Halifax's The Devil's Half Acre.

Halifax-based The Devil’s Half Acre originally started out as a solo project for frontman Chase Ross, but turned into a full band project almost by accident in 2009.

Since then, the band has released two records. In December, The Devil’s Half Acre’s EP The Town was released, a concept album of sorts based on Ross’s home of Kentville, N.S.

He joins us this week via e-mail to fill us in on the group’s history and what’s coming next …

1. Tell us about how The Devil’s Half Acre formed … from a solo project to a band effort … was it a difficult transition?

The Devil’s Half Acre was at first a name that I used when I played solo. I was pretty inspired by Townes Van Zandt and Neil Young. In the late summer of 2009, my friends in a band called Action/Adventure asked me to play with them at Gus’ Pub for their EP release show. The line-up also included The Numbered Head. I felt like I wouldn’t fit at all, so I recruited a drummer and arranged some songs that I had so they could be played louder, amplified and electric. I also played half of the set on the acoustic guitar. Ultimately that has been the point of The Devil’s Half Acre, to showcase a louder, rock and roll, Neil Young and Crazy Horse type of sound along with my quieter acoustic songs.

2. You must have had clear ideas and goals for yourself when you started the project. Did you have to change anything to make your concept suit a band?

I feel like I’ve had to change more in my solo writing then with the band. With a band, songs seem easier to write, ideas come easier and our writing process has always been open. Nothing is set in stone and there are no set instrument parts in my mind besides the main idea for the song and the lyrics. Once I bring that to my bandmates, it’s a blank canvas for them.

The band has quickly found an identity and sound but with my solo songs I’m constantly trying to figure out what that identity is.

3. What’s it like just trying to get a band going and get your name out here on the east coast?

It’s very competitive, which makes you want to work harder to be as tight as you can and also as memorable as possible. When people leave the venue at the end of a show you want them to be humming along to one of your songs as they go to bed. There is a lot of music for people to hear and as long as you work hard they will hear it. I’ve learned it’s important to stay positive and really believe in what you are doing.

4. New EP came out in December. How did that record come together, and how did you approach it compared to your previous record?

My first record Introducing The Devil’s Half Acre was just a product of that first show I had played with the drummer, half acoustic, half electric.

The new record The Town was the most from-scratch sort of project I have done. I had been writing a lot of songs that I was hoping would end up being a folk/country record. When I sat down with producer Dustin Clarke to show him these songs I could tell that I wasn’t really behind the songs. Something just wasn’t right about them; they just weren’t right for the moment or the mood.

We then plugged in and started jamming. I had some ideas floating in my head, some things I had been reciting to myself over the summer while living back in Kentville. We quickly wrote about three songs before I realized there was a concept about small towns, in particular Kentville. It took three more songs to complete the story.

5. The band just wrapped up an east coast tour … how did that go?

The tour has been great. Myself and Zach Bethune (guitar player) are the only remaining members of the band from the original writing and recording of The Town. We added drummer Sean Skerry and bassist Stan Selig in October. So this was really a trial by fire for all of us. We’re all new to each other and playing together. But I believe that the past six dates that we’ve played have definitely galvanized us.

We played in my hometown of Kentville and that was really special for me. My family and friends really got to see what I’ve been doing and it was just a fun experience for us as a band. We also got to play Tribeca before it closed (my girlfriend told me that Matt Mays was in the front row watching our set. I’m glad I didn’t see him because I would have froze. I’m a big fan).

We also got to hit the road on some longer stretches to Fredericton and Moncton. This past weekend we just played Governors Pub in Sydney to a near capacity crowd and had a great time. I think we as a band are becoming addicted to playing live.

6. East Coast Music Awards are coming up in Moncton in April. Do you guys have any plans to attend or showcase?

Unfortunately I don’t think any of the ECMA activities are in the cards for us this year.

7. What have you been listening to lately?

Lately I’ve been listening to Bill Callahan. My girlfriend gave me his album Sometimes I Wish I Were An Eagle on vinyl for Christmas. I recommend it. I also have been listening to George Harrison, Ryan Adams, The Avett Brothers, Palace Music, John Prine and Daniel Lanois.

8. What’s the most interesting thing you’ve learned lately?

I’ve learned to just let go and allow the waves to rush over you. After it passes, your ideas, ambition and creativity will remain in front of you, and the trouble, turmoil and consequences will be behind you.

9. What do the next few months hold for The Devil’s Half Acre?

As a band we will be looking for more shows to welcome in the spring, and hopefully another tour to some of those cities that we visited. I hope to make an impression on whoever has seen us play live and I hope to get the new EP into more hands and ears.

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Girls Would Kill

Saint John-born, Halifax-based electro group Girls Would Kill released its first full length album Bloodshed last month after recording it between the two cities with producer Colin Crowell.

The two-piece, made up of Adam Higgins and Mary Ferguson, has been touring recently with Audrey & The Agents and has more dates planned for early in the new year.

The band joins us this week to chat about the album and what’s up next …

1. Hey guys, how are things going? What’s the latest with Girls Would Kill?

Adam: Things are good. We’ve just put out our first proper album. It’s called Bloodshed, and we’re working on all the stuff that goes along with that. We’re working on a few videos, a remix and a couple cover tracks to release along with a some singles.

2. The album was released a month or so ago – how does it feel now that you’ve had a chance to step away and reflect on the project you worked on for more than a year?

Adam: Yeah, it came out Nov. 11, and it’s been a huge relief to finally have the songs out of our hands. We spent a ton of time tweaking the songs. A lot changed depending on our live setup and then again through sharing the production duties with Colin, who brought a lot into the fold. We’re really happy with the record and it represents an entire period for the band but at the same time we’re making an effort to have a much more consistent output from the band, year-round.

3. I believe you were based in Saint John but have moved to Halifax. What do you find different about the two cities, and how does that impact the band?

Adam: Saint John and Halifax have a pretty similar feel, I find. Downtown Halifax just doesn’t turn into a ghost town as rapidly as uptown Saint John. The major change for the band is that Halifax is uncharted for the most part. We’ve done a few shows here but in Saint John we’d played everywhere we wanted, and did the shows we wanted. It was time for a change.

4. During the making of the record, Joe Hooley left the band. Was that a major setback?

Mary: In some ways. He had put all his tracks down so that was cool, but losing a third of a band is a setback anytime. He was there from day one, and our live set had to change a lot for our release show. Working as a duo is actually a welcomed new direction, for now. Some album tracks only feature Adam and I to begin with, and limitations always breed creativity.

5. The electronic music scene appears to be growing along the east coast … have you guys found the journey so far difficult or no?

Mary: Most of the last two years we were gradually changing the band’s sound from a guitar/bass/drum machine set up to a heavier dance vibe. What we have now is our own brand of electronic music, and there’s some awesome electro artists/bands in the Maritimes — quick shouts to Blank Banshees (Saint John) Sexwolf (Fredericton) Jenocide (Halifax).

6. What song(s), album(s) or artist(s) have you been listening to lately?

Mary & Adam: Artist: Depeche Mode almost entirely. Early Depeche Mode especially. Song: GVCCI HVCCI – Superlow. Album: Telegram – Bjork.

7. What’s the most interesting thing you’ve learned lately?

Adam: That Bono uses an SM58 (microphone) in the studio and that rigor mortis leaves the body after a few days.

8. What do the next few months hold for Girls Would Kill?

Mary: We’re going to put out our first music video for Digitl Kid which we are hoping will go completely viral. We’re heading back to Saint John to shoot another video for Safeword, and were going to be releasing a great remix of Zagot, and a couple cover tunes, all of which will be available on our Bandcamp for free downloading.

9. Anything else you’d like to add?

Mary: Just that we’re really hoping your readers take a minute or two and check out the album, our cruise through it at least.

The album is available on our bandcamp at name your own price, so by entering $0.00 the album is yours free!

Adam: It’s also available physically at Taz and Obsolete Records (both in Halifax) for $4.99 as well as free download cards while supplies last. And we’re looking for like-minded bands to gig with.

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Mark Bragg (photo by Adam Penney)

Last month, we told you about Newfoundland’s Mark Bragg, who released his latest album, Your Kiss, in September. Bragg and his band are touring the east coast over the next week, and he joins us today to chat about the new record, tour and more …

1. How are things?

Things are great. Just gearing up for a Maritime tour, really looking forward to that.

2. How is the tour going?

I toured southern Ontario last month and it was a ball. I’m just gearing up now for the Maritimes and I can’t wait, it’s been a while.

3. Are the songs from Your Kiss relatively easy to bring to the stage since they were recorded live off the floor anyway, or do they take on a different form in front of an audience?

They always take on a different form. In fact, since I play with different musicians a lot it’s never the same show twice. I’m flying to Halifax on Friday for a short Maritime tour and I’ll be backed by some musicians who I haven’t even met yet, though they come highly recommended. It’s always a new adventure.

4. It’s not often in rock music that one is described as “bandleader.” I’m not sure if it’s any different than “frontman,” but you really do sound like you’re leading the band on the record, heading up the chaos, as opposed to just singing. Is that a fair statement? How do you see your role, beyond being the songwriter?

It’s a fair statement. In fact this is the first album I didn’t even play a single lick on. I just trusted my band to do their thing. But anyone who’s ever seen one of my band shows knows that I take the role of band leader very seriously. It’s all about bringing the best out of people, both spreading and focusing the energy on stage, things like that. I get a lot of enjoyment out of that. That and performing. It’s very satisfying when it works.

5. Did you approach this album differently than your past work?

Absolutely. I’ve always recorded my albums live off the floor, but this is the first time I really got it right I think. I think it’s partially because we did away with headphones, just set up monitors on the floor just like it was a show in a club, and let all the instruments bleed into the other mics. It’s risky that way because you seriously limit what you can do after the fact, but I think it was completely worth it in the end.

6. You’ve said that sometimes you don’t even know what you’re writing about until a song is compete. A friend of mine once said he doesn’t care “what” someone sings, as long as it sounds good. Do you feel the same way, or is the story important to you?

The story is very important to me, but it’s OK if I come to it in a roundabout way. I start with the sound of words, or sometimes even non-words and jibberish, so yes I’m really working with sounds in the beginning. Well, sounds and images, because as a writer I’m a very visual person. But in the end if it’s not cohesive, then I’ll start re-writing. I might be working on one line for a week. It has to sound great AND present a strong image. That’s the craft for me.

7. What song(s), album(s) or artist(s) have you been listening to lately?

Lately I’ve been loving Randy Newman’s live performance of My Life is Good on youtube. I’m listening to it over and over again. It’s dark, hilarious and great.

8. What’s the most interesting thing you’ve learned lately?

That there’s no greater pleasure than my daughter shushing me when Bruce Springsteen’s I’m On Fire comes on the car radio. “This is a song about a little girl! Shhhh…”

9. What do you have planned over the next few months?

Lots of touring to promote the new album, and a family honeymoon to Disneyland! I just married my baby’s mama last month.

10. Anything else you’d like to add?

No, would just like to say thanks a lot for the interview!

Check out Mark Bragg at the following dates:

Fri Nov 18 Halifax @ The Seahorse with The Idlers
Sat Nov 19 Moncton @ Plan B with The Stanfields
Sun Nov 20 Liverpool @ Lanes Privateer Inn with Jon McKiel
Wed Nov 23 Charlottetown @ House Concert
Fri Nov 25 Fredericton @ The Capitol with Jon McKiel
Sat Nov 26 Charlottetown @ Hunters with Glory Glory & Wild Domestic

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Saint John, N.B.'s Penny Blacks (Kâté Braydon photo)

Recently we posted news that Saint John, N.B.’s Penny Blacks was releasing its new album, Harbour. It’s the band’s third release, following two earlier EPs.

Starting as an outlet for Hospital Grade’s Jason Ogden to expand his musical horizons and deal with a relationship that fell apart – “I had sort of spectacularly destroyed a very long, important relationship,” he tells East Coast Noise — Penny Blacks turned into a band over time.

Ogden’s bandmates are Dan Chamberlain, Chris Braydon, Ali Leonard, Clinton Charlton, Chuck Teed, and Erin Sharpe. This week, Ogden and drummer Clinton Charlton joins East Coast Noise to chat about the new album and more …

1. Hey guys – how does it feel to have the new album on the streets?

Jason: It feels great! It’s been a long haul getting this thing together, but now that it’s done we’re all pretty ecstatic about it.  The reactions we’ve gotten so far from social media and shows has been great. We’re looking forward to more!

Clinton: Gratifying! Some of these songs have been kicking around as long as the band has been, and to see this album fully realized is so exciting. I’ve been in this band for about five years now and having the album in-hand feels like it validates the group to an extent. I’m really proud to be able to hand someone the disc and know that they’re hearing the songs as we intended for them to be presented. In a way the album makes it feel like we’re just getting started and it’s really rejuvenating.

2. This is the first full length record after two EPs. Did that change the way you approached the album in any way — writing, recording, arrangements?

Jason: As far as the writing goes, it’s pretty much the same process for everything I write: just me and my guitar on the corner of the bed, or on my couch.  That’s how all the songs start. I get it refined to a point where I can play it comfortably solo, maybe play it live a few times  and tweak it a bit more, then take it to the band. At that point, usually Clinton, Chuck and Chris get their hands on it first and add their own things to it. The general structure is usually intact at the end of the process, but along the way, the band finesses dynamics and tweaks the arrangement in subtle ways that I never would have even thought of.

Recording was a bit different for the EPs and the album. The EPs were recorded almost completely in my apartment, and they were more of a solo affair, where I just asked a friend here and there to come in a add a part or two. Harbour was recorded in a few different places, and we had the help of some talented friends in the tracking and mixing. I don’t think we could have finished Harbour even in the time frame we did if we did it all ourselves.

3. Jason, the impetus for you to step out as a solo artist was a deeply personal situation, as I understand it. Was it difficult for you to share the songs in a band environment — to let others in?

Jason: You know, I never, ever found it difficult to share these songs with the band, and I think that it’s mainly because they are my good friends. And even though I had just met some of these folks at the time, I’m not really one to connect with judgmental people or people who obviously have some kind of attitude. And when I started playing these songs out, before the band came into the picture, I was in such a weird, desperate place that I didn’t even think about it. If anything, it’s just becoming difficult now – a few years after – reading about myself online and in the paper about the songs and the shit that went down that lead to me writing them. A few years removed from the situation and the feelings, it can be kind of awkward to see those descriptors, “pain”, “emotion”, “heartbreak,” etc assigned to your name in an article or review or whatever. I mean, what I went through wasn’t anything special or unusual — it’s something that everyone goes through at some point. I just sort of documented it in my case. I guess I find it easier to let people in this way, maybe.

4. Was it therapeutic at all to get your thoughts and feelings out through these songs? Has time and music healed the wounds?

Jason: Yeah, I think it was. I mean, people have been doing this for ages. There’s a reason for it — all these songs about regret, loneliness, heartache. I think it’s a combination of some kind of personal need to expel the demons, and to somehow make it into something universal, something poetic. There’s this sense that if you can say it and present it in such a way that someone else out there finds beauty or something in it — and understands it — that maybe you aren’t so alone. Sounds like a cliché, I know, but that’s the way it is.

I don’t think in my case that the music healed the wounds, but it certainly acted as an anesthetic. Time was the ultimate healer. All the clichés are true.

5. Obviously the style of music and feel of Penny Blacks and Hospital Grade are very different, but do you consciously change your songwriting approach for the two bands?

Jason: Hospital Grade is almost completely collaborative.  Ninety per cent of the music just comes out of us being in a room jamming together. Once we have the essentials of a song, I either write lyrics or dig through my notebooks looking for something that works. This is a hell of a lot of fun, but in general I would say it takes much longer for Hospital Grade to complete a song than Penny Blacks. With Penny Blacks, I can just keep working away on something at home until I feel it’s done. Sometimes I will stay up all night, sometimes I will just hammer away at it for a few days. When I feel that I’ve got something ready to go, generally I’ll play it for Clinton and get his thoughts, then the band will get its teeth into it. Because at that point, the structure — the beginning, middle and end, so to speak — is in place, and the band can get the song up on its feet a lot faster.

6. How does Penny Blacks work — does Jason lead the way, or do you guys approach everything as a unit?

Jason: To elaborate slightly on previous answers — I bring in a structured song, and then let the band do their thing. It’s very rare that anyone does something that doesn’t work. Everyone has great instincts.

Clinton: Penny Blacks is a band, and that’s been a hard sale for us as of late. Jason put out two amazing solo EPs as Penny Blacks, and has played shows under that moniker as well. It’s created some confusion as to what exactly Penny Blacks is, but I think the album will lay all that to rest. Jason writes the songs, and I don’t see that ever changing. But everyone in this band contributes to them. The songs change and morph into something different in the band setting. Some things are exactly as Jason laid them out to us with his initial idea, and others have done complete a 180. With that said, this started as Jason’s project and we absolutely take direction from him, we trust his vision and instinct.

7. What song(s), album(s) or artist(s) have you been listening to lately?

Jason: Been listening to the new A.A. Bondy all week – it’s a great autumn album [just like Harbour ].  Also digging Molly Rankin’s EP, and still spinning Charles Bradley’s album after catching him at Sappyfest.

Clinton: I’ve been listening to Joe Henry’s new record. He’s an amazing songwriter who I admire very much. I’ve been digging the new Wilco and Ryan Adams records as well. I’ve been very interested in ambient music as of late as well. Chris Braydon (Penny Blacks guitarist) and I have plans to do some ambient music in the coming months.

8. What’s the most interesting thing you’ve learned lately?

Clinton: That people are listening. It’s so hard being a Saint John band to know if there an audience for what you’re doing. We’ve gotten out of the city a bit as of late and the responses have been amazing. We received a lot of support with the album’s release and it’s really encouraging to know that there are people listening. It makes it easier to not get down when you have a poorly attended show. So much of being in a band exists in a bubble.

Jason: Our keyboard player, Dan Chamberlain, taught me the secret to keeping the windshield of my car defogged. I’m sure I have learned more interesting things recently, but I do a lot of driving at night, so hopefully this will keep me alive long enough to learn the next valuable life lesson. (Editor’s note: I had to find out the windshield secret, and Jason was kind enough to share – the key is to get the temperature in the car the same as the temperature outside, he says.)

9. What do the next few months hold for Penny Blacks, Hospital Grade and any other projects you guys might be involved in?

Jason: We’re working our asses off to get Harbour out there — under people’s noses, on merch tables, on radio, on people’s iPods, etc.  We’re working on booking more shows both for the band and for me, solo (visit pennyblacks.ca for dates).

Hospital Grade is finishing up writing a new album — we’ll be playing in Moncton at Plan B on Nov. 12.  Clinton is very near the end of his year-long January Through December songwriting project that you can find at www.januarythroughdecember.com

10. Anything else you’d like to add?

Jason: This has been great! Thanks!

Clinton: Thanks for taking the time to chat to us and for the support. Much appreciated.

Harbour is now available from iTunes, Amazon, CDBABY, Rhapsody and bandcamp. Jason Ogden will play a solo show at Company House in Halifax with Adam Mowery and Laura Peek on Wednesday, Nov. 16, at 7 p.m.

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Halifax's The Stogies.

Halifax’s The Stogies released their debut record, a five-song collection of messy, guitar-laden rock n’ roll called No Couth, No Class, No Nothin, in August.

The four-piece made up of Blake Johnston, Dave Driscoll, Sean Carver and Dave Lidstone has been making a name for itself over the last three years, performing throughout the Maritimes and Ontario. The band says it draws inspiration from the Rolling Stones to the White Stripes, and it shows.

Future plans include a slot at Molson Canadian Nova Scotia Music Week 2011 and tours of Ontario and Alberta next year. The band is also starting pre-production for a full length album which should be available in summer 2012.

Stogies’ guitarist Dave Driscoll joins us this week for a chat …

1. Hey guys – how are things?

Things are great. Our first EP No Couth, No Class, No Nothin was released in late August. We made a short trip to Ontario and played some shows in early September and have been hanging out and playing shows around N.S. for the last month or so.

2. Tell us about the band – what were your prior musical adventures and how’d you all meet up?

The band started about three years ago under a different name. Blake, our singer/ guitar player and Sean, his cousin (bass), were starting to play around their home town of Mount Uniacke, N.S.

I found them through a Kijiji ad and we started a band with my friend Brian on drums. Blake and Sean had been looking for a drummer, but not another guitar player (they eventually just accepted me), which is kinda weird because we ended up kicking him out within a month and having to search for a new drummer for quite a while. Eventually we found Seamus Erskine who helped us out in playing shows, recording demos and making a name as the Stogies.

Ultimately, Seamus had bigger ambitions of fronting his own band and left about a year after the band started. We auditioned a long list of drummers and had to borrow them from other bands for a few months until we found Dave Lidstone. Dave was playing in a band called Stone Mary at the time. We noticed he had sort of a Bonham-esque feel so we hatched a plan to steal him. We had tried tons of other great drummers but they just didn’t fit the style of rock we wanted to play.

From that point on we started playing as many shows around N.S., N.B. and P.E.I. as we could. Last summer we started recording the EP and since then, we have managed to drag ourselves to Ontario and back a few times.

3. Did you know going in what kind of sound you were looking for or did it take time to figure that out?

In the beginning we had basically put all of our musical influences on the table and were trying to write songs with a little bit of everything rock, reggae, pop, blues etc. We had kind of a jumbled set list, style-wise. After playing a few shows we started realizing that fast paced rock n’ roll seemed to be our best method of getting the crowds moving. Blake started writing more focused and straight-forward songs, and we got rid of the some of the choppiness in the rhythm section. We were listening to a lot of the Rolling Stones and the Black Crowes at that point and started playing around with open tunings in trying to draw inspiration. Basically, we wrote a lot of songs and tried them out on the road. The weaker ones would eventually fall by the wayside and the stronger songs might have stuck around long enough to get on the EP. Some songs, we’d like and play for a while but then we’d just get tired of them and they would never get recorded. We recorded the EP last summer but took an extremely long time to mix it. It represents us well for that time frame but we’ve written so many more tunes since then. Probably enough for an acoustic record and a separate full-length rock record.

4. There aren’t a whole lot of hard rock bands with a similar sound/vibe as you guys on the east coast. Is that a positive or negative?

We think it’s a positive thing for sure. When I hear the term “hard rock” these days, I immediately think of the modern-rock-completely-bald-flavour-saving-soul-patch kind of crowd. It’s cool if that’s your thing, but we’re far from that. We love classic rock n’ roll and of course some of what was called “alternative” in the ’90s. By no means are we doing something completely new or ground breaking, but one might consider it original or at least refreshing in today’s general popular music context.

5. You’re already gearing up for a full-length record. How’s that going and who are you working with on the project?

It’s still in phase one of a four- or five-stage process, but we feel comfortable and capable to pull off something that will trump our last album. Time is a big reason for our excitement heading into it this time. We’ve been a band for a longer period of time, played a shit-ton of shows since we recorded last and just have more of that original chemistry that brought us together in the first place. Right now we’re in the pre-production phase just trying to get demos of all the possible tunes and figure out some sort of common ground or idea for the group of songs. We’re working with Mike MacDougall (mixed our current EP) in this stage of the process and we’ve recruited Garrett Mason to help produce the record when were ready to lay down the real tracks.

6. What song(s), album(s) or artist(s) have you been listening to lately?

The Tragically Hip, The Sheepdogs, The Stones, Radiohead, Gord Downie, Dwight Yoakam, Townes Van Zandt, Guns n’ Roses, The Kooks, Matt Good, Nirvana, Zeppelin, Tom Waits etc……

7. What’s the most interesting thing you’ve learned lately?

When you’re making soup, you can use rice or potatoes to thicken it so it’s more along the lines of a stew. You can also scoop out some of the soup itself and toss it in a blender to add some bulk.

8. Other than working on the next record, will the next few months bring for the band?

We’re showcasing at Nova Scotia Music Week this year and are playing a few shows around the Maritimes to close out the year. We’ll probably hit Ontario again in March and have plans to go Alberta in late-April.

9. Anything else you’d like to add?

Bapabooooie!

The band’s upcoming tour dates include:

Nov 5 – Molson Canadian Nova Scotia Music Week Yarmouth NS
Nov 11 – The Red Herring St. Andrews, NB
Nov 25 – The Red Knight Yarmouth, NS

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Nina Khosla and Tim Isaac are Lovestorm.

Moncton area duo Lovestorm, comprised of Tim Isaac (Isaac & Blewett) and Nina Khosla (Great Balancing Act), is releasing its sophomore record this weekend with shows throughout Prince Edward Island and New Brunswick (tour dates below).

Written and recorded in the sweltering heat of Mexico’s Pacific Coast, new album Overripe finds the musicians without their trademark instruments (cello and harmonium). Instead, Isaac and Khosla rely on seedpods, an improvised washtub bass, tin pans and a borrowed viola, as well as ukulele, flute and keyboard.

They join us this week to discuss the new record and more …

1. How are things in camp Lovestorm? How do you feel as you’re about to release album #2 this weekend?

Nina - Things in Camp Lovestorm are exciting! Our second album is finally done and now it will be out in the world.  There is a satisfaction in having completed a project. I’m eager to get on to the next thing now! I feel like there are so many possibilities of where we can go from here.

Tim - We feel we’re on a creative roll on several fronts. The music is obvious, but we’re getting more immersed all the time in the visual side of our creativity… videos, Nina’s impressive graphic work that shows up on our websites and posters, even a line of ‘Lovestorm Pottery’ is expanding, pottery that ties in strongly to our music, lyrics and vibe.

2. Tell us about the making of the album – how did you wind up writing/recording in Mexico and how did it impact the songs?

Nina - I’ve been going to Mexico for the last few winters, always taking the time away to work on songwriting. This year, Tim went to join me for a whole month. I had rented this great place right on the ocean, salty sea-breeze wafting through the apartment and sunset views. I had brought my ukulele (as usual) and a little keyboard. I had written a bunch of songs by the time Tim arrived, armed with a recording mic, viola and his pedals. We knew we were going to try and write together and record, but we didn’t know it would be so fruitful. By the time we left the place, the whole album was conceived of and recorded. The songs definitely reflect the place we were in, through images as well as sensory experiences.

Tim - More than joining Nina in Mexico, I was entering her world. I quickly began to feel and sense the things that inspire her to return to that area of the Pacific Coast. Our formula for writing and recording has generally been with Nina writing the lyrics and often the melody, and me sometimes writing the music, but usually arranging, amplifying and building on her themes. Being in this location certainly flavoured the lyrics, arrangements and instrumentation.

3. The press release says you were “undaunted” at the prospect of working without your usual instruments – but was it a little strange at first?

Nina - I love the cello, harmonium sound that we’ve developed in the last couple years. I really wanted Tim to bring his cello, and when he didn’t want to, I actually asked around in Puerto to see if I could rent one. It didn’t work out though. It actually wasn’t that strange to not have our usual instruments. I really focused on my songwriting (in English, as well as Spanish). Tim managed to make beautiful arrangements with the viola, did some crazy electric uke playing and found some things in the market to bring home and bang on for percussion. It probably forced us to be more creative.

Tim - I thoroughly enjoyed exploring making music in new ways. It was challenging but really rewarding to feel songs find their groove in unexpected ways. I was happy not to have the cello for a change, and it was a lesson for me to be more aware of the many varying routes a song can take, and they can all potentially bring a song to a satisfying completion.

4. How will you bring the songs to life on the stage with such a wide variety of instruments on the record? Is that a challenge?

Nina - Bringing the songs to life on stage is a challenge, but it’s fun! In the last week, we’ve ‘learned’ five of the songs on the album (we’ve already been playing three of them in our shows). Both Tim and I are up for playing different instruments.  So far, we don’t feel limited to a certain Lovestorm ’sound’.

Tim - While we won’t have all the instruments along that went into the recording, I feel the songs stand up really well. We’ve arranged them a little differently for the live show, and it has also been enjoyable to see how best to capture their essence and emotion. Don’t forget we can make a mighty big sound for a duo, and with a few loops here and there, beats, and atmospheric effects, I think the new songs are sounding great live.

5. What is the significance of the album title, Overripe?

Nina - Puerto Escondido (the beach town we were in) is a tropical place. It’s hot and humid. The air is thick, the smells are strong, the salt is sticky, there are papayas and mangos. The night breeze feels very sensual on the skin. The word overripe describes that place in a way. But it also describes the feeling of lust and of creativity.

Tim - Nina described that well. Anyone who is alive should feel overripe now and again…. passionate, sensual, full and open.  (Watch for our ‘Overripe’ slow-dance video coming out soon!).

6. You have dates in October and November – any plans beyond that?

Nina - After the next run of shows, I think we’ll take a break. I’m planning on going to Mexico in January, and Tim will join me in February. We have plans to work on a dance album. We’ll be back in the spring ready to roll again!

Tim - After these shows will be a good time to both reflect on the past year, but also look ahead and rev up for the next project. As Nina said, I’ll be joining her again and I can’t wait to see what direction her songs take, and where the music will lead. We’re more inclined to follow our creative impulses than stick to a business plan or formula for our career path, so anything is possible. Yes, perhaps a dance album!

7. What is the most interesting thing you’ve learned lately?

Nina - I’ve learned that, no matter what, life has its ups and downs and there’s no escaping it. Geez, you would think that I would’ve learned that already! I’m always learning how to ride that balance of what I perceive to be ‘good’ and what I perceive to be ‘bad.’

Tim - Hmmmm … I’ve learned that it’s possible to go to a beach in Mexico for a month and return with a new CD!

8. What music have you been listening to lately?

Nina - I don’t end up listening to that much music. I listen to cooking podcasts and the CDBaby podcast in the car. But I see some great live stuff – lately Pimps of Joytime and Danny Michel.

Tim - I enjoy the wash of new music I hear on CBC. I have to say though that not much recorded music moves me. I really prefer to experience live shows. A few good acts I’ve heard this summer were Lake of Stew (Montreal),  Jadea Kelly (Toronto),Twilight Hotel (Winnipeg/Austin) and Tin Banger (our very own!)

Check out Lovestorm at the following dates:

Friday, Oct. 7 – Old Belle River Church, Belle River, PE
Saturday, Oct. 8 – The Dunk, Breadalbane, PE
Friday, Oct. 14 – Sunbury Shores, St. Andrews, NB
Thursday, Oct. 20 – Vintage Bistro, Hampton, NB
Friday, Oct. 21 – Café Aberdeen, Moncton, NB
Thursday, Nov. 10 – Charlotte St. Arts Centre, Fredericton, NB

Below is a ‘making of Overripe’ video:

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Mia Martina will release her debut album on Aug. 30.

The village of Saint-Ignace, New Brunswick isn’t known for producing pop stars, but Mia Martina hasn’t let that slow her down. Born Martine Johnson, the small-town NBer started performing at a young age, singing in talent contests in Moncton. She left her hometown after finishing high school in Saint-Louis-de-Kent, and enrolled in psychology at Carleton University in Ottawa.

Hoping for a career in music, Martina landed an internship with indie label, CP Records, which is now based in Toronto. She soon put her musical talents on display and was signed to the label as an artist.

In the last year, Martina’s name has become known for her remix of Edward Maya’s Stereo Love (which originally featured Vika Jigulina singing with Maya), which was nominated for a Juno (Dance Single of the Year) and became a smash hit over the last year. Her follow-up single Latin Moon has also garnered considerable play.

Martina’s debut full-length record, Devotion, comes out on Aug. 30, and today (Saturday) she’ll be performing at the Summer Rush festival in Halifax with the likes of Classified, Pitbull and more.

Martina joins us this week for a brief chat.

1. Hey Mia, I hear you’re on a bit of a whirlwind lately gearing up for your debut album. How are things going?

LOL! Yes it has. Things are going so amazing, I am really excited for Aug. 30. I have been working so hard for the last three years on my album, and now it’s finally ready.

2. What’s it like putting your first album together? Being relatively new to the music business, what have you learned so far?

It has been very challenging, I started as an intern at CP Records and it has been a great learning experience. In saying so, I got to see how things work on the business side and on the artist development. It taught me to have a lot of patience and dedication and to never lose your passion.

3. Your sound isn’t one normally associated with New Brunswick artists. Did you always lean toward pop and dance music when you were growing up?

Yes, very, I grew up listening to Michael Jackson and Mariah Carey; they were my inspirations. I am so blessed to be making my own sound of music today. I love making dreamy dance music.

4. How does a small-town New Brunswick girl adjust to being the centre of attention in clubs throughout North America? Has it been difficult getting used to the glitz and glamour?

The one thing that’s really hard is that I don’t get to see my family a lot anymore, but I am living my dreams and I talk to them almost every day so it’s amazing.

5. Do you get home to St-Ignace very often?

I try to come home as much as I can. I haven’t been since Christmas so I really can’t wait to go I need to have some lobsters. LOL!

6. What do you have coming up in the next few months? Any chance you’ll be performing close to home?

Yes!!! I have a show Aug 6 in Halifax for Summer Rush. It’s my first East Coast show so I am really excited about it!!!
If you are in Halifax make sure you come check it out it’s gonna be a great show!!

Check out Mia Martina’s new video for Latin Moon below …

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Eldon Thiele recently released a new EP.

Eldon Thiele has had a unique career on the east coast. Known by day as Jason Betts, Thiele took his stage name from each of his grandfathers and adopted the band name Zwerg – a Dutch word meaning “dwarf.”

A talented pianist and singer, the Moncton native began performing at an early age and at 18 formed Zwerg, which has released four albums to date. The band’s music, a polished pop/electronica mix with sometimes cryptic lyrics, hasn’t always been well received by the masses. Thiele says when he was younger, his intention was to “provoke a response,” but today he’s just looking to create music for people to enjoy.

Recently, Thiele released a new EP, Package Up My Soul, and he joins us this week to talk about his music’s new direction and his future plans.

1. You just released a physical version of the Package Up My Soul EP – how has it been received?

The reception has been quite favourable.  I think I’ve found my niche back with the acoustic piano.

2. I read in another interview where you said you wanted to refocus your sound a bit on this EP so that it could be more “accessible” here on the east coast. I recall seeing you at an ECMA showcase a few years back where the crowd didn’t seem to “get” your performance initially. You snuck in a cover of Metallica’s One, and brought them all in, which I thought was both brilliant and hilarious. You got the crowd. Has it always been a challenge in this region to get people to embrace what you’re doing?

In all honesty, yes it has.  Some Maritimers called my last album “eurotrash” and “homo-electro” (lol).  So rather than turn a cold shoulder and rebel, which I probably would have done when I was younger, I ate a slice of humble pie and said “okay, I’m based here now, why not just make music that the people will like?! Heaven forbid!”  …So I went back to a more non-synthetic, timeless sound with the acoustic instrument at the forefront, central to the arrangement. I think when I was younger, my intention was to provoke a response, whereas now, I’m more interested in creating something beautiful that people will enjoy.

3. I understand you’re already working on another music project – there’s a song called New Brunswick, I believe? What can you tell us about the song and the overall project?

Mel Keith provides backing vocals on that tune; Robin Anne Ettles provides some intricate bass work, and Tim Isaac recorded some thickly-layered, ambrosial strings for it.  When I wrote the piece, I knew it was calling for orchestral arrangement — very green, earthy, verdant — simultaneously humble and proud, like the natural beauty of our province in the summertime. The album, called Whims ‘N’ Words, is based on the concept of an east-coast road trip, and features performances by many local musical luminaries.  It consists of both originals, inspired by my life and loved ones here on the east coast, and well-known east-coast cover tunes. The songs are all organized into categories based on the four east-coast provinces: Herring Chokers ‘N’ Spuds, Bluenosers ‘N’ Capers and Cod Kissers ‘N’ Labs. The work is a celebration of life in this part of the world, though it does momentarily address the reality of death as well. In-Flight Safety’s Daniel Ledwell is presently completing the album artwork, which consists of a 24-page booklet featuring artwork by my brother Jared Betts, and photos taken everywhere from Elgin, New Brunswick to Red Bay, Labrador!

4. How is the planned move to New York coming? What do you hope to accomplish there?

Well, things are progressing quite agreeably with music here at home, so moving plans have been put on hold to accommodate some exciting musical prospects. I was acting for six years in Toronto and I would like to get back into it at some point. There just doesn’t seem to be enough film and television work here in the Maritimes to make acting a viable full-time career option.

5. Anything else you’d like to share?

My manager Tim O’Brien and I would just like to thank everyone who has been so supportive of late. All of the live performance opportunities, airplay, press coverage, the support of my parents — it has all been sincerely appreciated.

I’d also just like to say that everyone here in this part of the world has so much to be thankful for — and let’s enjoy what we have, right here, right now (I’m hearing Jesus Jones in my head).  If there is anything at all positive to gain from the recent passing of local legend Pete King (Rik Reese & Neon Highway), perhaps it is that we must appreciate the abundance of blessings we have here and now — our homeland, our loved ones.  We never know when it all might end for us.  I’m aiming to rid myself of any resentment harboured towards others, or any other type of relational poison in my life. Let’s enjoy the incredible people living in this place we call home, and see the land itself for the natural paradise it truly is.

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Careers in Science

We’ve spoken to Moncton native Eric Bourque a few times in the past about his band Knife Party (here and here). That band went on hiatus when drummer Bourque left for Toronto to study audio engineering.

But Bourque is headed back east this weekend with his new punk band, Careers in Science. In just over a year, the Toronto band (also featuring Dave Proctor, vocals; Callum McPhee, guitars; Matt Winkler, bass) formed and released its first record, Whateverwolf, in pretty quick order. A new album is already in the works, and the band has a handful of east coast dates planned over the next few days (dates below).

Bourque joins us again this week to talk about his new band and life in the big city …

1. Moncton guy moves to Toronto to study audio engineering and (in pretty short order) forms a band, records its debut record and hits the road. What am I missing? Did it all happen as quick as it seems to have?

More or less. We kinda just started jamming out Big Black tunes and then we got a singer and bam. We were playing gigs, then recording, then more gigs, then NXNE. It made sense to tour next and I missed home, so I pitched an east coast tour.

2. How did you guys all meet? In school, or … ?

We met on Craigslist. Very seedy, I know. A couple of guys were looking to do some Big Black covers and old post-punk tunes so they put an ad out for a drummer. I figured these guys were at least worth meeting and turns out they were into Devo and Fugazi and Mega Man, so that was that. Took us a while (and a brief foray into being the backing band for a Lady’s Vanity Project. Oops.) before we found a singer who also dug all the weird stuff we did, but eventually Dave came into the picture and we just sort of became a band at that point.

We developed an idea of the band we wanted to be and what our approach to songwriting would be and how we’d draw influences from everything we loved about ‘80s hardcore and the post-punk movement and formed it all together Voltron-style and here we are.

3. Are you excited to bring the band home for everyone to check out?

Very excited. I miss everyone back home a lot. None of the other bandmates have been out east, so there’s much poutine pizza and garlic fingers and donairs to show them. And the ocean, I guess. But mostly that other stuff.

4. From what you’ve seen so far, how do the Toronto and Moncton music scenes compare … or do they?

In Toronto, you seem to be able to play around a lot easier. There’s always a cool dive bar that’ll host you and if you use your cunning, it’s fairly easy to hop onto a nice bill with a cool band that’ll get you some new Facebook Likes, or whatever constitutes success now (we managed to finagle our way into headlining a NXNE Showcase). The catch is, with 80-plus shows around town a night, it’s simple to slip between the cracks of anyone caring about what you are doing. Also, there’s no poutine pizza here.

5. What’s next for the band?

We’ll be recording our second release, currently titled Suri-Cruise Missile in September/October. We’ll probably be mapping out some west coast stuff if we dare be so bold and we’d like to do SXSW if can swing it. Who knows. Mostly we’re going to keep doing what we’re doing and hopefully people enjoy the output, ya know? We’re barely adults, so this is pretty much all we know how to do and we’re taking stabs in the dark at the best of times at this, too.

Check out Careers in Science at the following dates:

July 22 (tonight) – The Capitol, Fredericton, N.B.
July 23 – Manhattan, Moncton, N.B.
July 24 – Gus’ Pub, Halifax, N.S.

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Scott Nicks

Originally from Truro, N.S. and now based in Halifax, Scott Nicks has been steadily building his name in the east coast music scene.

Nicks released his a five-song demo recording in late-2006 and followed it up with the full-length, A Song for Tuesday Blues, in 2008. For that recording, Keith Doiron (bass) and Jordan Murphy (drums) were added to The Scott Nicks Band. Brad Lahead of Long, Long, Long also performed on the record.

In December, the band released a new record, Slowly, and recently added guitarist Justin McGrath to the group while Billy Habib Taylor (Tupperware Remix Party) fills in on bass while Doiron is in school.

The group is now focused on touring as much as possible and has shared the stage with the likes of Old Man Luedecke, Mathias Kom and Kim Barlow (Spring Breakup), Hooded Fang, Maylee Todd, Michou, We Are The City, Aidan Knight and others over the years.

The band just got back from a tour of Quebec and Ontario, and Nicks joins us this week for a chat:
1. You guys are just wrapped what I believe is your first tour of Quebec and Ontario. How did it go?

Well, this is our second time touring to Toronto and back. We were pretty excited to get out and play some venues we hadn’t been to, and visit some cities we didn’t get to last time. I was very curious and excited, myself, what it would be like to play 11 straight shows.

2. The band seems to have been building slow and steady over the last five years, from a short demo to a few full length efforts and more touring. What’s the journey been like?

Started off writing songs just to write songs. Then met Keith who played bass and whose father had a recording studio. So (we) just recorded them for the sake of something to do. Slowly adding Jordan on drums, and then just in the past year Justin on guitar, we’ve taken on a more full band sound. It’s great to be able to play with a good group of musicians.

I’ve been building it from the ground up using almost exclusively the DIY technique, haven’t had a label, financed, packaged, made artwork, for all the albums. And now as a full band, were just trying to keep the same mindset and keep things going. Keep playing, touring, recording. It’s what we enjoy.

3. What inspires you when you’re writing? Is it a collaborative effort with all band members, or do you serve as the driving force of the band?

Well, I write the songs. Words and music. I show the guys the song, we jam on it. It could be a completely different song by the time we’re done jamming with it. I mean, the chord progressions, melody, and words remain the same. But I’ve written songs I thought would be slow and soft, and have turned out upbeat and hard, and vice versa. A rock song turned into a slow country tune.

The best part of our creative process, I feel, is how I bring in a song, and no matter what, I feel like however we play it as a band, it’s always with the best interest of the song in mind. No one is overplaying, and everything is done to complement the melody and the song.

As far as what inspires the writing, the regular stuff. haha. Personal experiences, books read, movies watched, girls, growing up, some of it’s autobiographical, some of it’s fiction. Some of it’s just because of phonetics, and because I like the sound of certain words together. Writing, like music, is a great creative outlet. There’s so many different things to write about and ways to write about them. The possibilities for both on their own, are endless, let alone combined. Which is why I think I like songwriting so much.

4. What song(s), album(s) or artist(s) have you been listening to most lately?

Personally, I’ve been listening to mgmt, specifically really enjoying the song Siberian Breaks. I love the different parts, it’s like eight or 10 minutes long, and feels like the second half of Abbey Road in the way that it’s songs connecting to make a larger piece of music.

Wilco, John Vanderslice, Fleet Foxes, Iron and Wine. However, I drive an old truck with satellite radio, so when I’m driving i listen to ’50s on 5 almost exclusively, occasionally moving up or down a decade.

Jordan has been listening to the new Radiohead album King of Limbs and really digging it, also Animal Collective and Redclay by Freddie Hubbard.

Justin is probably either listening to Revolution Blues by Neil Young, some Mobb Deep, or some old Beatlemania song like Baby’s in Black.

And Keith, the last thing I remember him putting on the van stereo was a Sly and the Family Stone tune.

5. What do the next few months hold for the band?

Do a bit of studio recording, some apartment recording, play some gigs, plan our next trip, write, enjoy the summer while it’s here!

6. What’s the most interesting thing you learned recently?

When you’re on the road, eat lots and eat cheap. The body needs fuel to function. Got sick the first time from too much caffeine/nicotine/alcohol etc. These are all great, but you need food. Stay away from McDonalds. Get gas station sandwiches, bread, peanut butter, apples. WATER. Buy a huge jug, then fill it up as you go.

7. Anything else you’d like to add?

Download our latest album at http://scottnicksband.bandcamp.com/ and become a fan on Facebook. Continue to support original music, and local artists in your area.

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