A SPECIAL LONG READ FROM

As he approaches 60, TONA WALT OHAMA is contemplating his legacy and opening up about his unconventional life and remarkable canon of electronic music. He has fans worldwide and yet concedes: ‘Nobody really knows me.’

Don’t You Listen? A PROFILE BY DAVID VEITCH

THEYYSCENE.COM ONA WALT OHAMA GREETS THE YYSCENE mid-day, mid-week, on a downtown street in Calgary. He’s tidily dressed in dark slacks and a blue patterned dress shirt; streaks of grey in his black hair are the most visible reminder he’s in his fourth decade of making music.

Alice Cooper’s 1973 Billion Dollar Babies are the T facing covers. The apartment is a tight ft for two people (Mia, his wife of four years, lives in the apartment next to him) yet this is where Ohama has recorded all of his music since 2010, a decade that has proven to be the most productive and artistically restless of his career. A few weeks prior, Ohama hosted an artist reception at Arts Commons to launch his latest project, a 15-speak- er ambient music installation A Moment Of Quiet Refection In Downtown Calgary, which runs at the multi-venue arts centre until Aug. 31. “A woman came up to me and said, ‘You know this guy Walt Ohama? He used to do this music in the ’80s.’ I said, ‘Yeah, I know him.’ Now that’s not being recognized,” Ohama says, laughing in a way you can’t Despite having fans around the globe, the Canadian help but hear some hurt. electronic music pioneer can wander his neighbour- He has, after all, assembled a remarkable body of hood, and his city, in anonymity. work (see Music is the Master on Pages 10-11) since the “I should warn you, I live fairly minimally,” he says. release his 1982 cassette-only debut, Midnite News. “I can’t even offer you a coffee. If you want one, you Never one to chase trends, Ohama simply follows his can get one at the shop over there.” muse and that has led him over the years to create Java declined, we enter a building and walk up a long college radio synth-pop hits (Julie is a TV Set, Where fight of stairs to his one-room apartment, which dou- Do You Call Home?), scores for movies and animated bles as his recording space. The dim, window-less room shorts, a stunning reinvention of a Jethro Tull prog-rock is mostly lit with red Christmas mini-lights strung along classic, collaborations with female singer-songwrit- walls lined with books, DVDs and compact discs. Clas- ers and a number of ambient works that have bathed sic rock, prog rock and Prince are clearly favourites. Calgary’s downtown core in sound. There’s a vocal mic at the back An uncompromising singer, song- of the room; to the left, two key- writer and producer driven by a boards — including his frst syn- singular vision, Ohama’s achieve- thesizer, an ARP Axxe bought in ments are truly his own. He has re- 1975 — sit on stands below Mandy corded in a series of homemade Tsung’s painting Cinder (used for studios — one, famously, in the base- the cover of Ohama’s 2017 , ment of his family’s potato farm in Grrlz Monosynth Tower). On the Rainier, Alberta — and has remained foor, there’s a twin-bed mattress an independent recording artist by beside stacks of vinyl; Mott the choice. It’s a decision that has puzzled Hoople’s 1974 The Hoople and some over the years, including the late

“A woman came up to me and said: You know this guy Tona Walt Ohama in downtown Calgary, June 28, 2018. Facing page, top, Ohama says Walt Ohama? He used to do this music in the ’80s” a few words in front of family, friends and fans at the opening of his Arts Commons ambient installation, May 14, 2018. 2 DON’T YOU LISTEN? “He was quite something”

Colin James and k.d. lang bassist Dennis Marcenko remembers ‘gentle soul’ Ohama when he was back in (all) black. I met Walt through Bruce (Toll, Marcenko’s roommate) in the early ’80s. I remember seeing Walt walk down the street; he was one of the I’M NEVER frst guys I saw with spiky black hair, all black clothes, black fngernail GONNA DO polish and eyeliner. I thought, “Wow, who’s this guy?” He was quite Ray Walker, Ohama, Rhona Thomas, THAT. IT’S something. But he was such a gentle Dania and Dennis Marcenko at the NOT ME. soul, too. Pumphouse Theatre. Right: 1985 CASBY We lived close to the Plaza hosts Paul Shafer and Carole Pope. Theatre in Kensington and Walt would come over. Ulrike (Voll, artist and Marcenko’s girlfriend at the Calgary Herald music writer James He was an observer. We defnite- was most himself and most at home time) taught him how to pronounce SOMETIMES TRY TOO HARD: 1960-1986 (German industrial band) Einstürzende Muretich, who Ohama recalls ly got along but he was all alone when he was with computers and his Neubauten. She had him repeat it approached him at the underground in his thoughts and in his ways of pril 24, 1985. The up-and-coming stars of Canadian keyboard and composing.” over and over and they practised it music club and arts space Ten Foot thinking. Whenever he’d tell me a music — Darkroom! Pukka Orchestra! Luba! — In retrospect, the 1985 CASBY until he got it right. He liked her art Henry’s with an offer he did refuse. story or share something with me, ceremony was both the culmination so much he used it on one of his “James was so impressed I always felt very lucky.” had gathered at the Toronto Convention Centre for of Ohama’s successes to date but . That’s her and I (on the cover A the ffth annual fan-voted CASBY (formerly U-Know) of Love Only Lasts Awhile). That was with my show, he came up to me And now it’s the YYScene’s also the beginning of an end. taken from a photograph. afterwards and he said: ‘I have con- turn to feel lucky. Ohama says he Awards, launched by Toronto radio station CFNY to The frst phase of Ohama’s I always felt Walt was really cutting tacts with record company people doesn’t usually allow people into celebrate independent and ‘alternative’ artists. recording career was drawing to edge and I never really felt in the if you’re interested. Maybe you what is, quite literally, a studio a close, much faster than anyone same league as him. So I was really should send your things to them.’ apartment — but invites us to look The 1985 ceremony was the frst hind rock legend Ronnie Hawkins could have imagined. quite impressed and honoured And I said, ‘I’m not interested, around and ask him anything. to be broadcast nationally on CBC- in the audience. As the ceremony when he asked me to play on some of his stuf. I remember staying the James, thank you.’ ” Ohama laughs. “You know why I’m doing this? TV and organizers pulled out all the closed and everyone gathered on- REMEMBER BEING four and weekend when we did The Call. “And that just drove him crazy.” Now that I’m a little older, I feel it stops. David Letterman musical di- stage to sing charity single Tears are Beatles songs,” says I remember doing some pretty crazy Muretich isn’t the only one needs to be documented a little bit,” rector Paul Shaffer and Rough Trade not Enough, Ohama recalls CFNY I Ohama, born Jan. 16, 1960, a things. I took a drum cymbal, laid it who’s been left bemused by says Ohama, who turns 59 in Janu- singer Carole Pope were paired as deejay Liz Janik trying to nudge the baby brother to three record-loving, on the foor, then turned my bass on Ohama. Even to those who’ve ary. “My music exists but nobody unlikely (and hilariously incom- reclusive artist into the spotlight. teenaged sisters. They lived on a and just scraped the strings with it. To known him for decades, Ohama really knows me. Not really. When patible) hosts, while the presenters “Liz tried to drag me up on- 2,000-acre potato farm and packing this day, I want to see rules broken. I want to see people push remains an enigma. I did the Arts Commons thing, they and performers were also an eclec- stage to join the group sing-along. plant in Rainier, 35 km southwest of boundaries. That’s what Walt was “I don’t know if I ever did know don’t know who I am. I think I need tic mix: Eugene Levy, Martin Short I wouldn’t go,” Ohama says. “And Brooks, population next to nothing. really good at. Walt,” says bassist Dennis Marcen- to be known a little bit for what I’ve and Dave Thomas of SCTV, Images I watched the other artists, like The family operation, established in The one thing I remember about ko, who recorded with Ohama in done over the past 30 years.” in Vogue, Jane Siberry, The Spoons, Gowan and the Parachute Club, 1942, supplied potatoes and Tona his parents is the communication the mid-’80s. “I’m not sure how With that, Ohama settles Long John Baldry, Richard Butler who were like posing for the Goldentop potato chips to stores they would have with him. They were many of us actually did.” in for the frst of two lengthy of The Psychedelic Furs and The photographers and doing their thing across Canada and into the U.S. very soft-spoken and very gentle. They saw that he had a vision. They Doug Wong, another longtime interviews with The YYScene; this Band’s Richard Manuel, who would like models and I’m thinking: ‘I’m By the mid-’60s, patriarch Tona Sr. saw he had a direction. I don’t think friend, goes one step further. fascinating, private recording artist, be dead within the year. never going to do that. It’s not me.’ ” was crowned the Potato King of the they understood what it was he was “I don’t know if Tona knows graphic designer, sound designer, Also attending the music indus- “It was a pose-fest,” confrms World by the industry; his lucra- doing but there was a lot of love in Tona,” he says. computer programmer, street sweep- try schmoozefest that night: Tona Marcenko, who attended as a mem- tive business enabled the Ohama the room. “He would let you get glimpses er and dishwasher opening up about Ohama, who was nominated for best ber of k.d. lang’s band, “and that’s children to follow their passions We last chatted right after (Ohama into his personality,” adds Marcen- his family, his recordings and the independent recording artist (losing not who he was, although I remem- that, in the early ’60s, included released) Thick as a Brick. Next time I come to Calgary, I’d like to spend ko, “and then sometimes he would reasons he twice gave up on music to Ontario’s Direktive 17 in the tele- ber him being gracious. Walt just celebrating Beatlemania in real time. time with him in the studio again. just smile and not say as much. — and almost gave up on life. vised category). He was sitting be- didn’t buy into that whole scene. He “We had Beatles bubblegum cards As told to David Veitch THE YYSCENE 5 Clockwise from far left: Ohama brand potato chips from mid-’60s, Tona Sr. we were playing Afterglow by Genesis awarded for world-best potatoes, and Roundabout by Yes. Ohama in Merlin, a Merlin poster, a fyer After graduating in 1981 with for the 1983 Pumphouse Theatre show your Bachelor of Science in civil where Ohama met future wife Mia. engineering from the University of Calgary, rather than pursuing a career in architecture, you tried to form another band. I wanted to make a band like Styx, or I wanted to do Rush with . When (1985 Rush album) Power Windows came out, I thought that’s what I had wanted to do. I had my bass player, I had my drummer and we were a good trio. We were auditioning guitarists in Calgary every day; then, “I’m 21 and I’m just after months, he walked in the door and it clicked like that. It was angry. I’m angry I have amazing. I felt this is really special. We were going to be to help my father.” like something that Canada has never heard, maybe America. was downstairs I want that. And I bought it. I had about The excitement didn’t last but the house $1,000 in the bank — which is a lot long. was wired with of money in 1975 — that had been speakers and sitting in my account growing all my No, that afternoon, my dad the turntable was life. And I spent the whole thing on this had drove up to Calgary upstairs in the . I wrote them a cheque and and knocked on our door. frontman . (often in signifcantly different form) He’s crying. I never saw my dad cry main living room. they shipped it to me on the bus. “He played it,” Ohama says, “and on future albums. Only 100 copies At those parties, before in his life. He said, “Son, I need Did your parents approve? help on the farm. Can you come run I went: ‘That’s what I want to do. were made of the frst cassette, 50 of and Beatles dolls. Every new album my job was to take requests downstairs and run I couldn’t tell you. Japanese family. It’s the place for the summer and get us I’m not going to do the band thing. the second, and Ohama erased the was an event for (my sisters) and an upstairs to change the records. hard to read. going?” His main manager quit to I’m going to do that!’ ” masters as soon as the tapes were work for the competition and my dad event for me,” says Ohama. Did you have any musical training Ohama spent the next several manufactured. When did you start having your had bought this automatic bag-tying own records? at this point? months juggling farm duties with “I can remember the actual feel- Tell me about the farm. machine that nobody could fgure out. Ten or 12. I was listening to so much No training but my mom and dad had He was deserted basically. He needed building a studio in the family home. ing of taking that master and running It was like a small town. It was bigger music. Frank Zappa’s Weasel Ripped an organ in the house. So I decided someone to get that factory working “I moved into the basement and the bulk eraser over it and going, than Rainier. Besides our big house, My Flesh, the whole Woodstock thing, to play it. It was one of those Yamaha and up and running by mid-July in that was my bedroom,” he recalls. ‘That’s it. It’s done,’ ” he says. “I was there were about eight other houses things with the automatic rhythms. order to ship potatoes for the summer. Beatles, Rolling Stones. “(My dad) had no idea what I was young and I thought, if you make a and many large trailers. At the peak, I played with that, so that was my Did you want to play music? Was saying no an option? we probably had 50 people, many with training. In high school, I took doing. ‘As long as he’s running the limited edition print, you break the families, working for us. No, not at all. lessons for four months and … not Not in my family. My drummer said, business, we don’t care.’ That’s how rock, you don’t make more prints. interested (laughs). “I would have told him to fuck of.” What did these people do for fun? You didn’t have the impulse … it is. You don’t talk. It’s a Japanese So that’s what I decided to do.” In 1976, you sold your ARP Axxe How did you feel? family. You just start. I had to learn Every payday, there’d be a huge party. To play? I couldn’t play. I had no There were no highfalutin for an upgraded model, the ARP Sometimes my job was to go over and interest in playing. I wanted to listen I’m 21 and I’m just angry. I’m angry everything. Compressors. Equaliz- artistic reasons behind his next deci- Odyssey. Did that signal you were get people to come to work the day to music. Any band that I really I have to help my father. I’m angry ers. All self-taught. I needed a drum sion to make the jump to vinyl. He getting more serious about music? after. I dreaded that. I was just a kid. connected with, whether it was Elton I have to help my family. I’m angry the machine and that’s when things did it to impress a girl — future wife band is not going to work. I’m just You must have picked up some John or Alice Cooper or Led Zeppelin, I I wanted to play at that clicked. I got the and Mia Blackwell — who he met at the farming skills growing up. was never gonna see them in concert, point. I’d take the synth over to house an angry, angry kid. My only thought never gonna see them on TV, never parties in Rainier, kids would come over, was to get through this, do a year, get then I went, ‘OK, now I can do what Pumphouse Theatre in 1983. I know about carburetors, timing belts gonna read about them. Not where I smoke weed and listen to me make the factory running, hire somebody John Foxx is doing.’ ” “She was from Toronto; big into and I know how to change the tires on lived. Never ever. The only connection these weird sounds. That’s all I could to replace me, and then put my band The frst complete song he clubs,” says Ohama, who fell in a big tractor. I can thread pipes, weld was that album. That album cover, do with it. Then I joined a bar band back together and go. recorded, Dischordant Concen- love with the dancer instantly, even enough to get by, work an acetylene that album, that’s all I knew about (Merlin) and we started doing covers. sus (sic), opens his debut cassette though she already had a boyfriend: torch and use a chain breaker. These We were playing in Calgary, Cochrane, that artist. So that’s why the album is ATE HAD other plans. That are not normal music skills. so important to me. I love listening to Canmore, Maple Creek (Sask). album, Midnite News. It was Avery Tanner, a deejay at Toronto music but I had no desire to play it. summer, his former bassist followed a year later by a second new wave nightspot Klub Domino. Was there music in your home? What did you cover? Bruce Toll visited Ohama cassette album, Ohama (but now- “I’m trying to impress her, show- We had a huge record collection. My You bought your frst synthesizer Stuf like Yes, Genesis, Kansas. Not F on the farm and brought with him adays he refers to it as the White ing her my tape,” he says. “She’s dad had country music, Hawaiian from a small keyboard shop in your normal top-40 pop music. When a stack of new electronic music music, dance music. We had dance Edmonton in 1975. Impulse buy? we were doing that, people were Album). These two releases con- like: ‘If you don’t do vinyl, you’re parties in the house for the Safeway I walked in, it was plugged in, it just demanding that we play the Bee Gees. releases, including Metamatic, the tain some of his best-loved songs, not a real artist.’ And that was it. So buyers and managers. The dancefoor made this sound and I went holy. They wanted Saturday Night Fever and frst solo album by former many of which he would re-record then I did vinyl.”

6 DON’T YOU LISTEN? THE YYSCENE 7 more about poetry at the cover.’ So in some ways.” Bleecker Bob was Adds Good- selling my stuff in Tona Walt with his win: “When we New York. dad. Above: original got stuff from “The next day, handwritten lyrics to him, there was I went to (trend- Where Do You Call Home. always a person- setting New York Below, his ‘potato farm’ al letter, there City nightclub) studio, 1983. was tons of Danceteria at 4 in i n f o r m a t i o n , the afternoon and there was always something walked in to see if my record could else that was quirky. He had al- get played there. A deejay there put ways fgured out a hook, a way of it on, listened to it and said, ‘This is making his work and he himself really good; totally not going to get stand out from the pack. Right from played in this club. It’s not the right “This could the get-go, he really impressed me type of music.’ … Still, pretty nervy with that.” for a kid to do that.” be a head The initial 1,000 copies were quickly sold, and two more press- OLLOWING THE CASBYs, or organ!” “My dad had no idea ings of 2,000 copies each were his career ascendant, Oha- what I was doing. needed to keep up with demand. Fma’s next projects involved Liz Janik (above) and ‘As long as he’s running “It took off, that album,” something he mostly avoided as a Peter Goodwin, co-hosts Ohama says. “This is how brave solo artist: collaboration. (Despite of Streets of Ontario on the business, I was. I went to New York City, occasionally crediting outside mu- CFNY in Toronto and we don’t care.’ ” I took a box of records, go into sicians on his records, wonderfully Ohama boosters, recall (famed New York City record named players such as Oot Myers gory details of their store) Bleecker Bob’s and Bleecker and Eric D. Hoffaby don’t exist.) ooze problem … done. You see was going to be an audience for it. Bob (Plotnik) remembered me from First, Ohama agreed to have (Ohama) sent us a note that April with the Midnite News EP. Avery Tanner come to the potato Janik: stuff like that I could just feel it.” he was sending something to us. and you realize He was right. I Fear What I Might ‘Oh, hey, it’s the Eskimo guy from farm and produce a dance single He shipped it of using Canada this guy is not Hear grabbed the attention of Liz Canada!’ He said, ‘What do you aimed at clubs like Danceteria. Tan- Post. Time goes by, I get a call from like everybody else.” Janik and her husband Peter Good- got?’ ‘This is I Fear What I Might ner was looking to follow in the foot- Canada Post, the local post ofce, A re-recorded version of Julie is win, who together hosted the CFNY Hear.’ He said, ‘I’ll take 10,’ and steps of Arthur Baker and apply his saying: There’s a package here and we’d like you to come and pick it Within days, Ohama organized a TV Set would appear, in arguably independent music program Streets he paid me, not on consignment. knowledge as a club deejay to record up right away. We went over to the the pressing of his debut seven-inch defnitive form, on Ohama’s frst of Ontario. For the next two years, He said, ‘Ah, they’ll sell, don’t production. single. He chose what he consid- post ofce. “I’m here to pick up the 12-inch release, the four-track Mid- they would champion Ohama’s worry. I can tell by just looking STORY CONTINUES ON P. 12 package.” And they said, “Oh, that ered the best song from his second nite News EP, released April 1984. music, playing his songs on their package. Yes, you will have to go cassette, Julie is a TV Set, for the Seven months later, Ohama re- show, writing about him in their downstairs, out to the shipping area. A-side, backed by another White It’s oozing red liquid.” I go pick up the leased his frst full-length LP, I Fear column for Music Express maga- Tona Walt Ohama interviewed box and, sure enough, it’s oozing. Album track, TV. What I Might Hear, a creative and zine and lobbying for the CASBY by Daniel Richler for New Music And it’s in a plastic bag because it Doug Wong, whose company commercial triumph. He reworked nomination. There was other media and MuchMusic, 1985. facilitated the 1,000-unit pressing, was oozing over everything I guess. fve more tracks from his initial interest, including a segment on the And I’m taking it home and saying to remembers Ohama’s instructions cassettes, added three new songs, nationally syndicated New Music Peter: “What is it? Do we know it was about the single’s ‘picture’ sleeve. and audaciously sequenced them TV program and exposure on Brave from him?” I don’t think we knew it “People would come in and print into two side-long song cycles. New Waves and Night Lines, two was from him at the moment. full-colour covers or they’d want “I was really proud of it,” says national CBC Radio programs that Goodwin: I think the label had been pictures of themselves or something Ohama. “I knew I had an album launched that same year. obscured… like that,” Wong says. that sounded really close to what I “Ohama stood out on multiple “Tona came in and said, ‘I want Janik: … by the oozing! We thought: was aiming for the frst time. Where levels,” Janik remembers. “You had “This could be a head or an organ or my name and that’s it. The front Do You Call Home is the frst song something that was very creative, something. Oh my God.” We opened cover is going to be blank.’ I said, on Side B; Of Whales the frst song you had something that was fresh, it up so carefully at home and it was ‘You don’t want your picture on it?’ on Side A. Those are meant to be you had something that was origi- his beautiful potatoes that had frozen and gone mooky. He wanted to share ‘Nope. Just my name.’ I thought that radio songs and they were. They got nal, you had an artist who was in- a new breed of potato that they had was quite neat. It did make it stand played and they worked beautiful- triguing, to say the very least. When out from the other things we had developed on the farm. Shit, I never ly. I knew when I sent it out, there you look at some of his lyrics, he’s got the chance to taste them! As told to David Veitch 8 DON’T YOU LISTEN? unhappy with Dania’s Available: Digital laboured over, moving eforts in the studio download, streaming a synth note 20 or 40 but, for others, her milliseconds forward or sometimes pitch- back to make it sound challenged vocals more alive, more real favourably recall Nico’s … until it felt ‘in the blank, detached cool. pocket.’ The album is Music is the master If only they had a full so iconic that straying and sound efects. The packs up his stuff and album’s worth of this from the original just “My ideal fan,” Tona Walt Ohama says, “is still a loner who lives use of barking dogs comes to Alberta within stuf. Woulda, shoulda sounds like a mistake. with their parents, hiding out in the bedroom, listening to an in Midnite News II is 48 hours in the middle been a contender. My version of Thick as particularly hypnotic. of winter. The Japanese Ohama: “I just felt it a Brick can be played album and reading all the liner notes.” To help future generations Ohama: “It was a song were not allowed to could have been done Earth History simultaneously with the of loners navigate his career, Ohama agrees to walk the YYScene cycle. I wanted it that buy land so he made a better.” Multiambient original and, tempo- way. I looked at it as gentleman’s agreement Play this: Take Me (CD, 2010) wise, it will line up from through most of his back catalogue. Many titles are available Side A and Side B, not with some people that Dancing An uneven re-entry start to fnish pretty well. for streaming or as digital downloads. CDBaby even sells select really as individual he could farm their Available: Digital into his recording I admit I got obsessed songs. It was one big land and that’s how download, streaming career after a 16-year with the project.” Ohama vinyl and CD titles for those kickin’ it old skool. track. I was really he got my family to break. Frivolous near- Play this: 7:21 to 9:20 proud of that record. I come to Rainier. My instrumentals jostle of the album-long title It was one take that And he’d keep writing Like the end of a board Set and Midnite News knew, for the frst time, dad did all that. He with songs that probe track worked. I didn’t have to me to say: ‘You’re sawn off. The dream seemingly retooled for I had an album that was not interned. I the darkest corners of Available: Digital a sequencer. The drum not telling me the truth!’ was just disturbance.’ the dance foor; the sounded really close to thought maybe I should the human heart. The download, streaming machine had no ability to He offered me $250 for That’s how he started thudding electro bass what I was aiming for. do something about title track, a 16-minute sync up to a synthesizer a copy of the cassette. his letter. I thought that drum on the latter Everybody who does Japanese heritage. eco anthem, is worth at that time. Those notes So when I went back is going into this song! recalling the previous electronic music comes The man who talks on the price of admission were played at half that to New York, my sister The rest was me. And I year’s New Order from Kraftwerk — that (Midway); that’s my alone; Ohama tapping speed then sped up.” is there and she said: gave him a songwriting smash Blue Monday. world. I’m a rock guy. I brother-in-law Dick into his love of free- Play this: Mushin No ‘You give me everything credit. He never joined Ohama: “They had the listen to Black Sabbath, Motokado (who was On The Edge of the fowing ’70s rock as a Shin you do. I don’t throw it SOCAN and he never interned). That man Midnite News same drum machine. Alice Cooper. That’s Dream (CD, 1994) one-man jam band … Available: Digital out. Maybe it’s in the got any royalties. Who’s never said a word to me (Cassette, 1982) That’s why they sound where I come from.” An adventurous with rap! A second disc download, streaming closet.’ So she pulled out it about? A friend who’s hardly in my entire life. Confdent and similar. But (the EP) was Play this: Sometimes hour-long album cherry-picks highlights a shoebox and goes, ‘Is long gone. Her name Very gruff, silent guy. accomplished frst not meant to be a club Available: Digital and soundtrack to from his earlier this it?’ I was so grateful was Judy and she used And so I said, ‘I’d like Grrlz Monosynth outing containing early record; it was just meant download, streaming his 1994 multimedia releases. someone had kept it. It to watch TV a lot. I you to talk about the Tower (CD, 2017) versions of My Time, to have lots of bass.” performances at the Ohama: “I wrote (the was never played, so it’s would say Judy is a TV internment and we’ll put Ohama takes existing, Part in Peace, Midnite Play this: Midnite Calgary Planetarium. title track) on Earth Day. in pretty good condition. set. I changed it to Julie it on this music,’ and he mainly acoustic News and Of Whales. News Ohama is clearly I was just so frustrated That’s what’s on the so she wouldn’t get was into doing that. I recordings by female It’s a more dynamic Available: Digital branching out; he says with the environment; (career-spanning) box angry. That’s where it had him do it in English singer- recording than many download, streaming the tribal drumming how we’re destroying set. And then I took that started. It wasn’t meant and Japanese. I think and adds monophonic synth-pop records of on the opening cut the planet and how I’m original cassette and to be a statement about (my parents) were quite synthesizer to them. the time, which Ohama was inspired by so helpless. I had to I gave it to the guy in technology. It’s Lucy in proud that I did that Inspired by two recent attributes to the lack of Rhythm of the Heat fgure it out and put it Sweden as a gift.” the Sky with Diamonds record but they never purchases: his frst competing radio-wave by Peter Gabriel. He into that song.” Ohama (a.k.a. White Play this: The Drum or something like that. It said a word. And Dick, synth, a 1975 ARP interference on the started work on this Play this: Earth (full Album or Julie is a Available: Ohama box is the frst song where I I think, he was really Axxe, from a seller farm. Only 100 copies Midway album after being version) TV Set) set programmed the drums. proud of it but he never on eBay; and Cinder, made; today, Ohama (12-inch single, 1986) denied visitation Available: Digital (Cassette, 1983) You hear how simple said anything either.” a painting by Mandy owns just one, No. 27. Sonically, this song and with his newborn download, streaming. Only 50 copies made they are? I was learning Available: Digital Tsung, that appears On an album of future Thin Lines, on the fip, son and perhaps of a sophomore album the machine. That song download, streaming on the album cover. Ohama standards, wouldn’t sound out of his subconscious is that introduced a very probably took two to Includes a second deep cut Mushin No I Fear What I Might place on a Depeche leaking into these select number of fans three hours to make. album featuring Shin still stands out for Hear Mode album of the sessions, with an to songs he’d later Total. It’s a magic song.” his Multiambient its driving ‘sequencer’ (LP, 1984) era. Ohama digs into ominous transitional revisit, including The Available: The Potato Tower Soundscape rif and its discordant Essential Ohama his family’s history piece using sounds Drum, Sometimes, The Farm Tapes (Minimal from the 2014 High piano solo, an ’80s music; some would and sets out to create efects of a crying Call, I Tie My Shoes, Wave, 2012) Performance Rodeo. equivalent of the Mike argue he’s never a club single about baby and lyrics that A Giant Starfsh and Ohama: “I personally Garson piano solo on bettered this. Although Japanese internment occasionally sound like Julie is a TV Set. Julie is a TV Set love the synth sounds Aladdin Sane. Ohama was widely and resettlement in advice from a father to Ohama: “I don’t think (7-inch single, 1983) on this album but Ohama: “The sound of viewed as part of Canada. a child: “You can be Thick as a Brick: it’s that strong because From the White Album I didn’t set out to exactly that piano solo, I could the ’80s synth-pop Ohama: My dad was whatever you believe/ The Synth Edition I was experimenting cassette. A strong Love Only Lasts replicate vintage sounds. never do it again. It’s movement at the born in 1912. He’s 30 You can be whatever (CD, 2012) with different studio candidate for Ohama’s Awhile (with Dania) Still, if they don’t done in real time with time, in retrospect years old, married with that you dream.” An artistic and techniques and so on. signature song, co- (LP, 1986) exactly come from the cut-up tapes playing there are ’70s rock a daughter (Shoko) and Ohama: “I realized, ok, technical triumph. It’s almost like a demo written with friend Ohama surrounds ’70s, they could have. backwards through an infuences throughout: they were in Steveston, (my son) is not going to Every detail of tape. I didn’t have a Johannes Halbertsma. Dania’s timeless I feel I’ve made an echo machine and, at the the prog-rock majesty near Vancouver. The be in my life. I’m going Jethro Tull’s 1972 copy and I had erased Ohama: “We were European melodies album that I could have end of the solo, there’s of Sometimes’ middle police come to his door. to work on music again. album is lovingly and the master. There was a engineering students Midnite News with haunting synth recorded in 1975.” an echo that’s perfectly section, the bucolic They say you have 48 And that’s how that painstakingly recreated fan in Sweden. He kept together. He wrote me (12-inch EP, 1984) arrangements on fve Play this: Beginning of timed. I could never do soft rock of Feelings hours to move inland came about. It’s a very on retro synths. writing me: ‘I want a a letter: ‘A little pause Re-recorded versions outstanding tracks that Fall (Dolly Sillito) that again in 100 years and, of course, or we’re going to move special album.” Ohama: This is my copy of that album.’ I before I start. I need of four White Album comprise half of LOLA. Available: Digital with that equipment. the Pink Floydian you. My dad quits his Play this: Discipline is masterwork. Every said I don’t have one. a little time to think. tracks. Julie is a TV integration of music job (as a fsherman), Ohama remains Freedom phrase and note was download, CDBaby “He said things like, ‘If you change this part here, it’ll be more popular, then you’ll sell more records and you can do what you want.’ And I just looked at him and said, ‘You’re in my studio. I’m doing what I want now.’ ”

Ohama. “I said: ‘Let’s just do one. out. Then it came out. I didn’t even his recording career. There would be Today, Tanner fondly recalls You send me your songs, I’ll do an design the cover. I bought the art off no turning back. In 1989, his potato his days spent on the farm, and arrangement, you come sing them, of Ulrike (Voll), and then I sent it farm studio fooded and he lost ev- draws parallels between the Rainier and the album will come out. That’s to the pressing plant and said: ‘You erything, including photos, master landscape and Ohama’s music. how hard it is.’ I just did it to show guys design the cover. I’m tired.’ ” tapes and equipment. By this point, “On the one hand, it’s very peace- her, really.” After playing a session for The the farm was struggling fnancial- ful and very beautiful and calming,” Initially, Ohama thought they’d Funeral Factory’s debut EP, Living ly. It closed in 1992, a half-century he says. “But on the other hand, it’s operate “like Dave Stewart and with Ghosts, Ohama put a stop to after Tona Sr. established it. sort of eerie. And surreal.” Annie Lennox (of Eurythmics). She’s the voice and I am doing all FEEL THE EMPTINESS INSIDE AS YOU LEAVE ... UNTIL WE MEET AGAIN: 1987-2007 the technical stuff; that seems to be a thing that works.” hama, forthcoming to this point, shuts down when questioned about how he spent Over several days in But, according to Ohama, the next few years. “It’s stuff I don’t want to talk about. I really don’t.” Yet, just as late 1985, Tanner, Ohama this collaboration didn’t work he sneaks jokey names in his album credits and hidden content on his CDs, Ohama the way he had hoped and, O and Marcenko worked on can’t help but drop clues about his activities during these mostly undocumented years. Midway, a song that addressed to this day, he remains dis- Japanese internment and appointed with their one al- In 1987, he saw the Oliver chael was born in 1992. Ohama was resettlement in Canada bum, 1986’s Love Only Lasts Stone movie Wall Street; pro- there for the birth but says custody during the Second World War. Awhile. Of the nine tracks, tagonist Gordon Gekko and his issues prevented him from seeing It was the frst and last time fve were breathtaking Da- “greed is good” philosophy found his son for almost seven years. Ohama would allow an outside nia originals, haunting and an unlikely disciple in Ohama. “When I was cut off from him, producer to shape his music. European (presaging Leon- “Everybody was like: let’s make that’s when I made that record,” ard Cohen’s I’m Your Man money, let’s buy an island. It was Ohama says of 1994’s On the AT: “I totally believed in by a couple years.). all material stuff. I got into that for Edge of the Dream — his frst CD (Ohama’s) marketability. At that Tellingly, of a while,” he says. “I went through release and the frst full-length time, in the early ’80s, all kinds the four Ohama a period where I was fipping album under his own name in a of unusual music was breaking. originals, two There wasn’t a formula at that houses. In the beginning, it sound- decade. time… Ohama played me the demo. charge anyway.” were previously ed like a great plan. I got to fve “I was inspired to do one more al- I tried to make it more of a new wave released. AT: “The song pretty houses, suited up and down with bum. I worked on it for about a year, dance song; a track that I would play.” much came out the “We could have tenants in each one. I realized this is pretty much full- TO: “(Tanner) had been looking for way I had intended. made it less cob- a lot of work, it’s gonna kill me and time. I didn’t ex- electronic acts to produce. He did I played it (in the club) bled together if I’ll be doing something I can’t stand. pect it to be the f- Psyche’s Thundershowers (In Ivory but I didn’t really get we had taken the So I got out.” asco it was.” Towers). Then he wanted to produce a other deejays playing time,” Ohama says. single for me. So I said yeah.” it.” During this time, he also IT WAS Dedicated to Tona “Dania was so stub- started hanging out with a Michael, On the AT: “Not criticizing (Ohama) but he TO: “(Tanner) said born. I would say, as MATERIAL wasn’t used to giving up a little bit of things like, ‘If you woman named Rachel. “She ALL Edge of the Dream the control for collaboration sake. change this part here, and do it this a producer, ‘this line had been a prostitute her STUFF. was recorded in Oha- It was more frustrating for him than way, it’ll be more popular in the clubs here, you could sing that bet- whole life,” he says. “You ma’s new studio in it was for me in terms of artistic and then you’ll sell more records and ter.’ She would say, ‘No, not doing can piece together your own I GOT INTO an inner-city Calgary issues.” you can do what you want.’ And I just it.’ I would say, ‘But this is a record; story however you want.” Oha- THAT. neighbourhood, where TO: “(Tanner) was a little looked at him and said: ‘You’re in my it will stand for all time.’ And she studio. I’m doing what I want now. ma wrote about their “strange he also developed an inexperienced, I felt. Dennis played would say, ‘I’m doing one take and bass on that and (Tanner) would What are you talking about?’ After that friendship” in his 1994 song, Ra- accompanying multi- come in, saying things like, ‘Got experience, I didn’t want to work with that’s it.’ I couldn’t force her to sing. chel’s Dream; it ends with Oha- in so much media show. to put compression on that.’ I was producers anymore.” “My part took hours and hours. ma singing: “Let’s set Rachel free/ trouble.” listening to it; ‘No, that doesn’t need Ohama was back in the pro- Programming a thing like Lonely Everyone just go away and let her But the most signif- compression.’ And Dennis is looking at ducer’s chair for his next colla- Heart Dance? That took a long, long be/ No one tell her how to live, not cant event for Ohama in the 1990s me, saying, ‘Just tell him you put the time to do all those little things. Her Facing page: Tona Ohama with compression on. Just pretend.’ ” boration; this one with Calgary even me.” Rachel was found dead in was the birth of his frst and only child. Dania, Avery Tanner and Dennis singer- Dania. part? The length of the song. 1997, leaving behind three children. Ohama says he had dated the mother Marcenko. Above: Poster for Wall DM: “I was trying to be a peacemaker. “I had to put it out to prove her Maybe we were just humouring “She was complaining that it’s Rachel’s Dream was played at her for only three weeks and was living Street and Ohama during his (Tanner). I knew that Walt was in so hard to make a record,” recalls wrong – that it’s easy to put a record funeral. “She was so dangerous and with another woman when Tona Mi- Gordon Gekko phase, 1990.

12 DON’T YOU LISTEN? THE YYSCENE 13 Soon after taking his son to the Saddledome to see Pink Floyd’s Roger Waters perform Dark Side of the Moon — “the greatest night of our lives,” Ohama says — he was again cut off from seeing his son, then 14. “Because I was cut off from him, and because I wasn’t making music, and everything (I created) was in a box — and my son was going to be fne — that’s the year I decided I was Clockwise from left: Tona Walt Ohama’s son, going to kill myself,” Tona Michael; Ohama’s mid-’90s studio; a poster Ohama says. He be- for the Calgary Planetarium shows, Doug Wong, N ARRANGEMENT gan putting his affairs in who helped make the Ohama box set happen. was made to meet at a order, including updating Atea shop in Inglewood. his will. “That just time, Ohama worked on Canadi- “My son walked in with his That summer, he start- killed me,” an TV series Jake and the Kid; did mom,” Ohama says. “He’s ed a project that would Ohama says soundtrack work and sound design visibly trembling. He was so transform — and ulti- of his Plane- for nearly 30 animated flms; acted scared. I didn’t know what to mately save — his life. tarium shows. as head audio engineer for a Sports do, right? So I said something Every day, for 12 hours “One show, Active Television video game; and about Darth Vader and Luke, a day, he’d pick up litter we had three helped assemble a CD-ROM on the and he said, ‘Oh, you’re not and sweep several blocks people. It Klondike gold rush by Canadian going to cut my arm off?’ We of 7 Ave. S.W. outside of holds 350 author and storyteller Pierre Berton. laughed a little bit and then we the building where he Throwing himself into the work, people. Those shows were just heart- Ohama also reached out to Doug sat down and played a game lived. Ohama would be- Ohama planned his musical come- breaking, honestly.” Wong, who hired him at Canada of chess. We’re getting to friend people living on back and rented the Calgary Plane- Feedback on the album — Disc and Tape, which manufactured know each other. He pulls a thread graphs, Ohama sourced much of the the streets and, if they provided him tarium for 10 live performances. released months after Kurt Cobain’s On the Edge of the Dream. in his sleeve and starts sucking on it box set’s contents from others. Five their month and date of birth, he’d jot He was brimming with conf- suicide — was even more disheart- “He needed to make some mon- as he’s thinking of his move. I did hundred copies were manufactured, their names in a book he carried in dence. “I felt that’s the best record ening. “I never got treated as badly ey and we were happy to have him exactly that when I was six. pre-selling for $100 his backpack, The Secret I was ever going to make and, if I by people before or since as that here,” says Wong. “He made a lot of I couldn’t believe the power of each. It sold out. “The Language of Birthdays, had to end there, that’s ok,” he says. period to what I was doing musi- other people’s projects better.” genetics. I was blown away. That’s sales of it went to fund which assigns personali- “And with the budget I had, I thought cally,” Ohama says. “They’d tell Ohama designed album covers, when I knew I’d cut my arm off for a college education for ty traits to birthdates. He it was a great (multimedia) show.” me what a piece of shit this was. produced and mastered records, and this kid. I’ll do whatever it takes.” Tona (Michael),” says also tried to build connec- Then Ohama says the city pre- They would say, ‘Your music is like later branched into DVD authoring. Over the next several years, Ohama Wong. “(Ohama) wanted tions between the police vented him from advertising his wallpaper; it’s not even real music.’ “I was busy in music but I wasn’t bonded with his son. And just as Tona to be able to supply some- offcers, business peo- Planetarium performances unless I didn’t expect that. I thought it doing my own music anymore,” Michael’s birth inspired Ohama thing to him and this was ple, drug users and the it pre-approved the show’s content. would be more positive.” Ohama says. to record again, his son motivated his way of doing it.” homeless individuals With neither the time nor appetite Crestfallen, Ohama decided to Yet he was content in his pro- Ohama to reconnect with his back However, the following who shared this street. for bureaucratic approval of his art, end his recording career a second fessional life — then, in 1998, his catalogue. In 2006, Ohama — with year proved one of personal “That may sound Ohama had to rely on media cover- time and throw himself into the ar- personal life also took an unexpect- assistance from Wong — released and professional upheaval. crazy,” Ohama says age and pre-Internet word of mouth tistic projects of others, something ed turn for the better. a nine-CD, one-DVD box set con- Tired of putting his cre- but points out he was to let people know about the perfor- he had done before making On the He got a phone call: taining his albums, videos, TV ap- ative energy into other inspired by Malcolm mances. It wasn’t enough. Edge of the Dream. During this “It’s time you meet your son.” pearances, radio interviews, demos, people’s projects, Ohama Gladwell’s frst book, live tracks and all kinds of oddities, handed Wong his resignation. There The Tipping Point: How Little ephemera and memorabilia, includ- were no hard feelings. “With Tona,” Things Make A Big Difference. “Because I was cut off from him, because I wasn’t ing pieces from disassembled studio Wong says, “once he gets to a point “I read about the broken win- equipment. It was a massive under- where he’s learned everything, I dow theory,” he says. “If you’re making music ... I decided to kill myself.” taking as, having destroyed or lost don’t think he wants to stay, doing in a neighbourhood and a window master tapes and original photo the same thing over and over again.” gets broken, and nobody fxes it

14 DON’T YOU LISTEN? THE YYSCENE 15 “She dreamed my music was being played on church bells.”

right away, then another window is going to get broken. If you fx that window right away, and maintain your neighbourhood, it’s going to keep the neighbourhood strong. “So I said, OK, I’m going to start by cleaning up all of the litter on the street. I’m going to make sure everything looks nice. I’m going to change this neighbourhood. And I did it 12 hours a day for 90 days.” He also wrote daily emails to friends, documenting his experiences Top left: Tona Walt Ohama with son Tona Michael. Above: as well as the stories he was told. Reunited with Dania, 2006. “They fll me up and rip me apart; Clockwise from left: Ohama’s the pain and secrets that have been Thick as a Brick notes, Pull shared,” Ohama wrote on Sept. 15, soundtrack, the Potato Farm 2007. Later in the same email, he Tapes compilation, the Ohama- writes about what the street-clean- produced Solstice album. ing project means to him personally: built his current It’s perfect the way it is.” “This is one of my goals in life: to THERE’S A PLACE WHERE WE BELONG: 2007-2018 studio where he The anything-goes nature of create intense memorable moments recorded 2010’s Earth History Multiambient with special people.… I never have HAMA WAKES HIS MAC DESKTOP AND Earth History revealed a new Ohama, untethered had — and can’t imagine having plays a video shot on 7 Ave. S.W. during his street- Multiambient, his to his past or to people’s (sadly) — a summer as memorable sweeping project. “So I meet this girl right here,” frst album in expectations of him. That spirit as this one. 2007, it will be tough to O 16 years. infuses everything he’s done during he says, pointing to a young woman playing an acoustic top but I will probably try.” “It was really tough,” he says this fertile decade. Looking back, Ohama is guitar. “That’s Solstice.” of the recording sessions. “What He followed Earth History Mul- convinced sweeping the streets Three decades Ohama’s junior, years that I said: ‘We got to record was tough about it? How technol- tiambient with a “synth edition” of put him in a meditative state that Solstice was a student at the Alberta this,’ ” he says. “That pulled me out ogy changed is number one. Two, the 1972 Jethro Tull prog classic, “opened some sort of doorway.” College of Art + Design who was of the whole ‘that’s the end, I’m I hadn’t been writing, so I had Thick as a Brick, which he deems He reveals, one day during his singing her original songs on the going to kill myself’ thing, working nothing to say.” “my true masterwork.” That was street-sweeping project, he felt corner of Centre St. on her project.” But then he did. The result is 2012; the same year he released compelled to call Dania. and 7 Ave. down- Ohama entered a diverse album that contains what his avant-garde soundtrack to “We had barely spoken for town, outside of the Rocky Mountain Re- he calls “joke things” (OMG, Hey the movie Pull. 20 years,” Ohama says. now-demolished Art cording Studio where What); deeply personal songs, such In 2013, New York’s Minimal “When she answered the phone, Central building. In he produced This Mo- as Isolated (“If you listen to the Wave label, which specializes she said I just had a dream about her repertoire was ment Will Never Hap- lyrics, that was the point where in obscure 1980s synth music, you. This is what Dania told me a song called Dirty pen Again, released in I was ready to end it”) and an introduced Ohama’s earliest ma- back then. ‘Something important is Paper with its lyric: 2008. No synths here: old-school, 16-minute eco anthem terial to a new audience with the happening. Tona needs to write on “I need a car to get Ohama captured the with a lengthy, jammy instrumental release of the eight-track compi- the synth again. He will play again to work to get some songs as he originally middle section and a rap by the son lation, The Potato Farm Tapes. and people will be healed.’ Then she cash to pay for gas to get to work heard them, with just Solstice and of Rachel, Ohama’s friend from (Minimal Wave had included told me she dreamed my music was to trade my days for dirty paper.” her acoustic guitar. (Today, she the 1990s. Ohama tracks on label compila- being played on church bells.” Hearing that, Ohama was captivat- works as a schoolteacher; that debut “He called me up and he said: now,’ ” Ohama says. “So I played tions earlier in the decade.) He laughs incredulously. ed. Something awoke inside him. remains her only album to date.) ‘You wrote a song for my mother him what I had done for Earth. And, in 2015, when he found on “Then look what happened. You “Her lyrics were so good. That Newly inspired, Ohama took a and it played at her funeral when I I said I want a rap here. Then he eBay the frst synth he bought — tell me what that was about.” was probably the frst time in 10 job as a dishwasher at Teatro and was 10 and I want to do music came here and we did it one take. not just the same model, the same

16 DON’T YOU LISTEN? THE YYSCENE 17 “It doesn’t album and a new ambient piece. “There’s not a lot of money here matter and there never will be,” Ohama where you’re says. “What I want is enough to continue making records.” born, how small And with many of his catalogue the town is. albums available as digital down- If you have this loads and for streaming, one can’t help but wonder if new audiences creative spirit in will discover Ohama’s you, you can do music years, maybe decades, down the road. Marcenko, for one, good things. wouldn’t be surprised. “She Do amazing “Walt was just ahead of his time,” he says. “True pioneers, a lot dismissed things. of them don’t necessarily get the re- I am glad spect they deserve until years later. me as a he’s still here.” Then people go, ‘Oh, wow, we kind of dropped the ball on that one.’ ” jock.” Tona Ohama — the “Artist.” “Maybe.” Peter Goodwin and Liz Janik — poses with his sisters, from left, are pleased to hear Ohama remains Hockey Hall of Fame Shoko, Tonianne and Natsuko at the Arts active on his terms. sportswriter ARP Axxe — he snapped it up and Commons reception, May 14, 2018. “He didn’t need a to Eric Duhatschek then used it to layer monosynth package him,” Goodwin says. “If he remembers goodness atop the music of several went to a major label …” how Ohama records female singer-songwriters on last HE YYSCENE DROPS BY TEATRO TO MEET the passing of close friends and “… they would have neutered helped him score year’s Grrlz Monosynth Tower CD. Ohama for a second interview, this one over lunch. contemporaries, including him,” says Janik. indie cred with his The album ends with Ohama and One Yellow Rabbit co-founder He’s now a bookkeeper for the Teatro Restaurant “He just oozed creativity,” Good- best friend’s girl. Mia singing the 1986 Peter Gabri- T Michael Green and musician win continues. “How could you Group; the dishwashing gig proving too physically taxing el-Kate Bush duet Don’t Give Up; Richard McDowell, who helped after nine years. He isn’t the same 21-year-old Ohama ignore someone like that?” I had two of (Ohama’s) albums given Ohama’s earlier thoughts of open Ten Foot Henry’s. A Moment “Tona,” adds Doug Wong, “is on vinyl. My best friend in Calgary is suicide, hearing this version seems who, 37 years ago, managed to juggle working on the Of Quiet Refection In Downtown always going to be unique and Doug Gossen, former morning man on CHFM. He dated, for a while, a too intimate for strangers to hear. family potato farm and launching a recording career. Calgary is dedicated to both men. surprising and very creative. He’s woman named Kerrie Penney, who But most notably, this decade “Their deaths affected me deeply, “I heard that time waits for no ily he got engaged. “Such a night,” always looking at the next horizon. was on The Movie Show with Larry is marked by Ohama’s entry into and contributed to my desire to man,” Ohama once sang in My Time Ohama says. “What amazes me about him is Day (below). When we frst started ambient soundscapes. document my work and complete – and at the Arts Common recep- And there were Bruce Toll, the fact he has been able to accom- to socialize, she dismissed me as For his Multiambient Tower my music catalogue before it is too a jock, which I found laughable tion, he became emotional seeing whose records sent Ohama’s life plish all of these things from where Soundscape, which played in the late,” Ohama says. “Time is short he started out. It doesn’t matter but you deal with that attitude family and friends who’ve crossed veering in a new direction; and sometimes in the sportswriting gig. downtown core during the 2014 for all of us. Their deaths were a where you’re born, how small the his path over his 58 years. Doug Wong, flming But I remember the turning point. High Performance Rodeo, shock and a wakeup call to me.” There was Mia, who Ohama Ohama’s emotionally town is. If you have this creative I asked her, “Who do you listen Ohama composed three elements So Ohama is now looking ahead. started dating in 2007. charged comments at spirit in you, you can do good to?” and she said, “No one you and how people experienced the He and Mia are planning a move to “For a couple of people who the reception. things. Do amazing things.” would know.” I said try me. She music hinged on where they were the East Village. And he’s keeping mentioned Ohama. I went to never wanted to get But, of Wong pauses. Smiles. and where they moved. under wraps details of a new vocal the basement and said: “Which married, we’re course, some “I’m glad he’s still here.” n The elements were Core, a mix- album do you want to hear, frst both so happy to important or second?” The thaw proceeded ture of common downtown sounds, be married to each people could from there. from footsteps to birds and traffc; other,” he says. not attend. As told to David Veitch Trees, synthetic washes invoking There were his Ohama’s wind blowing through the tree sisters: Shoko, mother died sculptures outside of Bankers Hall; Tonianne and 20 years ago; and Tower, the soothing, two-note Natsuko. his father a few bell tones of the Calgary Tower There was Tona years later. Carillon — which, it should be not- Tona Walt Ohama’s frst synth sits on a Michael, now 25. In recent ed, sounds like church bells. table during a listening party for his His son chose the Mia and Tona Ohama. years, he has 2017 album, Grrlz Monosynth Tower. Just like in Dania’s dream. reception to tell fam- also dealt with

18 DON’T YOU LISTEN? You can be whatever you believe.

You can be whatever that you dream.

You can be.

You can be if discipline is freedom.

www.theyyscene.com