Now, imagine that being an idea, a sound, or a loop and you’ve got the premise to one of Warm Den’s undeniably unique songs. Somewhere in between space rock, experimental, and avant-garde is this Montreal-based trio of inventors, musicians, or magicians. Their music is full of unpredictable twists and turns, especially in “Yi!,” giving the listener a ride to remember. I first heard this unsigned band at an intimate show and was immediately sucked in, so when we sat around a table on the terrasse of Montreal’s Casa del Popolo, I was more than excited to talk to these friendly fellows – Adam Davidson (keys, sampler, guitar, vocals), Cameron Mitchell (synth, drums, sampler) and Simon (guitar, bass, vocals) – about their music.

Q:  How did you come up with the name Warm Den?

Simon: Low Brow [the original name of the band], for me, was a bit pessimistic and negative. It should be something positive, unless you are in a heavy metal band. To portray our music, which I wanted to be more uplifting, maybe melancholy sometimes, and hopeful, I wanted something that was safe and warm. When I was growing up in P.E.I., I spent a lot of time at my great aunt’s house and the den was the part of the house that had my great uncle’s chair in it and his desk; a safe zone to sneak in and look at his papers and pictures when I could. So the den was always that, and warm is warm. It has a nice feeling in your mouth and you remember saying it – “Warm Den”. Feels kinda elfish. Could be a different language.

Q:  So it doesn’t mean vagina?

Simon: [Laughs] Yeah, there has been that connotation too. I find humour is good. That’s okay.

Q: Tell me about Warm Den, starting with who are your influences?

Adam: Food is my influence, honestly. Tennis. Tennis playing is always good. Big influence on my life [laughs]. I like a lot of stuff. I’m a huge Krautrock fan. German influences: Kraftwerk, Faust, Can – all that kind of stuff.

Simon: My influences are friends and family.

Cameron: Anything and everything I can listen too. It’s all going to be an inspiration in some form or place.

Q: Simon is from P.E.I., Adam from Ontario, and Cameron is from Australia – So how did you guys meet?

Simon: All the credit goes to Craigslist, in all honesty.

Adam: I had a thing going way back with a two-piece. Members came and went. I met these guys, reformed as a three-piece from a four-piece [one of the previous members dropped out], changed the name, and changed the sound a bit.

Q: How long has Warm Den been together?

Cameron: As Warm Den, and the way we are going now, has been six months roughly. The idea has been there long, but the process has been shorter.

Adam: We’re still in construction mode: happy with the sound, but still tweaking and fine-tuning things.

Q:  Okay, the music – How do you compose your songs?

Adam: We are pretty democratic. If we all kind of see something in [a new idea], then we’ll jump on it for a while and either it will fly or it won’t. Then basically hack it around, work at a few parts, record it and sit on it, take it home, rework on it on our own, and bring in new ideas.

Simon: [We are] pretty unconventional. A couple times someone might come in with an actual song on the guitar.

Adam: But that’s rare.

Simon: Every song has been definitely different. If one of us came in every time with a guitar line, the songs would end up sounding similar and we would get boxed in.

Q:  Do you have a guideline at all?

Adam: We try to keep an open mind; free flowing. Don’t try to limit ourselves, but obviously put a certain stamp on things. If someone brought in a hip hop beat, we could put a spin on that. There is a certain mentality that we have. It’s just, we just don’t define it or write it down and say “This is what we are trying to do.” If anything happens, automatically it will form into something that represents us and our sound.

Cameron: It’s liberating to bring in anything you can and turn it into something totally different.

Adam: As long as it has a kick beat! [Laughs]

Q:  So what are some of Warm Den’s future plans?

Simon: I think we are going to start recording soon.

Adam: Right now we are fine-tuning. We are playing shows about once a month, just to keep us going and keep us focused. It’s good to get it out there and see the reaction to it. Then, go back on that, rebuild and reconstruct, and change what needs to be changed. Get a bit of perspective, basically.

Cameron: Recording is such a final thing, but live, the idea would be to be able to play those songs under a different light every time.

Adam: For us, it’s a never-ending process. It’s nice to know that you can always change things. It’s good to have a constant influx of new sounds, but at the same time now, we have to set lock on something.

Simon: To progress, you have to have something recorded.

In the meantime, I suggest sitting in your warm den with your eyes closed and letting Warm Den take you on a magic carpet ride through a dark cryptic tunnel, into the belly of a jungle, over an endless field, and then out into space. You can also check out the band live in mid-September and head to their MySpace for upcoming show dates.

Q: I’ve been following you guys for the past year and from the first time I saw you until now, the band has really come together. What is it that has allowed you to gel so quickly?

Andre: A lot of shows, more synergy being created between us. [As a new band] everyone was focused more on their own instruments and I think now everyone is able to hear what everyone else is doing … getting into that vibe where we are all uniform. We are able to push the songs more. We are getting better and better, but there is still a lot of room to grow.

Q: Since Joey has written all the songs on this album, how did the rest of you translate his words into music?

Max: [The lyrics are] the last thing he does. [They] usually come on top of the music. [Joey] usually has an idea, but yeah that’s the last thing.
Mathieu: We don’t really know what [the lyrics] mean really … They have like four explanations.
Andre: They are open to interpretation.
Mathieu: We are not reacting totally to [Joey’s] lyrics.
Andre: Yeah, usually my interpretation is better than his. [Everyone laughs]

Q: You’ve had an incredible year – touring China and the U.K. and showcasing at NXNE, SXSW, and Osheaga – what do you consider to be some of the most memorable moments?

Max: Driving. We have so much fun just driving, but seriously, lots. England was definitely amazing. Also, putting out the album was definitely exciting.
Andre: Putting out the record was definitely a plus. And now we have our first single coming out in a month.
Mathieu: And when we played in the little park for the senior citizens. [Everyone agrees]
Andre: Some of the older people liked us a lot because of the retro feel.

Q: Your music has a ’60s vibe; Is that the style everyone in the band likes?

Max: Our biggest influences are basically in these years. Although, we don’t necessary sound like them because its forty years later.

Q: How did you all meet?

Mathieu: Joey, Alex, and me have known each other since CEGEP.
Max: I worked with Joey. He was playing me some stuff and he needed a drummer. And everybody knows Andre: You can’t forget that hair!

Q: With EMI on board, everything has amplified. You are touring the U.K. again, but this time with 2010 Polaris Music Prize nominees The Besnard Lakes – what else is up and coming?

Max: We are releasing a vinyl. That’s very exciting I think. That’s what I am looking forward to most, other than touring different places.
Andre: We’ve been invited to Australia to play a showcase in Perth in October. Still a tentative thing. Until we see the plane tickets, then we’ll say we are going.
Max: It’s exciting that we are even being considered for some of the tours, shows, and festivals – very exciting.
Andre: The album is coming out in Germany, Austria, and Switzerland. There may be a possibility we are touring there too.
Mathieu: Maybe in June.

Q: When you tour, do you have any time to explore?

Andre: I do because I don’t sleep much. [Everyone laughs]
Mathieu: It depends if we have a day off or not. If we don’t have one, we just move to the next venue and that’s it.
Max: In Europe cities are closer, so you find yourself travelling less. In the U.S.A., there are massive drives … Canada too. In Europe I had more time to walk around and take pictures, and be a tourist.

Q: Have you guys started on any new music?

Andre: [A new album] is already in the process.
Mathieu: We are playing a new song live.
Max: The other ones don’t have lyrics yet.
Andre: Yeah, we are waiting for Joey.

Q: So is Joey the only one who writes the lyrics?

Max: Joey really likes writing his own lyrics. It’s weird when someone else is putting words in your mouth.
Andre: But he’s been open in the past to be helped.

Q: Final Flash has been compared to everything from cereal to Pink Floyd – How are you going to maintain your style and avoid being typecast?

Andre: What we are doing in the jam space is coming together naturally and I don’t think we are aiming to be anything right now, which is the best way to be. And I think in that sense our sound will evolve.
Max: We might have some qualities, but I don’t think we are anything like Pink Floyd.
Andre: But at least we love Pink Floyd, so why not?

And why not? Vibrant, captivating, and poetic; Final Flash will satisfy any indie rock lover’s thirst for new music. And if you have the opportunity, I also highly recommend checking them out live!

You can follow Final Flash on MySpace, Facebook, and Twitter.

Homeless

Q: To start, how and when was Little Beirut born, and why did you choose that name?

A: To start, we were born just like any other band, having been dropped on a doorstep by a stork. Our stork was a serious rocker, though a real good dude. Edwin and Hamilton have been writing together since college. Their previous incarnation moved to Portland because they heard it was a great town, dragging twenty people and some cats and dogs with them.

Little Beirut is a nickname for Portland, famously given by George H.W. Bush. When he came through Portland, he was met with your typical progressive, in-your-face protesters; people with picket signs and tear gas, and a little parade. All these pranksters decided to swallow red, white, and blue food coloring and throw up the American flag on his motorcade. You can watch it on YouTube. It really freaked [President Bush] out and he called his son to tell him to “never go to Portland on a campaign. It’s like little Beirut.”  It gave us a good reputation.

Q: I read on your website that “everyone in Portland is living a minimum of three other lives.” What are your other two lives, and how doe they influence your music?

A: Firstly and foremostly – yes, we just made up that word – we’re all husbands and/or fathers, and we cherish our family lives. Tis by itself entails a lot. We only have a fraction of the time to spend together that other bands have to rehearse/write, so we’re accustomed to making every moment count.  Secondly, between the four of us, we’ve been in about a dozen bands and we know we’ve got something really good. Therefore, we scrutinize and develop every thought fully before we know we’re done.

Q: How is Fear of Heaven different than Permanent Kiss and High Dive?

A: While our previous albums were more about trying every idea and sneaking it in, we went into recording FOH with a “less is more” approach. Our attitude was to take away, rather than add the kitchen sink. We feel we ended up with a stronger, more direct record, staying true to our sound. We want to make new fans, while keeping our current fans happy. We hope FOH does that.

Q: What inspired this new album, and was there a certain message that Little Beirut was trying to convey through it?

A: While in no way a “concept” record, the title, Fear of Heaven, applies to most every song. We’ve always believed that most people fear true happiness, going out of their way to find misery. Some say that’s a product of having too much, or getting sick of a good thing you’ve got, but we’ve always gotten a laugh out of the idea that Heaven and Hell are totally separate good/evil things. But there are too many shades of gray and it helps to remember that these concepts are of human design. The human condition IS change, and any constant repels us. If any of us found true Heaven, would we know what to do with it?

Q: Did working with Jeff Saltzman change the direction that Fear of Heaven initially had? If so, how and what kind of light did he shed on the band?

A: Working with Jeff was a total blast. We had worked with him previously, though only in a mixing capacity, so working with him as a producer was completely new to us. He encouraged us to shed a lot of our preconceived notions. We feel the record is more focused and direct due to his professionalism and experience. While recording Cosmic Waitress, for instance, originally Edwin and Hamilton’s guitar lines were written to complement each other in a question/answer type of way. It was our favorite part of the song. When Jeff heard it, he immediately asked us to cut one of the guitar tracks altogether, which really pissed us off – at first. But upon hearing the playback and final mix, we got where he was coming from, and it’s a much better tune.

Q: Let’s talk about the video for Last Light – amazing. How did the concept develop, and was making a video everything that you thought it would be?

A: Thanks! We’re glad you liked it. We’re pleased with it as well. David Emmite directed the video and we must credit his immense visionary skills. The video, in our view, provides a tasty visual representation of the song. David and Hamilton had a nice flow in developing visuals. Hamilton would supply some lyrics each week, and David would crank out a few visual ideas. They batted back and forth, and it was quickly apparent that David would get on a roll. His visual style on previous projects included themes of decay, loneliness—many of the themes in the song. We thought it was a great fit.

In some ways, the video-making process was what we thought it would be: makeup, hair – for those of us who have hair; Edwin and Hamilton – wardrobe, etc. We had a lot of fun during the shoot. We’ve already begun kicking ideas around with David for our next video.

Q: Which song(s) off the album do you hold dearest and why?

A: As you’d expect, we’re really proud of the whole darn thing! That’s like asking a parent of four children to choose their favorite child. That said, True Swords is one of our favorites. We’ve always aimed to be that band that tries out ideas that push our comfort zone, yet staying true to our sound. One reviewer called it a prom theme – we love that! Even if it doesn’t feel natural at first, we try to make it our own. Bow and Quiver is just plain funky and fun to play, [and] it combines a lot different elements of our sound in a totally new way. That’s one tune that went through the arrangement ringer, and we love it!

Q: I read this quote from Hamilton Sims; “One of the things I tell people when I give them the album is to expect it to be a pretty big, fat pop record, because that’s something that stands out here. We’re not avant-garde, we’re not trying to weird you out.” Okay, so what else does Little Beirut want to be recognized as?

A: Here’s a candidate for our band motto: “Little Beirut: Not weirding you out since 2005.” Seriously, there are those bands that, throughout time, aren’t recognized for specifically this, or just because of that. Rather, these bands are recognized as “a great band” doing their own thing. You can’t explain “their own thing,” you just know you like it and you want them to keep doing it for as long as possible. What band does one compare Wilco to? What about Rush? What about The Smiths? In a perfect LB world, that’s how we hope we’re recognized. As we said before, we’re so busy with our separate lives, we’re not able to play out as much as we would like. But we’re a great live band, we put on a killer show, and we want to be known for that too.

Q: What does the future hold for Little Beirut?

A: More music to share for all, that’s for sure. And we’ll also be working with Davit Emmite on another video. And plenty of live shows to promote FOH including, clubs, house parties, arenas, and puppet shows with Spinal Tap.

If you’re in Portland on Saturday, September 4, join Little Beirut for their official CD release show at Secret Society! And for all the latest info on LB go to: www.littlebeirut.com

Permanent Kiss

High Dive

Q: Like many other fans of Harem Scarem, I was really disappointed to hear the band broke up. What were some of the reasons for ending the many productive years with Harem Scarem to open up this exciting new chapter with First Signal?

A: I felt we were starting to repeat ourselves on our last few records, but, more importantly, it came down to dividing my time between H.S and making other peoples records, and not having enough time to do both properly. I also just signed a publishing deal with Universal Music worldwide as a writer, so I knew that would really limit my time for other things.

Q: There is an all-star list of songwriters on board for this First Signal project – how did you manage to put together such a fantastic team?

A: I have to give credit to Serafino at Frontiers [Records] and also Dennis Ward for putting all this together, and I was just brought in on the project.

Q: Who came up with the name First Signal, and what relevance does it have?

A: The name was in place when I got involved, or so it seemed.

Q: Who are your favorite artists, and who has had the biggest influence on your style?

A: In the early days it was Queen, Def Leopard, Boston, Judas Priest, and Iron Maiden, but I also listened to whatever was on the radio.

Q: As an accomplished veteran of the music biz, I’d like to get your perspective on how it has evolved over the past few decades…

A: More of a dismantling than evolution. Ever since Harem Scarem started all we heard was, “Wow, I can’t believe how bad things are this year,” and that has continued for over twenty years now. I love technology, but it has made it difficult for new artists to create a solid foundation to build from.

Q: What would you say has been your biggest high and biggest low so far?

A: Our first sold-out shows in Japan were pretty cool, and too many lows to mention! [laughs]

Q: What are some of your favorite moments with First Signal so far?

A: I went out to L.A. to shoot a video for “This City“, which was fun.

Q: Do you see continued collaboration with First Signal, or would you consider completing another solo record?

A: I am planning on doing another solo record soon, but I would definitely make another First Signal record as well.

Q: Now, just for fun, let us know the first thoughts that come to mind when you hear the following:

American Idol: Hope I get a song on one of their records.

Canadian rock: With our population we have a pretty high output of talent in all genres.

Frontiers Records: The last of the melodic labels!

President Obama: Inherited a mess.

MP3: Not a fan.

Autotune: A lot of people wouldn’t be making records without it.

Facebook: I’m trying to fight joining it as we speak.

Bacon: Tempting, but will eventually be our demise. On second thought, that is my answer for all of the above.

To keep up with all the latest from Harry Hess: www.myspace.com/harryhess

This City

Q: It is hard for me to grasp, but Big Head Todd & the Monsters is approaching its 25^th year – did you foresee it lasting this long?

A: Of course nobody expects a career in the music business to last twenty-five years! We are very gratified to still be here and making music.

Q: After eight studio records, can you tell us where all of these great new ideas keep coming from?

A: Songwriting is something that takes a bit of work and perseverance, so keeping at it as a songwriter is what keeps things new and fresh. I think also, as we grow older we become exposed to more different kinds of music and accumulate more tools to incorporate into our songs.

Q: Is the songwriting process the same for every record?

A: I write the music and lyrics, and the band members and I collaborate on arrangements and song selection. I always write music first, which I think tells the inner meaning of the thing, and that in turn gives me direction and clues as to what the words should be.

Q: Is it possible to pick a favorite record from your discography?

A: Well, it seems the favorite is always what is newest, and in a sense it’s true, if you buy into the idea that the band and the songs are getting better. That being said, there is always a magic to early works that is elusive because “first times” only happen once. The key is to make every day a first time if you can.

Q: If you could choose one word to describe the new record, “Rocksteady,” what would it be and why?

A: I would say the word would be “fun”. “Rocksteady” is about just chilling and enjoying a few soulful moments, rather than about a heavy statement musically or lyrically. Of course there is still some depth to the song craft and a range of emotions, but they all tend toward lighthearted fun.

Q: I thought your interpretation of the Rolling Stones classic, “Beast Of Burden” was genius – have you considered jumping on the bandwagon and releasing an album of cover tunes?

A: Well, “Beast of Burden” started out in a pile of covers that we had thought would make for a “cover of the month” program for the band. I think we’ve always had it in the back of our heads that we had a decent cover record in us somewhere and have always resisted including covers, with the exception of Hooker’s “Boom Boom”.  The thing that’s nice about covers is, obviously, they are already proven hit songs, so it’s a little easier to sell the performances when you don’t also have to sell the song.

Q: BHT is best known for the platinum selling “Sister Sweetly” (1993) – on both a personal and profession level, how was it to experience that level of success?

A: Success is always bittersweet. We are thankful to have had the success, but at the time it was also a difficult pill for me to swallow because I didn’t feel I was an accomplished enough musician or writer to deserve it. I ended up standing in my own way more often than not.

Q: In my opinion, you are one of the greatest unsung heroes when it comes to today’s guitar masters. Who are your favorite guitarists and who has had the biggest influence on your style?

A: Albert King and Albert Collins probably had the most influence on my guitar playing. Of course I loved Stevie Ray Vaughn, Jimi Hendrix, and also Jimmy Page.

Q: As someone who has been doing this for over two decades, I’d like to get your perspective on how the music business has evolved over the years, and where you think it is going.

A: When we started playing in the late ’80s and early ’90s, the CD had just hit the scene and people were buying them like mad to replace their scratched record collection. This was the last of the glory years for the business of selling a hard product in a real store. Everyone knows that the business has been turned upside down by the internet. The upshot is I think good for culture and music because there is much more room for diversity and smaller scale efforts. It is really, really difficult however for new bands to reach the same levels of super stardom that past artists and labels enjoyed.

Q: What advice would you give to young bands trying to capture the success that you’ve had?

A: My advice is to focus on quality songwriting, musicianship, and performances, and then to develop a meaningful relationship with your audience. If a new artist has these things going on then success has been achieved. The rest of it – fame, money – is really a wild card that is, more often than not, completely out of one’s control.

Q: What can fans expect in the near and distant future from BHT?

A: Well, BHT is going to continue to put out. This winter we will be touring with Hubert Sumlin, Honeyboy Edwards, Cedric Burnsides, and other blues luminaries to commemorate Robert Johnsons’ 100th birthday. Then we will, at some point, finish and release a hard guitar rock record that we’ve been working on for a while now. Long term, we just want to stay interested and enjoy our life with music, and our regal and righteous fans!

For all the latest on BHT: http://www.myspace.com/bhtm

Rocksteady

Sister Sweetly

Following the band’s set at Montreal’s Osheaga Music Festival – where Brian Fallon (vocals/guitar), Alex Rosamilia (guitar), Alex Levine (bass), and Ben Horowitz (drums) played to a crowd filled with devoted fans and entranced, soon to become devoted fans – Rosamilia took time to offer The Rock and Roll Report a glimpse into the explosive band, define his odd man out status, and even explain floccinaucinihilipilification. Yes, that’s a real word. And it all began with a bench by the water, a sigh of relief, and the declaration that, “It’s hard to have that much energy at like, three in the afternoon!”

Q: That’s what I was just going to ask – when you’re stuck with an early set time like today’s 3 p.m., is it hard to get on stage and be full force?

A: It is if you, you know, sometimes I’ve woken up and we’re on in like twenty minutes, but because of the border cross I got up pretty early today … But before we go on I listen to the same five/eight songs every day to try to get myself in the same mindset no matter where I am, or what time it is.

Q: American Slang has been getting rave reviews from absolutely everyone, from SPIN to Kerrang! to smaller, local press – did you have any idea it would be received so warmly as you were working on it?

A: You know, we knew that WE thought it was really good, but we didn’t really think about like, that it was some kind of mind-blowing [record] … We knew that it was definitely the best thing we’ve ever done, hands down, and that’s really all we set out to try and do. But there was, you know, pressure. It’s the first time that we had to go in the studio where we were expecting something, or people were expecting something of us, and so we were kind of frazzled at first and then we kind of forgot about that and tried to just write the best thing that we could do. And, you know, we definitely, when we left the studio, thought that that’s what he had expressed.

Q: Do you ever listen to any of the albums and think of things that could have been done differently? How critical are you of yourselves?

A: Personally, I’m very critical of myself. Like, when we wrote American Slang the song, when we first started working on it, you know, I came up with that lead that’s at the beginning, trying to just fill space until I came up with something better … And our producer liked it a lot, but I honestly spent the entire time we were in the studio trying to come up with something else because I didn’t like the way it sounded.

Q: Are you happy with it now?

A: Yeah, I’m alright with it. Every once in a while, when we play it live, when we start playing it I kinda chuckle to myself – I hate it.

Q: Really?!

A: Well, I don’t mean, I don’t hate it. Hate’s a strong word, but it was just really something I just did to fill up [space], you know? I didn’t really think about it being that prominent.

Q: How did putting together American Slang differ from working on the first two albums?

A: We definitely spent the most time on this one. Whereas, on other records we’d be like, “Alright, so what would, you know, Hot Water Music do here?” when we were writing stuff, we were just trying to do what we do, you know what I mean? Figure out what it is that we do and try to find our sound. I think we’re getting there, but I don’t think we’re there yet.

Q: You are very critical of yourself!

A: I think we made a big step towards it, but I don’t think we’ve achieved it yet.

Q: You’ve got a lot of back-to-back touring coming up between North America, Europe, and Australia – does that aspect of being a band ever get tiring?

A: Yes and no. That again is different for me. I’m kind of the odd man out for all this stuff. It’s different for me ‘cause I’m the only one who doesn’t have someone to go home to, so I‘ll stay out forever. The only thing that bothers me about being out for too long it’s like, “Man! I just paid rent and I’ve only been there once!” You know? That’s the only time of being on tour that really bums me out, but yeah, I could do this all year long.

Q: Is it weird being back home after a long period of touring? Having everything so quiet all of a sudden …

A: No, it’s not. Because as much as I love it, as much as it doesn’t ever really get to me, when you do go home it’s like; that’s my bed, my couch, that’s my bar down the street, that’s where all my friends go. You get back to that home environment. Not necessarily family, but just like, everything. It’s just being connected to something that’s rooted firmly because what we do, it’s not really not, it’s not sedentary … You have something that’s rooted that deeply and it’s almost like it’s backup. This is a moving thing, this isn’t going to go on forever. This could all end in two weeks, who knows? Somebody will say something stupid in an interview, and that’ll be the end.

Q: What’s the music scene like in New Jersey?

A: I have no clue. I don’t pay attention to any of that stuff. I have like, three friends I get music from and one of them is strictly grindcore death metal. But I do see things every once in a while and I really like, I mean this is getting kinda old now, but I’m really into that Sleigh Bells record. I’m into that whole vibe: dude, chick, the drum machine. That’s always intrigued me, for whatever reason.

Q: What’s next for The Gaslight Anthem?

A: Touring. And, well, me and Benny just decided on stage that, while we’re home this winter, we’re gonna start a Black Keys sound-alike band ’cause it just looks like fun to do.

Q: Now for some one word answer questions. Favorite drink?

A: Alcoholic or non-alcoholic?

Q: Whatever your favorite drink is …

A: Guinness, alcoholic. Seltzer, non-alcoholic.

Q: Favorite word?

A: Fuck.

Q: Everyone always picks that one! I have yet to meet someone who doesn’t…

A: It’s diversity; you can use it for anything. You can say that word for anything. Replace any word, in any sentence, with the word “fuck,” and the sentence still makes total sense. Alright, you don’t want me to use the word fuck, then, floccinaucinihilipilification. Which is the study of useless information.

Q: Favorite city to play in?

A: [Faux whining] I don’t know! Right here, right now. Montreal. It was awesome.

Q: Finish this sentence for me: The Gaslight Anthem is…

A: Oh! The Gaslight Anthem is [pauses] No, that’s pretty good. I like that.

Q: That doesn’t really give me an answer!

A: That is the answer. The Gaslight Anthem is – it just is. I guess it’s kinda Buddhist and all, but it just is. It’s the four of us and it’s what we do. Two years from now, maybe will be doing something totally different with the same four guys, but we just won’t be The Gaslight Anthem. What we’re doing right now is The Gaslight Anthem. The Gaslight Anthem is The Gaslight Anthem.

To keep up on all the latest from The Gaslight Anthem: www.myspace.com/thegaslightanthem

American Slang

The ’59 Sound

Sink or Swim

Chris, Mongo, Raf and Matt balance the act of staying current, while appreciating the true roots of rock music. In an era of over-the-top productions and lyrics with little meaning, Whiskey Six play the music they like and stand firmly behind what they do. Here, the band talks to us about the roots of their original sound, what fans can expect from their live shows, and more.

Q: Since it’s no secret why Whiskey Six is the name of the band, but there are now four members, can we expect a name change in the near or distant future?

A: Over a year ago, the band was just Chris, Mongo, and Raf – six testicles. It was a great name. Then Matt came along and well, we spent a lot of money on the logo, so we’re not changing the name. Unless someone wants to lose a pair, we’re keeping the name as is!

Q: Many have compared Whiskey Six to other bands/artists,  from  ZZ Top to Stevie Ray Vaugh, but how would you describe your music?

A: A carefully crafted blend of modern rock and ’40s blues. When you listen to  the artists of the ’40s and that great original sound of southern blues, you realize where rock music came from. We try to bring that sound back through our music, while incorporating some of the great guitar work of today’s rock.

Q: Why do you think it’s so hard to put a label on your particular style?

A: Except for a selected few artists, there aren’t many bands that play our style of music. This back-to-basics style has been largely forgotten and overlooked for the more studio-crafted sound you hear on most radio stations throughout the country. We don’t want to sound artificial. We really love playing music and never want to get away from the richness of four guys putting everything they have on stage. You can’t recreate that in a studio. That’s why a lot of people tell us they love our live shows – you can really feel the energy we put into our songs.

Q: What bands and/or artists have been the biggest inspirations for Whiskey Six?

A: Most people have never heard of the blues guitarist R.L. Burnside, but we  just love his music. Skip James is another great blues artist we listen to.  Obviously, you can hear a lot of ZZ Top, and even a little Metallica in our music as well.

Q: Which is your favorite song to play from the EP and why?

A: ‘Heavy Metal Doom Machine.’ Although ‘Your Disease’ is the biggest single of the EP, ‘Heavy Metal’ is a really fast-moving song that we have fun playing. Although our newer songs have had a great response. We should have a new EP out this fall. Our newer material is bluesier and complex. Right now you can hear one of the songs, the ‘B Song,’ on YouTube.

Q: What can fans expect from a Whiskey Six live performance?

A: We really go out for our shows. It’s very high energy with a lot of guitar and hard-driving drums.

Q: Are there any Whiskey Six rituals pre-show or post-show?

A: Pre-show, Raf is usually scoping out the audience for the hot chicks and Mongo is in the parking lot picking up cars. The bar tab usually reflects our post-show activities. With whiskey in our name, we have a reputation to keep up with!

Q: What’s next for Whiskey Six?

A: Currently, we are working on a new EP and we’re competing in the Southern California Underground band contest in Los Angeles. We’re also on the opening bill for Slash and Beth Hart at the Whisky A Go-Go on August 26^th. We also just learned we’ve been nominated at the Hollywood Music in Media Awards in November.

Long term, we’d like to start touring more and getting out to meet our fans. We really hope people come out to see us when we’re in their area. We know they’ll have as much fun as we do.

For all the latest on Whiskey Six: http://www.myspace.com/whiskeysixmusic

Saturday, July 24, sunny skies and a million degrees outside, yours truly took in the action. The day’s lineup sported some old heavyweights like Slayer, Megadeath, Rob Halford from Judas Priest, and the ageless Alice Cooper. Scanning the crowd, most of the attendees were clearly too young to have actually been alive when most of these bands were in their prime. But metal fans don’t care what your latest hit is, they just want a tonsil-bleeding good time. And that’s what they got.

There was never more than a three minute break between acts, alternating on the Heavy MTL and Jagermeister stages. The two stages dominated the landscape; sitting side-by-side, imposing over the crowd. No matter where you were on the grounds, you never had to miss a guitar riff or drum solo.

Metal fans always amuse me. Dressed in imposing garb, with huge piercings out of every orifice possible, they bang their heads, throw their devil horns in the air, and smash into each other in the pit like mountain goats in spring time. But they have a softer side as well. Vendors served up Slush Puppies, raspberry lemonade, and cherry cheesecake popcorn to pacify concertgoers’ thirst and hunger. Not exactly “hardcore.” The Jagermeister tent and Budweiser bus semi compensated for the lack of anger in the food, but this confirmed something I had suspected for quite some time. That underneath the intimidating exterior of a metal fan is a courteous person who really enjoys crushed ice sweetness and bakery quality fingerfood.

There were no fights, no arguments, no “Hey man, watch where you’re going!” Just people looking to enjoy a killer set from bands like Atlanta’s Mastodon. After five hours of thrash metal, they took the Jagermeister stage with their psychedelic brand of hard rock. With some of the best vocals of the day, accompanied by the brilliant guitar of Brett Hinds, they invigorated the crowd that had long since glazed over after the parade of nearly identical acts.

Despite Mastodon’s kick-ass set, Alice Cooper stole the evening. His classic shock rock act is still a benchmark in the hard rock/metal genre. Dying four times, beating his bride, and surviving an attack from Frankenstein – his brand of entertainment, perfected in the ‘70s, is picture perfect for today’s Attention Deficit Disorder generation. One which needs to be bombarded with new visual stimuli every five seconds.

Heavy MTL will hopefully become a regular summer attraction, in a city that has so many to boast about. Well-run and with great bands in the line-up, the only miss on Saturday was Melissa Auf der Maur, fronted by the former Hole and Smashing Pumpkins bassist. Experimental and droning, I applaud her for trying to highlight the bass guitar in all her songs, but frown at whoever booked her for the gig. It was like inviting a gazelle over to your house when you know there are nothing but lions on the guest list. Bad judgment, but luckily her set was over quick enough and we could get back down to business – devil horns, self-inflicted whiplash, and the occasional pause for a lyché flavoured lemonade.

Well, at least part of that sign off was rock n’ roll.

For pictures, videos, and news on next year’s edition: http://www.heavymtl.com/en

Longevity is never without its ups and down however and DEP has certainly experienced its fair share; from numerous lineup changes to, most recently, label drama. But thanks to their ever-evolving nature and standout extremism, the band has proven that they really are unstoppable. March saw the release of their fourth full-length studio album, Option Paralysis, which is (arguably, I suppose) their best record to date.

In June, DEP hit the road as part of this year’s Vans Warped Tour and, following their Montreal date, singer Greg Puciato took time to talk about his personal attachment to Option Paralysis, on-stage injuries, and oh so much more.

Q: You’re currently on the Warped Tour, how’s it been treating you so far?

A: It’s been great. Anyone that complains on any tour when they make their living playing rock n’ roll is an asshole, so the only acceptable answer to this question EVER is “great.”

Q: Is there anything that makes Warped better/worse compared to “normal” touring?

A: It’s just different. Better and worse is up to preference I guess, it’s just different. We don’t know what time we play every day until that morning, we have really short sets, and it’s not our tour, not our crowd. Those things are unusual, but I prefer to be a “glass half full” type and say that I dig that it takes us out of our comfort zone in every possible way. That having been said, I’m pretty psyched to get back into clubs [laughs].

Q: When I saw you in Montreal you played one of the earliest sets of the day and still managed to be ridiculously good, but was it hard at all to find that energy and motivation that early in the day?

A: Nah, like I said earlier, we play music for a living. Find the energy? If you have to try to “find” the energy you shouldn’t be doing it anymore. I could wake up in the middle of the night and go the fuck off. That’s how it should be. Actually, that’s pretty much what happens considering I go to sleep at like 7 a.m. I think when plenty of people are out there putting tar on roofs or pouring concrete for a living, “finding” the motivation to rock is pretty easy.

Q: You guys are amazing live, but have you ever pushed yourselves too far, to the point where you were forced to tone things down?

A: Well, on this tour in particular yeah, we’ve had to tone down, but it hasn’t been too much of a problem. We just had to pull back to 70% or so, which I understand. It’s not “our” tour, and someone else doesn’t wanna have to deal with our bullshit if, or when, it gets out of hand. I wouldn’t want to if it wasn’t our band.

Q: Worst injury suffered due to on-stage antics?

A: I’ve had the worst ones, and they all involve my head/face, which sucks. Teeth getting knocked out by guitars, head busted open numerous times from either guitars or falling out of ceilings, just really random things. The worst injuries are the ones over time from just grinding your body down playing like this. I don’t feel it now, but I’m sure one day I will. By then I’ll be a fossil anyway, so I may as well thrash now.

Q: Option Paralysis is the first release on your own label, Party Smasher Inc., how was the experience of putting this album together compared to past ones?

A: Really uncannily smooth. Everything we wanted to do was done with zero resistance, executed pretty flawlessly by everyone involved, and done exactly how we wanted. There was really nothing about this release we could complain about. Sure there are things that could have been better, there always are, but this was pretty smooth in the big picture.

Q: You’ve actually said that Paralysis was one of the toughest albums to write, could you elaborate on that statement?

A: It was the easiest and most organic instrumentally, but really hard lyrically. Mainly due to things I was going through and issues in my personal life at the time, that inevitably colored not just the lyrical content, but my mindset during the writing, which made the whole thing just very difficult. That’s about all I am willing to say really. It made for an album I feel very attached to, and for the most personal lyrics I have ever written, and it allowed me to gain some perspective on some things in my life that I kinda needed to really immerse myself in, and eventually allowed me to get through them and understand what the fuck I was doing.

Q: Are you considering ever releasing anything other than Dillinger on Party Smasher Inc?

A: It’s not a thought at the time, but who knows? Right now though it’s not even something we’re thinking about. Party Smasher is more or less a quality control stamp for things DEP related.

Q: This may come off as cheesy, but Dillinger has certainly seen its fair share of ups and downs, what’s the greatest thing you’ve taken away over the years? – i.e. wisdom you can pass on to other musicians?

A: Don’t do anything you don’t feel comfortable doing, or you feel compromises your integrity. Stay true to yourself and really find the intrinsic value/love in doing this, because if your goals become external, or compensation-based, or related to anything other than really loving this music and this lifestyle, you will be doomed to chase the unattainable forever. Thrash as hard as you can while you can and find a way to love every second of it.

Q: Finish this statement: I’m happiest when …

A: The answer to this varies throughout the day, depending on which side of crazy I’m on.

Q: Now, for the “easy” one word answers…

a. Best city to play in? Baltimore.
b. Must-have item on tour? Water.
c. Favorite word? Fuck – sounds lame, but really it is an amazing word.
d. Favorite drink? Coke Zero with tons of ice.
e. CD or MP3? MP3 for practicality, CDs for sound, Vinyl for cool factor.
f. John Dillinger was... probably not as handsome as Johnny Depp.
g. The Dillinger Escape Plan is… a never-ending inside joke that somehow keeps spreading.

For all the latest news on The Dillinger Escape Plan: http://www.myspace.com/dillingerescapeplan

Option Paralysis (Dig)

I arrived early and waited for the girls to pull over on St. Laurent Boulevard after a long drive from Toronto’s dreaded 401. Their van looked as if it had come right out of the ’70s; painted stale yellow, but with plenty of room to accommodate the gear. Sala Rossa was a fitting venue for their psychedelic sound with its red lights and gothic chandeliers. The girls have come a long way from Williamsburg, Brooklyn, working on collaborative projects with David Lynch and sharing the stage with the likes of AIR, Camera Obscura, and Ladytron, among other notable acts.The Hoof and the Heel were the first opening act of the evening, so I got to chatting with their bassist and drummer about their current tour mapping Brooklyn, Manhattan, Philadelphia, and Portland, among other American spots. They sounded like a Montreal offshoot of the Swell Season, with a tad more youthful optimism. Alexa Wilding, who followed The Hoof and the Heel, was the first to greet me with a big smile in a blue summer dress. Wilding played a short solo set, showcasing some new tracks from her latest self-titled release. Her acoustic set indicated echoes of influence from Nick Drake and Joni Mitchell.

We hauled the equipment indoors around 7:00 PM and I made my way to the bar while the team continued to unload the van and set up the stage. The minivan was parked directly outside the venue and just as soundcheck was well under way, Au Revoir Simone remembered that they had forgotten to fill the meter in the rush of setting up Casios. Meanwhile, Erika was at the bar with her white MacBook, trying to negotiate a hotel deal for the girls. Soundcheck went smoothly. The girls performed “Shadows” to test out the instruments and the song sounded great, both in rehearsal and during the show. There were some initial setbacks with wedges and feedback, but everything sorted itself out accordingly. Heather began laying down house beats on the drum machine, testing it out before fans filtered in en masse. Apparently, the hotel fiasco was resolved with ease as Erika screamed to the girls onstage, “The promoter found us a hotel!”

I caught up with Heather and Annie while Erika did her vocal warm-ups backstage.

Q: Do you think fashion can be political?

Heather: That’s a good question. Yes, I do, but … I don’t know, the first thing I can think of are Katharine Hamnett’s “Save the Whales” T-shirts she did around ’95, or how Stella McCartney refuses to use leather and any animal products. I mean, I think that people can be subversively political in their own way. Much like the same with music. It’s true that you can write a political song with music, but I find a lot of bands find other ways to be political.

Annie: Yeah, I feel like it’s more message-based with clothes. I guess it could be political not to shave your armpits in certain circles (laughs). I don’t feel like dressing in a certain style is political in any way, shape, or form.

Q: Heather, after graduating from Parsons in photography you went back to Columbia to pursue another undergraduate degree. What is that experience like?

Heather: Well, I’m still in school doing my second undergraduate degree. I originally went into astrophysics, but I ended up switching to environmental biology because I decided I wanted to be a biology major since my ultimate goal is to be an astrobiologist. So it’s a little bit complicated and a little bit convoluted in order to get there, but it’s been really really wonderful being at Columbia.

Q: You girls have repeatedly worked with David Lynch over the years, would you agree with him that your music is “innocent”?

Annie: I feel like our music is very vague, so people can make up the message to be whatever they really want.

Q: What books are you currently reading?

Annie: I’m reading a book called The Pinball Effect, by James Burke, who had this amazing series on the BBC called, Connections. It’s all about how inventions influence the development of other conventions.

Q: What was your favorite food while touring in Japan?

Heather: (Smiles) We just had some really wonderful raw fish situations that were really, really lovely. Oh, and to answer your question about the book: I’m reading M.K. Fisher’s Gastronomical Me, which ties into this question definitely. I’m very much into eating really, really good food, and this book is a memoir.

Annie: She’s quite a foodie! (chuckles)

Heather: It’s a memoir written by M.K. Fisher while she was living in Europe. Basically about everything she ate and the relationships she got in and out of. It’s really lovely.

Q: Annie, you described your side project, “Uninhabitable Mansions”, as both an art collective and a band. You play with Chris Robbie Guertin from “Clap Your Hands Say Yeah!” and other guys in that project. Do you find that gender poses an obstacle for you? Is the creative process different to that of all-girl bands such as Au Revoir Simone?

Annie:  Well, these are the sweetest and most gentle men ever, but they have a weird songwriting method that I can’t get my mind on, which is that they play something once and then it’s sort of over for the day. Au Revoir Simone, and any other band I’ve played in with girls, you play a song ten times in a row before you are done with it. It’s a different process. I’m just like, “Can we please just play this song for another hour?” and everyone’s bored. I don’t get it.

Q: What are your thoughts on the nature of work in today’s economy?

Heather: I think that I come from a background that is such that I have always been encouraged by my parents to follow my dreams, and I know that that is a luxury and it is not something that is impressed upon people whose circumstances are different. I have always had the luxury of dreaming, and you don’t necessarily have to have a good financial background to have that, but you do have to have parents who are willing to tell you that it’s okay to take risks in your life, and it’s okay to dream, and it’s okay to follow your own path. And I feel like that attitude of your parents might have come from their experiences growing up, so I feel very fortunate in that … With work I feel like I don’t really have necessarily, (pauses) not an unrealistic view about work, but a very specific view about work.

Q: Favorite film?

Annie: I like Pee-wee’s Big Adventure.

To keep up-to-date with Heather D’Angelo and the girls, visit Heather’s blog: www.hellopointdexter.info Or check out the band’s official website: www.aurevoirsimone.com.

Still Night, Still Light