2013 Highlights & Show # 490

The following is a collection of some of my favourite albums, EPs, and local releases from 2013.  The podcast below has all of these bands plus a few others.  It can be downloaded in the link below the play list. 

Albums of 2013

1. The Mark Inside – Dark Hearts Can Radiate White Light

The sessions for Dark Hearts Can Radiate White Light began in January 2012. They took place at Chris Levoir’s loft space on College St. and were surrounded by a sense of urgency as stated on Mark Insides bandcamp page “Chris and his roommates were facing imminent eviction: the space was probably only semi-legal to begin with, and the landlord was planning major renovations”. Recording sessions for this album were initially dubbed Exile On College Street. The recordings were produced by the band themselves and they reportedly recorded eighteen tracks at the sessions, eight appear on this release. After years of dealing with record companies, and just one month after the passing of Chris’s roommate the band decided to record a collection of songs, many of which had been played amongst many of their ferocious live performances over the years. The album as stated once again on Mark Insides bandcamp page expanded on lyrical themes of “Fear mixed with bravery, victory after defeat, pain and pleasure, love”, all of which were themes that had developed further and further with each release over the band’s ten year run. Dark Hearts songs were mixed and ready to go for a July 2013 release date and a tour to support it, but in June 2013, Chris Levoir, The Mark Insides lead singer/guitarist passed away suddenly.

“Shark Attack (I Can See Them Circling)” starts off the album with the band’s brand of visceral Alternative/Garage sound, with lyrics conveying a sense of urgency and claustrophobia. “Don’t Wake Daniel” a song written about Levoir’s fallen roommate shows off the band’s melodic side along with “The Heat”, which also shows off the band’s slower and more soulful side. “Dead Heart” has been a part of the band’s live set for sometime and takes on a rather poignant note here, “Balloons” ends the album. A song initially that went by the name “Roman Candles” and it had been in and out of their live set for some time. I once described this song as a Pop song with grit, but here it has been more developed and more structured. It is haunting, yet uplifting and has all the power and momentum of the bands live performances. Dark Hearts Can Radiate White Light contains the band’s Garage Rock sound infused with elements of 90’s Alternative Rock, Punk and has more melody, hooks and lyrical prowess than their previous releases. It is the sound of complete artistic freedom and even amongst the dark subject matter and the tragic passing of Levoir, white light radiates bright on this one.

2. Papermaps – Darker Lights

Papermaps Darker Lights builds from the momentum and direction that was introduced on 2012’s Inferior Ghost EP. The band brings in an atmospheric and for the most part darker sound, compared to their first self titled album that was released in 2011. The album features songs such as the atmospheric “Shadow Theatre” featuring the mood setting universal lyrics “And when I find myself most of the feeling was gone” that starts the album off on a strong note. “The Hedonist” is a fuzzy, guitar driven song, filled with 90’s tinged angst, while “I’ve Closed A Door” features strong harmonies and backwards sound effects. The watery guitar sounding “Vanauley Walk” features the lyric “When you see me fall/you'll watch me turn around/you’ll see my body twist/my feet land on the ground". Parts of this lyric demonstrate the direction and change in the bands dynamics since 2011. Darker Lights shows us a new side of Papermaps and shows us albeit these changes that they face Papermaps will land on their feet.

3. Thee Oh Sees – Floating Coffin

With Floating Coffin Thee Oh Sees may have gotten heavier musically, but they also show off a dynamism which lyrically can bring us back to elements of the bands earlier Folk based work. Musically the album mixes in elements of Carrion Crawler/The Dream even drawing some comparisons to sounds on 2008's The Master's Bedroom Is Worth Spending A Night In. It also adds more of a jam element extending the songs and bringing more Psychedelic and Pop elements. With so many releases coming out, it would be easy for someone to say that this album sounds just like the others that Thee Oh Sees have been releasing, it is similar in some respects, but it also shows a new development in the bands dynamic. The band builds on their already established sounds while still sounding fresh. The title of the album may be Floating Coffin, but with this release Thee Oh Sees show that the end for this prolific band is not near, it’s not even close.

4. Ty Segall – Sleeper

After releasing three albums last year of Psychedelic, Garage and general loud proportions in 2012, the first release from Ty Segall in 2013 was the acoustic filled album entitled Sleeper. While many critics and fans mention Segall’s ability to write more melodic Pop songs on albums such as Goodbye Bread and even last years Hair that he recorded with White Fence, Sleeper takes that to another level. Sleeper is ten songs all acoustic, with the exception of electric guitar at the end of “The Man Man”, all of which reflects a stripped down approach to Segall’s sound. The songs all reflect the recent passing of his adopted father and the aftermath which included a fall out with his mother. This album serves as a sort of therapy for that time, as Segall has also stated in interviews. The words amongst the acoustic melodies are veiled in words that are more universal, but we do get brief glimpses into Segall’s frame of mind at different points throughout the album. Sleeper started off 2013 showing us a stripped down version of Ty Segall we haven’t heard before. The title of the album may be Sleeper, but is just as exciting as even the loudest Ty Segall album.

5. Dead Ghosts – Can’t Get No

Vancouver trio Dead Ghosts released their second full length album Can’t Get No in April of 2013. The album mixes elements of fuzzy Garage Rock, Surf, Psychedelic, Country styled Rock & Roll riffs and strong Pop hooks with a lo-fi aesthetic. Stand out tracks include the Psych-Surf of “Summer With Phil”, the shimmering Psychedelic strut of “Roky Said” and the title track. The second track “That Old Feeling” proves to be a point to focus on when looking at this album aesthetically. With its hyper Surf/Garage riffs, reverb drenched vocals and lyrics like ”Well it’s calling your name/That shit’s all the same/If you’re planning a west coast trip/Then I hope that the feeling remains”, this song emphasizes the comparison to Can’t Get No being another Garage album with nothing to say, hinting at quite the opposite. Can’t Get No sinks deep with a variety of influences, especially halfway through the album where we get some honky tonk piano, providing you with that gritty old Rock feeling of excitement.

6. The Ketamines – You Can’t Serve Two Masters

The Ketamines released their second full length in 2013, You Can’t Serve Two Masters. The album features several rough around the edges sounding songs mixing elements of Garage, Bubblegum Pop, Punk and Psychedelic music. The title track is a ramshackle Garage track that is complete with catchy guitar hooks and vocals, “Spirit Rebellion Time” is a positive short and fuzzy, heavy track, “So Clean” addresses Bubblegum and Pop influences, “Don’t Stop (Go On)” channels early 60’s garage organ driven music, while “Double Elevens” attacks it fuzzy 60’s Garage mono style. You Can’t Serve Two Masters has the effect of a shaken up can of pop that has burst and has been left out in the sun too long. It is sticky, gritty and catchy as hell.

7. Teenanger – Singles Don’t $ell

Toronto’s Teenanger branch out on their 2013 LP entitled Singles Don’t $ell. They build from 2012’s heavy 70’s Punk influenced album Frights. This album pulls in new sounds from many New Wave grooves, starting off with the title track. A strong album opener and extremely catchy attacks with its buzz saw Punk Rock riffs and New Wave sounding guitar effects as the lead singer shouts “Singles don’t sell/ Yeah that’s a shame” calling out a past generation of music releases, the single. Songs such as “Teenanger” and “Surveillance” recall the bands early Garage Punk rumblings. “Zons” starts off with electronic sounding drums before launching into razor sharp guitar riffs, “Confident Idiocy” channels the spooky synthesizer sounds of Manchester’s Post Punk group Magazine, while the album’s final track “Time’s Up” sucks you in with its atmospheric keyboard sounds. Don’t let the synthesizers scare you, Singles Don’t $ell adds texture to Teenangers already established aggressive sound and there is still plenty of feedback to go around.

8. The Oblivians – Desperation

Desperation was released in June 2013 on In The Red Records. The best way to perhaps describe the band's sound of the past would be something like dried up alcohol that was spilled on the floor in some grimy bar, baked in the Memphis heat. The band's blend of Garage, Punk and Soul has not been lost here. The album starts off with the slow Soulful Garage burner “I’ll Be Gone” sung by Greg Cartwright, with lyrics such “Is it for real this time/I’ve seen the signs/your dreams ain’t got nothing to do with mine” addressing their return and getting older with lines such as “There ain’t no way to know/How life will treat you so/Let’s Rock and Roll as we get old”. The song is a thoughtful and reflective start to not only this album, but the band's return, this being their first new album in 16 years. “Loving Cup” follows next. It is a raucous cover of a song originally by the Paul Butterfield Blues Band, done in a fashion to songs they’ve done in the past on previous albums such as “Vietnam War Blues” from Soul Food. While at times Desperation does draw from sounds that each of the respective band members have had with their other music projects, this album lets us know at the end of the album that The Oblivians feel remains.

9. The Black Angels – Indigo Meadow

Austin, Texas Psych Garage Rock band The Black Angels released their fourth full length album Indigo Meadow on April 2nd, 2013. On this album the band shows us their heavier Psychedelic side, adding more organ and Pop hooks, all mixed up in a sun baked Texas style haze. Many critics have claimed that this album isn’t really different from their previous releases, but this album slowly builds on the Psychedelic sounds of Phosphene Dream adding a new type of heaviness that some may classify as Grunge influenced, while at the same time reverting to catchy Garage Nuggets styled hooks. Overall, Indigo Meadow may have similarities to previous releases from the bands past, but it also gleams with its super production supplied by John Congleton (Explosions In The Sky, David Byrne & St. Vincent) emphasizing the growing development and journey that the band is to and has taken. While it may not be that obvious to some Indigo Meadow, blooms and burns slowly with profound insights, incandescent thoughts and Psychedelic goodness.

10. Obits – Bed & Bugs

Bed & Bugs is Obits third full length release on Sub Pop. The album leans towards Garage Rock, Post Punk, Surf and even some Blues. This band features members of Drive Like Jehu, Hot Snakes and Edsel and all of the members are well versed in the Rock game, but on this album they pull in new genres. Differing from 2009’s I Blame You and 2011’s Moody, Standard and Poor, Bed & Bugs seems to focus more on melodic elements while the dual guitar attack members of this band have been known for seems to be not as prominent as before. The album builds from the 2012 single “Let Me Dream If I Want To”, highlights include the Garage opener “Taste The Diff”, the Surf melodies of “Spun Out”, the angular “It’s Sick”, and “I’m Closing In”.

11. Guided By Voices – English Little League

Following a long absence Guided By Voices reunited their classic 1993-1996 line up and released three full length albums in 2012. In 2013, we saw just one GBV album, the seventeen track English Little League. The album picks up where The Bear’s For Lunch left off, featuring extremely catchy, sometimes short tracks and a few rough odds and ends. In July of 2013, Robert Pollard hinted that this could be GBV’s last album, but in September he announced there would be yet another coming in 2014. Several reviewers have stated how this album is hit or miss, but Guided By Voices are not an easy band to pin down. They are very prolific and while there may be a small backlash, English Little League does have some great moments such as “Know Me As Heavy”, “Crybaby 4 Star Hotel”, “Flunky Minnows”, “W/ Glass In Foot”. Several moments on the album seem to have a connection to the Robert Pollard solo album Honey Locust Honky Tonk, which is worth checking out as well. However ,for English Little League, there are also plenty of ballads such as the Tobin Sprout written track “The Death of Epstein’s Ways”, a catchy ramshackle Beatles influenced track, which is rather fitting considering the lyrics.

12. Daniel Romano – Come Cry With Me

Daniel Romano’s Come Cry With Me once again continues his tradition of creating classic Country music. In the style of artists such as Willie Nelson, Merle Haggard and Waylon Jennings, Come Cry With Me has all the grit and feeling of the old AM radio days bringing in themes of heartbreak, bad choices, alcohol consumption and the like. Highlights include such as “He Lets Her Memory Go (Wild)”, with its low baritone voices and vivid lyrical imagery, the upbeat honky tonk reverb guitar riffs of “Chicken Bill”, and the bitter “Just Before The Moment”. Daniel Romano has come a far way from his days in Attack In Black, but with Come Cry With Me, Romano proves why he is still seen as one of the best Country artists in Canada today.

13. Jay Sad – Disappears

On February 19th 2013, Jay Sad released his full length album entitled Disappears. The album is an eleven track construction of songs ranging from genres such as lo-fi Indie Pop to Alternative and a variety of atmospheric sounding concoctions. Jay Sad has released several recordings starting in 2002. The band for this album was primarily Dean Pomeroy (drums, vibraphone), Rob MacDonald (guitar) and Jay Sad on vocals, guitar and a variety of other instrumentation. The album also features guest musicians from The Elwins (Mathew Sweeney), Dilly Dally (Katie Monk), and Drew Smith (The Bicycles). Disappears first seven tracks were recorded live to analog tape by Dean Marino who also helped to produce those tracks at Chemical Sound in Toronto. The other four songs on the album were produced and recorded by Jay Sad. The songs on Disappears suggest a growing or building, if you will, towards a new beginning, something different. Even if it means you have to disappear for a while from parts of your past that have been built up in order to get there.

EPs

1. The Bell Peppers – Sizzling Hot Bell Peppers

Manchester’s Surf combo The Bell Peppers offered up two EPs this year. First up was the covers EP entitled Seeds of The Bell Peppers in March, then again with the seven track EP Sizzling Hot Bell Peppers in November 2013. Sizzling Hot Bell Peppers definitely added more spice to the mix of The Bell Peppers sound. “The Spray” opens the EP and moves along with all the speed of a classic 60’s Surf song. You can feel the sand and waves on this upbeat sun drenched opener. “Soda Pop” gallops along with the feel of an old Spaghetti Western film soundtrack, “Tanline” wears the mark of 60’s British Invasion Garage Rock, while “Whiskey & Cigarettes” adds Blues to the mix, featuring harmonica clocking in at five minutes. “Campfire Waltz” ends in a sound not unlike slow 50’s Rock and Roll ballads. In addition to these songs, there are also elements of Rockabilly, Country, Do Wop, and more Surf Rock throughout this seven track tantalizing offering.

2. Monomyth – King, Does This Not Please You? (Behold The Power)

Monomyth is a Halifax based group. This EP entitled King, Does This Not Please You? (Behold The Power) has drawn comparisons to Psychedelia, Shoegaze and Punk. Monomyth takes all of these genres, but also adds a 90’s Alternative slant in the vein of groups like Thrush Hermit and Eric’s Trip. Songs like “Cigarette” recall a 90’s nostalgia drawing in harmony comparisons with early Sloan and Thrush Hermit, but at the same time pulling in a fuzzy Garage guitar sound. “Vision” is a short track less than two minutes that has a heavy bassline and Shoe Gaze/Garage combination, while “10,000” recalls catchy jangly Pop sounds and harmonies.



3. The Replacements – Songs For Slim

In 2013, The Replacements reunited for a five track EP that was recorded to raise money for the band’s former guitarist Slim Dunlap, who suffered a stroke in 2012. The EP entitled Songs For Slim, featured mostly cover songs “Lost Highway” by Hank Williams, ”I’m Not Sayin’” by Gordon Lightfoot and “Everything’s Coming Up Roses” from the Broadway musical Gypsy. It also featured two covers of Slim Dunlap songs, “Busted Up” and “Radio Hook Word Hit”, a song that only features former Replacements drummer Chris Mars on all instruments. The rest of the tracks featured Paul Westerberg (vocals/guitar), Tommy Stinson (bass) Peter Anderson (drums) and additional guitarist Kevin Rowe. This EP was executed in true Replacements fashion, sloppy, and as if they hadn’t missed a step. This was followed by a series of triumphant reunion concert dates as part of Riot Fest.

Local Releases (Releases from Windsor, Ontario)

1. Paul Jacobs – Drug Theaters

Drug Theaters album cover features a collection of different images, a hand with a cigarette, a dog, a skateboard, a snake and a head among other things. The cover can be seen as a hint as to what’s to come on this album, a collection of different elements that make up a unique whole. “Sharp Dress” is a catchy fast paced Garage/Punk track with lots of echo Thee Oh Sees style that will stick in your head for days. The breakdown is a theatre of noises including, but not limited to distortion, drums, reverb and echo. “Electric Dollar” ends off Drug Theatres with a longer track (over six minutes) which addresses the transfers of electronic funds and lack there of and a desire for something new. Overall, Drug Theaters brings Paul Jacobs songwriting abilities and style to the fore while portraying visceral thoughts of boredom, drug use, relationships, and differing views that blur what is and what is not reality. While Paul Jacobs may have released three albums this year, all of which have their own strong points, Drug Theaters encompasses a style and creates a theatre all its own.

2. James OL – For The World Is Hollow And I Have Touched The Sky

James O-L released his third solo album this year entitled For The World Is Hollow And I have Touched The Sky, an album of Folk based songs inspired by a backpacking trip to South America. The album’s title originates from the episode of Star Trek: The Original Series and all of the songs reflect a desire for searching and travelling. Musically the album touches on elements of Folk and lush and at times Orchestral based arrangements. The album was recorded and mixed by James himself and features an ensemble cast of musicians from Windsor, Ontario. “One Horse Town” starts off the album in a slow calming fashion, with slow galloping guitars, clarinet and violin and at times there are even exotic conga drums. The lyrics convey the searching desire that was mentioned as the album’s inspiration, lyrics such as “Oh, I dream of ocean waves/Blowing around in a haze of delays, distorted grains/A feedback loop sent to the brain” show this desire for something different from the norm of a one horse town. “Yellow Gold” follows next and is definitely one of the strongest songs on this album, with its lush arrangements and James soft vocals which build up when the chorus comes in with rich background harmonies. These lyrics display like crystallized imagery with words such as “The dock is a place you come and go/We blew through the night like yellow gold/Tasted the summer rain as the music played”. Other highlights include the upbeat and bouncy “San Juan Song” and “SK8 Or Die” a song with electric bass, guitar, horns and acoustic elements that sounds like it could be inspired by actual skateboarding events. James also plays in James O-L & The Villains, who have also recorded a full length album and plan on releasing it sometime in 2014.

The Play List:

1. Night Beats – Rat King
2. Wavves – Dog
3. Mudhoney - I Like It Small
4. The Strokes – 50/50
5. Deerhunter – Back To The Middle
6. Fuzz – Preacher
7. James OL – One Horse Town
8. Paul Jacobs – Sharp Dress
9. The Replacements – I’m Not Sayin’
10. Monomyth – Vision
11. The Bell Peppers – The Spray
12. Jay Sad – Three Floor’s/It’s Over
13. Daniel Romano – He Lets Her Memory Go (Wild)
14. Guided By Voices – Flunky Minnows
15. Obits – It’s Sick
16. The Black Angels - Indigo Meadow
17. The Oblivians – Pinball King
18. Teenanger – Time’s Up
19. Dead Ghosts – That Old Feeling
20. The Ketamines – Double Elevens
21. Ty Segall – The West
22. Thee Oh Sees – Toe Cutter- Thumb Buster
23. Papermaps - The Memory Song
24. The Mark Inside – Panegae (Before The Split)
25. The Mark Inside – Shark Attack (I Can See Them Circling)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for December 31. Or subscribe to Revolution Rock as a Podcast.

Darker Lights Interview & Show # 476

Papermaps Darker Lights builds from the momentum and direction that was introduced on 2012’s Inferior Ghost EP. The band brings in an atmospheric and for the most part darker sound, compared to their first self titled album that was released in 2011. On this album there was a bit of a line up change in the group. The band brought in Andy Soto on guitar who is known for his Post-Rock/Shoe Gaze sounding guitar elements, making the band a four piece group. As a whole Darker Lights is an album that sets a certain mood, one that can warrant repeated listens. Influences brought in on this album include bands such as My Bloody Valentine, and elements of Post Punk groups such as Joy Division and Gang of Four to a degree, all of which amalgamate into the sounds and songs found on this album.

The album features songs such as the atmospheric “Shadow Theatre” featuring the mood setting universal lyrics “And when I find myself most of the feeling was gone” that start the album off on a strong note. “The Hedonist” is a fuzzy, guitar driven song, filled with 90’s tinged angst, while “I’ve Closed A Door” features strong harmonies and backwards sound effects. “The Edge of Chinatown” combines the bands textured Post Rock sounds with 90s influences, “One By One” is an 80s sounding track sung by bassist Betty Dimo, “The Memory Song” builds emphasis and affinity for noisy Rock, “Poor City” and “Nobody Gets It” show off the bands new texturized, darker sound and dynamics, while still containing the catchy harmonies and vocal work that the band has displayed on all of their releases thus far. The watery guitar sounding “Vanauley Walk” features the lyric “When you see me fall/you'll watch me turn around/you’ll see my body twist/my feet land on the ground". Parts of this lyric demonstrate the direction and change in the bands dynamics since 2011. Darker Lights shows us a new side of Papermaps and shows us albeit these changes that they face Papermaps will land on their feet.

Listen to the interview I did with Dean Marino about Darker Lights here:




This week's play list:

1. Temples – Shelter Song
2. The Fiends - Grave Digger
3. Mules – True Love
4. Golden Calgarians – Party In The Sun
5. Little Roosters – The Age Of Reason
6. Franz Ferdinand – Bullet
7. Chelsea – Right To Work
8. Frantic Elevators - Voice In The Dark
9. Ry Cooder – Boomer’s Story
10. James OL – Yellow Gold
11. Papermaps – Shadow Theatre

DEAN MARINO PAPERMAPS DARKER LIGHTS INTERVIEW

12. Papermaps – One By One
13. Wah! Heat! – 7000 Names of Wah
14. The Swingin’ Machine – Do You Have To Ask
15. Wes Dakus & The Club 93 Rebels – El Ringo
16. Les Ramrods – Out Front
17. Thee Oh Sees – Heart Sweats
18. Sham 69 – (There’s Gonna Be A) Borstal Breakout
19. The Vibrators – Into The Future…
20. The Clash – Protex Blue
21. The Clash – 48 Hours
22. The Clash – English Civil War

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for October 1 Or subscribe to Revolution Rock as a Podcast.

2012 Highlights & Show # 438

The following are a list of some of my favourite releases from 2012. Although there are twelve albums listed here there were many releases in 2012 that I enjoyed (you can see a more expanded list in this weeks radio program/podcast downloadable below). I have also included my top three EPs and singles from this year too.

Top 12 albums of 2012


1. Young Rival – Stay Young

The opening track on Young Rival’s Stay Young is the song “Black Popcorn” a song featuring Young Rival’s classic Garage/Surf riffs and a tambourine filled catchy chorus, however, the song's title is also a perfect way to describe this album. For those of you who don’t know, black popcorn is an actual thing, it grows naturally, is not genetically engineered and is not like average popcorn. Black popcorn is said to have a crunchy texture and rich flavour and this song is the first example of the bands crunchy Garage Rock texture and rich melodies. It is also something that is explored in greater detail as the album progresses. Stay Young is Young Rival’s follow up to their 2010 self-titled debut which was also released on Sonic Unyon. This album was produced by the award winning Jon Drew, who has worked with such artists as Fucked Up, Tokyo Police Club, Arkells, Magneta Lane and many others. In a recent press release for Stay Young, drummer Noah Fralick said that "With this record, we focused more on the melodic range of our sound while still retaining the grit and feel of our previous records," and that is exactly what this album achieves, the band takes on an almost Power Pop/60s Pop melody dynamic on this release.

2. The Hives – Lex Hives

Lex Hives is the full length follow up to The Hives 2007 release The Black And White Album, an album which the band recorded with a variety of producers in a variety of places, which resulted in an album featuring a branching out of styles from the band. For Lex Hives, the band became independent and released their first full length album this way, musically the album serves as the missing link between Veni Vidi Vicious, Tyrannosaurus Hives and The Black And White Album. The term Lex Hives comes from an set of ancient Roman laws that roughly translates into creating a new body of laws within the system then accepting them as the standard. The Hives on this album did just that they took their body of music and translated them into their new standard. By taking the traditional Hives sound and flirting with elements of Glam Rock, 50’s R&B, Soul, Garage and Punk Rock, Lex Hives finds the band regaining their creative control sounding rejuvenated. Several critics claimed that The Black And White Album was an unfocused effort, but Lex Hives trims all the fat and proves that these Swedish Garage Rockers can still make a good album while not sounding stale, even if it is five albums into their career.

3. Ty Segall – Twins

October 2012 brought the album Twins, a solo album released by Ty Segall. This album brings us back to songs that have a feel similar to ones found on 2009’s Lemons and 2010’s Melted, but the album also features some new musical directions for Ty. The album starts off with “Thank God For The Sinners” a slow driving fuzzed up Ty Segall classic, as “You’re The Doctor” forces its way into our hearts with its demented lyrics and fast driving frenzied rhythms. The album ventures into other musical avenues this is evident on the intro to “The Hill” which starts with an almost Gospel like intro sung by Brigid Dawson of San Francisco’s other prolific Garage Rock outfit Thee Oh Sees. John Dwyer of Thee Oh Sees also appears vocally on two tracks here on “Love Fuzz” and “Handglams” connecting Ty with the scene on record (as he did with White Fence earlier in 2012 on Hair). It is also appropriate that Ty Segall is joined by John Dwyer on “Love Fuzz” a song that could metaphorically symbolize what these two musicians love doing, making fuzzy Garage inspired Rock music. Other moments on the album such as “Gold On The Shore” displays an acoustic/Folk vibe, while “There Is No Tomorrow” ends the album on a slow, but loud note. Being the third album he has released this year (the other two being Hair by Ty Segall & White Fence and Slaugherhouse by The Ty Segall Band), Twins is almost a return to form with Ty playing almost all of the instruments on the album, yet also a step in a new direction. Twins shows us that we can’t pin Ty Segall down to anything specific, he can be loud and noisy, low key, subtle and just plain unpredictable.

4. Indian Wars – Songs From The North

Following a tour in which the band supported their 2011 release Walk Around The Park, Indian Wars convened in the late night hours in a studio in Vancouver, BC to record a ten track follow up. The album was recorded in a live setting with very few overdubs to capture the band in their element, the result is the album entitled Song From The North. On this release the band once again flexes their Country, Folk, Garage/Punk sounds, you can hear the bands deep American Roots influence in the grooves of each track on Songs From The North.  You can hear the influence of Bob Dylan, Neil Young, Lynyrd Skynyrd, CCR among the other sounds they bring to the table, as a whole Songs From The North has several interesting moments for even the casual listener. The album starts off with “There And Back Again” a quick countrified Garage track complete with harmonica and Brad Felotick’s rich vocal style.  The song also features reflective Folk-like lyrics such as “watch the leaves fall from the trees/dance around to the wind/rolling round and around/there and back again” which brings up images reminiscent of ones that made us love Indian Wars so much on Walk Around The Park, “Mississippi” is a haunting song, “Denny” attacks listeners with its Garage/Punk rhythms as we learn the cautionary tale of a burnout.  Other stand out tracks include “Windshield Wiper Blues”, “Wastin’ Time” and “Who Needs A Girl Like You” which reflects a Bob Dylan circa 1965 sound. Just like the wooden duck that is weighed down on the albums cover, Songs From The North doesn’t fly off into a million different directions, it is a strong and solid follow up to their debut album.

5. Diamond Rugs – Diamond Rugs

The Diamond Rugs are made up of John McCauley (guitar/vocals), Ian Saint Pe (guitar/vocals), Hardy Morris (guitar/vocals), Bryan Dufresne (drums), Rob Crowell (bass/sax/keys) and Steve Berlin on horns/keys, they released their first self titled album on April 24th, 2012. Some of you may recognize the names listed above, John McCauley and Rob Crowell both play in the band Deer Tick, Ian Saint Pe is from Black Lips, Hardy Morris is from Dead Confederate, Bryan Dufresne plays in Six Finger Satellite and Steve Berlin plays in Los Lobos, this group of musicians were assembled in what originally started out as a solo project for John McCauley, but it quickly turned into something else that we can now call Diamond Rugs. The band combines elements of the Country Rock flavour we know from Deer Tick, but also a mixes in a drunken swagger of Garage, Punk, Blues and Folk. Recorded in just about ten days, the album does not need the label that most critics tag onto this group, that of an Indie Rock super group or as some are calling them a Punk Drunk super group, the music stands out on its own. Critics have tried to look closely into the lyrics which are often label as dealing with sexual frustrations, but none of that really matters, the album isn’t meant to be taken too seriously. The lyrics to “Gimme A Beer” best illustrate this, while there are many topics and elements of this album that could be dissected and analyzed it is not necessary, who cares gimme a beer, Diamond Rugs is just a good album that can be played over and over.

6. The Soft Pack – Strapped

Released in September of 2012, Strapped features a lot of diversity and what some critics have referred to as growth in the songs that they present on this release. The album develops their catchy rhythms that were found on their first full length release moving into different genres while still sounding like The Soft Pack. The first song on Strapped “Saratoga” starts off with the traditional fuzzy guitar sounds and rhythms that Soft Pack fans have come to expect. “Second Look” enters at the second track and its title proves to be rather fitting when considering the album as a whole. It explores other musical landscapes in terms of instrumentation, featuring a New Wave feel with Saxophone, as does the majority of the album. Other songs on this album that display Soft Packs new found dynamics include songs such as “Tallboy” which is a song flooded with synthesizer keyboards sounding like a long lost 80’s New Wave song, and “Bobby Brown” which is also another track that is discussed when referring to the differences on this release and their previous. This song has an R&B rhythm with an almost Electro Pop vibe. Strapped is an album that some people will love, some people will hate but it is an album that shows a band branching out. The term “strapped” can have a few meanings, but in the context of this album the term strapped can be seen as being ready to go. As in, The Soft Pack are strapped in and ready for what will happen next. This album conveniently titled Strapped proves that with these songs the band is ready for just that.

7. TEENANGER – Frights

Coming from Toronto, Ontario Teenanger released their first full length album Give Me Pink in 2010 and an EP prior to that. Their fourteen song debut album reflected more of a Garage Rock and Blues production style and sound, but with their new album, Frights the band did a few things different. The band worked with Howie Beck who is known for his mix engineering work on albums by Indie Rock artists Feist and Jason Collet. The paring was different, but Frights shows Teenanger finding a new voice by stripping their catchy well crafted songs down to the bare bones while at the same time reflecting a 70s Punk sound and approach. Just by looking at the excellently designed album artwork of red and neon green, you can tell this album is different. The songs are attacked with more aggression, the lyrics snarled out by singer Chris Swimmings as he sings about bank accounts, lawyers, security guards and cheap thrills. The songs are short, the album is shorter. At nine songs and clocking in at about twenty one minutes, Frights is one of those short albums that ends too soon, but one that warrants repeat listens. Frights was released on the bands own label Telephone Explosion.

8. Jack White – Blunderbuss

Jack White's first solo release Blunderbuss was officially released at the end of April 2012. The album taps into Jack’s roots absorbing many Country, Folk and Blues influences, but the album began organically during one of the many recording sessions at Whites own studio in Nashville. The album unlike previous albums was written from scratch when Jack was planning to recording RZA from Wu Tang Clan, RZA couldn’t make the sessions and there was a band in the studio, so Jack took the opportunity to record several tracks in last few months of 2011. Jack White had this to say of Blunderbuss when speaking to Rolling Stone magazine

"I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas.”

9. Jaill – Traps

Traps is the third full length release from this Milwaukee band, their second full length on Sub Pop. Known for their eccentric lyrics and catchy Power Pop/ jangly Garage song dynamics, Traps builds on this dynamic while the lyrics display a more mature point of view. In their last full length That’s How We Burn released in 2010 we had songs such as “Everyone is Hip”, on Traps we have songs such as “Everyone’s A Bitch”, a witty slacker anthem that could be seen as this albums answer to that song, but to simply compare this album by like that would not be fair to this album as a whole. Songs such as “Perfect Ten” is a catchy laid back song with strong Jangly Power Pop dynamics, “Home With Haunting” is a song that dabbles in Psychedelics a little bit, we also have Folk elements on songs such as “Horrible Things (Make Pretty Songs)” and “Madness” which also blends in Caribbean summer sounds. As a whole Traps has been said to be a break up album, a party break up album with its catchy pop melodies. Traps shows Jaill in their third release, changing their sound slightly but not too drastically. The album opens with the track “Waste A Lot Of Things”, yet this album fails to waste the listeners time as it traps us in its pop hooks and melodies.

10. Dan Sartain – Too Tough To Live

Dan Sartain released the thirteen track album Too Tough To Live in January of 2012, despite being a full length album it clocks in at just over 18 and a half minutes, each song lasting about a minute and a half. Normally known for his Rockabilly, Blues and Garage based offerings, Too Tough To Live offers us something different from Sartain, an album of short, fast and catchy 70s Punk influenced gems. Some critics have been quick to jump on this album as another so called “Punk” album that sounds like a Ramones album, it is incorrect to write it off so easily. While on the album Sartain is definitely wearing his Ramones influences on his sleeve the albums title is even a play on Ramones Too Tough To Die album, there is also an underlying Hot Rod Rock style that filters in and out as the album progresses whether it is musically or in the lyrics. Too Tough To Live is a short energetic adrenaline rush from start to finish, Sartain has always a Punk element in his music and on Too Tough To Live he brings it to the forefront of the music, while his Rockabilly and Blues elements sit in the background, popping up briefly to let us know that they are still there. From looking at the artwork (done by Kelly Keith), which displays a retro 50s Sci-fi look with its Cadillac and flying saucers we know that this album is a little bit different. It may not be what we would have expected from Sartain next, but like his other albums Too Tough To Live is a great Rock and Roll album.

11. Ty Segall & White Fence - Hair

Another Ty Segall release, out of the three albums that have been released this year this one seems to get less press so that is why Hair is showing up at number eleven as opposed to Slaughterhouse. In April 2012, Ty Segall released an album collaborating with White Fence entitled Hair. White Fence is actually Tim Presley and has like Ty been involved in other bands. As White Fence Presley normally records and plays all the instruments himself. The album Hair starts of with the song “Time”, which is a Folk/Psychedelic piece that hints at the heaviness that will come in future releases for Segall. The intro features a slow count down that is stopped by short heavy Garage Rock guitar stabs before the songs filters in. “Time” moves with an early Pink Floyd like rhythm mixed in with guitar parts that sound like they could be from George Harrison’s All Things Must Pass album, but just as the lush melodies sink in the song changes directions (something that happens at various points on Hair). The last fifty seconds of the song sounds like something from Black Sabbath before fading out into the next track “I Am A Not Game”. This is one of the highlights on this Psychedelic/eclectic release, “I Am A Not Game” attacks with its retro organ driven riffs and clean/scuzzy Garage Rock rhythms, while lyrically the song serves as an indication of what Ty and White Fence are doing on this album, not playing the traditional game. They mix up familiar Garage Rock with Psychedelia in different ways in less than half an hour. Overall, on Hair Ty Segall and White Fence let their hair down so to speak, creating a Beatles meets Piper At The Gates of Dawn-era Pink Floyd freak out, mixing those elements and everything in between.

12. The Scenics – Deadman Walks Down Bayview

Deadman Walks Down Bayview was released to positive reviews and displayed the band in a mature, yet unique point of view. The songs that make up this album are somewhat reminiscent of music heard from the band’s past, but The Scenics were never a band to follow trends or to repeat themselves. Even when they were playing in the late 70s Punk scene in Toronto, The Scenics were different and had their own sound. They are often described as a Proto-Punk sounding group and on Deadman Walks Down Bayview the band expands their song writing capabilities while still keeping their youthful edge lyrically. The opening track “Dark Cave” musically is reminiscent of Velvet Underground as the lyrics emphasize the secluded atmosphere around working a full time monotonous job. “Fox”, “When You Come Around”, and “Oh Boy” all display different sounds referencing music from bands such as Velvet Underground to The Byrds, and Television. “No Sleep” arrives with a Rockabilly-like rhythm, “Miami” comes in at song six with its Guided By Voices sounding influence as the lyrics “I want my own camera” are repeated over and over again. Songs like “I Can’t Be Careful” displays the bands more slower melodic style and a song like “Farmer” goes into experimental Psychedelic directions. It may have been thirty years since The Scenics have released new material, but Deadman Walks Down Bayview shows that The Scenics still have the chemistry and essence that made them so interesting in the first place.

Top EPs

1. The Bell Peppers – Saved By The Bell Peppers

In August of 2012, The Bell Peppers released their third EP Saved By The Bell Peppers via their bandcamp page online. This four song EP builds on their previous Cooking With Bell Peppers EP adding more range and diversity to their already established sound. The EP starts off with the ramshackle reverb drenched Garage sounds of “Drapes N’ Squares”, the song even features distorted vocals, “Hoofstomp” follows with it’s Duane Eddy and Country influenced dynamics, while “Moonlight Heartache” slows things down a bit with its 50’s Rock and Roll sounds, sounding like a song that you might hear in film Back To The Future when Marty McFly goes back in time to 1955 at his parents high school dance. The final song on the EP “Golf Shack” twists and bends with its Link Wray meets The Ventures riffs, leaving us wanting to hear more. Saved By The Bell Peppers displays a familiar yet fresh take on the Surf music and the instrumental Rock and Roll genres, although it doesn't always follow that format.

2. Papermaps – Inferior Ghost EP

On August 28th, 2012 Toronto Indie band Papermaps released their Inferior Ghost EP, stylistically the album is a shift, but Papermaps make a natural progression on this EP. The last single released from Papermaps self titled album was the track “Complicate Things”, which can serve as an indication where this EP takes us, metaphorically and musically. It is nearly impossible to discuss this release without mentioning the giant elephant in the room, which leaves us just a sliver of space. In February 2012, Chemical Sound closed its doors for good after twenty years of operation, Dean Marino the lead singer/song writer in Papermaps owned the studio with Jay Sadlowski who is also a musician, they served as the owners, operators, engineers and producers of this studio from approximately 2006 to 2012. The EP represents as it has been stated in some reviews, perseverance through difficult times.

Inferior Ghost starts of with the track “There Are Wolves”, which was also the lead off single for the EP. The song is a gripping attack on the modern world, with lyrics such as “Sometimes I feel like this town didn’t have the patience for me” and “We were just waiting/we were already there” the song builds and sucks in the listener with its catchy hooks and clever arrangements, the song is crafted and produced so well it is not only a great way to start off the EP, but one of the best sounding recordings that the band has produced. Inferior Ghost is an EP that everyone can relate to, it lets us know with its meaningful songs, that we can react and move forward in a new and different direction. The title of Papermaps EP may be "Inferior" Ghost, but after one listen you can tell it is everything but.

3.  New Kind of Mambo – New Kind of Mambo EP

Coming out of Portugal, New Kind of Mambo is branded as exotic Garage Rock. Their New Kind of Mambo EP was released January of 2012 and displayed a catchy, yet primitive Rock and Roll sound featuring elements of Surf, Garage, Blues, Punk and lots of Maracas. The title tracks seduces you with its jangly Garage and Blues rhythms as the drums and maracas keep you hooked while “Monkey Swing” flexes their Surf influences. Other standout tracks on this EP include “Luv Me True” a Bluesy Garage offering with a Bo Diddley Rhumba/Clave beat and “Land of 1000 Dances”. On the bands facebook page it says that New Kind of Mambo is a part of the new 3D-Garage dimension and if you take a look at the music video for “New Kind of Mambo” you see the band play their vintage instruments in a bowling alley juxtaposed with retro images some of which have a 3D nature, perhaps this is what they mean by the 3D Garage dimension? But regardless of this, the EP is an excellent example of primitive Rock and Roll with a modern exotic twist. You won’t see this EP on many 2012 lists, however If you don’t believe me you can download it for FREE at their bandcamp page and see for yourself.

Tops Singles/7 Inches/45’s

1. Pow Wows – Killing Me/No Thirteen

Pow Wows released a seven inch single in 2012 on Get Hip Recordings, a single entitled “Killing Me” that was backed with the song “No Thirteen”. Side A attacks listeners with its slow driving intense Psych-Punk rhythms and distorted vocals with a hint of R&B groove. “No, Thirteen” speeds up the pace a bit with their thier own brand of Garage R&B flavour which builds on the sounds we once heard on 2011’s Nightmare Soda, their full length debut. The bands sound does also seem to have a certain swing to it, drawing on sounds once explored by The Cramps, but at the same time playing into the Garage Rock format. Their sound takes Rock back to basics, but not sounding stale or repetitive as they absorb elements of Punk, Garage, Rockabilly, Surf and more. This single is an excellent and short example of what makes this Toronto band called The Pow Wows so good.

2. Mystics – Play Your Game/Can’t Be Happy

You won’t find too much info about Hamilton’s Mystics a Garage Rock band fronted by Matt Ellis on the internet. They’ve been around for over a year and put out a demo on cassette in 2011 which generated interest in the band leading them to their first release on Boppa Do Down Records, a 45 entitled Play Your Game. The title track and A side “Play Your Game” displays early Garage influences sounding like The Standells meets Van Morrison’s Them. As the drums and tambourines kick in the song is accented by the background female vocals, on top of all that the song and music is executed with a Punk attitude and enthusiasm. The B side is the song “Can’t Be Happy” sounding like a revved up version of “The Last Time” By The Rolling Stones, but what separates this track from the previous is the excellent slide guitar that gives the song a countrified groove. Matt Ellis had this to say in a recent interview in Hamilton’s View website of their sound: “The paisley shirts come out and they seem to dig it but a lot of the young people into punk come out and they seem to be really into us,” The songs are loud, noisy blend of elements of Garage from the 60s with a Punk mentality. After one listen its not difficult to see what makes this real gritty Rock and Roll music so appealing.

3. Cold Warps – Slimer/Dream Creepin’

In June 2012, Halifax/Ottawa's Cold Warps released their Silmer 7 inch on Fun Dog Records. The bands sound has been described a number of ways but Weird Canada described their sound as: "Brilliant AM radio power-pop that is spot on in so many ways”, on this release the band builds on their already established sounds. The title track “Slimer” attacks with its razor sharp guitar parts, as it mixes in catchy lo-fi garage pop hooks with an 90s alternative edge. When the chorus kicks in one can’t help but think of the early Halifax sounds of Thrush Hermit and Sloan, lyrically the words “I don’t know what it means” stick in your head like the lime green slime that is portrayed on the singles artwork. “Dream Creepin’” follows next building with its stop and start guitar riffs and deranged lyrics, displaying the bands catchy yet darker lyrics at the same time, but everything is executed in an upbeat fashion. While the single may be short the lyrics in the first verse of “Slimer” come back to mind “I got you in my head I don’t know what it means”, the songs are catchy, the music is familiar, but difficult to pin down, as this Canadian band mixes its own homebrew for us to taste, and it tastes good.

Best of 2012 Play List:

1. Cold Warps – Slimer (Slimer - Fun Dog Records 2012)
2. Guided By Voices – King Arthur The Red (The Bears For Lunch - Guided By Voices Inc 2012)
3. Elk – Riverview #3 (Daydreams - IndoorShoes 2012)
4. Papermaps – There Are Wolves (Inferior Ghost EP - Sparks Music 2012)
5. Thee Oh Sees – Floods New Light (Putrifiers II - In The Red Records 2012)
6. New Kind of Mambo – Luv Me True (New Kind of Mambo - Self Released 2012)
7. Pow Wows – Killing Me (Killing Me - Get Hip Recordings 2012)
8. Mystics - Play Your Game (Play Your Game - Boppa Do Down 2012)
9. The Spooky But Nice – Sun Goes (The Spooky But Nice - Self Released 2012)
10. Black Angels – I’d Rather Be Lonely (I'd Rather Be Lonely - Blue Horizon 2012)
11. Rotten Tropics – Spectre Tectonics (First Blind Quarter - Self Released 2012)
12. The Bell Peppers – Golf Shack (Saved By The Bell Peppers - Self Released 2012)
13. The Scenics – Dark Cave (Dead Man Walks Down Bayview - Dream Tower Productions 2012)
14. Dan Sartain – Indian Massacre (Too Tough To Live - One Little Indian Records 2012)
15. Jaill – Perfect Ten (Traps - Sub Pop 2012)
16. Jack White – Blunderbuss (Blunderbuss - Third Man Records 2012)
17. TEENANGER – Tired of You (Frights - Telephone Explosion 2012)
18. The Soft Pack – Ray’s Mistake (Strapped - Mexican Summer 2012)
19. Diamond Rugs – Gimme A Beer (Diamond Rugs - Partisan 2012)
20. Indian Wars – Already Home (Songs From The North - Bachelor Records 2012)
21. Ty Segall – You’re The Doctor (Twins - Drag City 2012)
22. The Hives – Patrolling Days (Lex Hives - No Fun AB 2012)
23. Young Rival – Let It Go (Stay Young - Sonic Unyon 2012)
24. Young Rival - I Don't Care (Stay Young - Sonic Unyon 2012)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 8. Or subscribe to Revolution Rock as a Podcast.

Chemical Sound Radio Special & Show # 423

 

When talking of albums that were made at Chemical Sound, Sloan’s Navy Blues usually comes to mind. The album was released in 1998 and was the album to feature their breakthrough Canadian hit “Money City Maniacs”, but there were so many factors that added to the studios dynamics and to why people liked it so much. Chemical Sound was known for its vintage sounds and analogue gear and this spoke to artists that wanted to record there. The studio had its beginnings in 1992 with Daryl Smith who worked closely with Ian Blurton, who is a producer/musician, as was Daryl. Ian has been involved in the studios development since its early beginnings, he has recorded numerous albums there with the bands he has been involved with C’MON, Blurtonia, Change of Heart. The two built up not only an array of quality vintage equipment, but also the reputation of the studio. Chemical Sound has produced many albums by artists to name a few Sloan’s Navy Blues, Death From Above 1979’s You’re A Woman, I’m A Machine, and Lift Your Skinny Fists Like Antennas to Heaven by Godspeed You! Black Emperor.

The second set of owners of the studio were Rudy Rempel and James Heidebrecht, who produced recordings by The Constantines, and Royal City, and in 2006, Dean Marino and Jay Sadlowski took over as owners and operators of the Chemical Sound facility. The studio also moved locations in 2006, the original site of the studio was torn down in order to make way for condominiums. Relocated in Riverdale, Toronto Dean and Jay would produce recordings by artists such as Tokyo Police Club, Born Ruffians, an i-tunes session for The Black Keys, The Schoemberg Fair, C’MON and many others. When they announced they were closing their doors in 2012 this message appeared on their website:

Chemical Sound has been in business for 20 years. Over the years the studio has played host to many important Canadian and International recording artists. Since 2006 Dean and Jay have worked with great bands like The Black Keys, Sharon Jones and the Dap-Kings, Tokyo Police Club, Born Ruffians, C'MON, Sweet Thing, The Elwins, EIMIC, Attack in Black and many many more.

We want to thank everyone who has supported us over the years.

One of the last recordings recorded at Chemical Sound was the Inferior Ghost EP by Papermaps. The EP was recorded at Chemical, but also parts of it were done at Vespa Studios and mixed in what is now Central Audio, a new name for the space that used to be Chemical Sound. The EP represents perseverance through difficult times. Many reasons have been thrown around as to why the studio closed its doors, one being it not being economically viable, but the truth is all things must come to an end at some point. Chemical Sound retired while people still had an interest in it, and at a time where music recording is in a state of transition, the EP literally represents this, it was recorded at two places, one of them being Chemical Sound. It is a rather poignant and fitting release if you consider the EP in that respect.

It is nearly impossible to sum up a studio that for twenty years (from 1992-2012) has had produced so many recordings in a few odd paragraphs. You could say so many things, but the biggest factor that made people return to the studio was the fact that Chemical Sound was always devoted to quality, regardless of the genre of music or band that was recording there and the products spoke for themselves. So when you’re looking through an album and check out to see where it was recorded you can be sure that if it says Chemical Sound, something interesting was done there. I can’t help but return to Sloan’s Navy Blues, which is an album that showed off a different yet exciting side of the band which brought them new successes. But the band also recorded their next album Between The Bridges there as well (it was mixed elsewhere) a fact that few people know without checking out the linear notes, but you can hear it in the sound of the drums on that record. The drum sounds at Chemical were always something of note when considering the studio, they were often referred to as getting really good, if not some of the best drum sounds in Toronto and when you listen to a song such as “Money City Maniacs”, “She Says What She Means”, or even songs by C’MON, Godspeed! You Black Emperor or from any of the albums recorded there, you can hear the room, you can hear the sound of a band playing in that moment when the sound of a band/making music was all that mattered and that’s what you got from Chemical Sound a moment captured and what a great moment it was.

The following interview was done between myself (Dave Konstantino host of Revolution Rock) and Dean Marino and Jay Sadlowski musicians and the owners/operators of Chemical Sound from 2006-2012. We talk of recordings made there, a bit of its history and more.

RR: When did you first hear of Chemical Sound and what was it that interested the both of you about the studio?

D - I was a client. I made my first professional recording there in 2000. I heard that Sloan's Navy Blues was recorded there.

J - I knew about the music that came from the studio, but didn't know about the studio itself till I started talking to Dean about it.

RR: How, why and when did you guys become involved with the recording aspects of Chemical Sound?

D - Both Jay and myself have been recording since we were teenagers (we were in a high school band together). We would rent / steal and borrow equipment to make cassette recordings in our basements or in the music room at school - eventually we graduated from 4-track tape machines to semi pro and then fully pro stuff. After being a client at Chemical for a few years I built up the nerve to ask to intern there. I interned for a few months before they started paying me - all that high school tom foolery and experimentation paid off. I started at the studio in 2003, bought the gear and name in 2005 and we closed in 2012.

RR: Chemical Sound is known for their vintage gear and analog recording techniques, when was Chemical Sound first established as a recording studio and why do you think that the studio put this recording mandate in place to begin with?

D - The studio was established by Daryl Smith in 1992, when analog recording was really the only option - I guess ADATs had been around or a few years, but they were considered sub-standard. The studio just stuck to what worked. They didn't acquire a ProTools rig until 2004! Ian Blurton (Change of Heart, Blurtonia, C'MON) had a lot to do with the gear selection because he was/is heavily into the classic heavy rock sound - he knew what kind of gear works best for that sound. He's the one who tracked down the API console.

J - Yeah, Daryl and Ian really shaped it based on their love of classic records. It's cool. At the time, the 80's, they were really going against the grain in terms of popular sound. A lot of records then were thin and very clean sounding, meanwhile they were building this classic, gritty distorted sound.

RR: Chemical Sound was originally located elsewhere in Toronto for many years. When and why did Chemical Sound switch locations?

D - The location change happened late 2005 early 2006. The original location is now a swank condo.

RR: What are some of your favourite recordings that have come out of Chemical Sound? More specifically, out of all the recordings that you both have worked on which ones are some of your favourites?

D - Black Keys iTunes Session - because it was done so purely, quickly and sounds so good. EIMIC's (Everything is Made in China) first two records, because Jay and myself had full creative production and Tokyo Police Club's Elephant Shell because I made some life-long friends on that gig.

J - Yeah. I like most of the records that came out of Chemical. For sure everything Dean has mentioned. There's really too much to even list, Ruby Coast, Born Ruffians, The Elwins, Dilly Dally... I love all of them! It's been great to be so proud of it. And we've totally made new friends.

RR: Could you both describe a positive recording experience that you have both had during your time working at Chemical Sound?

D - Most of them are positive because you get to witness and aid in someone's creative child being birthed. It's a nice feeling. I really enjoyed meeting and working with Sharon Jones and the Dap-Kings - they were some of the nicest people.

J - I liked working with a lot of people: Graham Wright, EIMIC, Eight Bit Tiger, Ian Blurton, Mike Rocha, The Elwins, etc. too many to mention.

RR: Alternatively, do you have any stranger moments that have occurred during your time at Chemical Sound that you remember fondly?

D - Yes, but why name names?

J - There were many strange moments; band members fighting, laughing etc. We once recorded a karaoke version of an opera song in return for some architecture work!.

RR: What do you remember of the first recordings that the both of you have worked on, whether it was in the producing or engineering role?

D - Jay and I made 3 records together with our high school bands. Then we didn't see each other until after university - we just ran into each other randomly. We reconnected and then when I thought about buying the studio I asked Jay to help me out with some sessions. We did our first proper record together, as a team, at old Chemical I think it was Tugnut's album Ode to Pete. Or it could have been a Magneta Lane track.

J - Yeah, either Magneta Lane or Tugnut was the first time we worked together in Chemical. They were both awesome sessions actually. We did do a lot of stuff before that too.

RR: When and why did you guys take over operations at Chemical Sound? Was owning and operating a recording studio something that you both wanted to do?

D - I've always dreamed of doing that - working in a studio. When I was a kid and I listened to records, I would imagine a studio scene, not a concert scene - if you get what I mean.

J - We took over around 2005 - 6. A combination of factors lead to this. The old space was being sold, the owners were making life changes, Dean was working there, we were both recording a lot.

RR: In February 2012, it was announced that Chemical Sound would be closing for good and retiring their name, what was it that led to this decision and now that Chemical Sound is over with do you plan to continue recording bands?

D - I will always produce records (be them my own or with artists I really like). I've got a new studio setup which I'm keeping private. I'm keeping the location a secret because I'm not in the "commercial studio" game anymore. No phones - no website. My new studio is smaller, with a much smaller overhead, but still quite substantial - for example, the live room is 400 sq ft with 12 foot ceilings and I can still record whole bands live off the floor. I share the space with two other bands I'm involved in. My goal is to cherry pick my clients from now on. If people want to work with me, they can write me.

J - There are many reasons why we closed; we just both agreed it was time for us to try other things. We are already working with other projects. Both Dean and I have been recording forever, I don't think that we will ever stop.

RR: What was the last recording to be officially made at Chemical Sound? When was it and what do you remember of that last recording session?

D - I want to say it's the forthcoming Papermaps EP, Inferior Ghost. Most of it was done at Chemical (with the exception of 3 bed tracks) and I mixed it in what used to be the Chemical Sound control room (Now Central Audio). It was strange to work in that room, not being the owner and not using the API console, which was sold to Rogue Studios.

J - Truth is, it took us a while to move out of the space and in that time we did as much recording as we could, so it really depends on what you count as the end.

RR: Chemical Sound is often referred to as a legendary studio from Toronto with a unique no frills recording approach. Do you agree with that statement and what do you think it was that appealed to so many bands to record their music at Chemical Sound?

D - Yes. I agree. Our rates were incredibly inexpensive for what you got in terms of equipment and especially in terms of service. No we were not posh - we had a very "workshop" or "garage" vibe going and we liked it that way. Graham Wright once told me he liked working with us because he didn't feel inhibited, he liked how we didn't scold him for touching the Hammond organ or playing around with gear - we/are were easy-going.

J - We tried to build the studio to be a comfortable place for artists to work. I think most musicians recognized that we were focused on making the best records we could. We built it knowing what it's like as the person being recorded.

RR: Both of you make music on your own and have lots of recording experience, what are your plans for the future, whether that is in music, recording or both?

D - I plan to concentrate on my band, PAPERMAPS and my songwriting and I would like to produce a few records and EP's each year by bands that I admire and respect.

J - I have a new "Jay Sad" record that Dean produced, recorded on tape at Chemical. It's mixed already, and I'm hoping to release it soon. I also have plans to mix and produce a few records. I recently did the music for a web animation for Amnesty International, and I'm working on a record with James Hicken (Wallscenery Demos).

Chemical Sound Play List:

1. Sloan – C’Mon C’Mon (We're Gonna Get Started) - Navy Blues (1998)
2. Invasions – Atlantic Blvd - Magic EP (2009)
3. C'MON – The Messenger – Midnight Is The Answer (2004)
4. Tokyo Police Club – Nursery Academy - Elephant Shell (2008)
5. Born Ruffians – Hummingbird – Red Yellow & Blue (2008)
6. Everything Made In China – 4 – 4 (2007)
7. Godspeed You! Black Emperor – Storm - Lift Your Skinny Fists Like Antennas to Heaven (2000)
8. Jay Sad & Dean Marino - Best Friend - Chemical Demo (2009)
9. EX~PO – Remember (Live At Chemical Sound April 12, 2008) - Central Meaner Street (Bonus Track) (2008)
10. Jay Sad – Krazy – Krazy (2009)
11. The Superfriendz – Absurd Without It – Slide Show (1996)
12. The Inbreds – T.S. Elliot (Youth Mix) – Hilario (1993)
13. Tricky Woo – Fly The Orient – Sometimes I Cry (1999)
14. Death From Above 1979 - Cold War - You're A Woman, I'm A Machine (2004)
15. Orphan Choir - Burning Ash Again- Unwelcome Guests/Orphan Choir split 7 Inch (2008)
16. The Schomberg Fair – Can’t Go Home - Gospel (2009)
17. Graham Wright – No Hard Feelings – Shirts Vs. Skins (2011)
18. Tin Star Orphans – Let You Down – Yonder (2009)
19. The Black Keys – Chop & Change - i-Tunes Session (2010)
20. Suckerpunch – Let’s Get Evil – Carols From The Canyon (1995)
21. Jay Sad & Dean Marino - Waiting For The Man - Chemical Outtake/Demo (2007)
22. Ride Theory - Dead Radio, Love - In This City (2005)
23. Papermaps – There Are Wolves - Inferior Ghost EP (2012)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for September 25. Or subscribe to Revolution Rock as a Podcast.