I Heart the Music: Your Online Source for Live Music Reviews and Interviews in Toronto!

iheartthemusic decided to choose a few keys players to interview during CMW 2010. Here is the first of many informal chats that we had with some talented individuals. Introducing Jonathan Chandler (guitarist/lead vocals) and Christopher Wilson (drummer/vocals) of Amos The Transparent.

iheartthemusic: I’m really excited to be here at CMW, it being my first time, but for you guys it’s not; you were here last year and played with Black Diamond Bay. Are you glad to be back?

Jonathan: Yeah, we played with Black Diamond Bay and Michou. The venue was packed, everybody was drunk and singing every word louder than I could. It’s so much fun here. Toronto’s a great vibe, especially during this festival…everyone is in music mode and ready to go. We love it, and are definitely glad to be back. (Toronto’s) starting to feel like home.

iheartthemusic: You guys just released the EP My What Big Teeth You Have, and were up for a Verge award – congrats, by the way -  what else has been going on with the band?

Jonathan: The biggest thing that’s happened to us is that we entered this radio competition in Ottawa called ‘The Money Shot”, and we ended up with $50,000. We lost to Hollerado, but for the record, we’re all friends, and we like them…

iheartthemusic: And you’re playing wth them tonight!

Jonathan: Yeah, it seems like ever since then, we haven’t been able to avoid each other; here and in SXSW. So, that (radio competition) was the big thing, which has kind of opened up the door; now we’re writing and getting ready to release a full length record.

iheartthemusic: That’s so good to hear! I know that on your last full length record, Everything I’ve forgotten To Forget, Jonathan, you were the creative centrepiece or the album’s lynchpin, but for “Teeth” you sort of de-centralized creative control. I’m wondering what it was like to let go of the creative reigns? How does that sort of transition work?

Chris (laughing)(to Jonathan): You’ve got a really good answer to this one!

Jonathan (laughs): Well, like I said, Chris has been the #1 partner from the beginning. When we started the album, it really just was Chris and I. So when we were making/writing that record, it was just me primarily writing the songs. I’d bounce ‘em off Chris and we’d arrange them together, and brought our friends in to play the parts, whereas with “Teeth” we widdled away and really formed a real band, so it was a good way to showcase how far we have come.

Chris: Even “Teeth” was still Jonny’s total songwriting, with the band having more input/influence, but I think you’ll even see with what’s coming up, the band’s really taken over. (Amos) has really become a band now. I think it’s been a slow, but good progression from intially just the two of us working together to having more collaboration, and for this upcoming record, it’s been the first time we’ve all actually sat in a room together writing songs before going into the studio. It’s been really great having everyones input and working through it as a team.

Jonathan: I bring skeletons of songs to the band, but I’m purposefully not thinking about drum parts when I’m writing them, not thinking about what the bass is gonna do. I’m really starting to get a “band” feeling…which is wicked.

iheartthemusic: Do you think this sort of change in dynamic has benefitted your sound?

Jonathan: I honestly feel like everyone has more of a home in the band now. It could have been perceived before that people were kind of like ‘hired guns’ to do things, and I can tell we’re playing more like a band now, we’re acting more like a band now just because everyone is in that happy place.

iheartthemusic: Where do you guys see the band taking you from here? What are your collective aspirations?

Chris: Hopefully out of my basement! (laughs) No, obviously we want to do this as our life.

iheartthemusic: Yeah, I hear you guys all still have full time jobs outside of the music industry?

Chris: Yeah, we don’t make really any money doing this, so we have to support ourselves, our greater families.

ihearttemusic: How do you balance both obligations?

Chris: It’s busy. Balance is hard, but you work your hardest to do what you need to do at home, play the shows when you’re on the road. It works out. We want to do this as our “fun job”.

Jonathan: It comes down to the fact that this is our passion, so we make it work. The end goal is just to have as many people hear our music who wanna hear our music. Have fun, and enjoy.

iheartthemusic: Let’s talk about people who want to hear your music. Is there any specific city or town in Canada you guys love to play because the fans are so great?

Chris: I think the small city of Toronto is probably my favourite place to play in Canada. I think the reaction and the response here has been absolutely amazing. Everytime we come here it’s usually like “this is better than our hometown”. Ottawa’s great, but Toronto’s always a blast. There’s always a lot going on down here, and it’s definitey worth the trip. We always have a good time when we’re down here.

iheartthemusic: So glad to hear it! We’re some of those fans! (laughs all around). What about the internet? It seems like for so many indie bands, the internet has been a really amazing means to more lucrative ends in terms of getting your music out there, the heightened exposure, the push and promotion, the free streaming, the blogs etc., but on the flip side, the internet is also the source of free and illegal music downloads and this takes – much needed- money right out of pockets like your own. So, the internet: scourge or saviour?

Chris: The internet has been great. I’d never complain. We’re at the point in our careers where we just need people to hear our music. If you’re gonna download it, well, it kinda sucks, but it’s a benefit for us because someone’s gonna get to hear our music. And you know what? Download the music, and come to the live show, buy the ticket – even a t-shirt – and that’s fine. You’re never gonna stop the downloads, so you might as well just accept it…

Jonathan: and firgure out how you can use it to your benefit. There’s now countless ways to interact with fans, and ultimately grow more fanbases. I just found out today we hit gold in terms of people stealing our music, all because of over 5,000 downloads of our one record. So, that sucks, but look at the positive: there’s over 5,000 people who just got the record. Hopefully they like it, and it’ll turn into ticket sales.

iheartthemusic: Funny Question: You guys did a cover of Alannis Morissette’s “You Oughta Know”, is she one of your favourite Canadian artists, or do you have hatred equal to hers for Joey Gladstone from Full House?

Chris: (laughs) The cover came from a tribute show in Ottawa for CBC Radio. It was getting artists together to pick a song or two to play. That’s how it came about. Jon picked the song though!

iheartthemusic: Hey Jagged Little Pill was a good record! (laughs)

Jonathan: It was a good record! Actually we were the final addition to the show, and it was Alan Neil from CBC who said no-one has done “You Oughtta Know” yet, and I was like “Really? No-one’s picked her song? So great! We’ll do that”.  I really like tearing things apart, so what I did was listen to the words and, although she did it as an angry song, if you listen to the words without the music, it can be a really heartbroken song. So, we figured we’d just switch it up.

iheartthemusic: So you don’t dislike Joey Gladstone?

Jonathan: (laughs) Nope. He’s fine. Shit happens.

** catch them back in Toronto April 17, 2010 with The Junction!

interviewed by Brittany Smith

photography provided by Renee Rodenkirchen

Saturday, March 13th was met with many challenges for anyone looking to jump from venue to venue during CMF. With tons of rain and fierce winds, we were grateful to take refuge at the Rivoli for The Nova Scotia Showcase.

We unknowingly walked into the private party just as Paul Murphy (Wintersleep guitarist & vocalist) graced the stage. The performance featured Paul’s most recent musical endeavor, Postdata. Collaborating with his brother Mike Murphy, Postdata is a culmination of songs inspired by the recent passing of the pair’s grandparents. That said, Murphy gave a somber and subdued performance conveying his message through his powerful voice.

Taking the stage next were The Stanfields. With a blitzkrieg of blue grass, Celtic, heavy metal and rock and roll melodies, the band delivered a performance powered on high octane energy. Playing a combination of old and new tracks (“The Boston States”), they created total anarchy. For audience members new to the band, they were in for a rude awakening if they were standing in what quickly became a crazy mosh pit of Celtic dancing. In attempt to dodge the insanity, I moseyed on over to the other side of the stage where I was greeted by the energetic front man as he jumped into the crowd for his guitar solo. Just when I thought I was safe, a Celtic dancer went down and launched his entire pint onto me. That being said,  it was well worth it! Their debut album comes out in two months on Ground Swell Records.

Transitioning from rock to hip hop, Three Sheet took ownership of the stage. Although difficult to define, this powerful five member band is reminiscent of Black Eyed Peas and Swollen Members. This group knows who they are and with a little work, they should have a label in no time. When you check out Three Sheet, keep in mind that they don’t use samples or synthesized drums. They are a rare combination of strictly beatboxed percussion courtesy of EMC, female vocals courtesy of Vanessa Furlong, O’Quinn’s electric and classical guitar, bass by Kev, and relevant story telling lyrics by band MC Expedyte. Like so many acts seen and heard during CMF, the true brilliance of Three Sheet can really only be realized when you see them live. “At the End of the Day” was a standout track which they delivered with insurmountable passion and intensity.

Stumbling across this showcase turned out to be a serendipitous occasion as i heart the music was introduced to the genius that is Rich Aucoin. Along with Joel Waddell (drums), Erik VanLunen (bass), and Darryl Smith (“other stuff”), Rich had our attention from the get go. There are many moving parts to their set up and watching it brought back memories of panic during school presentations. To their credit, they were faced with a greater challenge; projecting images onto a screen throughout the set. Rich conveyed messages such as “SMILE”, “DANCE”, and “EAT MORE VEGETABLES.” He performed songs from his Personal Publication EP, which was recorded over a year with one microphone and holds more than 25 different instruments. It was written to sync with Dr. Seuss’ How The Grinch Stole Christmas (1966) which he also projected on the screen using hollow neon images. Listen to “It” on their MySpace page and picture the entire crowd kneeling on one knee and subsequently jumping up in unison for the chorus. Everything about this performance was invigorating and inspiring. You can’t help but want to tell everyone you know to stop what they are doing and check this guy out. So please, do yourself a favour and check this guy out! They are back in Toronto on April 24th at Studio City Toronto for Alternative Fashion Week.

as reviewed by Catherine Russell

photography provided by Renee Rodenkirchen

CMF Friday night at Lee’s Palace began in the freezing cold rain where beefed up, power-tripping-on-overdrive bouncers and door staff didn’t understand the idea of a media pass, refusing entry and re-entry to the people there to cover the show. Some disorganization, and a lot displeasurable attitude from the security and ticket staff, media people were held hostage within Lee’s Palace, unable to go outside unless they, in the words of ‘Ms. Door Staff Bitch’, “wanted to stay there”. Once the show began we were glad to have opted for the hostage route considering the powerhouse lineup that night delivered immeasurably wicked performances.

Although they served to set the tone perfectly, there’s no doubt Winter Gloves could have killed it by playing a later set, with a larger, warmer, more loosened up crowd. A much more keys-centred, textured sounding rock set than was maybe expected, Winter Gloves know how to demand your attention. Having twice as many instruments than band members on stage (coupled with the ability to play with both hands and feet) it is always a sign of good times to come. Strong vocals and an amazingly enthusiastic frontman didn’t hurt this post-rock/electro mix either; think of the best performance this musical hybrid could produce, and you have Winter Gloves live.

For how up-beat, interesting and wacky their music is, The Russian Futurists didn’t have the stage presence you’d expect. Frontman/creative mastermind behind the group, Matt Hart, not only neglected to touch an instrument or synth board, but was a marble statue at the mic all night. Oddly enough, he had more presence cracking jokes and just being natural in between songs than he did during their set. A couple of really fun orchestral choruses, a wicked drummer capturing the spotlight, a surprise duet with Ruth Minnikin, and some impressive Spector-inspired sounds were the highlights of this otherwise blah performance. Although their music is forward-looking, different and undeniably creative, the crowd also seemed unsure of what to make of their live show.

The Acorn live is way less sad and boring than I thought they’d be, which is always a welcomed surprise, especially from a band whose album better suits a good Sunday morning listen over a Friday night. Three or four guitars, a very personable frontman with a buttery soft voice, and a crowd quite obviously there to see them, The Acorn dazzled. Subtract a couple yawners, and a guitarist that randomly disappeared in the middle of the set, and this band of brothers can really carry a performance – confirmed conclusively after receiving a massive(ly good) response from the boisterous and heartening crowd.

What’s always forgotten is that Plants and Animals is a 3-piece band. They are so heavy and have so much depth, it’s a wonder that this transfers onto the stage so flawlessly. An exponential increase in intensity making their sound fucking explode off the stage, these guys know. how. to. rock. out. Contrast this with Spicer’s fantastical, yet solid voice that could carry over an ocean, and you’ve got one of the toughest acts to follow. Lengthening the bridges and jamming around arrangements; putting some echo effect on the mic and pulling the drum kit forward, all added so favourably to this hub of greatness. Complete with perma-smiles and dropping jaws, it only took one glance around the room to reveal the general verdict of this performance. Oh yeah, and they mostly played stuff off their yet-to-be-released album. Jesus. These guys are good.

As reviewed by Brittany Smith

photography provided by Aaron Alleyne

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