Thursday, August 5, 2010

Early Graves
Goner
Rating: 4.5/5




Listen To: Rot
Skip It: Nothing.


All I can say to all my friends lately is "Holy fuck! Early Graves is awesome!" Their sophomore album, Goner, is a non-stop blowout of ferocious hardcore, dipping into thrash, punk and death metal for a smorgasbord of musical monstrosity.

Title track "Goner" jolts you into hysteria using a blaring siren effect, and then quickly slips into Early Graves's fast paced momentum. Chris Brock and Tyler Jensen's thrash knack is right at the fore front, buzz grinding through riffs like the best of 'em. The track provides a tasty breakdown with gut-ripping Terror-style vibrance. Enough said, I know, but I must go on.

"Rot" has an oldschool street tinge reminiscent of Victim In Pain era Agnostic Front. Raunchy guitar feedback rings over blasting drums before tempo slows for a crashing breakdown, and Makh Daniels venomously rips through the mic like a latter day GG Allin.

"Rot" leads seamlessly into another blastout, "May Day," which turns into a sludgy chug-fest for which Daniels keeps splattering his little black heart out. The song drowns out with over a minute of resonating guitar whine before "Wraiths" keeps the tempo down, relying on heavy metal riffing and more melodic feedback.

"Trauma," "Give Up" and "Bastard Tears" get your shitkickers moving again to their crashy, four-on-the-floor progressions. Brock and Jensen riff, chug, and solo around in amazing hooky fashion. Final track "Harm," another electroshocking feedback display, features John Strachan from The Funeral Pyre on vocals for a most furrow-browed album sender.

Simple yet one of a kind, Goner will leave you bloody nosed with its relentless energy.

Track Listing:

1. Goner
2. Faith Is Shit
3. Old Bones
4. Rot
5. May Day
6. Wraiths
7. Trauma
8. Give Up
9. Bastard Tears
10. Harm

Published by Tangible Sounds Magazine

Wednesday, August 4, 2010

CanLit Book Review: Tell-All by Chuck Palahniuk


TELL-ALL
by Chuck Palahniuk
Doubleday Books
(May 2010, CAN $29.95, 179 pages)

Tell-All is the story of fifties Hollywood starlet Katherine Kenton, whose long life on the A-list has led her to an over-the-hill movie-star plateau. Miss Kathie's days are now spent downing booze and prescription drugs, and reminiscing about her past trophy marriages, literally engaged in to receive reputation enhancing awards. At night, she is either hosting or attending lavish dinner parties with the world's most famous people: "The attendant celebrities seem to stretch from Samuel Beckett to Gene Autry to Marjorie Main to the faraway horizon." Like any celebrity tell-all, Kenton's story surfaces by way of a fact finding insider, her lifelong maid, Hazie Coogan. Hazie is looking to steal the spotlight, and puts on an interesting show for the reader. Her reliability wavers early on with snarky comments explaining how she "lives in her [Miss Kathie's] shadow", setting up a hidden bitterness for her boss that ultimately never gets voiced aloud. Instead, Hazie projects that she is the mastermind behind Kenton's success. She picks the roles for her, and says she moulds her as "her body and my vision". With all of Hazie's self-conscious boasting, you still recognize her as a jealous nobody, living among higher class people, and indeed thriving for recognition.

It makes sense, than, when Hazie puts up a shield toward Miss Kathie's latest suitor, Webster Carlton Westward III, the actress' next cheekily dubbed "was-band", once the appropriate business necessitating a formal relationship is looked after. Webster presses hard for Kenton's affection and wins her over, the two are a couple of real love-birds, Humphrey Bogart and Ingrid Bergman. But Hazie discovers what Webster really wants when she stumbles over a book he is working on. Entitled "Love Slave", the piece is a celebrity tell-all of his time spent with Kenton, but, to Kenton's protestations, is highly fictional. This "lie-ography", as Hazie calls it, depicts a steamy relationship between Kenton and Webb with a fatal twist. The final chapter of Love Slave depicts the scene of Kenton's death, with Webster present and desperately trying to save his lover. Amidst Miss Kathie's latest project, a World War Two production written and directed by Lillian Hellman (whose own career hit rocks in the fifties when she was linked to the communist party), it becomes Hazie and Kenton's task to dodge Webster's predicted death scenes, forcing him to rewrite his fatal chapter over and over again. Tell-All's last chapter gives you the final piece of the puzzle that, in true Palahniuk fashion, nobody sees coming.

Tell-All is a mystery novel, but uncharacteristically. In fact, I'm not sure a book has ever been written like this before. Hazie's narration is largely a set of director's notes, taking you behind an invisible camera and effectively giving Tell-All a lively cinematic feel. This technique lends to the Hollywood theme, of course, but also pulls you in as a reader. "The next sequence depicts a montage of flowers" opens Act One, Scene Six (yes, the chapters are in play-form), to give you an example of the style. It is like Palahniuk plunks you in the director's seat for the making of Tell-All the movie - there is never discrepancy over what image he tries to create.

Also experimentally, Palahniuk peppers the novel with words in bold text to highlight his characters' "name-dropping Tourrette's syndrome". Virtually every World War Two era movie star has worked with Kenton on a previous film, and she has played all the biggest roles, including Marie Antoinette, Mrs. Louis XIV, and the list goes on. On page one you are a bit floored by the constant type-set changes, but by the end of Tell-All the unconventional bold faced name-dropping is so extensive, its satirical qualities of what an actual A-lister's vocabulary would be like is hilarious.

Set away in a romantic, pre-Internet Hollywood hills landscape, Tell-All's often ludicrous depictions of fast-lane celebrity life sheds a satirical light on today's paparazzi fuelled media. From Miss Kathie's selfish need to adopt a child but not care for it, her anti-depressant addiction, and the name-dropping, this look into a fictional star's life is a mirror image of real/fake stars today. Palahniuk drives this angle home with allusions to Dorian Gray and a Wilde-esque use of a mirror which Hazie etches with Miss Kathie's tears, while the woman's true emotional self stays hidden. Likewise, Webster's self-projection transforms into a ravenous dog-like image as his murder plans continue to fail, and you really understand how this animal business works. Hazie's delusional account of the events in Tell-All are the biggest play on how the line between fiction and reality gets blurred in the tabloids' perspective.

Exclusive Interview with Mikael Stanne of Dark Tranquility

Gothenburg, Sweden holds a special place in metal listeners' hearts. In the late 1990s, Gothenburg is where melodic death metal was born, notably with Dark Tranquility, alongside other seminal Swedish melodic death metal bands At The Gates and In Flames. These troupes cut the path for today's major death metal bands like Skyfire, The Haunted, Arch Enemy and Children Of Bodom.

All metal-lore aside, Dark Tranquility singer Mikael Stanne recalls the whole melodic death metal phenomenon starting out twenty years ago with a tightly knit group of friends. "We all grew up on the outside of the city, pretty much. Upper middle class families. So, you know, our music really came from frustration or anger about society and the way that we live," Stanne explains to me over the phone while hanging out in Quebec City for the band's first day off since embarking on their recent North American tour. "We were all very comfortable, but at the same time, music was something that we bonded over [. . .]. We started getting into metal, it was a tiny little scene, you know, a couple bands, cool friends that we hung out together with, drank beer, and listened to death metal demos."

From those scarce demos, the first of their kind, being circulated by early Swedish death metal bands, Stanne and his local drinking buddies thought they would give heavy metal a stab. Their first show was in the same tiny little place where they grew up seeing their heroes play, like Grotesque at their early shows, and Kreator in 1988, as Stanne remembers. "We were nervous as hell, and we sucked, but it was fun."

After a couple years of performing as Septic Broiler, a thrash band that only made it as far as recording two demos, Stanne and fellow guitarist Niklas Sundin recruited three more guys to head in a more melodic direction with Dark Tranquility. Inadvertently helping to conceptualize the now infamous ‘Gothenburg sound,’ Dark Tranquility released their first full-length, Skydancer, in 1993, to mass critical acclaim. Twenty years later, Dark Tranquility has their ninth studio album under their belt, entitled We Are The Void, and has once again sought to rejuvenate the band's musical output.

"We celebrated twenty years last year, so we figured this has to be the first album of the next twenty years, you know," Stanne explains to me. "We really tried hard to make sure that this is something kind of like a fresh take on whatever it is that we do together, when it comes to writing. We put so much effort into it [. . .]. Every guy in the band worked way harder than we've ever done before, and the result is, without a doubt, the best thing we've ever done."

Stanne dawned a fresh take on lyrical inspiration for We Are The Void, delving into subject matter of life, death, and the afterlife, topics strayed from on previous albums. He acknowledges it is "the ultimate cliché if you're a death metal band," but that after twenty years he is ready to take it on. "I never really touched on it before [. . .]. The whole album is really about the meaning of death in a way. How we deal with it, how we can work as a driving force, knowing that you're not immortal, whatever [. . .]. That was kind of like the overall theme that I wanted to go with." Stanne says this theme shines through on the album's title, which the band hopes to ask of listeners "Why are you still here? And how [do] you feel about the fact that you're not gonna stick around forever? Either it be faith or, you know, whatever, there is something that keeps you going, and what is that?"

Apparently my original understanding of the phrase "We Are The Void," probably shared with other Dark Tranquility fans, is that the band, and the whole death metal genre represents a style ignored by mainstream music. I ask Stanne if he thinks death metal should get more commercial radio recognition, to which he quickly replies "Nahh, I don't think so. I'm kind of old school when it comes to that. I like the fact that it's an extreme form of music that is not for everyone [. . .]. As for playing it on the radio all the time, or MTV, I kind of need the obscurity sometimes."

Within the extreme underground, Mikael Stanne sees death metal's popularity growing recently, especially in Sweden. He cites Within Y and Marionette as a couple of favourite up and coming bands from his homeland, who are playing to an ever growing scene of new metal supporters. "It's like a new generation of fans coming out to the shows," he explains, "a way younger audience nowadays than what we usually have. So it's really cool to see, like a lot of new kids from [ages] fourteen to nineteen that are getting into this kind of music. It's amazing."

Stanne also knows that death metal, and of course Dark Tranquility fans are breeding worldwide. "It's been amazing so far," he tells me about Dark Tranquility's tour through Canada and the US. "We have a fantastic show that we are really proud of, and the audiences that come out to all the shows... it's been really, really amazing." As for what you should expect if you are catching them somewhere soon, take it straight from Mikael: "I think we've found a great balance between new and old stuff, you know. Obviously we're focusing on the latest album, but we also have a lot of old stuff in there too, so it's a really, really good mix."

So, you are probably wondering if Mikael Stanne still gets nervous before hitting the stage for thousands of fervent Dark Tranquility followers every night. The answer is yes. "When I was, you know, twenty-five or whatever, I felt like nothing could go wrong, and I didn't care. I just went for it. Now, I'm more concerned that everything has to be perfect. I mean, I'm comfortable in a way because we have the experience and whatnot, but at the same time I still get really, really nervous." He has grown somewhat over the years, making sure to find some solitude before a show so he can warm up and shake out any jitters. But with all the new tricks and avenues for Dark Tranquility, some things can never change: "I don't think it's a secret that I drink beer before a show [. . .] We usually just sit around and talk bullshit" he confesses, alluding to his early days in Gothenburg, hanging out and enjoying what music has to offer. He also says it is important to simply feel good before a performance that most certainly proves draining on the body, and mind. After shows, the band still loves to interact with fans by hanging out backstage, signing autographs, and tossing back a few more beers. I guess that even after twenty years, you just don't change the formula if it still works. And why not? If you are in a band that is often cited as starting one of today's biggest musical movements, you might as well live it up. As Mikael Stanne puts it, twenty bountiful years later, "every day is madness" for Dark Tranquility.

Published by Tangible Sounds Magazine

CanLit: Trillium Book Award Winners

The 2010 Trillium Book Award winners are Ian Brown’s The Boy In The Moon for best English language book, Ryad Assani-Razaki’s Deux Cercles for best French language book, Karen Solie’s Pigeon for best English language book of poetry, and Michèle Matteau’s Paraselles for best French language book of poetry.

CanLit heavyweights Margaret Atwood and Alice Munro were beat out by Brown in the most anticipated Trillium category, best English language book. Perhaps not to much surprise, The Boy In The Moon: A Father’s Search For His Disabled Son (Random House) already won the B.C. National Award, Canada’s highest paying non-fiction prize at $40,000, in January, and the 2010 Charles Taylor Prize. The Boy In The Moon is a compilation of articles Brown wrote for the Globe and Mail on living with his eleven year old son Walker, who has Cardiofaciocutaneous Syndrome, a rare genetic disorder.

The French language prize for best book was also in hot contention with writers like Nicole Champeau and Daniel Soha in the running. Ultimately, the judges liked Ryad Assani-Razaki’s debut work, Deux Cercles (VLB Éditeur), published in April 2009. The book is a compilation of short stories about dealing with the difficulties of immigration in everyday life.

Karen Solie’s English language poetry winner Pigeon (Anansi) is becoming her catalyst for success in 2010. Pigeon is Solie’s third poetry compilation and, among the Trillium, has also won the Griffin Poetry Prize and Pat Lowther Award this year. Her two earlier works, Short Haul Engine (2001) and Modern and Normal (2005) earned many award nominations (Engine won the 2002 Dorothy Livesay Poetry Prize). But this year, Pigeon is topping best-seller lists while rooting Solie in the CanLit scene.

French language poetry winner, Passerelles (Les Éditions L’Interligne), just means more success for acclaimed Francophone writer Michèle Matteau. Poet, playwright, novelist, Matteau has published nine French language books. She won the 2001 Trillium Award for her novel Cognac et Porto, and the 2005 Prix Christine Dimitriu-Van-Saanen Award for her novel Un Doigt de Brandy dans un Verre de Lait Chaud (A Finger of Brandy in a Glass of Warm Milk).

The Trillium Literary Award is the highest award for authors in Ontario. Funded by the Ontario Media Development Corporation, the Trillium Award for best English and French language book was established in 1987. Categories for best English and French language books of poetry were added in 2003. Popular previous winning authors include Margaret Atwood, Michael Ondaatje, Thomas King, and Alistair MacLeod. Best book winners receive $20,000, best book of poetry winners receive $10,000.

Published by ThisZine

CanLit: Joey Comeau's Supernatural Serial

The National Post’s literary arts section, The Afterword, is featuring daily excerpts from Joey Comeau’s new novel, One Bloody Thing After Another. The novel was released in May on ECW Press. The serial began July 12, with the horror novel’s prologue, continuing with another two chapters each day. There is still a link where you can check out a running compilation of everything posted.

One Bloody Thing After Another blends aspects of horror and the supernatural with a storyline following several young people met with troubling life encounters. Jackie, a vandal with a heartfelt cause, is met with legal obstacles; sisters Ann and Margaret are busy dealing with their mother, who spends her days chained up in the basement; ghosts, violence, and lesbianic lust fill in the rest of the horror novel. One Bloody Thing stays along the same lines as previous Comeau work. The comedic and sensational grapple with the abysmal for a blunt, empathetic depiction of human experience. For an in depth look at the novel, read this formidable review at Fangoria.

Comeau, aged 29, is one of Canada’s leading transgressive fiction authors. He is best known for his collaboration with visual artist Emily Horne on the superlatively acclaimed webcomic A Softer World. He has published four novels, including Lockpick Pornography, a self-attributed “genderqueer adventure story”, and the experimental Overqualified which is told through a series of darkly worded job application letters. Comeau is an openly queer author, often satirically and absurdly picking apart societal sexual constructs in his fiction.

Published by ThisZine

Sunday, August 1, 2010

MAXIMUM REGGAE

July 2, 2010
Lee’s Palace

In the early nineteen-sixties there was a worldwide musical revolution: Rock and roll transformed traditional three-chord blues and folk into an amped up, livelier style, taking over in the United States and United Kingdom. Meanwhile, in Jamaica, another genre took form from the foundations of traditional roots and folk music there, this is reggae music. In same evolutionary fashion as American rock, reggae takes aspects of Caribbean folk and blues as a stepping stone, and cranks it through modern electric amplifiers, usually accompanied by organs and forms of dub samples.

Sound aside, reggae stands as a bonding agent between cultures. During the first major wave in the mid-sixties, white and black members of the working class adopted reggae as a movement to break down racial borders. Labeled two-tone culture, these people hung out at reggae clubs after a hard day's work. This is the reason why ska (a derivative of reggae) and reggae fans wear checkerboard wristbands, two-tone shoes, or other black and white clothing. Many working class aficionados also sported a uniform of shaved heads, jeans and boots, and favoured reggae or pub-rock, in an effort to counteract the hippie movement. This is how the original skinhead movement began, a decade or so before its message was marred by neo-Nazi gangs stealing the skinhead name and aesthetic. (Hunt down Mr. Symarip's "Skinhead Moonstomp" at your record store for a completely sixties portrait of the movement.)

By the mid seventies, reggae was gaining huge popularity outside the Caribbean with notable bands like Toots & the Maytals, Mr. Symarip, and The Wailers hitting world charts. In the UK pub-rock and proto-punk scenes, The Clash, The Police and The Specials were among the first to infuse reggae techniques into rock music. This explains why there is still a strong tie between punk rock and reggae/ska music today. For an early Brit-reggae adaptation, listen to "Police and Thieves" on The Clash's first album. There are tons of punk bands that use reggae, ska and dub styles in their music. From the crusty ska-core of Leftover Crack, to the more traditional modern ska sounding bands like Less Than Jake, to street-ska with Operation Ivy, ska and reggae are a big part of punk.

One of the biggest contemporary purveyors of true reggae is The Aggrolites from Los Angeles, California. This five-piece has been rocking steady for almost ten years, now situated cozily on Tim Armstong's (Rancid) Hellcat Records. Fans of punk and ska know them well, perhaps just as another one of those punk bands that took on a reggae sound. But, the only thing I can say about the Aggrolites is that they are wholly and completely pure, maximum reggae. At Lee's Palace in Toronto they played to a diverse crowd of shade-sporting rude-boys, vest and tie wearing ska-kids, spiky street-punks and full-fledged brace-strapped skins.

In the nineties, Prince Perry helped form Frankie Foo and the Yo Yo Smugglers, a staple band in the Toronto ska scene over the past fifteen years. Prior to this, the Prince was tutored by one of the best, Rolando Alphonso of legendary ska group The Skatalites. Prince Perry's education shines clear with his entirely ska-themed lyrics often about meeting ladies and late night chillin'. In the music too, which is straight ahead, easy listening ska. Now, the Prince is embarking on a solo career, albeit with generous help from his backing band The Gladtones. They are a barrage of Toronto scene comrades including trumpetist Jan Hughes of Frankie Foo and guitarist Stefan Babcock of Stop, Drop N Skank. Tonight, the Prince and his Gladtones opened the show by hopping around to their light hearted ska jam "You Won't Say It" off their recent debut record, Songs About Girls. In response, the half-full Lee's Palace crowd also began grooving along with every note. Perry stood at centre stage with a handsome grin below his fedora for the entire forty minute set, occasionally kicking up his knees to the beat in exact unison with the other five Gladtones. Other songs included "Bee On The Bus,” "Girl On The Bus,” "Love At The End Of The Century,” and a crowd enthusing rendition of The Police's "Walking On The Moon.”

By the end of the Gladtones's set, there was little breathing room in Lee's Palace. The pit dense with about one hundred dirty aggro disciples waiting for their prophet. Other people lining the walls and clogging all possible walkways. The Aggrolites trotted onstage after a couple minutes of intro music. All five members clad in blue jeans and grey work shirts, they looked like a chain gang on the run, yet eager to spread their message. After lead singer Jesse Wagner gave the crowd a couple quick grimaces, they slipped into "Funky Fire" from their 2006 self-titled album. Rhythm guitarist Brian Dixon immediately started knighting people in the front row by bowing down and tapping them on the shoulder with the head of his guitar. For the rest of the set, if he wasn't doing that, he was either stomping around the stage like a giant, instigating dancing by physically approaching anyone within reach from the floor speakers which he would jump on, or hocking loogies beside him. His stature, his sneer, he is pure intimidation. By the time fourth tune, "Work To Do,” was underway, a joint was being passed around the Lee's Palace pit. I got a whiff and looked around for the culprit, but became mesmerized by the crowd: every single person dancing. People standing in the aisles pounding fists between their knees; those sitting on old wooden benches lining the walls shoulder grooving with the beat; arms and legs jetting out everywhere into the air. A reggae dance hall packed with people from all walks of life, united, entranced by the music. The band went on with a few instrumental tracks and "Time To Get Tough,” which saw Wagner lose his white Jaguar guitar and slip into his electrifying preacher persona. From the bottom of his soul he belted out his Yeahhhh's, reminiscent of James Brown intensity and stage presence.

The rest of the show went on in the same fashion. More doobies lit up in the pit, eccentric stage presence coming from the whole band, especially Wagner, and people dancing everywhere. About halfway through, the band played another instrumental, and keyboardist Roger Rivas literally judo chopped out his solo. I also couldn't stop looking at Alex McKenzie sitting low behind the drums, constantly head nodding and shoulder pulsing to his own spine rattling beats. Other tunes included "Countryman Fiddle,” "Feelin' Alright" off their latest record, Aggrolites IV, and the classic fan favourite "Don't Let Me Down" for which everyone helped out on the lyrics. After nearly an hour and a half The Aggrolites were sweaty, tipsy, and still all smiles. I recommend catching this band if you respect dedication, and just enjoy real dirty reggae.