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.

Jay Sad Disappears & Show # 449

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.  A full length album was released in 2005 entitled High. It was his only commercially released album. All other releases since then have been on a more low key scale, mostly copies being passed around to friends and fellow musicians or being distributed online. It should also be noted that from approximately 2006-2012, Jay Sad (or Jason Sadlowski) owned and operated the Chemical Sound recording studio in Toronto along with another musician and friend Dean Marino (from the band Papermaps). The studio closed its doors after twenty years of operation in February 2012. Disappears is one of the last recordings to come from the beloved Toronto studio.

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. The other four songs on the album were produced and recorded by Jay Sad. Given an internet-only release, Disappears starts off with the song “Three Floor’s/It’s Over”, which is the first of many architectural based song titles and structures found on this album. The song starts off on a heavy note with its dirty Alternative fuzzy sounding guitars and feedback as the drums keep a steady, yet sleazy pace in the background. "Good Health” follows next with its playful drumming, fuzzy bass and reverb drenched vocals. In addition to this, the song also features guest vocals from Katie Monks of Dilly Dally. The song is reflective, but caustic with lyrics such as “I was only trying to help/to keep us in good health for you”. “Only You” features Pop dynamics, it also portrays an almost Jazz trio vibe. As you listen to this song you can feel it as it was recorded, live to analog tape as the drums roll on, it is an almost rain sounding dynamic while bass, xylophone, guitar and vocals fill in the rest of this songs forecast.

“Home” is a slow paced yet melodic track seemingly about a relationship. The song captures the feeling of being away from home and feeling at home at the same time. With lyrics such as “This is home Toronto/For a while studio”, one can’t help but think of the connection to Chemical Sound that these lyrics evoke. “Shortwave In Spanish” is built up with a Spanish radio broadcast transmission as guitar arpeggios filter in and the song builds up to its late night feel while the lyrics “And in time I’m learning/And in time I’ll be fine” the songs lyrics and atmosphere build around the listener. Lyrically, the song portrays finding new forms of relevant communication in the modern world.

As the album wraps up, “Moving Day” calms the listener with its atmospheric Pop song grooves, acoustic guitars and distorted distant sounding drums. The final song on the album “Wood & Plaster” not only completes the album, but also the architectural building theme we were first introduced to with “Three Floor’s/It’s Over”. This song evokes experimental Musique Concrete influences as the background is filled with an intense distorted static landscape, while vocals and guitar fill in the rest of this nine minute piece. Lyrically the song is a reflection of the past and the present with lyrics such as “If you could go back you surely would/its something that you’ve thought of for a while/the memories that you have will all be gone”. The lyrics, as the title emphasizes, are about the making up of a structure whether physical or emotional. It poses the question of "if you were to take away the wood and plaster that makes up an important part of your past what would happen?" But as the song carries on we see that if you were to rebuild part of the past you would lose something. As Disappears ends we are reminded of the albums musical and lyrical structures that are built up around us. These songs 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.

The following questions were done between myself (Dave Konstantino of Revolution Rock) and Jay Sad of the band of the same name. We talk of the bands recording history and the making of Disappears:

RR: When was this album recorded and how long was the process? Who did you work on this album? For example producers, musicians?

JS: Seven of the eleven songs were recorded live by producer Dean Marino at Chemical Sound in 2 days; with Dean Pomeroy on drums and Rob MacDonald on guitar. He put us straight to tape: 2 guitars and drums. A few things were added here and there, but those 7 songs are pretty minimal / live.

The other 4 songs…

Three Floors and Good Health were done at Chemical by me.

Moving Day and Wood & Plaster were recorded at my place on my 4-track cassette deck.

Three Floors: Dean Marino played drums on this one, I added everything else. Originally this song had me playing 3 floor toms for the drum track, but then Marino did a really good job adding a real drum track.

Good Health: This is all me, except Katie Monks (Dilly Dally) sings in the last bit.

Home: Matthew Sweeney (The Elwins) added the some back-up singing in the verses.

Spirit Remover: Katie Monks (Dilly Dally) added vocals near the end of the song.

Can't Watch TV: Drew Smith (The Bicycles, Dr. Ew) added vocals to this one.

Shortwave in Spanish: Dean Marino added bass.

Moving Day: Matthew Sweeney (The Elwins) sings the chorus and added some piano.

Wood & Plaster: This was all me.

I got James Hicken to master the record for me. I also sent him a recording of an antique toy with instructions to play with the sound and put it in-between some songs at his discretion. The 7 band songs were recorded in 2 days in 2011. I don't know exactly when the other stuff done, around the same time though. Dean mixed the songs he recorded, but because it was hard to find the time it took us about a year to finish. And then I had other stuff to deal with so it was months later that I finally put it on the internet.

RR: How would you compare your new album 2013’s Disappears to 2012’s Demonstrations? Going back a bit further you had a full length album called High in 2005 how do the two differ?

JS: I hope that every record is better than the last. Technically (and sound-wise) the albums are different; but I'm always the same me.

The sound of "Disappears" is because of Chemical Sound.  While I was there I really wanted to try the live band thing because some of the best albums I've recorded at Chemical were live.  Working with Dean Marino pushes me to be more solid and accessible. Rob MacDonald and Dean Pomeroy are both trained musicians, so they also push me to be more precise with playing and structuring the songs.  They also add their own thing.  It's the most collaborative album I've done.

"Demonstrations" is a compilation of demos I did in the time between "Goes" and "Disappears".  Almost everything on "Demonstrations" is done in my apartment on a four track cassette machine.  I did it all by myself, and I guess that gives it a more personal feel than the studio stuff.  It's also more experimental. It was actually done with a very limited amount of gear; so I would do things like run an acoustic guitar through a broken mixer to get distortion, or record vocals in a stairwell to get reverb.  A lot of the time I would write the song right into the tape; verses the studio stuff where the songs are planned beforehand.  Also, a lot of the songs were taken from my contribution to a group I was in called "song club / song of the week".  This group was me and a few others musicians: members of The Elwins, The Bicycles… Every Monday we would send each other a new song. Since you had to do a new song every week, you ended up with some pretty wacky stuff.

"High" was the first and only album I actually manufactured and released. I sent copies to a few radio stations and reviewers, put it on CD baby, had a release show… "High" was done mostly by me alone.  Dean Marino helped, mixing a couple of songs, and adding drums to one song.  And drummer Silvana Bruni played on two of the songs. I also had an album between "High" and "Demonstrations" called "Goes".   "Goes" was recorded pretty much all by myself at Chemical. Dean Marino helped with some of it and Rob MacDonald played some guitar. I also had Krista Muir guest vocal on one of the songs.  I did it over the first couple years Dean Marino and I had Chemical. I never really officially released this record; I just made a handful of CDR copies.

There is also a series of CD's before "High" called "Spring 02", "Summer 02", "Fall 02", "Winter 02" [ie. I refer to them now as "02 demos"].  These were mini CD’s I made with hand screen printed cases.  Also, I made a few custom printed box sets. The "02 demos" were done by me alone on my 4-track cassette deck in 2002. These CDs are very lo-fi sounding.

Jay Sad Discography…

- Spring 02
- Summer 02
- Fall 02
- Winter 02
- High: 2005
- They Stole My Computer 2007
- Goes 2008
- Demonstrations 2012
- Disappears 2013

RR: What do you plan to do musically with Jay Sad in the future?

JS: I'm doing a "Jay Sad" show on April 17 at the Drake Hotel in Toronto.

Also, I'm writing and recording a new album with James Hicken (Wallscenery demos).  And I've started a new band with a female singer.

Listen to Jay Sad music here:



The Play List:

1. The Cave Singers – It’s A Crime
2. Twin Library – I Dare You To Leave
3. Neil Jarvis – Figure It Out
4. The Human Beings – An Inside Look
5. The Levis – Hear What I Say
6. The Bloody Five – (I Wanna Go To) New York City
7. Raised By Weeds – Fun And Games
8. Raised By Weeds – The Telephone
9. The Visible Targets – Just For Money
10. Pin Group – Ambivilance
11. Suuns – Edie’s Dream
12. Toy Love - Sheep (Live At The Gluepot 1980)
13. Link Wray – New Studio Blues (The Epic Sessions 1958-1961)
14. Legato Vipers – Angel Dust
15. The Bell Peppers – Bouddha
16. The Bell Peppers – 1959
17. Jay Sad – Three Floors/It’s Over
18. Jay Sad – Only For You
19. Jay Sad – Shortwave In Spanish
20. Diamond Rugs – I Took Note
21. Devo – Love Without Anger
22. Talking Heads – Electric Guitar
23. 999 – Emergency
24. The Clash – Radio Clash (Live Bonds Casino, NYC June 9th, 1981)

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for March 26. 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.