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The music issue.
Citation preview
THE music issue
featuring
charles bradley nuela charlesben disaster
and more
FREEissue
3
CONTENTS
04Intro
06Insert Joke Here - How I Learned to be Less Professional and Love Music Again
09The Locals Ben Disaster Labradoodle Nuela Charles Mitchmatic Souljah Fyah
16ArtistProfile-AndrewBenson
22Charles Bradley - Soul of a Man
26Edmonton Hardcore
CoverillustrationbyOniceMejia (theheadlessbird.ca)
16
INTROEdmonton may not be on everyone’s’ radar when it comestomusicscenes.Thebig-timemusicblogshaven’tdubbed us the next Seattle, orMontreal or [insert cityhere],butwhocaresquitefrankly.WalkdownWhyteorJasper any given day of the week and you’ll most likely be abletofindashowatanyoneofourmanyvenues.
Ourcityisaplacewherelocalbandsandpromoterscancome together in both conventional (Wunderbar, TheEmpress) and unconventional (BarberHa) settings, andplan a festival within a matter hours, as evidenced byShredIsland;aseriesofbenefitshowsheldimmediatelyfollowing the devastating floods in Calgary. A feat likethat can only happen if there is a sincere level of respect withinacommunity,somethingnotmanycitiescan’tsaythey have.
Thisissueisdedicatedtoallthosethatcontinuetosup-port and/or contribute to our music scene; one that’s as diverse as it is full of major talent.
Brnesh BerheFounder
Art & Editorial Director / PublisherBrnesh Berhe
Copy Editor Jessica Bateman
WritersCalebCaswell,AndrewElter,RebeccaHagan-Egyir
Photographers, Designers and IllustratorsLarissaMejia,OniceMejia(theheadlessbird),VicMittal(VSMPhoto),ShirleyTse(GIRLNAMED SHIRL Photography)
Special thanksKrisBurwash(ListenRecords),AbeilMeasho,KathyMorin(EdmontonFolkMusicFestival),CheataNao,TerrySept(SmokehouseBBQ)
[email protected] /markermagazine | @markermagazineInsta
06
ByCalebCaswell|DesignandIllustrationbyLarissaMejia
IwasfiveyearsoldwhenIstartedtakingpi-ano lessons. It was important that I learn to playintime,situpstraight,learnscales,andbowwhenIfinishedasong.Ihadtowearbut-ton-up shirts and not fall asleep during other kids’ recitals.
Eventually I took up drums and studied mu-sic in college. I learned how to be a gigging musician.Thatmeantgettingpaidandwritingcontracts.Itmeantshowingupontime,read-ingcharts,andmost importantly,presentingmyself professionally.
I’m thinking about all of this while standing inDV8waitingtogoonstage.I’mwearinga
Japanese headband, aviator sunglasses, andwooden sandals that make me walk like my legsaresteam-powered.Mypocketsarefilledwith fake Indonesian-looking currency with my face printed on it. Instead of tuning an in-strument,Istretch,becausetheonlythingI’llbe performing tonight is high-kicks. That’s my roleinthejokeband,SabretoothBlackwidow.I was taught in college that there are three reasons you take a gig: you’re getting paid,you’re making contacts and it’s fun. I knew we weren’tgettingpaid.Ialsoknewthatanycon-tacts we made before the show would likely belostafterwefinishedthrowingbolognaandsandwichfixingsatthem.AndIwouldn’tknowhowfunthegigwouldbeuntilthebarmade
uscleanupthemessofketchup,glitter,andtear-awaypantswewould leave behind.
OnefandescribedSabretoothasif“LMFAOandGwarhadalove-child and somethingwentwrongwith thepregnancy”.Wewearcostumesthatincludecowboyhats,fairywingsandsequinbananahammocks.Wethrowfoodstuffsattheaudience—ifitstains,allthebetter.We’vebrokenacousticguitarsoverourheads, rippedopenastuffedcatfilledwithAlphaghettiandeaten itmid-show,crackedribsfallingonmonitors,andnearlytriggeredfatalallergicreactionsinouraudience.Andamidstourperformances,weoftenhavetroubleplayingintime.
My band mates and I worked together at a local instrument shop. We jokedabout thekindofbandwe’d like to see,one thatwasmore about the show than the pomposity of trying to make it big. Onethathadridiculouscharactersandskitsanddidn’tcareaboutbecomingpopular.Haha,wouldn’tthatbehilarious.Aweeklater,theguitarplayercametoworkwithfoursongsalreadywritten.
Sixcharacterbiographies,fiveshows,threedrummersandacouplecansofsillystringlater,thebandhasbecomeacompletemockerytoeverythingthatcontemporarybandstrytobecome.Wefelt itwastimeforsomethingMontyPythoninEdmonton–somethingcompletelydifferent.Icansaywe’veachievedthatmuch.
Ofcoursetherewastheissueofprofessionalism.I’dliketobetakenseriouslyasamusicianandmakethescenebetterforotherpeopleinthebusiness,raisingtheoverallbarofEdmontonhoweverIcan.Ontopofthat,Igrewupwithaprofessionalmusicianforafather,andovertimeIfoundtheseotherbands—therockacts,theworld-musicgroups,thebandsmadeofguysthatenjoyedperformingde-spitenotbeingthegreatestperformers—grewtobeawasteoftime.Funwaswhatcamewithcontactsandmoney.
Sit up straight. Play with the metronome.
Igrewupreadingmusic, learningcharts,memorizingsongs,andperformingthem—lookingforperfectionandplayingthebestmu-sicIcould.Iwanttobesynonymouswithability,andtodothatyouhavetopresentyourselfacertainway.Youhavetopractice,youhave toknowthesongs insideoutbecause if youdon’t,byGodsomeoneintheaudienceisgoingtonotice.They’lltelltheirfriendsthatyoumessedupthattransitionanddidn’tknowwhatyouweredoing,andthenallthecontacts,moneyandfunwerefornaughtbecause you’ll never be playing for anyone ever again.
Button up your shirt. It’s rude to fall asleep while other people are playing.
I don’t get to fake a Japanese accent into a mic for forty people atmy“career”gigs.Idon’tgettodotae-boonstageandsliponranchsaladdressing.AndI’veneverhadtheopportunitytofireaglitter-filledpantycannonatthemeither.OfallthebandsI’veeverplayedin,SabretoothistheonlyonewhereI’vebeenrecognizedinanothercity(Toronto,even).Isn’titstufflikethisthatmademewanttobeamusicianinthefirstplace?
Idon’twantanyonetothinkthisisanargumentformywantingtoget paid to do high-kicks on stage. I hope no one gets paid for the things I do with Sabretooth Blackwidow. It’s payment enough to be someoneelseforanight—topretendthatIcouldactuallybethisperson.Todanceandclapofftimeandkickthingsoverandbe…well,anassholeforonce.
AsIcontinuemycareerandbuildareputation,I’dlikeforthesuitIwear to these professional gigs to be something I’ll always be able to slip out of. Especially when presented with a ball pit. Covered in glitter.Smellingofbologna.
the locals.Ben Disaster | Labradoodle | Nuela Charles | Mitchmatic | Souljah Fyah
By Becky Hagan Egyir | Photos by VSM Photo
Ben Disaster and band mates Lane Cherkewick (bass), Drew Lefebvre (guitar and vocals), and Robert Burkosky (drums) bring high energy and enthusiasm to the stage when they perform, which makes their music sound natural every time. They use this talent whether they’re playing with alternative-country musicians or with their own punk rock sessions. You can hear the influence of folk and a touch of country in their sets, and you never know what will surprise you or what you’ll connect with as you listen to them play.
ben disaster
10
Live oFF the LawN2013
How do you describe your music style?Idon’tdescribemymusicalstyle—Ican’t.I wish I could but it doesn’t sound like one thing.Ilistentoalotofdifferentmusicandfeelalotofdifferentthings.Everythinginlife, includinganewpairofshoes,affectsthe music I make for people and the music in my head that no one hears.
Do you remember the first album you lis-tened to that made you think, “I want to be a musician”?ThefirstalbumIreallygotintowasInsom-niacbyGreenDay.Ifirstheardit,Nirvanaand Beastie Boys on the school bus. Anolder girlmademe a tape of Green Dayand I got intomusic early because of it,but it’s not what made me want to be a musician.Goingtolocalhallshows,gettingcaught in the circle pit and being tossed around… that’s what excited me. Seeingbands break strings and impale themselves oninstruments.Kidschantingtosongsandsticking around instead of leaving to getdrunk in the field. That’swhatmademefirstwanttoplaymusic.
What bands/musicians do you like to lis-ten to today?It’shardtosaywhatI listento,butwhenI’m trying to write new music I like to take inheavydosesoftheEquals,GiorgioMoroder,Daniel Romano, TheBuzzcocks,and maybe my all-time home hitter, RayPrice.
what does edmonton have to offer musi-cians compared to bigger Canadian cities?Edmonton is known for its tight familiesin the music community. Though we may notgo seeeachotherplayeverytime, ifthere’s ever a problem with a venue, abandgettingrobbedorjamspaceburningdown,everyonebandstogetherandhelpseach other out. The biggest thing it has to offeristhatitforcesyoutokeepincheckand not be a dick head.
Where’s your favorite spot to unwind in this city?I have a few places I like to go when things get a little nutty. I love watching stormsrole in at the NAIT parkade. Seeing Edmon-ton fromalldirections isgreat,butgoingfor a drive and seeing my surroundings,gettinglost infieldsandstrangewoodsisjustasimportant[tome].
what’s your next big project?Projects always seem to pop up. I have a 7 inch that Ben Disaster recorded in the summer and it’s being put out on the Ed-monton-basedCRUDECITYRECORDS.It’salabel dedicated to new and old Edmonton bands. I’ve been working on a new LP for what seems like forever now. It’s been like the songOne Piece at a Time by JohnnyCash. I paid for it out of my pocket and any chance Igot I’dworkat itandworkat it,then pick it apart and look at it some more. I’mfinallyveryhappywith itand Iwouldsayismybestworkyet.Beyondthat,Iplaythe Wunderbar solo with Jessica Jalbertand a new country band called theOkayCorralinSeptember.I’malsoflyingtoMar-itimestodoastringofshows.
Interview with Adam Prins
How do you describe your music style?I guess we would have to call our music stonerrock,butwe’vealsobeenreferredtoasdadrock—fatherfriendlytunes!
Do you remember the first album you lis-tened to that made you think, “I want to be a musician”? Personally,EaglesofDeathMetal’sPeaceLove and Death Metal was the album for me. The drumming was a great hybrid of danceandrockthat,forafirsttimedrum-mer,seemedplausible.
today, what bands/musicians do you like to listen to? AsagroupwecanallgetbehindPriestess,Black Mastiff, Indian Handcrafts, Witch-craft, The Sword, Danava, Black Sabbath,BlackMountain,BlackThunder,BelRiose,Deep Purple, The Doors, Sound Gardenand many others.
labradoodleAdam Prins (drums), Brent Underschultz (guitar), and Daryl Freson (bass and vocals) of Labradoodle don’t just produce a mixture of rock genres in their music. They’re an experimental band playing with the scales of rock music ranging from relaxed to powerful. With one album released and now preparing for their second, there’s more room for them to give listeners a range of sounds to connect with. This is part of their plan to help give Edmonton a cultural scene where anything goes for all those involved.
LABRADOODLE2013
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what does edmonton have to offer musi-cians compared to bigger Canadian cities?Edmonton is great because we have such a desire to build our own culture that show-goers are almost always open to new mu-sic and are very supportive of the bandswe’vecometolove.Competitionisneveranissue,atleastinthecommunityofmu-sicianswefindourselvesin.
Where’s your favourite spot to unwind in this city?Myfavouritespotisanybackyardfiredur-ing the summer. Edmonton has the best summerswiththebestpeople.Plus,we’reall too socially inept to go to public places —justkidding!
what’s your next big project? We’replayingattheup+dtfestivaltheweek-end of October 12-13, then preparing forBands as Bands at the Starlight Room this Halloween.We’realso in the slow roastingprocessofwritingoursecondalbum.
Nuela Charles conquers many different styles of music with her voice. From rock to soul to alterna-tive roots, all genres fit the tone of her voice and make her the expressive artist she is. She’s one who can make you feel emotion through the tones in her voice. As Nuela continues developing her smooth and soulfully alternative music, she’s taking her sound outside of Edmonton and sharing her gift with audiences throughout Canada and worldwide at different music festivals. Who knows what the future will bring for Nuela, but it seems safe to say that at this moment, the only way for her to go is up as she draws-in fans with the sincerity of her music.
How do you describe your music style?I call it alternative soul. I’m heavily influ-enced by alternative rock, and that defi-nitely makes its way into my music with the electric guitar and electronic elements.
Do you remember the first album you lis-tened to that made you think, “I want to be a musician”?I grew up singing along to Mariah Carey’s EmotionsalbumandWhitneyHouston,butwhen I heard Alanis Morissette’s JaggedLittlePill,Iwantedtohaveaband!
What bands/musicians do you like to lis-ten to today?Ilistentoalotofeverything.What’sbeenonrepeat latelyare:LiannaLaHavas,TheNeighbourhood, Local Natives, Selah Sue,KimbraandJustinTimberlake.
nuela charles
what does edmonton have to offer musi-cians compared to bigger Canadian cities?I think Edmonton has a great community of musicians. I also think it allows you to findyournicheandtoflourishwithinit.
Where’s your favourite spot to unwind in this city?I enjoy Transcend andROAST, butmy fa-vourite thing to do is chill at home and lis-ten to music.
what’s your next big project? I have two major showcases coming up,CMJ in New York City and Halifax Pop Ex-plosion in October. Then I’m heading toSwitzerland for a small acoustic tour. I’vebeenstartingtowriteforthenewproject,butnodateshavebeensolidifiedyet.I’mdefinitelygoing to takemytimewith thenext one.
AWARE2012
mitchmaticMitchmatic once said that he “fell into music” when he moved from Clearwater, B.C. to Ed-monton, Alta. back in 2007. Since then, he’s been climbing the ranks of the local music scene, playing shows and DJing the Art Gallery of Alberta’s refinery parties and Sunday night sessions at On the Rocks. In between, he claims awards from the annual Edmonton Music Awards and the Western Canada Music Awards. While many in Edmonton know him as an emcee, you can hear swing and jazz influences in his music. Taking inspiration from the past and making it new and vibrant is only one example of how Mitchmatic makes his music stand out.
How do you describe your music style?Well, concerning the music I’ve alreadyreleased, I could only really say sample-based, introspectivehip-hop. I’mworkingon some less-definable stuff these daysthough.
Do you remember the first album you lis-tened to that made you think, “I want to be a musician”?I’m not sure a single album made it happen for me. I feel I accidentally became a musi-cian,oratleastaccidentallyrealizedIwasone. I was doing shows for years before I dreamedofassociatingwhatIdidwiththebandsandartistsIgrewupon.
What bands and musicians do you like to listen to today?The last band I got excited about was Car-avan Palace, but I’m late on that train. Ithink Kendrick Lamar is great even though I’m not always with him on the content. He’sahookmachine!Iwishitweren’tsorareformetoreallyloveartiststhesedays.I’m sure I’m missing out on a ton of good stuff— I just haven’t been following theright access points.
what does edmonton have to offer musi-cians compared to bigger Canadian cities?In my experience it’s been a very open scene. You may have to search for it if you’renewtothecity,butoncediscoveredit’s fairly easy to jump inside. I feel if you put in your timehere you’ll at least gainrecognition on a local level. I’m not surethisappliesforbiggercitieswhere luck isa greater factor.
Where’s your favourite spot to unwind in this city?The Old Strathcona/Garneau area hasbeen home for me for the past four and ahalfyears,sowheneverI’maroundthatneighbourhood I feelprettyrelaxed (withexceptionofweekendnightsinthemiddleofWhyte—that’sajungle).Asforparticu-larspots,Wunderbarisalwaysafavouriteforsure!
what’s your next big project?I’ve got a few EPs trudging along, buttheonethatwillseethe lightofdayfirstis probably going to be a project with DJ Weezl.Hegetsonmycasejustenoughtomake it happen. I’m slowly compiling some new gear to accommodate a bigger switch-up,butthatmaybefurtherintothewinter.
it’S ProBaBLy RAInIng 2013
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Interview with Sista J How do you describe your music style?Our music style is reggae, ranging fromconscious roots reggae to dancehall. It’s lyrically conscious, thoughtful, musicallyprovocative,love-basedmusic.
Do you remember the first album you lis-tened to that made you think, “I want to be a musician”?I’ve been a musician since I was born [laughs]. I playedpianoandother instru-ments in bands since before I have mem-ory. All of us in the band have a life-long participation,loveandrespectformusic.
souljah fyahAfter four albums and many award nominations (including a Juno!), for their work, Souljah Fyah (Waymatea Ellis, “Sista J”, on bass, keys and lead vocals; Stormin’ Norm Frizzell on keys; Dorant Rick-etts, “Saint”, on drums and lead vocals; and Paul Joosse, “Dr. Paul”, on bass, keyboards and backing vocalist) continues to deliver strong messages about positivity and equality through their reggae-based music. They say in their song Abundance, “…No matter the hand you’re dealt with in this life, you’ve got to remember to try….” Life seems good for the band and it’s partially because of how they give back to Edmonton. They see every chance they’ve been given in the city as an opportunity to grow as musicians.
What bands/musicians do you like to lis-ten to today?Right now I am listening to indie dance mu-sic,andbefore that itwassomeambientdub step. Everything from Marley to Mum-ford and Sons to Mozart... I love music.
what does edmonton have to offer musi-cians compared to bigger Canadian cities?Edmonton has been very good to us and is a good place to grow a music career. The biggestbenefittoabuddingbandhere isthat most of us who have been around for a while (we have been together over 11years)wanttoshareourstories,ourtips,our contacts. It is a city of collaborationandcommunity,andIlovethat.Thecity’smediaisbeyondsupportive,andtheradiostationsarewillingtoplayyourmusic.Takeyourpickoffestivals-HipHopforHunger,Folk Fest, Cariwest... the list goes on foropportunity. The booking agents for live venues operate with integrity, and manypeople,includingstudentsandprofession-als,supporttheindustry...Allweneedtodo is keep believing in the live scene in this cityanditwillcontinuetogrow.
My advice to a new band: hit the pave-ment.Getoutfrombehindthecomputerscreen and go meet people. Walk downthe street and hand out your flyers. Getto know other musicians. Collaborate. Worktogether!Themostimportantthingis face-to-face interaction, and that haswanedwiththeadventof“imaginedinter-action”onsocialnetworks.
Where’s your favorite spot to unwind in this city?Favouritespottounwind…thistimeofyearit’sthemostbeautifulinourRiverValley.Iwon’t give away my most treasured spots [laughs]... let’s just say that one of themmade up the artwork of our third album.
what’s your next big project?Right now we’re writing new music andhave begun recording some new tracks at Edmontone. We keep growing, we keepexpanding. We love to play music andthinkofitasalifestyle.Wehaveallunder-gonepersonalgrowthandtransitioninthelast year, and I think it’s reflected in thenew music coming forward.I WISH
2010
Malcom X and MLK Armwrestling as Observed by C. Delores Tucker, Tupac Shakur, Fred Hampton, and Marcus Garvey. 12”x12”.Acryliconcanvas.2012.
Andrew Bensonartist profile
Interview by Brnesh Berhe
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what made you want to pursue a creative career path?I was originally planning on going to school tobeachef,butthenIstartedlookingatthehoursandwas like, “Ugh, I don’t reallywanttowork until 2 a.m. every Friday.” Iwent totheGrantMacEwanOpenHouseandthoughtthe Digital Arts and Media program looked like fun. And then there were the naive promises ofagreatcareerandlotsofmoney.Ithought,yeah,alright,cool,andthenIrealizeditwasahoax–whichwasokay[laughs].Ididalotof
t-shirts and posters for punk bands when I was ateenager,so it seemed likeanatural thingto do.
How did you start doing work for the local hardcore scene.I’vebeengoingtoshowssinceIwas15andIbasically grew up in community halls. I knew enoughpeople,soifIeversawsomeonepostsomething on a message board asking for help makingt-shirts,IwouldquicklyputsomethingtogetherinPhotoshopthatwasterriblyawful,but they seemed to be okay with it. I ended up meetingapromoterinEdmontonwhosentmeshowposters—probablybecauseIdidthemfor free—but theywereallbad. Like stolencomic book images and Impact type. I eventu-ally learned how to screen-print.
So would you say that’s mainly how your style has evolved? From cutting and pasting to screen-printing?Yeah, inprobably the last threeor fouryearsI’ve gotten really into screen-printing. It’s re-ally changed theway I think abouthow [thedesign] is set up.
IneverusedastockadvertisingsiteuntilIstart-edworking in advertising. I always relied onbeing able to steal images and cut them up and tweak them enough to make them my own so I don’t get in trouble for it [laughs]. Screen-printingwasmyfirstjoboutofcollege;Imadecrappyt-shirts,butitwasfun,andIlearneda
lotaboutseparationsandhowcoloursinteractwith each other and screening on fabrics.
So how do you approach a project when it comes to you? Do you just think “okay, i’m going to do pencil for this one” or do you have a process?It kind of depends on the delivery. If I’m going todosomething likea recordcover, I’ll likelygetitprinteddigitally,andthenIwon’tworryso much about the actual process of illustrat-ing. I won’t worry about colours or about mak-
ingsurethestepsaresetupproperly…Icangoabitcrazier. A lotoftimeswhen IknowI’mgoingdigitaloroffsetI’llgomorecollage-stylebecause I can’t screen-print it. And if I know I’mgoingtobeproducingmyself,I’llusuallydoscreen-printingorlinocut.
When Iworkedat Elite Sportswear as apro-ductiondesigner andwhen I started at FREEasaproductiondesigner,Iwouldalwaysthink,“Where is it going?” before anything else.Some designers try to figure out the designandworrylessaboutwhereit’sgoing,butI’malways more worried about the delivery meth-odandhowthatwillaffecttheactualpieceinthe end.
who or what are some of your creative influ-ences?Well I grewup listening topunk rock, so I’vealwayslovedtheshittyestheticofpunk.Ilovethe idea that there are so many limitationsbasedonthatartwork,like“Ithastobeblackand white and photocopied because that’s all wecanafford”.IlikethatXeroxesthetic,sooldpunk records have always been huge for me. OneofmyinfluenceshasbeenRaymondPetti-bon who used to do all the Black Flag artwork. He’s insane and I just love how weird his style is…youjustcan’timitateit.
I never grew up reading comic books; I have zero comic knowledge or any frame of refer-
The stuff I enjoy has to be kind of fucked uP.
enceforit,butI lovethatreallygrossstylelikewhat’sintheoldCrackedorMadMagazines.AndIloveTravisMillard’swork—hedesignedFudgeFactorycomicsanddidstuffforGhettoKids.Every-thing he did was so gross. I love it. I also really love Josh Holinaty’s stuffwhereeverything looks like it’smelting.Locally,him,Gene-vieve Simms and Jill Stanton are my favorites. They’re all so amaz-ingandreallycoolpeople,andtheirstylesaresounique.Ialsolikea lot of the work that comes up on meathouse.com because it’s all justgross,sketchystuff…Ijustlikewhenstufflooksgross[laughs].
So, there have to be design trends that annoy you. And not neces-sarily anything stereotypically bad, like starbursts…I really don’t like the whole geometric vector graphics where the headisacircleandtheface isatriangle…Ido itsometimesbe-causeit’ssoeasytoproducequickly.It’snotthatit’sbad,butit’ssoeasytodothateveryoneisdoingit.Ijustfinditplayedout.It’sbe-comethe“budget”illustrationstyle.Iworkinanadagencyand,assomeonewhodoesillustration,itpainsmetouseShutterstockforstockillustration,butIgetit.Ijustreallydon’tlikethatgeometric,superflatstyleofillustrationbecauseitdoesn’thavealotofper-sonality.Atthesametime,Idon’tlikeillustrationthatlooksperfecteither.ThestuffIenjoyhastobekindoffuckedup.
Where would you like to see your work take you?I’d liketodomoreillustrationforthingsthataren’t justpersonalprojects[laughs].IdidanillustrationforthecoverofOccupationalHealthandSafety,whichisaformerclientofFREE,andwewonanillustrationawardwithAppliedArts.Itwasreallyexcitingbecause,withsomehelpfromotherdesigners,itwasmyfirstartdirectionprojectandIdidalotoftheillustrationforit.ItmademerealizehowmuchIwanttodomoreeditorialillustration.
Ialsowanttodoamural,itseemslikesomuchfun.JillStantondidthosehandsforTheWorks;theyweresocoolbecausetheyweresobig,gnarlyandsuperdetailed.I’dlovetodostufflikethat.
What would you say to people who say we don’t have much of an arts scene? People from the “outside” tend to think of places like Montreal as artistic hubs and don’t think edmonton has much going on?Wehave a really great art scene in every sense.Wehave crazyfilmmakers, likethatguywhohadhisshort inhugefilmfestivalsallover theworld. Idon’tknow,maybe it’sbecausewe’reall sobored in the winter that we just sit around and draw weird shit and makemusic.IthinkEdmontonhasagreatscene,andnotthatit’snotgettingrecognition, it’s justnotgettingtherightspotlight, ifthat makes sense. I feel like Edmonton doesn’t always spotlight its artthewayitshould,likeit’sscaredofbeingtooprogressive.LikeeverytimeEdmontonstartsfeelinglikeacoolplacetobe,weputthe brakes on it. But it really is a cool place. I love this city. I loved growinguphere,andIlovebeinghere.That’swhyIhaven’tleft,despite it probably being easier for me to do what I want to do in other towns.
To see more of Andrew Benson’s work, check out drwbnsn.ca
Andrew also had a few things to say about Edmonton’s local hardcore scene on page 26.
Charles Bradley
When Charles Bradley walks onto a stage, he is a solid throwback to the great singers of the ‘60s and ‘70s. Raw. Gut wrenching. Unapologetic. It’s hard to believe that he’s only been performing professionally for two years, starting his career at the tender age of 62. That’s part of the intrigue that surrounds Mr. Bradley’s rise to fame: a story as complex and heartbreaking as the songs on his critically acclaimed records.
what do you think makes soul music such a timeless thing?Soulmusic is therootofmy life,mycoming-upandeverythingthat I’ve been through. You’ve got to be raw and you’ve got to reachdeepdownintoyourselftobringitup.That’smydefinitionofsoulmusic.Ifyoulookbacktotheoldendays,peoplecouldn’tsaywhattheywantedtosay. If theydid,theywouldthinktheywere going to lose what they had and that the master was going topunishthem.Soinstead,theywouldsingwhattheyfelt.Theywould go to church and they’d moan and they’d groan and they’d talk toGod in their own spiritualways… and thatwas nothingbutsoul.Lettingallthatsteamandallthathurtoutofyou.That’swhere soul music was really born.
Words:BrneshBerhePhotos: VSM Photo
S o u l o f a M a n
By Brnesh Berhe | Photos by VSM Photo
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Adversity is something Bradley knows all too well. Born in Gainesville, Fla., he jumped from coast to coast, finally settling in the projects of Brooklyn, N.Y. He found himself homeless at the age of 14 after an altercation with his mother, and slept in subways in the winter to keep warm. Things didn’t get easier after that. Bradley nearly died from an allergic reaction to penicillin and witnessed the murder of his older brother. The terrible hands he’s been dealt are enough to break anyone, but his perseverance is truly remarkable.
How do you react when you see people who reach for that easy fame and try to jump all the hard work? you’ve been through so much that it must be a bit frustrating to see.Icanonlyspeakformyself. Iwanttoberecognizedasanartistand I want people to also know who I am as an individual. All I can say to these young kids that are coming up in the world now is that you’ve got to go through some pains. If you’ve gone through some roughtimes and you keep your heart clean andyourmindright,thenyou’vegotsomethingtosaytotheworld.Likemymamaalwayssays,whenJesuscarriedacrosshehadtobehurting,sowhoareweashumanbeingsnottosuffer?We’regoingtocarryourcrossestoo,sowhenyoucarryyours,carryitwisely and righteously.
So was it your spirituality that motivated you to push through your adversities?That’s what kept me strong. If I didn’t have spiritual guidance I don’t know where I’d be right now. I’ve been through so many thingsthatdeeplyhurtme,andsometimesIdon’tknowhowtodealwith it, so I remember the rugged cross and it bringsmeback to myself. That’s what helps me keep going. Now I’m into musicandshowingloveallovertheworld,butevennowthosequietmomentswithmyselfstillhurt.Ittakestimeandpatienceforsomeofthosethingstobeerased,butIdomybestto[replacethe bad] with something good.
In 1962, Bradley’s sister took him to see James Brown perform at the legendary Apollo Theatre in Harlem. The showmanship he witnessed planted a seed in him, and while he may not have known it at the time, he was soon going to follow in his idol’s footsteps. He mimicked Brown’s moves at home as a child, but it was only when he was in the Job Corps that someone dared him to sing in front of a group of people. Hesitantly, he did it, and real-ized at that moment that this was something he could do for the rest of his life. That’s when he started performing in small clubs around New York as Black Velvet, a James Brown impersonator. He nailed everything from the hair to the jumpsuits, the music to the theatrics, and Bradley felt right at home doing it.
i know you were heavily influenced by James Brown.James Brown has helped me tremendously because I lived on the street;I’vebeenonmyownsinceIwas14yearsoldandhissongswere so powerful. I Don’t Want Nobody to Give Me Nothing, Lost Someone, Please Please Please, Man’s World, so many of them. He camefromtheaura,well,IshouldsayIcamefromthesameaurathathecamefrom;he’solderthanIamsoI’vegottagiverespect
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whereit’sdue.JamesBrowncamefromaroughchildhoodand[sodidI],butIdidn’tturnouttobehatefulorfullofanimosity.Ijusttook my cross and kept walking.
i guess that’s why he’s transcended generations. with that, as much as you put your heart into your music, you’re always looking really sharp with those jumpsuits and flashy shirts. how impor-tant is style to you as a performer?[Laughs]Ifyoulovewhatyou’redoing,givethepeoplesomethingbesidesjustthevocals.Givethemsomethingtolookat.Givethema feeling of your soul and dress according to what it tells you to do. That’s what I do.
Besides James Brown, ware there any other artists you’ve en-joyed over the years?OtisRedding,DianaRoss, Aretha, Streisand, SamCook,WhitneyHouston,BarryWhite.Thesearethepeoplewhowerereallysing-ing from their hearts. They let their rawness show through. Some-timestheydidn’tevencarehowthewordscameout,butyoucanfeel beyond it.
I feel in this day and age there’s huge importance put on perfec-tion; you have to sound as perfect as you do on your record every time you perform. with an old r.L. Burnside record, you can hear him miss a couple notes on his guitar sometimes, but it doesn’t matter because it’s just how he’s feeling it at the moment. Sometimesthebiggestmistakecanbethebestthingyoueverdid.Youcantrytobeperfectandhitthosenotesjustright,butsome-timesthatrawnoteissomethingtheworldhasneverheardbefore,so just let yourself be humble and free.
In the documentary, Charles Bradley: Soul of America, the audience witnesses Bradley’s journey from living in the projects and taking care of his elderly mother, to recording his debut album with the Menahan Street Band and getting signed to Daptone Records. This documentary was his evolution as a performer, singer, and
songwriter, as it marked the first time he’d let anyone see and hear him as himself and not his alter ego. The film is a deeply moving personal portrait that completely exposes the singer’s pains in a raw and honest way.
you are so open with your fans. how hard was it for you to allow cameras into your life? Obviously there had to be some trust with the director and his crew. Istillhaven’tgottenoverthat.Ihadtogotoascreeningon59thstreetinManhattan,andIhadtowalkout.Therearesomethingsin that documentary that I wasn’t aware of. Like when they went down to Florida to meet me uncle, my mother’s brother, and
there were some things that were said that I couldn’t take; I had to leave. I wouldn’t let my mom see it because the truth is painful. Someofthethingsmyunclesaidaboutmymomhurt,butitwasallthetruth.OneofthesedayswhenI’mreadytogrieveinmyownway,I’mgoingallowmyselftowatchit,butIhaven’tgottenthere yet.
it’s a very deep movie. that’s why it’s resonated with so many people.I know there are a lot of people out there who are going through sometrialsandtribulations,andthat’swhyIdon’tplaywithpeo-ple.Idon’tplayontheirintelligence.Iknowhowitfeels,sowhyinflictitonsomeoneelse?Idon’tcarehowmuchmoneyImake.Moneydon’tmakeme,Imakemoney.Sowhenpeoplethinktheyhaveallthewealthandcontrol,allthey’redoingisputtingthem-selves on their own cross.
While he may only be two years into his professional career, Charles Bradley has already carved out a legacy for himself that will forever keep him in the company of his idols, and will continue to inspire those who come across his music and his incredible story.
Photos were taken at this year’s Edmonton Folk Music Festival
“ I don’t care how Much Money I Make.
I Make Money. ”
Money don’t Make Me,
The punk rock scenes worldwide are notorious for housing the outcastsand“weirdoes”thatfindcomfortinalternativelifestylesandacommunitywherebeingdifferent isembracedandbeingyourselfiswelcomed.Edmontonhardcore/punkisnoexceptionand,with that, takes on a lot of the same struggles thatmanyothercitiesfindthemselvesfacing.Edmontonhasaconstantde-sire for bigger turnouts in the face of some of the mosttalented,hardworking,committedbands inCanada. Despitethequalityoftheentertainment,thisproblempersists.Edmontonhaslostalotofvenuesduetocarelessandinconsiderateshow-goers,anditcan be a real challenge convincing touring bands to venture so far north.Thereare,however,anumberofdedicatedandentrepre-neurial young folks taking big risks and accomplishing a lot with selflessgoalsofstrengtheningthecommunity,supportingbandsandcreatingsomethingtobeproudof.
Inamoderneraofinternet-basedpromotion,therearestillthosethat look for something physical and tangible. Whether it’s awarmsummerdaywherethepatiosarefullandthestreetsarewelltrafficked,orafrigidnightwherethesnowwon’tstopfall-ing, if there’s a show tobepromoted, you’ll findhardworkingpeople pacing the streetswith posters and flyers trying to putsomemoneyinbands’pockets.Afleetofpromotersinthecity,thoughsovereign intheirendeavours,worktogethertogetthewordout,andit’sonlygettingbetter.MattieCuvilierofCleanUpYourActProductionsandJohnKennedyofBackFromTheUnder-groundaretwoofthebetterknowngo-to-guysifyou’relookingforashow.Alongwiththesetwo,therearealotofotherheavilyinvolved,passionatepeoplemakingthingshappen,andthesceneis slowly building momentum as a result.
AndrewBenson,anotherlocalpromoter,hostsanannualfestivalcalledGhostThroats.Thefestconsistsoftwodaysofoverdrivenamps and venom-spitting vocalists,merging several genres andspotlightingsomeofthearea’sbestbands.ThefestivalhasspreadtoCalgaryforabonusdayofgritty,distortedtunes,openingdoorsfor bands from all over North America. These guys aren’t the wealthy elite; the vast majority of promoters in Edmonton have tobalanceabudgettobringtheseeventstolife.Needlesstosay,thatcanbestressful.Whenaskedwhyhedoesit,especiallywithalltheobstaclesintheway,Bensonresponded,“It’seasiertodoit myself rather than wait for someone else to and then be mad because they didn’t do it right.” His response serves as another example of how driven the community is and the commitment it hastothequalityoftheshows.
Though it’s true that without promoters the music scene would surely suffer, there is no short list of bands that deservemuchof the credit for making Edmonton punk rock what it is. High Jinksareoftenregardedasoneofthebesthardcore/punkbandstohaveexistedinthecity. Asafastbutheavytakeon‘90seraEastcoastyouth-crew,theyhavealottosay.Theychangedthelandscape and forced the rest of the locals to look inward and work harder. Their song Violins targeted the violent behaviour andbullyingthathadbecomeapointofcontentioninthepunkrockscene,andthesong’s lyricshadaprofound impactontheEDM
ONTON
HARDCO
RE ByAndrewElter|PhotosbyGIRLNAMEDSHIRLPhotography
community. Don’t look twice, don’t make the wrong move, be-cause me and my friends we like to beat up kids like you. If that’s the message that we send, then I’m afraid for the shows because if everyone’s afraid then nobody goes. Since High Jinks called it quits, a series of awesome bands have absorbedmembers orsproutedfromtheashes,includingMAUS,NoProblem,Tempest(Vancouver)andoneofEdmonton’sbestcombinationsofpunkrootsmeetsclassyrockandroll,Stepmothers.
Todos Caerán, a melodic emo band drawing influence frombandsfoundonLevelPlane(aretiredrecordlabeloutofNewYork),istakingtheworldbystorm.TheyhavedonesplitswithbandsfromtheUnitedStates,Tasmania,Scotland,UkraineandSpain,touredmostofEuropeandCanada,andreleasedafull-
length record with another one coming this winter. They’ve also released a compilation dedicated to covering songs by awell-respectedbandcalledOrchid(alsofoundontheaforemen-tionedlabel),featuringbandsfromaroundtheworld.Todoshasaccomplishedallof thiswitha lotofhardworkandatirelesscommitmenttowritingnew,interestingmusic.Andthey’reonlygettingstarted.
YoucanfindSecretRivals,abandbornofmembersofTheSmalls,E-TownBeatdown,SavannahandTenSecondEpic,playingmostweekends in Edmonton. There are a number of other locals with alotofcharacterthatyoucanlikelyfindgigginginandaroundthecityiftheyaren’tontheroad.Exits,Ringleader,Contention,Mahria,RudeGeeksandSpaewifeareallworthmentioning,but
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ifyou’reafanofheavy,aggressive,passionatelyloudmusic,Ed-monton has a lot of bands for you.
Thedo-it-yourselfethicisstronginthecity,andthatethicshowsinthewaythebands,labelsandpromotersconductthemselves.Labels rarely get involved, andwhen they do they’re relativelysmalland it’susuallyavery symbiotic relationship. Bandsusu-allypayforrecordings,recordpressings,merchandiseandtoursout-of-pocket,andthelabelsdowhattheycantohelpthebandsbooktours,spreadmaterialanddistributemerchandise.Promot-ersputalotoftheirowntimeandmoneyintotheshowswithoutthepromiseofityieldingaprofit.Occasionallyitdoes,andthatusuallyresultsinthebandstakingalittlemorehomeorthepay-ing the next out-of-towners for their gas. Though this has worked
sofar,there’salwaysroomformorehelp,morebandsandmorepeopleatshows. Ifyou’rewonderinghowyoucangetinvolved,take a peek at the posters onWhyte Avenue or Jasper Avenue.Mostshowswon’tcostyoumorethantendollarsand,consideringwhatthecommunityhastooffer,that’salotofbangforyourbuck.Ifyourweekendislookingdull,makeyourwaydowntothepunkshow—youmayneverlookback.
It’s in the way that you cannot sit still / Chewing on words but spit-ting out actions / Fire the fire that burns so deep inside / The fire that keeps hardcore alive
Bane,Every Effort Made. From the album Holding This Moment.
/YESSorgyess.org
YESS is a relentlessly dedicated not-for-profit organization that shapes the future of Edmonton by supporting youth facing difficult realities. YESS offers distinctive and invaluable services through a variety of channels that range from immediate emergency shelter to ongoing support programs and individual guidance. Vic Mittal
[email protected] | 780.908.5263 vsmphoto.com
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