Tag: ottawa

New Canadiana :: MOOD RING – Various Artists (Compilation) – Debaser

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Defiant and pure, a dirty finger brushes away thick tears.

Tricked by the smear of this glass into leaving the apartment. For a good time, call these jeans. For a better time, take them off. Roll them down with exhausted hands; hitch them off stubborn feet; collapse on the bed.

The bar was a pale mess of limp clothes and lukewarm handshakes; a cluster of grimaces copied from grainy school photographs. In one, an eyetooth poked through plump flesh. In another, a yawn that never ends, begging for attention. The clock mutters of lost hours spent grinding its teeth, deciphering glowing, cryptic symbols in the dark. Sleep comes in twitching waves.

Provocateur et pur, un doigt sale essuie de grosses larmes.

Trompé par la tache de cette vitre et mené à quitter l’appartement. Pour prendre du bon temps, appelez ces jeans. Encore mieux, enlevez-les. Rabaissez-les avec des mains épuisées; décrochez-les des pieds obstinés; effondrez-vous sur le lit.

Le bar était un pâle bordel de vêtements mous et de poignées de mains tièdes; un amas de grimaces copiées de photos d’école grenues. Sur l’une d’elles, une canine a perforé de la chair potelée. Dans une autre, un bâillement qui ne finit jamais, mendiant de l’attention. L’horloge grommèle contre les heures perdues à grincer ses dents, déchiffrant des symboles lumineux et cryptiques dans le noir. Le sommeil vient en vagues spasmodiques.

Sivani – Tooth Hound Sand (AIA)

JFM – Test of Faith

Boyhood – Won’t

New Canadiana :: Pith and the Parenchymas – Song of the Neverending Ugly Lizard

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Stare into the luminescent fish tank gurgling in your darkened bedroom. Think about the uncanny atmosphere of a convenience store at night. Pick at a hangnail until your cuticle bleeds. Feel overwhelmed by late-summer afternoon lethargy. Answer a phone call from an unknown number, and begin to feel uneasy and exhilarated. Become aware of the sweat in your palms and question whether your lamp just flickered or if you blinked. Anticipate a power outage. Feel compelled to drive somewhere very fast. Get tired. Pull gently into an unpaved, unlit parking lot and approach a cryptic neon sign.

Regarde dans l’aquarium luminescent qui gargouille dans ta chambre assombrie. Songe à l’atmosphère troublante d’un dépanneur la nuit. Gratte la petite peau jusqu’à ce que tes cuticules saignent. Sois accablé par la léthargie des après-midis de fin d’été. Réponds à un appel d’un numéro inconnu et commence à te sentir mal à l’aise et exalté. Prends conscience de la sueur dans tes paumes et demande-toi si la lampe vient de trembloter ou si tu as cligné des yeux. Prévoie une panne d’électricité. Sens-toi obligé de conduire quelque part à toute vitesse. Deviens las. Gare-toi dans un stationnement non pavé et obscur, puis approche une enseigne fluorescent énigmatique.

Pith and the Parenchymas – The Rainbow

Pith and the Parenchymas – 10,000 Years

New Canadiana :: Isaac Vallentin – Hedera

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The elders became concerned when the young man sang by himself in the woods. They brought him a guitar. Soon the trees were filled with folk songs of imagination. Curious, they gave him an electric guitar. The air then reverberated with sonic emotion. Fascinated, they proceeded to supply him with an assortment of electronic equipment. To their astonishment the young man incorporated it all into his communion with the forest. From far and wide, everyone marvelled at this electronic fusion and interplay; the sounds of the city and the voice of nature; the solitary singer and his global audience.

Les anciens commencèrent à s’intéresser au jeune homme lorsqu’il chanta seul dans les bois. Ils lui apportèrent une guitare. Sitôt, les arbres furent remplis de chansons folk qui sortent de l’imaginaire. Curieux, ils lui donnèrent une guitare électrique. L’air se mit alors à retentir d’une émotion acoustique. Fascinés, ils continuèrent en lui fournissant un assortiment d’équipement électronique. À leur grand étonnement, le jeune homme incorpora le tout à sa communion avec la forêt. Venu de toutes parts, tout le monde s’émerveilla devant cette fusion électronique et les interactions qu’elle crée: les bruits de la ville et la voix de la nature; le chanteur solitaire et son auditoire mondial.

Isaac Vallentin – Garden Pt. 1 (You Own To Fight)

Isaac Vallentin – I Will Be Water

Ex Libris :: Jessica Berbenok, JC Bouchard, Dalton Derksom, JM Francheteau, and Julie Mannell – Worst Case Ontario

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All right. If the kingdom of the symbolic is where we must stage our fight to the death, then there should be a poetry gang. Showing stripes in trajectory, highway lines corralling imploding selves along compass points. No grief here. Look head on into the violent gale of flourescent aisles automobiles x-rays and return the favour and then laugh to hold hands with the limping and soused elemental which is however present as fuck. Qui fait quoi à qui?

“Okay so now I have zero gongs and zero writing implements. Okay so now what am I supposed to do. Write:”

Eh bien. Si le royaume du symbolique est où nous devons présenter notre combat à mort, il devrait y avoir une gang de poètes. Démontrant des bandes en trajet, des voies d’autoroute implosent de l’intérieur au long de points cardinaux. Aucun deuil ici. Regarde droit devant dans le grand vent violent d’allées fluorescentes des rayons x d’automobiles et renvoie l’ascenseur et ensuite rit pour tenir les mains avec l’élément boiteux, imbibé, qui demeure mauditement présent. Who does what to whom?

“D’accord, alors maintenant je n’ai aucun gong ni outil d’écriture. D’accord, alors maintenant ,je suis censé faire quoi? Écrire:”

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New Canadiana :: Fantasy Blondes – The Trouble

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The science fiction of childhood has come to pass. Run to embrace it. Move forward purposefully. Reject the past. Be Inquisitive. Be insectile. Be born anew. Don’t let the violin bring tears to your eyes. Push forward into “The Secret Night.” “The Trouble” is the first release from Ottawa’s Fantasy Blondes. It is instrumental.

Le temps de la science-fiction de l’enfance est arrivé. Cours afin de l’étreindre. Va délibérément de l’avant. Abandonne le passé. Sois curieux. Renais. Ne laisse pas le violon te faire venir les larmes aux yeux. Poursuis vers « The Secret Night ». « The Trouble » est le premier titre des Fantasy Blondes d’Ottawa. C’est une pièce instrumentale.

Fantasy Blondes – Secret Night

Fantasy Blondes – The Trouble

New Canadiana :: The Yips / Organ Eyes – Split

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Winter’s gone and colour’s returned. Bleary-eyed yet bushy-tailed, people snow-crushed souls wake from hibernation and stumble from basement apartments onto clear, sunny sidewalks. Children spout popcorn refrains from recent blockbusters, as radio melodies float from passing cars to rest in pedestrians’ ear canals. As bright days fade to humid nights, idle hooks from Centretown streets plants dreams of festivals and patio parties in residents’ slumbering subconscious.

L’hiver est parti, les couleurs reviennent. Les yeux bouffis, mais pleins d’énergie, les âmes des gens écrasées sous le poids de la neige sortent de l’hibernation des sous-sols et émergent sur les trottoirs dégagés et ensoleillés. Tandis que les chansons des radios des voitures qui passent se posent dans les canaux des oreilles des passants, les enfants chantent les refrains entraînants des récents succès. Alors que les journées illuminées se transforment en soirées humides, l’oisiveté s’accroche aux plantes du centre-ville qui rêvent de festivals et de partys sur le patio de résidents endormis béatement.

The Yips – Let Go

Organ Eyes – Expectations

New Canadiana :: H. de Heutz – Study for Violence and Tape

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H. de Heutz’ music is a conversation best had in person: eyes unblinking, breathing slow, and as time collapses, cochlea-searing frequencies radiate through rhythmic stabs that yearn to stop your heart, and lay waste to the passive mind. “Tomorrow should be fine” combines unrelenting percussion by other-worldly drummer/vocalist Olivier Fairfield, with caustic high-frequency samples, protest field recordings, and a bass line skipping through intervals darker than India ink. It descends into live audio of bassist/vocalist Nathan Medema discussing public access to protest-related road closures with RCMP officers, before an unforgiving return to the piece’s acerbic closing bars.

La musique de H. de Heutz est une conversation qu’il vaut mieux avoir en personne: les yeux fixes, le souffle tranquille, et tandis que le temps s’écroule, des fréquences à calciner les cochlées se répandent à travers le rythme poignardant qui aspire à faire arrêter votre cœur, et ravagent l’esprit passif. « Tomorrow should be fine » amalgame une percussion implacable par le batteur/vocaliste venu d’un autre monde, Olivier Fairfield, avec des échantillons caustiques à haute fréquence, des enregistrements de champs de manifestation, et une ligne de basse qui sautille à travers les intervalles plus noirs que l’encre de Chine. La piste penche vers une trame audio du bassiste/vocaliste Nathan Medema qui discute avec des agents de la GRC de l’accès publique aux routes fermées à cause des manifs, suivie d’une reprise impitoyable des dernières mesures acerbes.

H. de Heutz – Tomorrow It Should Be Fine

New Canadiana :: Various – LNP – Compilation 2

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White. A cavernous room bathed in light. When you make your selection a drawer suddenly juts out from the infinite whiteness. Some selections gleam, like a brand-new super-efficient Porsche. Others are more clunky, but intriguing in their analogue peculiarity. Some remind you of sweaty nights on the techno dance-floors of Chicago. Then there’s the one that brings back memories of the time in Berlin.

So many synths, so many styles. Finally, you decide. Yes, that one is perfect for your Terminator vs. Bladerunner flick.

Blanc. Une salle caverneuse baignée de lumière. Au moment de faire votre choix, un tiroir jaillit de la blancheur infinie. Certaines sélections brillent, comme une Porsche neuve et incroyablement performante. D’autres, moins rutilantes, vous intriguent par leur bizarrerie analogue. Quelques-unes vous rappellent ces nuits humides sur les pistes de danse techno de Chicago. Sans oublier cette dernière au contact de laquelle refont surface vos souvenirs du temps à Berlin.

Tant de synthés, tant de styles. Finalement , vous vous décidez. Oui, celle-ci sera parfaite pour votre prochain film, Terminator vs. Bladerunner.

Robert T. – 1977

Transmit – Frozen Time

New Canadiana :: Paranerd – Circular Diagonal Cut

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Run. Run through the warehouse. Dark as the furthest corner of the bedroom closet. Mechanical sounds all around. Never sure which one is him.

I know this scene – we’re in a club. But that’s not shitty ’80s dance, it’s dark techno. People are dancing in slo-mo. So strange, so distant. That’s him! He’s following me in the crowd.

Back outside. Keep running. Things grab at me from all sides. Unseen, unfelt, but they are there. He’s still there. Forever chasing. No one will ever call “cut”, will they? This scene will last forever. And he will never stop.

Cours. Cours à travers l’entrepôt. Sombre comme le coin le plus reculé du placard de la chambre. Des sons mécaniques tout autour. Lequel d’entre eux est-ce?

Je connais cette scène – nous sommes dans un club. Mais le dance de merde est remplacé par du techno sombre. Les gens dansent au ralenti. Si étrange, si distant. C’est lui! Il me suit dans la foule.

De retour dehors. Cours encore. Des choses s’agrippent à moi de tous côtés. Invisibles, inaperçues, mais elles sont là. Lui aussi. Perpétuellement à mes trousses. Jamais personne ne s’écrira « Coupez! », pas vrai? Cette scène se poursuivra toujours. Et lui ne cessera jamais.

Paranerd – Circular Diagonal Cut

Paranerd – Ballsacid

Sanctum :: Pressed

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Originally conceived as a “hole-in-the-wall sandwich shop,” Pressed quickly evolved into a hub for the Ottawa’s diverse arts community since opening in Nov. 2011. On any given night, you can expect to hear pummeling noise, tuneful folk and jazz and gleefully weird punk, psychedelia and more wafting from its windows at 750 Gladstone Ave. But you can’t just focus on music to get the breadth of Pressed. The restaurant hosts regular [poetry performances], and you’re just as likely to see a local literary event, zine party or craft fair as you are to see a band nestled in its organic wooden interior. We spoke to Pressed owner Jeff Stewart, as well as Lidija Rozitis, the venue’s booking manager (and a vocalist and guitarist in local bands Roberta Bondar and Blue Angel), to get a better understanding of this eclectic environment.

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Pressed’s stage (photo by Yuko Inoue)

 

What do you feel Pressed’s appeal is? What makes it unique, and how do your acts contribute to that distinctiveness?

Lidija Rozitis: From a musical standpoint, I felt like there weren’t too many venues in Ottawa a few years ago. A lot of the shows I went to were at houses. In the last little while, however, I have seen a decline in house shows and more venues becoming established around the city (Gabba Hey, House of Targ, Mugshots, Cafe Alt). House shows are really nice though, and I think Pressed (sort of) imitates the cozy, intimate vibe of a house show … Bands are allowed to move furniture around to suit their musical set up, and there are couches and church pews to sit on. And the place smells like your grandma is making delicious smoked chicken! It’s small, and it’s cozy. It’s not a nightclub or fancy bar, but that’s what makes Pressed unique.

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The restaurant during business hours (photo by Matthew Blenkarn)

 

What does Pressed offer the spoken word community? How do you help give them a space?

Jeff Stewart: I think in a number of ways. First of all, we have standing events here that are spoken word and poetry related. We have artistic showcases hosted by (Ottawa poet) Brandon Wint. We have a Words to Live By series and then a Railroad Poetry series. Those three events appeal to different types of audiences, so I think just having standing events like that creates an association between the place and spoken word. I think the layout of the place and having the right sound, light and size for those types of events just creates an inviting nest for people to come and have their events.

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Zine editor and writer Lily Pepper at the launch party for the YOW zine (photo by Matthew Blenkarn)

 

You’ve also hosted a few Ottawa Zine-Offs and you have a zine rack. What about zine culture?

JS: I was open to the idea when (zine editor and writer Lily Pepper) approached me to have a zine rack here, and then I think, based on that, it became a bit of an anchor for zine culture. There were some people who wanted to have events here where they were creating zines and talking about zines and it seemed like a logical extension of that. I think that is something that has built a sort of community feeling. It’s sort of a grassroots feeling where you don’t always have a form of entertainment foisted on people as a developed, finished art form. It’s more people coming together and creating in a space in a more spontaneous, democratic kind of way.

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Gloria Guns of Scary Bear Soundtrack performs at the YOW zine launch party (photo by Matthew Blenkarn)

 

Why have such an eclectic line-up?

LR: There are a lot of amazing music venues that have opened up in Ottawa recently, so it’s somewhat limiting to book four piece rock bands for an entire month. We do have many bands playing at Pressed, but with that said, I also have been trying to book more and more diverse musical acts every month. Pat Moore hosts a weekly Bluegrass night, Tariq Anwar hosts a monthly Open Mic night, Brandon Wint puts on a great monthly spoken word and musical showcase, and there are many jazz, classical, and experimental musicians performing at the space. Even then, music isn’t the only art form requiring performance space. Because of the portability of tables and furniture at Pressed, the space can serve as both a sit down or standing venue. I think this versatility appeals to all types of artists, because the space serves whatever need you want it to. I try to book as many diverse types of events so that the space doesn’t become pigeon-holed as the venue to do one certain type of artistic thing, but rather continually seen as a space to do whatever you want.

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The awning that shades Pressed’s small outdoor seating area (photo by Matthew Blenkarn)

 

How would you like to see Pressed grow in the future?

JS: I think I’d just like to see us continue along the lines that we’re going along right now. I don’t want us to get too big or large-band oriented, because I like the community aspect of the things we do. I think we have a really nice balance right now of bands coming in from out of town, from promoters and local bands and acts, local spoken word and then grassroots types of events as well. I think I’d just like to continue to become more and more integrated with the community and be seen more and more as a community living room and play space, I think.