__Ohbijou – November 29, 2011
Dublin Street Church December 10, 2011 with Julie Doiron Interview by: Allyson Cooper

Ohbijou’s return to Guelph on December 10th comes at the end of a fall Canadian tour to support the release of their third album, Metal Meets.  A rich, fleshed out mix of ethereal vocal harmonies and layered instrumentals, Metal Meets is an album you can easily listen to, and enjoy, from beginning to end.  Ohbijou’s lead vocalist, Casey Mecija, took a few minutes to answer some questions for RoyalCityScene.com.

Royal City Scene: I’ve read that much of this album is either rooted in, or inspired by your adventures, and your experiences outside of the cityscape. How has that contributed to this album being different than your previous two?

Casey Mecija: Ohbijou retreated to a cottage in the Bruce Peninsula to write and arrange much of our new record, Metal Meets. The opportunity to leave the distractions of the city behind afforded our band the time and the space to prioritize each song and really parse through our arrangements, lyrics and melodies etc. Being in the woods helped us focus on creating the best album possible and I think because of those adventures outside of the city we have a much more cohesive album then our previous efforts. 

RCS: This album feels like it’s full of guts. What I mean by that is it feels like it is all substance and layers, and no filler. Instrumentally, what have you done differently when recording Metal Meets?

CM: Instrumentally we experimented with the application of different effects like delays and reverbs. We wanted to create a unique environment for each song. We wanted to find different ways to communicate musically for this record. The chance to try and elicit emotions through something like a roaring delay was an exciting and new experience for us.

RCS: Ohbijou has been described many times as a familial. What part does family play in the creative process, or even playing live and touring?

CM: As a band, I think we've realized that in order for writing, touring, performing to be successful we have to work as a team. We definitely have our frustrating moments but in the end we've known each other and have played music with each other for a long time now and those relationships we don't take for granted.

RCS: The album artwork for all three albums are beautiful, who designed the album artwork for Metal Meets?

CM: The album artwork for Metal Meets was collaborated on by two artists from Toronto named Hanna Hur and Laurie Kang. My sister and I have been big fans of their work and we think they did an incredible job at creating a powerful image to represent our album.
Check their work out at:
www.hannahur.com and www.lauriekang.com

RCS: When you released Beacons in 2009 you threw a huge, highly revered bash at the Opera House in Toronto. Were there similar festivities held with the release of Metal Meets?

CM: Our record release for Metal Meets was definitely memorable. We performed at a beautiful church in Toronto called Trinity St. Paul's. We had custom made projections for each song designed by filmmaker Jesse Ewles. It was our chance to show our friends and family what we had been working so hard on and remains one of my favorite shows we've ever played.

RCS: Tell me about your experience sharing Metal Meets with Canadian audiences on your fall tour. How was playing Pop Montreal?

CM: Pop Montreal was one of our first shows after a long break of not playing live. We were sharing the bills with many of our good friends like Evening Hymns, Forest City Lovers and Snowblink. I think we were collectively a little nervous leading up to the performance but in the end it was so incredibly fun. Everything about that night felt good! As for touring, Canada has been so supportive. It was so nice to see people come out to our shows and know the words to songs. 

RCS: You’ve toured internationally, throughout Europe, Asia, and the States- what was touring outside of Canada like? Is there an attribute that defines a Canadian audience, as opposed to a European, Asian, or even American audience?

CM: I think international audiences appreciate music in the same way that Canadians do. We are lesser known abroad so with every show we didn't know what to expect or who would come out. 

RCS: In 2008, you did a split EP with The Acorn. Are there any more collaborations in your future?

CM: No collaborations in the near future. Would love us to do something with Shad one of these days.

RCS: You’ve played Guelph in the past, specifically at Hillside Festival, what has been your experience playing in Guelph?

CM: We love Guelph. The Hillside festival is by far one of our favorite festivals to play. Such warm audiences filled with people who love and appreciate music. We have a long history with Guelph as two of our members went to U of G. Some of our first shows were in the royal city and we have always appreciated how there is a strong community of people who consistently work to organize and support the music scene.

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Donovan Woods
Interview by: Mike Cowbrough

Perhaps best known for his hit, My Cousin Has a Grey Cup Ring, from his first album, The Holdup, a song which gained popularity around the 2008 Grey Cup.  It's also one he'll perform live this year during TSN's broadcast coverage of the 99th Grey Cup Final on November 27.
Royal City Scene spoke with Donovan Woods recently and talked about everything from song writing, to hockey, to burritos to the Royal City.

INTERSTLLR
Interview by: Allyson Cooper
Over the last 10 years or so, our little community of Guelph has sculpted a distinct indie-folk-oriented music scene- producing groups and solo artists that have gone on to great acclaim and success in Canada, and internationally. Could the next generation of great Guelph musicians be moving into a more urban- or pop-oriented sound? With the mid-summer release of INTERSTLLR’s self-titled freshman EP, the next generation of musicians will undoubtedly count Koko Bonaparte and Madadam as inspiration. With each listen to the 15-minute long EP, I become more and more of a fan. Tracks like “Is There Thunder” and “Love Sit Down” could easily be lent to party playlists, and “Mercy Me” (which was far too short for my liking) makes it impossible not to move.

  INTERSTLLR were kind enough to answer some questions about their first release. Make sure you get your hands on this EP, and mark October 6th on your calendar - it’s the night INTERSTLLR invades the eBar.

Royal City Scene: I’ve read you’ve been friends since childhood, what instigated this collaboration? Why now, in the summer of 2011?

Koko Bonaparte: Last year, Adam and I both changed our work and the places we live.  We had small renaissances.  It wasn’t mapped and planned, but it makes sense that we invented INTERSTLLR as a new thing to suit new days.

RCS: There have been acts that mesh ambient samples, hip hop beats, and startling female vocals, a group like Portishead comes to mind, but somehow you’ve created a new version of that sound. How did your sound come to be?

KB: Portishead is still inspiring, still haunting.  It’s so cool that several people have hesitantly compared us to them! Our sound happened “big bang” on the first song we made, which was “Is There Thunder.”  It did not result from long band practices or soul searching.  Soul was at the door, leaning there.  It was like when a hockey coach puts together a new line and the line clicks.  Our line is: Madadam, Koko Bonaparte, and Gregory Pepper.  We were dancing a lot then, so it made sense that we wanted to make electronic and grimy songs that feel good.  We agreed on that and went for it. 

RCS: I’ve encountered a few pieces about the release of the EP, and a resounding theme is that people are surprised that you’re from Guelph and NOT making indie rock or folk.  As artists, what is so attractive about Pop and Hip Hop?

KB: The clutch rhythms, the dancing, the humour of Pop and Hip Hop, the sex—these are attractive.      

RCS: Explain your creative process.

Madadam: I like to sit in front of the computer screen until my eyeballs get dry and sore, then I take a break, get some eye drops, if it's that bad, and maybe I have a glass of water, then I get back to it.  I play around with the beat until it has that feel that I’m looking for.  I'll start with a drumbeat and then chop some samples over top of it, or visa versa, but there's no set formula.  I find that most of my beats just make themselves.  I guess it's best described as sculpting.  You get a general loop going with all the chopped samples and the drum beat, and then start chipping away at it until it really hits.  I use software as opposed to an MPC, so there's a visual element to it.  I can see every thing notated on a grid.  I used an MPC one time.  I was like the kid who can’t figure out how the toy works and so throws a temper tantrum.

KB: I listen to the beat about one hundred times.  I write to the beat when I’m out walking with headphones on, in the early morning or late evening.  Sometimes I sit down at my desk to write.  I excel at dancing in a chair.  In Grade 7, the rapper Livestock and I used to dance in chairs all the time.  This should be part of every writer’s education.

RCS: Madadam, what era of music has the best samples? Is there an artist you like to sample?

MM: I can't say that any one era has the best samples.  There are great samples to be found everywhere.  I do like sampling older material like big band stuff or those cheesy "100 strings play....” records or anything classical, or Bert Kampfert, or stuff like that.   I also look for lots of single note samples, like a clarinet tone that I can pitch up and down to make into my own melody.  On the INTERSTLLR EP, I sample a wide range of stuff from prog rock to Dixieland, to soul, to Bach, to an instructional drum cd, to sounds that come with my production software, or my own stuff that I played on a keyboard, or a tone that I generated.  Whatever works.  Some people think there are rules to sampling, like some beat makers would never sample a sound from a loop bank that came with their software, but I don't care at all.  I put lots of work into my beats.  If it works, then I’ll use it, just as long as I’m not phoning it in with a simple four-bar loop and a pre-looped drum beat over top.  I did that 10 years ago.  I’m trying to progress as a musician.  I don't want to be just making four-bar looped beats all the time.  It's been done.  That being said, there's nothing like a good banger.  

RCS: Koko, I know you’ve rapped in the past, what led you to singing?

KB: Gregory Pepper told me to do it.  I am grateful.  I sing all day now.

RCS: I saw a video from late August of you performing “Is There Thunder?” and it was tight- so in the pocket. It’s pretty rare to find a new group that can sound just as polished and clean live, as they do recorded. Does your live show stay faithful to what’s on the album?

KB: Right now, our live show sounds like the INTERSTLLR EP.  We gathered a small fleet of synths and production machines to make it rock right.  We’re proud of our live sound.

RCS: How has the Guelph music scene received this EP?

KB: Guelph has been incredibly supportive and cheerful around the INTERSTLLR EP. 

RCS: Madadam played Hillside with Common Grackle; will we see this duo at Hillside next year?

KB: They decide that in a room, behind a door, don’t they?      

RCS: You have a great Tumblr site, how important is social media for new bands?

KB: I like my data like bread, fresh and soft in the middle.  Our Tumblr site keeps us organized.  We always know how to share news and videos, and don’t have to wonder what to do, but just post it there.  But I also like it when music is hard to find, when it seems remote or marginal.  This gives it an air of mystery and special value.  It’s a pleasant illusion.  I like reticence. 

RCS: To quote “Love Sit Down,” what should happen next for Interstllr? Will we be seeing a full-length album?

 Some singles and videos are next.

You’ve worked with Noah 23 and Common Grackle is there the possibility that we could see some collaboration on some new music?

Yes, more songs with friends! 

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Mother Mother
Interview by: Allyson Cooper

Mother Mother is riding high after the successful release of their 3rd album Eureka.  A synth-rock masterpiece that showcases the band’s attack and versatility.  With the strong lead single, “The Stand,” and accompanying music video, Eureka is stylistically engaging, both in sound and visuals.
Coming off of a string of shows to support the album release, Mother Mother is one of the most anticipated acts of Hillside Festival 2011 at Guelph Lake.  Ahead of their Saturday Night set on the Main Stage at Hillside, Ryan Guldemond took the time to answer some questions, and give us an idea of what to expect if you’re lucky enough to attend this weekend!

There was a three-year gap between Oh My Heart and Eureka, was it filled with playing shows, or was that time spent writing?
Both. The creative process is a perpetual one that lingers throughout the practical aspects like touring and promoting an album.  I bet a lot of touring bands write most of their albums at sound check.   

With the addition of Jasmin Parkin in 2008, how did the band’s chemistry change? Did it change at all?
Yeah, the chemistry changed and for the better.  Usually when a band parts ways with an existing member it means something's missing for one or both parties, so Jasmin's induction filled a void, and in speaking on both musical and personal terms, the lines of communication within the band opened up nicely upon her arrival.

Explain your writing process.  Is it collaborative, or does the music come from one place/person, and the lyrics and melodies come from another?
I write the melody, lyrics, chord progression, and foundational arrangement and then as a band we add the groove and harmonies, bass lines etc.  Each member stamps the song with their personality, making it their own, but the raw musical/lyrical elements starts with me and usually an acoustic guitar.  

What was working with Mike Fraser [well known Canadian producer and audio engineer] like? He’s worked with everyone [Aerosmith, Bad Religion, Elvis Costello, Jimmy Page, and Franz Ferdinand to name a few], in seemingly every genre of music!
Mike Fraser was great to work with.  What's nice about his style is that he takes the full vision of the band and the producer and simply makes it shine by putting things in their sonic place with mastery and finesse.  Some mixers try and reinvent the vision by putting a biased stamp on the sound, which can be cool, but we didn't want that for this one.   Mike had the perfect style for this record. 

Being that you’ve played all over the country, do you find that there is a distinctive ‘West Coast’ sound?
Not really.  I think contemporary music is becoming more and more universal in that it borrows from all that came before it - and in the realm of experimental rock, this idea really shines through. 

  “The Stand” is not only your lead single, but I think, the best song on the album lyrically. There’s a verse that says "…its like paradise, spread out with a butter knife,” what was the inspiration behind that line? It’s such a clever lyric.
Often in the demo phase of songwriting, the lyrics won't be finished, and gibberish will be used instead.  For “The Stand” we had recorded a demo in this fashion and one day it was noted by Jasmin that this particular cell of gibberish sounded like "it's like paradise spread out with a butter knife" so that line was a total happy accident.

There’s a really cool call and response to that song, is there significance to the ladies asking all the questions?
It works well. The sound of a woman's voice with whimsical rising inflection can scream of naiveté and that was needed for their part in the dialogue.  

Your music video for The Stand is visually exciting and unique, where did the concept come from?
I had prefaced our treatment call to directors with a loose idea of me as a patient and the girls as my psychiatric team.  The rest of the video, in art and style was the vision of director John Poliquin.  He did an amazing job and we couldn't be happier with the video. 

Other than lyrical relevance, why the images on the wall, and who drew them?
The images are meant to depict the thoughts in my head as I'm verging on insanity.  The animator was a young guy from Toronto named Ace Billet. He also did an amazing job.  We're smitten with those drawings.   

I interviewed Lindi Ortega a few weeks back and we talked a bit about the SXSW Last Gang Showcase, she said it was really inspiring to witness such talent. Are there bands that you’ve played with that have made an impact- profound, or superficial?
Yeah, for sure.  I think we glean valuable things from every band we share the stage with, whether it's stuff to strive for or things to avoid. 

You’re set to take part in Busking for Change at the end of this month.  What drew you to the War Child organization?
War Child specializes in helping bands like us put our creative abilities towards a good cause: raising money and awareness for children who were and are affected by war.  It's a great way for bands to use their profile and public voice in a positive way.

I could be wrong, but did you play Hillside about 3-4 years ago as a trio?  If it was you, I’m pretty sure I saw your set and absolutely loved it!  You’re playing Hillside 2011, what can we expect from your set? 
Yeah we did play Hillside about 4 years ago, but we did have a rhythm section, however the sound was stripped down much more than it is now.  
This year you can expect a diverse set from us, one that we'll draw from our whole catalog as to create an experience emblematic of the bands artistic progression.  A lot of the older songs and even some of the newer ones we treat with different arrangements and bridge together with extended intros/outros and wholly new composed segue material.  It's a well-put together show and we put a lot of energy into the performance.

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The Coppertone
Interview by: Allyson Cooper

If you have a chance this Thursday, come down to the EBar to catch a performance by The Coppertone! Promoting the release of a four-song EP “Hymns for the Hollow”, The Coppertone is the perfect fit for blues and rock lovers alike.
Led by King City musician Amanda Zelina, The Coppertone put on a powerful show, as can attest the crowds that just enjoyed performances at the El Mocambo and Dundas Square in Toronto for the NXNE Festival. This week Amanda took time to answer some questions, and even gave us a new Top Ten!

Your sound is very blues oriented, was there a specific record or artist that got you into blues?
I'd have to say John Lee Hooker was the first that really stung me deep. I grew up around the blues, so it's hard to pin point what got me into it. I've always sort of been there as far back as I can remember. However, I've studied John Lee Hooker and Junior Kimborough the most. 

Traditionally, the blues are about just that, the blues, sadness, loss, anger. Do you typically write from a place of pain, or do you bring other emotions into a bluesy sound?
I mean the way I see it is the blues is a way to make the bad feel good. So I suppose I get a lot more out of writing from sadness and loss, pain, grief, anger etc. It's cathartic. On the other side of things if you can manage to write a "blues" song out of a celebratory or happy place and you pull it off.... meaning you have a hell of a lot of soul behind it... that's magic. 

A few years ago, you attended the Musicians Institute of Hollywood, how did you decide to come back to Canada when musicians are constantly heading south to catch that ‘big break’?
I never went to catch a big break. I went because I was seduced by the guitar. [I] had never really played it and cheated the entrance exam to get accepted so I could challenge myself.  I wanted to be surrounded by teachers. I chose to leave early because I got out of the program what I needed and I wasn't vibing the people that were looking for their " big break"

To me, especially on tracks like ‘Last Goodbye’, you’re kind of the female answer to the Black Keys, with this raw, distorted, blues-rock sound, and accompanied by really strong vocals! Have you encountered comparisons to other artists, and have they been accurate comparisons?
Thanks love that’s a huge compliment. I've gotten that one a couple times- The Dead Weather, White Stripes...  It's hard to say what is accurate and not... Everyone has their own opinion; it's relative to them. I'm flattered by the comparisons I've got so far.

You’ve just come off a string of shows for NXNE, a relatively large and well-established music festival. What was it like playing to hometown crowds at Dundas Square and the El Mocambo?
It was a magic weekend. Truly. People responded. I feel so lucky right now because people are coming out more and more, the audience is growing and people are dancing, screaming, singing along... All I ever want is a connection with the audience, to raise their frequency and give them something, make them move, free them momentarily. This weekend it happened. 

Did you have a chance to catch any shows during the festival? Did you discover any new artists?
You know I get really overwhelmed with the number of bands playing these types of festivals, and I've got so much on the go right now that I don't actually get a chance to go out and soak in the festival.

Last year you and Dallas Green put together a tribute vid for Dan Achen [well known Canadian musician and producer, who passed away in early 2010] for the Wood & Wires Series. Tell me how this came about.
Dal and I are good friends, have been for a while. Dan passed and we reconnected. And I just thought it would be incredibly special to Dan if Dal and I did something musically together. So I called him up and asked if he was into it. He said yes.

You tweet a lot, and post awesome ‘Top Ten’ lists on your blog, so I figured I’d give you a new list to mull over. Name the top ten artists/bands no one would have ever thought you’d listen to.
Ha! This is awesome. This is tough because I really listen to all the same stuff majority of the time. However these people are ones I throw on every now and than and LOVE.
1) Antony & the Jonsons
2) Nicki Minaj
3) Wiz Khalifa
4) Tina Turner
5) Jay Z
6) Miles Davis
7) Yann Tiersen
8) Merle Haggard
9) Band of Horses
10) Edith Piaf

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Lindi Ortega
Interview by: Allyson Cooper

Fresh off of a showcase at SXSW and supporting the release of her new full-length album, acclaimed southern-Ontario singer-songwriter Lindi Ortega will be playing a show at the Jimmy Jazz in downtown Guelph on June 16th.
Genre-bending artists like Lindi Ortega are few and far between these days it seems, but she, with her little red boots in tow, has carved out a sound all her own. Influenced by country, folk, soul, alternative, and rockabilly, and paired with a rich jazz-infused voice, Ortega is a talent that cannot be missed.
Lindi took the time to answer a few questions and give a little insight into her creative process, her influences, and her audience.

You could easily sing pop, soul, or jazz, what drew you to country and folk music?
[I’m] just a really big fan of old school country, it’s always tugged at my heart n soul.  There's a lot of sincerity and heart breaking brutal honesty in old country and the darker stuff, like Johnny Cash's Murder album, is especially intriguing for me.  Same with folk music, it speaks of something.  The songwriting in these genres is unreal.  It’s not passive listening.  It’s engaging and it moves people. 

Starting out in Toronto, what kind of reception did you receive from audiences when you introduced your unique sound? Were you met with enthusiasm, were people receptive to your bringing something new to the table? 
People seem to be really diggin’ what I'm doing with this new record, which is incredibly exciting for me.  I've spent a long time paying my dues.  Still payin’ them... but it’s nice to finally see I'm making some ripples and maybe I can start making some waves with a little luck.

You’ve played to some pretty large audiences, touring with Keane, and Brandon Flowers (The Killers), do you prefer more intimate shows (like the Guelph show is bound to be), or large stages like SXSW?
There is something to be said for both settings. But as long as the audience is having fun, then I'm having fun and it wouldn't matter where we were as long as we were all having fun together! 

You have shared a record labels with some pretty major players Feist, Keane, Sting with Interscope/Cherry Tree, and now Metric, MSTRKRFT, and Death From Above 1979 with Last Gang Records. How much do other musicians or bands contribute into your creative process, if at all? And what kind of opportunities have these connections presented for you?
When I was signed to Interscope/Cherrytree I had the opportunity to tour with label mates at the time, I really enjoyed touring with Noah and The Whale, as well as Keane.  During SXSW my current record label (LAST GANG) held an awesome showcase and I got to share the bill with Mother Mother, and other fantastic Last Gang acts.  Got to witness some great talent and, of course, that's always inspiring. 

What differed in the creative process from your first album, to recording an EP with a major record label like Interscope/Cherry Tree, and now a full-length album with Last Gang Records? 
My very first indie record was me just experimenting, seeing what I could do.  I was a bit naive to the art of writing a song at the time.  Then when I signed to a major label things were much more structured, and now with this new record it’s a healthy balance.  I'm aware of what I'm doing, but I don't over think it.  It's important for me to write from the heart and always mean what I sing sincerely. 

You have had really positive critical success, specifically for your EP ‘The Drifter’, has it made it easier or harder to produce new material knowing that the press is behind you?
I'm not sure I even really think about that when I'm writing.  I appreciate a great review and I am elated when people say nice things about my music.  But I just have an innate need to express myself through song; it's what I do.  It’s like I'm a boat on the water, I'll be sailing the seas no matter what… but good press is like the wind in my sails, it helps my little boat go places. If that makes sense!  [It does!]

Your video for ‘Angels’ was shot entirely on the iPhone, whereas ‘Little Lie’ was shot in a studio, with all the glitz and glam, and fancy cameras. What inspired you to take the DIY approach instead of a more conventional approach? And which was more fun?
I enjoyed making both videos.  I was inspired to do the DIY video because I like to indulge myself with creative projects, I like to take on new things and crazy ideas and not be afraid to fail miserably.  I thought I had nothing to lose by trying it out. I figured if it turned out horrible then I just wouldn't show anyone, but I kinda dug the end result and I think a few other people thought it was alright too. 

Does your personal music tastes stay within the country and folk-alternative genres or do you listen to all different kind of music? What are your top 5 songs right now? 
My main love is old country, but I listen to a lot of soul, blues, gospel, and rock music. 
Top 5
  1. Timber Timbre "Lonesome Hunter"
  2. Alexander "Truth"
  3. Otis Redding "I've Been Loving You Too Long"
  4. Band of Skulls "Fires"
  5. Plant Krauss "Polly Come Home" 

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