Tag: lantern

Imprint :: Craft Singles

Weird_Canada-Imprint-Craft_Singles

Since its first batch of releases in early 2011, Craft Singles has been steadily cultivating and curating “a series of snapshots of interrelated communities.” Perpetually delving into disparate sounds and geographies, the subscription-based label educates its listeners in Canadiana through brief, single-driven cassette doses. Each meticulously orchestrated batch of releases offers a unique visual aesthetic and attention to packaging, adding collectibility to the already enticing array of singles. Weird Canada spoke to Andy March, founder of Craft Singles.


The You Are Minez – Can’t Question Desire


Quivers – Mantis


The Ether – Dead Scene Politics


Craig Currie – Painter’s Sink

Max Cotter: What are the origins of Craft Singles (CS) and how did it evolve into its current form?

Andy March: CS started as a project where I wanted to try my hand at production. I had been recording, playing in bands, and running labels, and I thought it would be a worthwhile exercise to see what I could do to put all that together and try to produce recordings. I wanted to be able to work with a lot of different artists, to do it without needing to find much money, to work quickly and release things rapidly, and to publish the output in a coherent form, as a project, in a format that was collectible. I also wanted to be able to give the bands something that they could sell, which could get reviewed, with the result of garnering some attention.

The cassette single format is one I have always liked. It made sense to me that the project as a whole could gain some momentum, even if the releases were very short, and the editions very small. I bought a cassette duplicator, a glue dispenser gun, and trained with Charles Austin at Echo Chamber Audio, reaching an agreement where I could use the studio at night for a reasonable rate. The first half-dozen or so releases followed this ethos, and I made some recordings I am really proud of. Friendly Dimension, The Ether, Special Costello, and Lantern really stand out for me as sessions where I put a lot of thought and effort into being the perfect producer for that particular group at that particular point in their career, and I think I gave them something that made sense for them that, at the time, did justice to their development and their aesthetic.

As I began to spend less time in Halifax and Montreal (where I had studio access as well), and as I became more focused on my own band, CS morphed into more of a traditional label in that bands, such as Play Guitar and Grand Trine, submitted their content for release through the label. I was still doing some recordings for bands like Bad Vibrations, but the emphasis was more on making the release process affordable, without losing quality, for bands that were near the beginning of their careers.

At this point the label began to grow in its ability to provide exposure across Canada, in part thanks to Weird Canada and campus radio. It fell into its current character; a series of snapshots of interrelated communities, a rhizome of bands and musicians and scenes.

There seemed to be a heavy focus on the Halifax scene that has slowly shifted to documenting other parts of the country. What led to this change? How has CS’s relationship with the Halifax music community changed with this shift?

I am fairly nomadic so as I spent less [time in] Halifax and started exploring other parts of the country, I found relationships between cities that made it possible to expand the label to other regions. Sackville, Montreal, Toronto, and Calgary all have threads in common; dialogues of various degrees between certain threads of creativities, which was very exciting for me to realize. My relationship to the Halifax scene is still strong. I go back all the time and try to keep tabs on what is up, and I hope to be able to continue this forever.

Especially considering the aforementioned shift, how does the CS curation process work? Has it become more of a challenge to make informed release decisions when looking with a wider lens at Canada as a whole? The process of deciding on releases is pretty straight forward. I try to determine if a release is mutually beneficial for all parties involved: the band, the label, and the other bands under the label. If so, and if the band is keen, I do whatever needs done to make a tape happen. I find that the wider the scope geographically, the more cohesive the project becomes. Releasing Homebody (from Denver, Colorado) and seeing the ties with, say, Heaven For Real or You Are Minez, was really sweet.

With each round of releases featuring a different-yet-cohesive aesthetic, it seems graphic design is an important aspect of CS. How would you describe the relationship between the label/music and the visual aspects?

I spent a long time in art school in Halifax, and I decided early on that visual cohesion was vital to the sensibility of the project. Other labels–like Sacred Bones–incorporate the visual to great effect, and I get a lot of satisfaction from doing this successfully. I do feel a little strange imposing an aesthetic on a group of artists, but ultimately I think it plays a big role in making the label operate the way it does, ontologically, and no one has made a stink about it yet.

As a subscriber, I’ve always found each round of CS releases is like a lesson in independent Canadian music. What led to the idea of a subscription based label?

The subscription is just a way to maintain momentum as well as adding another element to the nature of the project. I think it makes it a richer project by adding to the element of collectibility, like when you wanted a complete set of baseball cards when you were a kid, and if you were really keen, maybe you would just buy the whole set at once. In this way the collector becomes a part of the project. They don’t know what tape they will be getting, they are subscribing to the label, and they are really another wing of the whole thing.

How does the cassette format relate to the CS ideology and aesthetic? Is the label bound to this specific medium or do you have plans to experiment in other tangible delivery methods?

Cassettes are amazing because they are cheap, easy to duplicate, easy to package, durable, and they ship cheaply as lettermail. They also make unmastered digital recordings sound cooler, and they don’t take up much space in your collection. They have a wide spine, so as a series the spines all line up to look great on your shelf.

In 2010 I bought a very large and ancient record lathe, which is a device used in manufacturing vinyl records. I modified the machine, and along with a rad online community, experimented to find a way to use it for short run manufacturing of hand-made records. At this point it is possible, for a few dollars, to produce a mono disk that does not wear out with use, that will play well, and that sounds excellent across a large frequency range, with a low noise floor, and at a decent volume, on MOST turntables. Unfortunately the Stylus that the machine uses is made of Saphire, and costs about $100, so mistakes are very expensive, and a big part of the experimentation has been getting as many copies as possible out of a stylus without wearing it out. My first release in this format was CS024-SLOW BURN for TORONTO HOMICIDE SQUAD. The run of 30 copies took me about 2 long days of work, and they came out great.

What’s next for CS?

Next up are releases for Negative Rage and Un Blonde, two of the most exciting cassingles to date. Both are young, ‘auteur’ types and I am beside myself with excitement. I think the next wave of artists in Canada will be truly unbelievable, and everyone should be ready to have their minds blown into a million pieces. At the same time I am very pleased to see CS bands like Heaven For Real, Monomyth, Old and Weird, and others, move forward in their careers at an amazing pace, and I am thinking of ways that the label can evolve to keep up with them.

Craft Singles Discography (to date):
CS001 – Omma Cobba – Policeman
CS002 – The Ether – Dead Scene Politics
CS003 – The Friendly Dimension – Executive Koala
CS004 – Lantern – American Razorwire
CS005 – Kill Squares – Swim To Me
CS006 – Play Guitar – Majic Child
CS007 – Grand Trine – Euthanize Me
CS008 – Crosss – Bone Brigade
CS009 – Bloodhouse – Baby Butter Knife
CS010 – Transfixed – Physical Demands
CS011 – Bad Vibrations – In The Rough
CS012 – Old and Weird – Minstrel Rock
CS013 – Special Costello – Music and Image
CS014 – The You Are Minez – Can’t Question Desire
CS015 – Astral Gunk – Street Level
CS016 – Yellowteeth – Repo
CS017 – Chief Thundercloud – End of August
CS018 – Quaker Parents – Rubber Match
CS019 – Quivers – Self Portrait in E
CS020 – Heaven For Real – Hero’s Code
CS021 – Monomyth – Trash Day
CS022 – Homebody – Homebody EP
CS024 – Toronto Homicide Squad – Slow Burn
CS025 – Negative Rage – I’m Controlled, You’re Controlled

Depuis sa première fournée de sorties en 2011, Craft Singles cultive de façon régulière une série de clichés de communautés entremêlées. Fouillant perpétuellement les creusets de sons et de géographies disparates, l’étiquette qui fonctionne par abonnement éduque ses adeptes en Canadiana au moyen de doses de cassettes brèves et orientées vers le simple. Chacune des fournées de sorties méticuleusement orchestrées offre une esthétique visuelle unique et une attention toute particulière à l’emballage, ajoutant l’envie de collection aux déjà très séduisants simples. Weird Canada a conversé avec Andy March, le fondateur de Craft Singles.


The You Are Minez – Can’t Question Desire


Quivers – Mantis


The Ether – Dead Scene Politics

Max Cotter : Quelles sont les origines de Craft Singles (CS) et comment l’étiquette a-t-elle évolué pour atteindre sa forme actuelle?

Andy March : CS a débuté par un projet où je voulais essayer de produire pour la première fois. Auparavant j’avais enregistré, joué dans des groupes et dirigé des étiquettes et je pensais que cela vaudrait la peine de voir ce que je pourrais obtenir comme résultat en combinant le tout grâce à la production. Je voulais avoir l’opportunité de travailler avec de nombreux artistes différents, de pouvoir le faire sans avoir besoin de trop de sous, de travailler et de sortir des trucs rapidement et de publier le tout de façon cohérente, dans un format facile à collectionner. Je voulais aussi être en mesure d’offrir aux artistes quelque chose qu’ils peuvent vendre, quelque chose à propos duquel on peut écrire, dans le but d’attirer l’attention sur la musique.

Le format cassette est un truc que j’ai toujours aimé. Ça avait du sens pour moi que le projet prenne de l’élan, même si les parutions étaient très courtes et le nombre de copies limité. J’ai acheté une reproductrice de cassettes, un fusil à colle et discuté avec Charles Austin de Echo Chamber Audio. On s’est entendu pour que je puisse utiliser son studio un soir par semaine, à un prix raisonnable. La première demi-douzaine de parutions a suivi cette philosophie et j’ai produit des trucs dont je suis très fier. Friendly Dimension, The Ether, Special Costello, et Lantern se distinguent particulièrement pour moi comme des sessions auxquelles j’ai consacré beaucoup de temps et d’effort afin d’être le meilleur producteur pour chaque artistes à ce point particulier de leur carrière. Je crois leur avoir donné un résultat qui avait du sens pour eux et que ce résultat rendait justice à leur développement et à leur esthétique du moment.

Lorsque j’ai commencé à passer de moins en moins de temps à Halifax et à Montréal (où j’avais aussi accès à un studio) pour me concentrer davantage sur mon propre groupe, CS s’est transformé en une étiquette plus traditionnelle; des groupes comme Play Guitar et Grand Trine ont soumis leur matériel en vue d’une parution sous l’étiquette. Je faisais toujours des enregistrements pour des groupes comme Bad Vibrations mais l’accent était plus sur la volonté de rendre le processus abordable, sans compromettre la qualité, pour des groupes qui commençaient leur carrière.

À ce moment-là, l’étiquette a commencé à développer sa capacité à faire connaître des groupes à travers le pays, en partie grâce à Weird Canada et aux radios communautaires. C’est devenu ce que c’est maintenant : une série de clichés de communautés entremêlées, un rhizome de groupes, de musiciens et de scènes.

Il semble que l’accent ait d’abord été mis sur la scène d’Halifax pour ensuite se déplacer vers d’autres coins du pays. Qu’est-ce qui a motivé ce changement? Comment est-ce que la relation de CS avec la scène musicale d’Halifax a changé de ce fait?

Je suis passablement nomade alors je passais de moins en moins de temps à Halifax et j’explorais d’autres coins de pays. J’ai trouvé des similarités avec d’autres villes qui rendaient possible l’expansion de l’étiquette vers d’autres régions. Sackville, Montréal, Toronto et Calgary ont toutes des fils en commun; des dialogues à différents degrés entre certains fils créatifs, une réalisation très excitante pour moi. Ma relation avec la scène d’Halifax est toujours très forte. J’y retourne souvent, j’essaie de me tenir au courant de ce qui s’y passe et j’espère être toujours en mesure de le faire.

Compte tenu de l’évolution qu’on vient de mentionner, comment fonctionne maintenant le processus de sélection de CS? Est-il plus difficile de prendre une décision éclairée pour une parution maintenant que vous devez tenir compte du Canada tout entier?

Le processus de décision pour les nouvelles parutions est assez simple. J’essaie de déterminer si une parution est bénéfique pour toutes les parties concernées : le groupe, l’étiquette et les autres groupes sous l’étiquette. Si c’est le cas et que le groupe en a envie, je fais tout ce qui est en mon pouvoir pour créer une cassette. Je trouve que plus l’envergure géographique est étendue, plus on retrouve de cohésion entre les projets. Faire paraître Homebody (de Denver, Colorado) et voir les liens entre par exemple Heaven For Real ou You Are Minez était vraiment sympa.

Chaque ronde de parutions présente une esthétique différente mais toujours en cohésion et il me semble que le design graphique est un aspect important de CS. Comment décrirais-tu la relation entre l’étiquette/la musique et l’aspect visuel?

J’ai passé beaucoup de temps à l’école d’art à Halifax et j’ai décidé dès le départ que cette cohésion visuelle était vitale pour la sensibilité du projet. D’autres étiquettes – comme Sacred Bones– incorporent le visuel pour un superbe effet et je trouve une grande satisfaction à réussir à faire la même chose. C’est un peu bizarre d’imposer une esthétique à un groupe d’artistes mais en fin de compte je pense que c’est important pour faire fonctionner l’étiquette comme elle fonctionne, ontologiquement. Jusqu’à maintenant cela n’a jamais été un problème avec les artistes.

En tant qu’abonné, j’ai toujours trouvé que chaque ronde de parutions par CS était comme une leçon sur la musique indépendante canadienne. D’où est née l’idée d’une étiquette qui fonctionne par abonnement?

L’abonnement est une manière de maintenir l’élan et d’ajouter un autre élément à la nature du projet. Je crois que le fait d’ajouter l’élément de collection rend le projet plus riche, comme quand tu voulais une série complète de cartes de baseball quand tu étais enfant. Si tu étais vraiment passionné, tu achetais la série au complet d’un coup. De cette manière, le collectionneur fait partie du projet. Il ne sait pas quelle cassette il va recevoir : il est abonné à l’étiquette et il est vraiment une autre composante du processus global.

Comment est-ce que le format cassette est lié à l’esthétique et à l’idéologie de CS? Est-ce que l’étiquette est limitée à ce médium ou vous avez l’intention d’expérimenter d’autres méthodes de parution tangibles?

Les cassettes sont géniales parce qu’elles ne sont pas chères, sont faciles à reproduire, faciles à emballer, durables et elles ne sont pas plus cher à expédier par la poste que les lettres. Elles rendent aussi les enregistrements numériques non masterisés plus cool et ne prennent pas une énorme place physiquement. Elles ont une tranche large, alors remplir une tablette avec une collection produit vraiment un bel effet.

En 2010, j’ai acheté un très grand et ancien tour d’usinage de disques (record lathe), un engin utilisé dans la manufacture de disques vinyl. J’ai modifié l’engin, et avec l’aide d’une super communauté internet, j’ai expérimenté une façon de m’en servir pour produire des petites quantités de disques fait-main. Présentement il est possible pour quelques dollars de produire un disque mono qui ne s’use pas, qui jouera bien et qui produit un son excellent sur un éventail de fréquences, avec un minimum de bruit de fonds et à un volume intéressant sur la plupart des tables tournantes. Malheureusement, le stylet que l’engin utilise est fait de saphir et coûte à peu près 100 $ donc les erreurs sont coûteuses et la majorité de mes expérimentations ont consisté à produire un maximum de copies avant que le stylet ne s’use. Ma première parution dans ce format a été CS024-SLOW BURN pour TORONTO HOMICIDE SQUAD. Un total de 30 copies m’a demandé deux longues journées de travail et le résultat est génial.

Qu’est-ce qui s’en vient pour CS?

Les prochaines parutions seront Negative Rage et Un Blonde, deux des plus excitants simple-cassettes jusqu’à maintenant. Les deux sont jeunes, du type « auteur » et je suis super excité. Je pense que la prochaine vague d’artistes au Canada sera incroyable et tout le monde devrait se préparer à halluciner en 10 000 couleurs. D’ailleurs, je suis vraiment content de voir des groupes de CS comme Heaven For Real, Monomyth, Old and Weird et d’autres avancer dans leur carrière à grande vitesse et je réfléchis à des moyens de faire avancer l’étiquette avec eux.

Discographie de Craft Singles (jusqu’à maintenant) :
CS001 – Omma Cobba – Policeman
CS002 – The Ether – Dead Scene Politics
CS003 – The Friendly Dimension – Executive Koala
CS004 – Lantern – American Razorwire
CS005 – Kill Squares – Swim To Me
CS006 – Play Guitar – Majic Child
CS007 – Grand Trine – Euthanize Me
CS008 – Crosss – Bone Brigade
CS009 – Bloodhouse – Baby Butter Knife
CS010 – Transfixed – Physical Demands
CS011 – Bad Vibrations – In The Rough
CS012 – Old and Weird – Minstrel Rock
CS013 – Special Costello – Music and Image
CS014 – The You Are Minez – Can’t Question Desire
CS015 – Astral Gunk – Street Level
CS016 – Yellowteeth – Repo
CS017 – Chief Thundercloud – End of August
CS018 – Quaker Parents – Rubber Match
CS019 – Quivers – Self Portrait in E
CS020 – Heaven For Real – Hero’s Code
CS021 – Monomyth – Trash Day
CS022 – Homebody – Homebody EP
CS024 – Toronto Homicide Squad – Slow Burn
CS025 – Negative Rage – I’m Controlled, You’re Controlled

New Canadiana :: Lantern – I Don’t Know b/w Out of Our Heads

Lantern - I Don’t Know b/w Out of Our Heads
Cheaper than a leather jacket but equally effective at scaring your parents, Lantern’s new single takes them to new levels of speaker-blowing oblivion. “I Don’t Know” resurfaces from this summer’s tape on Night People, jabbed with adrenaline by drummer Sophie White’s Maclise-via-hambone beat. But B-side “Out of Our Heads” is the true highlight—nearly five minutes of relentless bass-as-extra-tom-tom, high pitched smears of sneers, and a final solo of celestial murk. For Cuban heels only.

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Lantern – I Don’t Know

New Canadiana :: Lantern // The Ether – Lantern // The Ether

Lantern and The Ether Split Cassette Cover
Lantern’s burning proto-punk and wah-wah workouts provide a much needed headbang session to strengthen those aging neck tendons. Their cover of this trashcan anthem further proves the cutting-edge theory that silverface fuzz blows away synth-banjo, any day. Meanwhile, The Ether’s destructo-wave ripples into black holes, a dense mass constantly on the verge of implosion. Here and there, a sparse guitar lead escapes the confines, a split-second before the void pulls you back head first into its crushing fury. Must grip!

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The Ether – Permanent State of Grace

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Lantern – America is my Zoo

Imprint :: Electric Voice

Matt Samways is a young upstart from Truro, the so-called ‘hub’ of Nova Scotia. Before touching the age of 20 he led the pitiless doom punk of Pig, started the Electric Voice imprint, and played sideman to Scribbler and the Friendly Dimension. He has once again departed on another musical continuum with his latest project, Transfixed, a more sinister and contemplative vision of the futuristic isolation and robotic vocals of Kraftwerk and Gary Numan.

Electric Voice is not exclusive to the regional talent of the 902, but has entertained releases from across Canada, with ambitions to release music from around the globe. Up next is a 12” from Jeff & Jane Hudson, who were part of the New York No Wave movement during the late ’70s and early ’80s, arguably one of the greatest incubators for creative music of all genres, ever. Matt kindly took the time to answer some questions.

Zachary Fairbrother
Contributor
Weird Canada // Lantern
http://weirdcanada.com // http://lantern.bandcamp.com

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Transfixed – Coaxial Mirage

What inspired you to start a label?
It was conceived as a vanity label in 2008 with a partner I was collaborating with at the time, who actually titled the label. It was suggested by a peer that we began documenting our releases to enhance professionalism. We had no intentions of channeling anything other than our own material. As our group was disbanding a personal desire to continue the archive still existed. My friends are all making extremely good music and I can’t suppress supporting it materialize.
Since Pig split, you’ve devoted much of your attention to Electric Voice. Are you taking a break from music or do you prefer running label?
I wasn’t really interested in performing or releasing my own music at the time, but I wanted to keep contributing to the physical production of it. I hold a strong value in the aesthetic of sound and its presentation, and the idea of being able to manipulate it is appealing to me. About a year ago I started receiving funding from the Government of Nova Scotia via the Emerging Business Music Program on behalf of Electric Voice. That defiantly provided me with a lot of motivation to get the label off the ground and start working outside the current community in Halifax and Montreal. Though I am becoming passionate about the label, I am a musician first and still focus on writing and recording with aspirations of touring the material. Putting a lot of energy into the label in turn benefits my musical endeavors.
Transfixed is quite a departure from your previous musical adventures. How is it related/un-related to other projects?
The formation of Transfixed was completely organic. It is a collaborative project between myself, Ian Phillips and a number of rotating musicians. We had no intentions of forming a group when we first started playing together, but when we discovered that the house we had been jamming in was previously owned by Ian’s grandparents in the early ’60s, and that his grandfather grew up in the house, we decided to channel our time spent there with Transfixed. It has become an interesting and rapidly progressing project that there’s no reason to stop. Our ideas are constantly abstracting themselves and moving faster than we create the music. It’s exciting and with the lack of expectation we have become more prolific than any other project I’ve been involved with.

With my other projects/collaborations there has been a lot more premeditation on the sounds and how they should be presented. It becomes tough when a collective of people share the same visions without matching the logistics. The extrasensory parts of music can be difficult to communicate. I also work with Troy Richter and the Friendly Dimension in molding his sounds.

Synthesizers or guitars?
Guitars that sound like synthesizers. I think the combination can be a masterful force when properly conducted. I am ultimately a guitar player, but I’ve been spending a lot of time learning the keyboard. For the last few months I’ve hardly touched my guitar.
You hitchhike between Truro and Halifax. It seems like hitchhiking is a fading activity. Do you enjoy it, and do you have any good stories? Have you met some interesting people? Where is the farthest you’ve hitched?
It’s never really been something I enjoyed, but it’s done out of necessity. When I cannot afford to be bussing back and forth, it’s usually my only means to get to practices/gatherings, as all of the bands I play in are based in Halifax. I live back and forth from Halifax and Truro, which are about an hour’s drive apart. Truro is very isolated and is a great environment to work in, though can be compromising with my schedule.

I’ve only been hitching through Nova Scotia and Newfoundland for the last five years. I’ve been consistently traveling this way and have never encountered any trouble. Dress nice with a clean appearance. A lot of mothers have picked me up, also on- and off-duty police officers. The only questionable encounter was a lady who spoke in a thick rural Nova Scotian tongue. She picked my friend and I up in the dark and was drinking Faxe 10 (strong beer). She had what looked like 3-4 empty cans on the floor of her side of the car. It was a little unsetting but she was considerably collected and coherent. She had a bizarre way of twisting her words together that was oddly poetic.

You seem like an ambitious young man. What are your dreams for the Electric Voice Label?

I don’t class my visions with the label as dreams, because I don’t think they are anything we can’t achieve. The people I surround myself with are individually gifted at what they do. Thankfully all of the resources are presented, making it simple to have a pragmatic sense of work. I certainly am young; therefore I am not looking to execute the foundation process in short time. I will keep experimenting with formats and presentation, and try not to exhaust our resources. In time I will spend time refining the label and as expected with any small business or hobby, sustainability is key.

What other labels do you find inspiring and/or really dig and why?
To those who know me this may sound biased because Brett is a good friend, but I really like what he has done with Campaign For Infinity. He has released some of my favourite cassettes in the last few years (notable: Teenage Panzerkorps, Horrid Red, Grand Trine, Rape Faction). I also have a lot of respect for Darcy Spidle and Divorce Records, as it was a prominent influence of my origins in the community of Halifax. He is really passionate about what he does and it shows in his work. OBEY Convention is a festival he puts on every year or so and is the highlight of the year in Halifax, in my opinion. I am happy to be helping him with the festival in 2012.

I have some collaborative release coming out with Danish label Skrot Up as well as works with Montreal’s Hobo Cult. Some other notable active labels: Bruised Tongue, Captured Tracks, Dark Entries Records, FLA Tapes & Records and Arbutus Records. I also really dig the consistency in the aesthetic of labels like Sacred Bones and Night People.

Electric Voice Discography (to date)

  • EV001
  • ::
  • Albino Slug II
  • EP
  • (Cassette, 2008)
  • EV002
  • ::
  • Pig
  • Everything Isn’t EP
  • (CD-R, 2009)
  • EV003
  • ::
  • Vacuum
  • Tormented Bear EP
  • (Cassette, 2009)
  • EV004
  • ::
  • Pig
  • Elbow Witch
  • (Cassette, 2009)
  • EV005
  • ::
  • Church Hammer
  • Vol. I
  • (Cassette, 2010)
  • EV006
  • ::
  • Church Hammer
  • Vol. II
  • (Cassette, 2010)
  • EV007
  • ::
  • Church Hammer/Vacuum
  • Split
  • (Cassette, 2010)
  • EV008
  • ::
  • Pig
  • I’ve seen the future and it’s no place for me Compilation
  • (Cassette, 2010)
  • EV009
  • ::
  • Various Artists
  • Electric Voice Compilation Vol I
  • (Cassette, 2010)
  • EV010
  • ::
  • Milksnake
  • EP
  • (Cassette, 2010)
  • EV011
  • ::
  • Friendly Dimension
  • Live: In the Pleasant Horrors of Space EP
  • (Cass., 2010)
  • EV012
  • ::
  • Lantern
  • Deliver me from Nowhere
  • (Cassette, 2010)
  • EV013
  • ::
  • Gigas
  • Tied Down to the Ones You Love LP
  • (Cassette, 2010)
  • EV014
  • ::
  • Friendly Dimension
  • Bath Tub EP
  • (Cassette, 2011)
  • EV015
  • ::
  • Duzheknew
  • LOL HELL EP
  • (Cancelled)
  • EV016
  • ::
  • Wicked Crafts
  • “No Cure” EP
  • (Cass. (split w/ Campaign for Infinity, 2011)
  • EV017
  • ::
  • U.S. Girls
  • EP
  • (7″, 2011)
  • EV018
  • ::
  • The Friendly Dimension // 30 Year Old City Hex
  • “Poltergeist City”
  • (Cass., 2011)
  • EV019
  • ::
  • Babysitter
  • “Paul’s Cab” Single
  • (Cassette, 2011)
  • EV020
  • ::
  • Monroeville Music Center
  • Les Defauts des Fabrication EP
  • (Cassette, 2011)
  • EV021
  • ::
  • Milksnake
  • Lenny Bruce EP
  • (Cassette, 2011)
  • EV022
  • ::
  • Membrain
  • EP
  • (Cassette, 2011)
  • EV023
  • ::
  • Lantern // The Ether
  • Split
  • (Cassette, 2011)
  • EV024
  • ::
  • Play Guitar
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV025
  • ::
  • Grand Trine
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV026
  • ::
  • Bad Vibrations
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV027
  • ::
  • Transfixed
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV028
  • ::
  • Crosss
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV029
  • ::
  • Bloodhouse
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV030
  • ::
  • Hand Cream // Crosss
  • Split
  • (Cassette, 2011)
  • EV031
  • ::
  • Passion Party
  • EP
  • (Cassette, 2011)
  • EV032
  • ::
  • Cat Bag // Transfixed
  • Bunker // Body Language
  • (12″ w/ Claire Dragon, 2011)
  • EV033
  • ::
  • Rape Faction // Chevalier Avant Garde
  • Split
  • (Cassette, 2011)
  • EV034
  • ::
  • Various Artists
  • Electric Voice Compilation Vol. II
  • (12″ Cassette, 2011)
  • EV035
  • ::
  • Jeff & Jane Hudson
  • In My Car // Computer Jungle (+ Club mixes)
  • (12″, 2011)
  • EV036
  • ::
  • Visual works by Jacqueline Lachance
  • (VHS, 2012)

(Editor’s Note: Certain titles from this discography were not released by Electric Voice proper. As history’s nature is to continually re-write itself, so, too, shall we gaze pastward at Matt’s creative efforts and understand his temporal stream within the vision of Electric Voice.)

Transfusion :: Wyrd MTL

With less than a week until Wyrd MTL we’re excited to offer a quickie sampler mix spotlighting the 10 artists from this year’s inaugural lineup. All have been previously featured on Weird Canada, and will appear in the flesh on Monday, June 20 at La Sala Rossa. Grip your tickets!

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Wyrd MTL 2011 Mix

Track-listing

[00:00] :: Lantern – “I Don’t Know”
[03:50] :: Ultrathin – “Glass City”
[06:40] :: Dreamcatcher – “Dr. Clawk”
[10:15] :: Hobo Cubes – “Through The Ages”
[12:57] :: Dirty Beaches – “Coast to Coast”
[17:17] :: The Friendly Dimension – “Executive Koala”
[20:25] :: Shortpants Romance – “Heatwave”
[21:15] :: Man Made Hill – “Er Her”
[23:20] :: D’eon – “Thousand Mile Trench”
[29:08] :: Headaches – “Poor Decisions”

New Canadiana :: Lantern – Stranger I Come. Stranger I Leave.

With this newest offering, Lantern have fully harvested their Hasil Adkins hee-haw while continuing to bury themselves alive in a blizzard of Bo’s beats. What am I talking about? A refreshing bad-breath, proto-punk, Rat Fink mud bath in which you can finally erase your pockmarked Chevy Chase face. You the listener are transported via the filth to the absolute crispiest and most burnt ends of the fuzz n’ buzz spectrum. There are too many notes in the solos to say they sound like The Cramps, but you get the idea. The opening title track steers the clearest, with an instrumental dub-stomp my co-workers agree is trippy. Lantern is the best band in North America.

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Lantern – Stranger I Come. Stranger I Leave.

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Lantern – I Don’t Know

Wyrd MTL :: Realities Emerge on Monday June 20, 2011!

We’re proud to officially announce the eastern expansion of the Wyrd cosmos. Thanks to the exceptionally hard-work of Jesse Locke, Gabriel de Jasmin, and Suoni Per Il Popolo, Wyrd MTL will invade Montreal on Monday June 20, 2011. The format and philosophy remain pure; a double-stage frenzy of fringe adjectives will blaze through an evening stacked with over ten performers. With a secondary stage built specifically for Wyrd MTL, the folks at La Sala Rossa have gone the extra-extra mile and are housing a “MEGA BAZARR” of merch featuring visual art, purveyors of printed matter and Canada’s finest record labels. There is also tell of a taco truck hitting the pavement at 7pm. Full line-up and set-times below! For further information, visit here.

8:00 :: HEADACHES (Toronto, ON)
— Cortex dream jams from the cyborg mind of Landon Speers
— why we love them: here.

8:30 :: SHORTPANTS ROMANCE (Montreal, QC)
— Blitzkrieg garage punk and femme fatale charms
— why we love them: here.

9:00 :: ULTRATHIN (Montreal, QC)
— Scab-blasting noise-rock from three skinny dudes
— why we love them: here.

9:30 :: THE FRIENDLY DIMENSION (Halifax, NS)
— The black holy vortex into total freak-rock oblivion
— why we love them: here.

10:00 :: MAN MADE HILL (Toronto, ON)
— Dungeon dwelling one-man funk machine
— why we love them: here.

10:30 :: HOBO EXPANDING CULT BAND (Montreal, QC)
— A one-off collaboration from Hobo Cubes, Femminieli, JLK, Sundrips, Element Kuuda and more!
— why we love them: here.

11:00 :: DREAMCATCHER (Montreal, QC)
— Mind-smudging experimental spookery
— why we love them: here.

11:30 :: LANTERN (Montreal // Halifax // Philadelphia)
— Psych-blues freak-outs from the Zachary Fairbrother smoke ring
— why we love them: here.

12:00 :: DIRTY BEACHES (Vancouver, BC)
— Film noir nomad riding on a lonely highway
— why we love them: here.

12:30 :: D’EON (Montreal, QC)
— Terry meets Teddy Riley on a g-funk rollercoaster
— why we love them: here.

Wyrd MTL :: Official Announcement!!!

This month, Montreal’s seminal experimental music festival Suoni Per Il Popolo announced a partial lineup for 2011, including the first wave of WYRD MTL. Today, we open the floodgates for a full announcement, including information on the MEGA MERCH BAZAAR.

Much like our daily operation and its Western Canadian festival counterparts, this year’s inauguration of Wyrd’s expansion into Montreal will spotlight a coast-spanning cross-section of the Northernly subterranean. Over the course of a single jam-packed evening, 11 artists will bounce back and forth between the main stage and a special floor stage built specifically for this show. The infamous Grumman Taco Truck will be on-site all night after doors open at 7 pm, so come early and chow down on the best tacos in town!

WYRD MTL will also include a MEGA MERCH BAZAAR featuring visual art, purveyors of printed matter and Canada’s finest record labels. These will include Arbutus, Divorce, Fixture, Scotch Tapes, Bruised Tongue, Campaign For Infinity, Fluorescent Friends, Electric Voice, Hobo Cult, Fadeaway Tapes, Los Discos Enfantasmos, They Live We Sleep, Vintage Violence, Totally Disconnected, Planet of the Tapes, Dream Sequence and many more TBA.

p.s. Keep your eyes peeled for the announcement of TWO MORE SURPRISE ARTISTS in the coming weeks!

///// français /////

La semaine dernière, le festival de musique expérimentale Suoni Per Il Popolo a lancé sa programmation partielle pour l’édition de 2011, incluant une brève mention à propos du WYRD MTL. Aujourd’hui, nous levons le voile sur la programmation entière de l’événement, incluant le MEGA BAZAAR. Dans l’esprit de weirdcanada.com et des WYRD FEST de la côte pacifique, cette édition inaugurale montréalaise mettra l’accent sur un éventail de sonorités underground nordiques, d’un océan à l’autre. Le WYRD MTL, c’est onze artistes qui se succéderont en un soir seulement, alternant entre la scène principale et une scène de parterre spécialement conçue pour l’événement. De plus, l’excellente taqueria ambulante Grumman sera aussi sur place toute la soirée, dès l’ouverture des portes à 19h. Arrivez tôt et profitez des meilleurs tacos en ville !

p.s. Gardez les yeux ouverts pour DEUX AUTRES ARTISTES incontournables qui seront annoncés d’ici les prochaines semaines.

/////////////////// WYRD MTL ///////////////////

Weird Canada et Suoni Per Il Popolo

… présentent…

WYRD MTL
June 20, 2011
La Sala Rossa
Montréal, QC

D’EON (Montreal, QC)
—> Terry meets Teddy Riley on a g-funk rollercoaster

Lantern (Montreal/Halifax/Philadelphia)
—> Psych-blues freak-outs from the Zachary Fairbrother smoke ring

Dreamcatcher (Montreal, QC)
—> Mind-smudging experimental spookery

Duzheknew (Halifax, NS)
—> Jittery pop charisma and fourth world whirligigs

Ultrathin (Montreal, QC)
—> Scab-blasting noise-rock from three skinny dudes

Feral Children (Saskatoon, SK)
—> Lysergic bounce to the ounce and full-throated croons

Hobo Expanding Cult Band (Montreal, QC)
—> A one-off collaboration from Hobo Cubes, Femminieli, JLK, Sundrips, Element Kuuda and more

Headaches (Toronto, ON)
—> Cortex dream jams from the cyborg mind of Landon Speers

Shortpants Romance (Montreal, QC)
—> Blitzkrieg garage punk and femme fatale charms

Rob Feulner (Montreal, QC)
—> Will be providing his signature VHS warped visuals throughout the show.

New Canadiana :: Lantern – Deliver Me From Nowhere…

Lantern, c’est le duo Zachary Fairbrother et Emily Robb, deux expatriés canadiens partis vers la Ville de l’Amour Fraternel. Mais pardieu, brisons-nous vraiment les règles de Weird Canada ? Oui, peut-être, mais ils ont encore leur passeports canadiens. Aussi faut-il savoir que cette première cassette est trop savoureuse pour rester silencieux. Six compositions qui empruntent au folk et au vieux blues américain, où l’on passe de la solitude désolante à l’harmonica jusqu’au fuzz-wah anéantissant de << Crude Vessels of Sound >>. Carburant à la guitare, c’est un beau retour aux sources du proto-punk et du blues sauce psychédélique, cover de Hasil Adkins inclus.

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Lantern – Crude Vessels of Sound

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Lantern – Let’s Take a Trip