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FIDLAR is living the high life like nobody’s watching

FIDLAR by Owen Richards

Fuck It, Dog. Life’s a Risk. The acronym was first a skateboarding term, and bassist Brandon Schwartzel explained that “If someone was unsure [about a skate trick], we’d be like, ‘FIDLAR man!’ and they’d be like, ‘Alright, I’m gonna go for it!’”

Schwartzel and the friendly hooligans who make up FIDLAR – vocalist/guitarists Zac Carper and Elvis Kuehn, as well as drummer Max Kuehn – grew up in skate-influenced regions like Los Angeles and Hawaii. The soundtracks that accompanied Tony Hawk and other skate video-games were a big influence on the band’s sound, which is often described as garage, pop and punk rock. Schwartzel improves the description by adding in that they’re “loud and rowdy.”

Although they’re not big skaters anymore “because you just get hurt too much,” Schwartzel shared that the name FIDLAR was appropriately adopted by band members. The philosophy of the acronym follows the band members as they bump around North America in their tour van.

“[FIDLAR represents] not caring so much about what you’re going to do with your life, just living in the moment and being like, ‘Fuck it, fuck what people tell you to do and what they think you should be doing.’ Just do what you want and have fun doing it.”

FIDLAR’s new album bottles the wild child and chill vibes of life rolling down sunny L.A. streets, then moving into nights, drunk and drugged. Each loud and upbeat song is drenched in their carefree attitude and touches upon youthful misdemeanors and intoxicated endeavors.

Their shows stay true to this as well: Schwartzel explained how the intimate feel of their early shows in empty parking lots, basements, and warehouses is still preserved with growing crowds.

“We’ll invite kids on stage to come up and hang out with us while we’re playing,” he said. “People who came to see you play are actually on stage with you, bumping into you.”

Schwartzel went on to highlight how during their rowdy warehouse shows, “Our shit gets unplugged or your gear breaks or someone steps on your pedals or knocks your amp over, so it can sometimes become difficult to play.”

Shows in concert venues are sometimes appreciated by the band because “[their] stuff doesn’t get broken.”

On a past tour with Swedish rockers The Hives, after a show at Montreal’s Metropolis venue, the bassist shared the events of a wild night when “we got these kids into the show, and they brought us some questionable substances […] We went pretty big that night, and the skateboards came out of the van which is never a good thing to do when you’re really wasted. So everyone just started falling and eating shit, but no one could feel it, we were all just laughing.”

The next morning was characterized by deep gashes, scratches and extensive bruising.

“That was a pretty good one,” Schwartzel added, laughing.

When questioned about the rumor that the band has Justin Bieber’s phone number written on their amps, the bassist confirmed this.

“I can’t say particularly where we got it […] We found it through different connections. Hopefully he’s getting a lot of calls […] We always say to text him racy pictures.”

FIDLAR spends their unglamorous touring days driving in their van, listening to podcasts, playing shows and “sleeping on people’s floors, and eating shitty food ‘cause there’s nothing else.”

In essence, the band “[follows] no guidelines, we just do whatever we want. We have no one telling us what we need to be doing,” Schwartzel happily explained.

As the crowds continue to get larger while they grow in success, Schwartzel remarked, “I don’t think we were ever really grounded […] It comes down to making music we want to make, and playing music we want to play.”

As a final note, Schwartzel sends a message to all the ladies reading the article: “Max is single. He’s our drummer and he’s always interested. So if you come to a show, harass him.”

 

FIDLAR plays La Sala Rossa with Wavves on Saturday, April 6 at 7:00 p.m.

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Music

TOP TEN: Rock Guitarists

1. Jimmy Page: This guy. His brain and finger dexterity must have been tweaked by aliens. If you watch Led Zeppelin’s live performance in “The Song Remains the Same,” you’ll want to chop of your fingers and burn your guitar because this guy puts everyone to shame. Blessed with freakishly long fingers and arms, Page has written some of the greatest songs, riffs and solos.

 

2. Jimi Hendrix: He doesn’t really need any explanation. He’s a god among men. His wawa and reverb blues-based jungle songs are the underground beats of every generation to come, I predict.

 

3. David Gilmore: Instead of celebrating like a rockstar after a Pink Floyd show, Gilmore could be found in his room playing guitar. He’s got to be one of the best minds alive and his musical genius oozes from his riffs. His solo on “Money” is so simple that you can hum it, but so powerful that it’ll stay lodged in your memory forever.

 

4. Keith Richards: He may not play the most luxurious solos, but this rolling-stoner has come up with some of the most timeless feel-good riffs. His playing is like a sheep dog herding the other instruments around, and his garage band spank sound suits summer, sun and beer.

 

5. Eric Clapton: He’s got a bit of everything in his playing: catchy riffs, fairly interesting solo-techniques, great phrasing and he sings too.

 

6. Stevie Ray Vaughan: You can feel the love in his music. Vaughan’s heavy guitar-based songs played with his sparkling Stratocaster sound are awesome.

 

7. John Frusciante: Everyone knows the guy behind most of the greatest Red Hot Chili Pepper’s songs. He would practice for 12 hours a day for a good portion of his life and it totally paid off. He’s just tremendous and his work within the Chili Peppers is surreal. You go, Frusciante!

 

8. Jack White: He gets the medal for the most innovative and fun to listen to solos. He’s got his own odd style that’s so distinctly Jack White. Most of the time he’s compensating for a lack of bass within his bands, all the while providing kickass vocals. Bonus: he’s alive and not dying of old age!

 

9. The studio guitar players Steely Dan hired: Steely Dan would audition a bunch of guys to come up with a solo for their new songs and some of the talent they brought in was phenomenal. The guitar solos on “Rikki Don’t Lose That Number” and “Peg” are incredibly interesting — the songs wouldn’t be the same without them. So thanks, Jeff “Skunk” Baxter and Jay Graydon.

 

10. Duane Allman: he’s not quite as well known, but man can this guy solo. He understands the art like none other and in the Allman Brothers’ songs he incorporates hints of southern musical drawl. His soloing makes you happy, especially in “Blue Sky” by the Allman Brothers.

 

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Music

Efterklang breathes new life into an old ghost town

Photo by Ramsus Weng Karlsen

It’s safe to say that Efterklang is the only band that eats instant oatmeal in the morning and then travels to an abandoned Russian coal mining town, all while wondering if they should have brought a shotgun along to protect themselves against the polar bears in the area.

The band is from Copenhagen and since forming in 2000, they’ve been mixing a unique cocktail of sound by drawing from a bunch of different genres. These include indie rock, pop, classical and electronic, with hints of soul music thrown in for good measure.

When it came to creating their new album Piramida, hanging around the cobblestone streets of Europe wasn’t enough to tickle their sense of inspiration. The band members were approached by Danish director Andreas Koefoed and shown photographs of a ‘ghost town’ on the island of Svalbard in Norway.

“We were mesmerized and instantly knew it had to be that location,” said bassist Rasmus Stolberg. Fifteen years ago, the coal mining community called Piramida was hurriedly abandoned by its 1,000 inhabitants. All the buildings and equipment are still standing and the health hazards associated with the decaying town didn’t stop Efterklang from using the area as their own personal playground of sound.

Andreas Koefoed filmed the men for a movie they made about their experience in Piramida as they experimented with new sounds – stomping, banging and yelling in different locations in the dangerous area.

Lead Vocalist Casper Clausen is shown climbing into a narrow pipe and landing in an eight-meter-high empty gasoline tank. He begins to sing and project his voice to the small opening at the top of the tank; the ensuing sound is appropriately chilling. The band was especially fascinated by new mediums they could find on the island that could introduce “several notes with different pitches,” said Stolberg. Most of the album was recorded on the island and the sounds they created can’t be found in a typical recording studio.

The ghost town also offered the band a new atmosphere and feeling which they were able to capture and translate into music. The men were overwhelmed by the sensation that people didn’t belong on the island. By looking around at the lifeless buildings, “you realize how young our species is and how incredibly old and powerful our planet is.”

The area also holds the most Northern piano in the world. Once used by the Piramida inhabitants for concerts, the grand piano still remains in one of the rooms of the town. Upon hearing this, Stolberg remarked on how being able to see and play this piano excited his boyish sense of adventure.

For the premiere of Piramida, the band was accompanied by an orchestra of 50 people at the Sydney Opera House building, designed by Danish architect Jørn Utzon. The band members barely slept between rehearsals for a month before the premiere; the resulting show was an experience that “was simply incredible,” Stolberg said.

During the first performance of their song “Ghosts”, the men had massive grins on their faces as the orchestra slowly built the foundation of the song. As the song progressed and Clausen gently jumped in with his unique voice, the band began to feel a sense of “community and focus [with] everyone present in the room.”

Clausen referred to these moments as being “magical,” and Stolberg described how he was overcome with the sensation that “time and energy flows differently.” The band was brought back to their time spent in Piramida as they revisited the sounds and lyrics inspired by the ethereal area.

With one listen of the album, you can hear Efterklang overturning all the boundaries placed on sound and bringing to life the ghostly feel of the abandoned town of Piramida.

 

Efterklang plays Il Motore with Nightlands on Friday, March 22 at 8 p.m. Tickets are $15.

 

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Music

Montreal-bred Gulfer sheds light on math rock

The tags on Gulfer’s Bandcamp page go like this: punk emo math math emo math pop math rock Montréal.

David Mitchell, Vincent Ford, and Simon Maillé formed the band back in 2011. “We all come from a love for math rock,” explained bass player Mitchell. Math rock is a style of music that features odd time signatures and irregular stopping and starting throughout a song.

Gulfer will be launching their album on Friday, Feb. 23 at 9 p.m. at Casa del Popolo. Tickets are $8. (Photo from Facebook)

Ford, who is the lead singer and guitar player, uses the tapping method of playing guitar, where he ‘taps’ the fret board with his fingers instead of using a pick. The result is a cool staccato sound that you can hear in their new song “Ten Souls”, which sounds like a bunch of wild bubbles jumping around in a mosh-pit.

“We all listened to the same kind of music that not many people care about here in Montreal,” said Mitchell, referring to some of the major influences on Gulfer’s sound. These are bands like Maps & Atlases, Pennines, and Football Etc.

The band also describes themselves as following the ‘emo’ style of music: “Not like […] 13-year-old girl bands,” Mitchell clarified. Emo bands from the ‘90s, like American Football, are some of Gulfer’s other influences.

The band’s rituals before a performance include warming up, and “trying to get [Ford] to not use-up all our drink tickets,” Mitchell said.

For Gulfer, finding a band name was frustrating. “One night, we were a month away from playing our first show […] and saying the stupidest band names we could come up with,” said Mitchell. He suggested “Golfer,” and, evidently, this turned into Gulfer with a simple change of a letter. Mitchell explained that the name is really working for them, significantly because it’s a Google-friendly name where you won’t get 20 pages of non-band related search results. As an added bonus, the word Gulfer is also a popular girl’s name in Turkey.
When it comes to Mitchell’s definition of success, he mentions the upcoming tour during which they’ll be hitting a lot of the U.S. Midwest in July and August. “As long as we come home alive, and not completely broke, that would be a success.” Mitchell’s hopes for the band’s future include “having as many people possible listen to us, and playing as many places that we can.”

The musician was drawn to the bass because he believes it’s easier to play than the guitar. He “[doesn’t] have the finger dexterity […] for smaller strings and faster playing” that guitar requires. He highlights how he “hates simple music” and jams on his American-made Fender Precision bass to time signatures other than 4/4 that you can hear on their new album.

Transcendals is to be released on Feb. 23. They recorded the album “with someone who’s worked with actual bands,” unlike their first 2012 album Split with Fago.Sepia, which was recorded with “[their] friend who had never really recorded before.” The band is ready to get their new stuff out there and “show the world.”
They will be sending some copies of their album to Japan. The bass player explains how Japan has “a culture that’s still interested in purchasing music.” There aren’t very many smaller bands passing through the area, like in North America, so people take advantage of new music that is introduced.

Replacing the “o” with a “u” was a good move for Gulfer, and they’re going to continue spreading their math/emo sound to ears all around North America (and possibly Japan in the future).

Gulfer will be launching their album on Friday, Feb. 23 at 9 p.m. at Casa del Popolo. Tickets are $8.

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Music

Humble Haligonian Ben Caplan masters and reinvents folk

Ben Caplan and the Casual Smokers play Quai des Brumes on Friday, Feb. 8 at 8 p.m. (Photo Courtney Lee Yip)

He’s got a beard you could lose a guitar pick in, and he delivers a performance you can lose yourself in.

The music of Ben Caplan and the Casual Smokers is different from what a lot of musicians are doing. With his folk roots grounded in the music of Bob Dylan, Neil Young and Joni Mitchell, Caplan re-envisions the folk genre by drawing from Eastern European melodies and scales, the avant-garde and experimental jazz of John Zorn, as well as the classic blues and soul genres.

Their 2011 debut album entitled In the Time of the Great Remembering has some powerful songs, like “Conduit” which features a deep double bass rhythm, a whimsical horn section and Caplan’s powerful voice behind distorted fuzz.

The title of the album refers to the history of the human relationship with nature and the rest of the world. “We’ve forgotten a lot of things; we can speak of a time of great forgetting,” said Caplan, going on to explain how colonial Europe and the industrial era have swayed our way of thinking. “I am hopeful we can transition into a time of great remembering.”

The songwriter describes the band’s very recent selling-out of three shows in Halifax as “a wonderful blessing.” Once the tour of North America finishes, they will be heading to Australia and Europe where the band has a significantly large fan-base.

“My general philosophy is that nobody owes me shit,” said Caplan, addressing the common question of how a musician, quickly growing in success, plans to stay grounded.

Backstage before a performance, Caplan takes a few minutes to himself to warm-up his roaring voice and sip a little scotch. “Once I step onto the stage, there’s another level that I’m conscious of,” he said. He stresses the importance of engaging with the crowd and being fully present during each performance.

When it comes to the folk singer’s style of music and performance, Tom Waits and Freddy Mercury are two legends that he’s been compared to. “It’s scary and humbling to be compared to such masters,” said Caplan. Though Waits and Mercury’s styles of music differ dramatically, Caplan draws the link that both men are extremely dedicated performers. “I’m a hard-working guy […] and I plan to keep working on my craft every day.”

Caplan trudges around the world doing phone and radio interviews, has a bite to eat and performs for a new crowd each night. “It’s an exciting time to be working in this crazy entertainment industry,” he said. “I think a lot of change is under foot [in the music industry] and transition periods are the most fertile periods.”

These “fertile periods” are what allows the songwriter to dig into each performance and draw inspiration from different styles of music from around the world. Caplan is backed by the Casual Smokers, who are a group of musicians he can really trust, and this frees him do try things he couldn’t do performing alone.

The band will be going into the studio very soon to begin working on their new record. They’ve been touring nonstop and playing their new songs that will be released on the new record.

Caplan also hopes to release some collaborations with other artists within the year. The singer/guitarist describes himself as a live-based musician and finds a challenge in trying to translate this into a studio setting: “To me, the live is the most exciting part […] the studio stuff is a different beast that I’m still learning a lot about.”

Some of the inspiration for his new record comes from the open mic sessions held in Caplan’s Halifax living room which he opens to the public. He explains, “Constantly hearing songwriters from all over the place working out their material helps me gain perspective on my own.”

 

Ben Caplan and the Casual Smokers play Quai des Brumes on Friday, Feb. 8 at 8 p.m.

 

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