say to me that one day I would work with focus more on the songwriting. After The lyrics on Seven Circles are a complete Scott and I was like ‘Fuck off, no way, it will never happen.’ Well, it’s happening,” says Martin. “The Tea Party was always Interzone Mantras (2001), he defi nitely one-eighty from previous efforts. one of Scott’s favorite bands and it was a dream of his to wanted us to modernize our sound. He “For me, especially at this point in have the three of us work with him. Creed broke up and he called us. I have the highest degree of standards and if this wanted me to work more on my guitar my life, I don’t have time for mystery wasn’t going to work, I would have been the fi rst one to put the other two guys on a plane and say, ‘Let’s go home.’ The sounds. My library of sounds is what it is, any more,” Martin says. “I don’t have song is beautiful, a ‘With Arms Wide Open’ kind of thing.”

24 Bush Whacking With Ministry’s Al Jourgensen

By Liisa Ladouceur

“The world’s a hell. What does it matter what There’s no mistaking Jourgensen’s recruiting.“We’re setting up voter happens in it?” – Alfred Hitchcock’s Shadow of opinion on Houses of the Molé. More booths,” he says. “I’m personally going a Doubt, 1943. than ever, it was his record to make. The out to the booths after sound check, departure of long-time member Paul for two hours a night, to register “The time is right for decision. The time is right for Barker and his digital tools freed him voters. I figure people will come if those with something to say.” – Ministry, 2004 to record live in the studio. Jourgensen I’m actually there. I’ll use any devious credits himself for “deprogramming.” method I can. I’ll trade my autograph Anyone with any brain cells left The result is an industrial-thrash sonic for theirs. It’s important. Instead of just knows that the planet is fucked. Apart assault that could have been called Psalm paying lip service to it, people need to from what humans do to each other 70. Tracks titled “Wrong,” “Worthless” get politically active. It’s about time. and their environments, there’s an idiot and “Worm” are blatant in their condem- The correction is needed.” with his finger on the button. The way nation of George W. Jourgensen is more than a little to change is threefold: education, poli- Jourgensen’s ace has always been a qualified to shoot his mouth off tics, and art. Ministry’s Al Jourgensen is sharp, sarcastic sense of humour. Not about politics. Born in Cuba, he grew tackling all fronts. surprisingly, the album’s most enter- up in Chicago, where before making The fi rst strike comes via music. For taining attacks come straight from the a name for himself in the Wax Trax! 20 years now, Jourgensen has made President’s mouth, edited and twisted scene, he earned a Ministry a force to contend with, but as around. For example: “I have a message masters degree in history from the he admits his band and his banter are for the Iraqi people...Go home and die” University of Chicago. most fi erce when the Republicans are in used in the track “Wrong.” “People are always surprised, because power in America. “It takes a lot of George W. Bush’s of the stereotype,” he admits. “To be hon- Ministry’s latest album, Houses of the rubbish and throws it back at him,” est, this whole rock thing got in the way Molé, is an unabashed critique of the Bush Jourgensen explains. “I sat through of my teaching career, which I’d like to be administration, not to be confused with about 110 hours of Bush speeches able to go do, soon. If things get boring, I 1992’s Psalm 69, which attacked the “New downloaded from www.whitehouse. have a second career besides working at World Order” of Bush Sr. org. They’re public domain. Listening Denny’s or something.” “I’ve never been a big fan of the to that dolt was probably the low-light Jourgensen even says if a White Bush family, in general. I’m certainly of recording this album. I was pretty House change doesn’t happen this not on their Christmas card list,” says delirious by the end of it.” fall, he may pack up his Texas ranch Jourgensen, by phone from his home Unlike the President, Jourgensen is and come to Canada. Anyone want to in Texas. “It was a no-brainer, with the not declaring “mission accomplished” sign up for Mr. Al’s Poli-Sci 101? policies and directions that his admin- when the job isn’t done. In partnership “I really would like to go ride off istration is taking for us and the world, with Punkvoter.org, he’s embarked on into the sunset and be a college for Ministry to do something about it. his own election campaign – to register professor. That would be my happy “It’s unfortunate that it takes that kind voters (The U.S. requires people to ending. You’re still up on the stage, of catalyst to get us motivated. It’s unfor- actively register themselves in advance after all. Mr. Jourgensen’s class would tunate that people think we only do good in order to vote). be the best. We’d order pizza and records when Republicans are in offi ce. I Ministry’s upcoming tour happens smoke crack (laughs). I would hope I don’t think that, but everyone is entitled right before November 2nd’s U.S. could at least enlighten them slightly. to their opinion.” Presidential election, and Jourgensen’s That would be my goal.”

25 Death From Above 1979: as loud as they are tall

By Liisa Ladouceur

Photo: Paula Wilson

“I don’t play loud on purpose,” explains date, at recording our band. The songs Jesse F. Keeler, the bassist, keyboardist and have actually gotten a lot crazier. The vocalist in Death From Above 1979. “I fi rst record we were just playing on the play loud to be heard over the drums.” dots. Now, it’s more insane.” Making it hard to be heard is drummer Not as insane as the life DFA 1979 has and co-vocalist , who been living in 2004. Apart from constant crashes the kit with the ferocity of what gigs in and around Toronto, the band has the duo likes to call “an elephant in your played non-stop around the globe, includ- living room.” Yes, a duo. Gone are the days ing three shows in one night in London when folks are impressed with what a and a Vice magazine party at the Canadian power trio can do. Consulate in Japan. In the meantime, it “We don’t have any extra stuff in our had to change its name: NYC production band because we don’t need it,” explains duo DFA had dibs. Rather than giving it Keeler. “ We haven’t done everything we up completely, the guys added 1979, the can do as a two-piece. When we reach year of Grainger’s birth. that point, we’ll add stuff.” The day of this Gasoline interview, With release of the band’s fi rst fully Keeler and Grainger have just returned formed full-length album, You’re A Woman, from another whirlwind jaunt, skip- I’m a Machine, the growing hype is almost ping from Japan in extreme summer to as deafening as its music. winter in New Zealand. Barring a few The success of DFA 1979 has nothing to do cold sniffles, they’re holding up well, with the guys’ towering good looks (both handling the lifestyle with a good sense well over 6 feet) or industry connections, of humour and late-night antics. It although they have both. It’s because doesn’t hurt that Keeler met his dream everyone who witnesses its live show girl in Australia, a model who uprooted leaves stunned and screaming, “Hell ya!,” and followed him home. If that sounds “Whoo!” and “Pardon?.” oh so rock star-ish, it’s really not. DFA You’re a Woman, I’m a Machine ‘79 isn’t like that. The two ham it up (released on LastGang/Universal in for the camera, but hate posed photos. Canada and Vice/Atlantic in the U.S.) They like to party, but don’t do drugs. captures much of what makes DFA “We do get as debaucherous as ‘79 great: the intense physicality of its we can within the confi nes of ‘cocaine rhythms, the depth of its groove, the sucks,’” explains Keeler. “We’ve pretend- variety in its retro-style rock riffs, the ed to be a cab before and picked people memorable melodies squeezed from up in the van.” their scratchy, pained vocals. “We also do drive-by hugs,” says It’s fi erce and funky at the same time. Grainger. “We jump out and hug people SIX FEET UNDER But compared to the band’s 2002 debut, then drive away. I guess we’re pretty PG Heads Up (Ache Records), or its blister- as a band, although we like to drink on Death From Above 1979’s music is ing live shows, it’s also more accessible, someone else’s bill and pick fi ghts too.” loud enough to raise the dead. And less punishing. Going mainstream already? So you might want to keep your eyes considering the band practises in a Not so, says the band. as well as your ears out for this pair, if former funeral home, it just might. “My “You can’t actually make a record you can spot them: besides standing out house was built in 1907,” says Keeler. louder,” says Keeler. “Our fi rst record, we because of their height, they don’t care to “One of the people who survived the paid for mastering with a bottle of whis- be famous faced local celebs. Titantic had their funeral there. It’s key. That’s why it sounds like that.” “So many bands seem content with not a funeral home anymore though. “Recording our band is so hard,” being popular in Toronto,” says Grainger. The family that ran the home have adds Grainger. “If you just put the mics “It makes you feel good I guess, to be another location now.” Good thing if and recorded like normal, it’s just noise. recognized on the street. We’re not, but you want to rest in peace. When you see our band, that sound of I prefer not to be recognized in Toronto, your ears breaking and everything going but to sell records everywhere else. into it at the same time, it mixes in your Really, I just want to live in a tugboat in ear. This record is our best attempt, to the Bahamas. It’s gonna happen.”

26 TThehe DarknessDarkness helpshelps TheThe WWildheartsildhearts

By Eric Wilson England’s has been a mere blip on the radar to North American fans for more than a decade. That’s being rectifi ed this year, fi rst with the Riff And Raff compilation of b-sides and recent singles on Gearhead Records, and recently with a brand new album of originals, entitled The Wildhearts Must Be Destroyed, on Sanctuary. It’s truly rip-your-face-off-rock without one crap song on it, much like its 1994 landmark debut, Earth vs. The Wildhearts. Pounding, infectious and catchy, the band is melodic like the , but way heavier and with better songs.It has been aptly described as The Beach Boys meet Motörhead, After eight years, the band’s long Photo: Heller overdue return to these shores came Ginger courtesy of The Darkness, which served as its opening act on a 2001 U.K. tour, and returned the favour by bringing hiatus, it has maintained a loyal following solo album then became a touring band The Wildhearts over as the support in in the U.K. and Japan, the country that has with the addition of Electric Boy Conny North America in April and again in June, released the most Wildhearts product. Bloom on guitar and vocals. exposing it to capacity crowds. “Japan is a market unto itself,” says Only available as imports in North Talking with mainman Ginger on the Ginger. “We got offers for shows there at America, and even those aren’t easy tour bus prior to the Montreal show a time when nothing else was happening to find, Ginger isn’t upset that MP3s of at Verdun Auditorium, he was in great with the band, and we still got our usual his songs can be found on the Internet. spirits over these developments. “We’re crowds, which was very encouraging.” The “Downloads, bootlegs, it’s all the same, cruising on positive energy,” he says. “We band documented the visit on its fi rst just another excuse for poor CD sales just played a sold-out show in New York offi cial live album, 2000’s Tokyo Suits Me. by the record companies,” says Ginger. (at Tribeca Rock Club) that was fantastic The last time The Wildhearts “The problem is the crap that they’ve – limousines with famous people pulling played this side of the pond was been focusing on, that’s why their sales up to check out the gig, being recognized in 1996 opening for AC/DC, even are down generally.” on the street. Couldn’t believe it.” though there was no album release Ginger is fully active online. He has Brutally honest and funny as hell, to promote. “We had been supporting been furthering the band’s profi le on The Ginger has an informed opinion on them in Europe when we were both Wildhearts offi cial website (www.thewil- everything from his disdain for the on East/West, and they felt we’d gone dhearts.com), featuring his rant section Bush/Blair/Iraq disaster (an opinion done well with their fans,” explains called Ginger Says, which includes such he held before the war began) to his Ginger. “I thought (the fans) hated gems as his personal 12-step approach own experience with depression that us, but apparently their support acts to quit drinking, to the Ask Ginger area brought him to a mental hospital and usually get bottles thrown at them, where he fi elds all kinds of questions, the poor treatment it administered. and we didn’t, so that qualified us as not just music and band related. “I’ve Like all good bands that endure, The a good opener. answered questions, privately, about Wildhearts has a legacy of substance “They offered us the American depression, abuse, alcoholism, and other abuse problems, inter-band punch-ups, shows, but we didn’t get to finish problems people have, much of which members coming, going, and coming back. them ‘cause we ran out of money. I’ve suffered through myself,” he says. Its current lineup is fl ushed out by origi- We later heard that (AC/DC singer) With The Wildhearts’ profile on nal members CJ (guitar) and Stidi (drums), Brian Johnson said, ‘If it’s money they the rise, there’s talk of a headlining and recent recruit (bass), who needed, why didn’t they just ask?’” club tour in North America this fall. had been a member of SilverGinger5, While the Wildhearts may have only Ginger’s enduring memories of Canada? Ginger’s . released four proper albums in 10 “Being a and hanging out Triumph and trouble have followed years, the frontman is a prolific song- on Hastings (in ), looking to the band over its 10-year career – from writer. Many great songs appear only as score,” he reveals, and an affinity for persistent label problems to the departure B-sides or on limited mail-order singles, our raccoons. “Those little bandits. I of long-serving bass player Danny due to either Wildhearts, solo, or as Silver was feeding them cat food until I told alcoholism – but despite the occasional Ginger5, his project that began as a people and they freaked.”

28 Story and Photo: Steve McLean

THE MOONEY SUZUKI SIDEKICKS

Sonny James, Jr

New York City’s The Mooney Suzuki 10,000 fans and gain 10 million. So fuck A lot of the songs deal with women has independently released two critically ‘em if they can’t take a hint.” and sex, aside from “Shake That hailed albums of soulful since Bush Again,” which is obviously a forming in 1997, but it’s now taking a shot Why did you select the title track as political song. at more widespread exposure with a deal the single? James: “There are many, many meanings with Columbia and a new album, Alive & Tyler: “After extreme market-testing, we to the word `bush,’ including the burning Amplifi ed, produced by The Matrix team found that one had the biggest response. bush of biblical yore. They used to shake that was behind ’s smash de- At fi rst it wasn’t as good as some of the burning bush to get all of the serpents but. After a day of fi elding questions from the other songs, so we went back and to fl ee. At Pentecostal churches, they’ll journalists, the band’s lead singer/guitar- changed a few of the melodies. We got yell to the preacher to `shake that bush ist Sonny James, Jr. and guitarist Graham the questionnaires back talking about the again,’ as in give me more knowledge by Tyler (bassist Michael Miles and drummer offensive parts of the song and, nine times shaking truth from the burning bush. It’s Augie Wilson round out the lineup) were out of 10, it was the same part. So we a gospel shout. But when we played the in a playful mood while enjoying pre-show changed that part and then, after further song live for the fi rst time, a friend of pints of Guinness on the rooftop patio extensive market research, we discovered ours said, `What’s that new song - ‘Shake of Paupers Pub in Toronto with Steve that the third edited version of ‘Alive That Pussy Hair?’ That’s not the title, but McLean. Decide for yourself the truth to & Amplifi ed’ was the most sellable and if you want to think that that’s what the fi ction ratio in their answers: palatable.” song’s about, more power to you.”

After hearing about The Matrix’s in- James: “It was actually the same com- THE NAME GAME WITH THE MOONEY SUZUKI volvement, I was concerned about you pany that tests Little Debbie snack cakes How did you get the band name? getting soft. But this album still rocks. that market-tested our singles. It was a James: “From Melvin Mooney and Damo Suzuki.” reputable company, but all of the market What would it take to get you to join Reverend Sun Myung Tell me about making it. Moon’s Unifi cation Church? James: “Why sit down and write a bunch researchees were incredibly obese and Tyler: “Money and the promise of virgins in the after-life of songs when we had money to hire the had chocolate all over their faces.” – and the actual-life and the before-life.” best? So we tipped a fuckin’ dump truck David Suzuki is Canada’s foremost environmentalist. What’s the There’s a larger traditional soul ele- most environmentally friendly thing about The Mooney Suzuki? full of money and gave it to The Matrix James: “We’re voting for George Bush. He wants to drill in and said, `Give us the hits.’ We then went ment on the album, especially with the Alaska to get more oil, which we heartily support because back to our apartment, got high and female backing vocals. we need more oil. We consume a lot of fuel, but I think that watched MTV. We showed up the next James: “Now we can afford people who we could do better.” can actually sing. Again, with the market The Suzuki Sidekick had problems with tipping over. Do any of morning and played what they told us to you have that problem? play and we got a dope-ass record out research, we saw that rock ‘n’ roll wasn’t Tyler: “No sir. We have much wider wheel bases. Look at of it.” doing too well on the charts. But R&B this guy’s ass (points to James). It’s a shithouse. That thing’s clearly is. So we fi gured that we’d hire a not tipping over.” couple of soul backing vocalists and get If you could have a sidekick, who would it be? Are you concerned with losing any Tyler: “My sidekick would have to be Tim Conway in the credibility with your longtime fans? a little R&B in there and a little pop in Dorf suit with a golf club and a tiny Hitler moustache.” Tyler: “It’s a small price to pay if you lose there to take us to the top of the charts.” James: “I would take Eddie Murphy as Billy Ray Valentine.”

30 G A S O L I N E C L A S S I C A LIFE-CHANGING ALBUM REVIEWER: Early Moses/ex frontman Trevor Hurst CLASSIC PICK: – Night Time (1985)

Growing up in rural made of my time. It was the first thing that it very hard to fi nd new and interesting was mine and it was unique. It’s just like music. The hammers, screwdrivers and reading your first great novel, or really standard issue rusty pliers found in the understanding why you like KISS. It’s a back of any pick-up truck were paral- moment in time that you can’t forget. leled by what was in the cassette deck This album was new music to me. But – Guns N’ Roses, AC/DC, , as much as it represented the now, it , Van Halen, and the occa- was somehow the sound of the future. sional Pink Floyd album. “Love Like Blood,” was then, and is today, Every small town has dissenters, the a massive goth hit. This song is so far into odd ones out, who weren’t very good the matrix, you don’t whether you should at sports, cared little for school spirit take the blue or red pill. It made me think and seemed to make the “cool kids” of William novels, and rainy Van- uncomfortable. My town, Virden, was couver nights with the streets sparkling no different and my group of “scary from the glow of neon signs and lamp monsters and super freaks” introduced posts. “We must play our lives like soldiers in me to a different culture, a different the fi eld/But life is short I’m running faster all view of the world and, ultimately, to the time…’Til the fearless come and the act new and innovative bands. is done/ A love like blood, a love like blood.” My good friend Conan gave me a mix Trent Reznor and Marylyn Manson must tape that included Killing Joke’s “Love love this song. Like Blood.” Even amid REM and Black “Tabazan” is simply brilliant. The bass Flag, it stuck out and begged for more guitar is so , it makes me smile. investigation. I found a cassette of 1985’s Raven is a menace and the sound you Night Time in a Records On Wheels hear on this record becomes his trade- store in Winnipeg. It sounded like an mark (Check out the Prong CDs that urgent call to arms. Raven played on). Geordie’s guitar sounds ’s vocal delivery was so so futuristic, yet it seems like it’s crossed different. It was demanding, vulnerable with a streetwalker’s attitude. Jaz is right and, at times, on the verge of a scream. on the edge, twisting and pouring through Jaz seemed almost unpolished, and to the words like a manic poet and landing me, more honest. Geordie supplied effortlessly on any emotion he pleases. guitar tones and textures that I had “Europe” stands up today. Could fi t never heard before. He was both heavy very nicely alongside Modest Mouse, and soft, ethereal, gothic, haunting and Sparta, and The White mean. The rhythm section, featuring Paul Stripes. There are bands out there now Ferguson on drums and on that have discovered this sound and , was relentless. seem to meld it with a Robert Smith The sound generated by this com- vocal. Here, and on most of this record, bination of players and personalities, Killing Joke is a band which provides us styles and politics, seemed to collide with personality, that beautiful collision of with precision, and hypnotize me into mind, body and spirit. Album info: listening. I felt like a bystander staring at “Eighties,” the eighth and final track Released: 1985 a car crash. Transfi xed and immovable, I on the recording, is a hard-hitting com- Label: Editions E.G. Records/Polydor listened and learned. mentary on the times. ) “Eighties – I Produced by: It’s the stuff of legend. In 1982, after have to push/I have to struggle.” Not ev- Engineered by: Brian McGhee; Thomas Stiehler releasing Revelations, Jaz developed an eryone prospered in those times. There Recorded at: Hansa Ton Studios, Berlin obsession with the occult, and convinced was a lot of unemployment in England. his mates to abandon all hope and move Another interesting thing about this Track listing: to Iceland. Jaz believed that the apoca- song is that it bares a very striking Nighttime lypse was near. World intact, Killing Joke resemblance to Nirvana’s “Come As Darkness Before Dawn returned to England a year later, and in You Are.” (Killing Joke sued Nirvana Love Like Blood 1984 went to Berlin, Germany, to record over the guitar riff but lost). Kings And Queens with producer Chris Kimsey. Years later, the band I formed, Econo- Tabazan The songs were recorded in a style line Crush, went on to cover “Psyche” on Multitudes so unlike the Mutt Lange uber produc- our fi rst EP, Purge, in 1993. That irrever- Europe tion that I was listening to before find- ent Killing Joke spirit has pushed me to Eighties ing this album. “Night Time,” “Darkness pursue my music even when I thought Before Dawn,” “Kings And Queens,” it seemed impossible. Today, as I begin were music of their day. The songs anew with Early Moses, I carry that spirit seem to channel some dark, sweaty, with me. “Within disorder I assume my filth-infested, strung-out eighties club. role/Laugh and cry as I accept.” It’s a very visual sound. It was the music – “Multitudes,” Killing Joke.

32 DISC REVIEWS

Papa Roach Damn 13 Getting Away With Murder Black Heart Northern Soul Go Time (Geffen/Universal) (Independent) (HRM Records/) Three albums in and the NoCal band, which Toronto’s Damn 13 has fi nally released its debut Vancouver’s Todd Kerns has shaken off some of sold 3 million copies of its major label rap/ album, Black Heart Northern Soul, a follow-up the more mannered pop pretensions of his pre- rock debut, Infest, ditches its rap side for good. to its 1999 EP, The Dynamite Gossip. Co-pro- vious bands, and Static In Ste- Vestiges remain on 2002’s Lovehatetragedy, duced by lead vocalist Adam Sewell and Rob reo, but hasn’t forgotten how to write a hit. His but on Getting Away With Murder, frontman Sanzo (Voivod, , Sum 41), the debut solo album, Go Time, juxtaposes catchy Jacoby Shaddix pushes his vocals melodically violent power chord riffs of “I’ll Give You Fire” choruses with straight-up guitar rock while rare- and aggressively. While the band reportedly and the wildly raucous speed metal opening of ly falling into cliche, although the uniformity of went for anthemic singalongs, sometimes, like “Rocket Fuel” fi rmly show its hard rock creden- sound does wear as the 14th track cues up. Lyri- on “Not Listening,” and “Take Me,” the results tials. Even when the band slows down for “Bro- cally, he tackles the genre’s usual boy-girl issues are just too trite, and “Blanket Of Fear” bare- ken Bones,” Sewell’s guttural voice and dark lyr- with equal amounts of contempt (“It’s Not You ly has a detectable chorus. Still, the threat- ics keep the sound heavy. The carefully crafted It’s Me”) and sincerity (“My True Love,” “A Drug ening single, “Getting Away With Murder,” is guitar solos and melodies showcase Damn 13’s Like You”). The production is less polished than superbly catchy, and the lead track, “Blood,” songwriting skills and, best of all, that it totally his past work, but the edge suits the material’s is contemptuously explosive – both of which rocks. – Erin Smith rawness. – Brian Slade should sell this one. – Karen Bliss

Doctor k-os Steve Earle High Is as High Gets The Revolution Starts...Now (MapleMusic/Universal Music Canada) (Virgin-EMI Music Canada) (Artemis/RED) Doctor may be new, but it combines the song- Toronto singer/rapper k-os’s follow-up to 2002’s Steve Earle’s new release is the work of writing efforts of two well-established Canadian is less heavy on “state of the world” mes- an angry man. His Texas growl targets the musicians, ex Watchmen singer Daniel Greaves sages, and more about the state of hip hop and U.S. government and their execrable poli- and ex Royals/Rocket Science/Change of Heart state of oneself. Still, saving the world is not out cies. Recorded in marathon sessions in the member Rob Higgins. The album, produced by of his head altogether, as he notes on the reggae- spring of 2004, the album has a timely and John Whynot, fuses solid hooks with a punk based “Crucial.” Possessing a rich melodic singing urgent feel with references to the war in rock aesthetic. Surprisingly innovative, heavy voice as well as a penetrating rap fl ow, the album Iraq (“Home to Houston,” “Rich Man’s guitar riffs fall over top of pop choruses and ranges from the Love Cats-snap of “,” War”) and the currently oppressive nature thoughtful lyrics in “What of It?” which stands to the old-school hip hop of “B-Boy Stance” and of U.S. censorship (“F The CC”). His long- as a contrast to the rock anthem “What Makes Latin-fl avoured soldiering of “Commadante.” time backing band, The Dukes, bends stylisti- You Think He’s Lucky?” and the contemplative Killer crossover cuts include the pumping soul cally from folky ballads (“The Gringos Tale”) “Sweet U.” It’s only Doctor’s fi rst house call, of “” and smooth rockin’ col- to one-drop reggae on the hilarious paean but it’s a nearly perfect rock ‘n’ roll record. lab “Dirty Water,” featuring on the to Condoleezza Rice (“Condi Condi”). Let’s – Erin Smith chorus. – Karen Bliss hope the voters south of the border take heed and start the revolution... now! – K. Curtzel

The Clash Bjork London Calling: The 25th Anniversary Edition Medulla (Legacy/Sony) (Elektra/Warner) Closet Monster London Calling, originally released in the U.K. in Bjork’s previous album, 2001’s Vespertine, fea- We Rebuilt This City late ‘79, changed the political dynamic of punk tured a mixture of electronica, lush orchestration (Underground Operations/Universal Music Canada) forever. The re-mastering of this album is im- and choral voices. With Medulla, she’s cut out the Sum 41 put Ajax, Ont. on the map when it re- pressive enough, let alone the bonus disc: the instrumentation completely and made a purely leased its debut EP. Closet Monster aims to long lost Vanilla Tapes, which include the origi- vocal album that also features the likes of Inuit steal the spotlight from the juvenile punkers nal demos and the pre-vinyl version of “London throat singer Tanya Tagaq, former with We Rebuilt This City. The album is a pow- Calling” and some choice covers, including a frontman , Robert Wyatt and British erful blend of fi st-pumping, political punk rock lightning-charged cover of Bob Dylan’s “Man and Icelandic choirs. The Roots’ Rahzel provides anthems that take their cue from the likes of In Me,” that Mick Jones had in storage. Then the percussive bass line for most of the songs, Anti-Flag and Black Flag. “Mamma Anti-Fascis- there’s a DVD featuring a 45-minute documen- most notably on “Where Is The Line,” “,” to” screams with urgency like a boxer in the tary of rare studio and concert footage by Don and the danceable closer, “Triumph Of A Heart.” 12th round, while “Punk Rock Ruined My Life” Letts, plus observations from Clash manager There are a couple of numbers sung in Icelandic is a call to arms for the punk rock community. Kosmo Vinyl. If only Joe Strummer was alive to and “Sonnets/Unrealities XI” is based on an e.e. With an infectious blend of politics and punk, celebrate this 25th anniversary landmark. cummings poem. – Steve McLean this monster is too good to keep hidden in – Nick Krewen the closet. – James Wright

33 GIG POSTERS

Nick Kuepfer – www.daygristle.com

Ron Liberti – [email protected] Mike King – www.crashamerica.com

Tara McPherson – www.taramcpherson.com The Little Friends of Printmaking www.thehouseofcakes.com Whitey Houston – www.whiteyhouston.com

Yo Rodeo – [email protected] Bobby Dixon – www.kollectivefusion.com Matt Webb From the fi ne folks @