Category: Music

Following my recent marijuana hiatus, which will likely be interrupted for The Roots show this week, a few things have changed in my life. I now get up at 8 a.m. almost every morning, I stopped eating 9 times a day, and I don’t allow myself to sit through stoner talk for more then 10 minutes. It feels good and I get a lot more done.

My fist days without bud were so hard that I had to delete all the Bob Marley from my iTunes. Believe me, I used to burn more trees than napalm. Anyway, since we broke up I’ve decided that an ode to Mary Jane was due.

Everybody’s got their own favourites when it’s time to spark so I figured I’d share some of mine. Here are a couple joints to zone out to or, if you’re like me now, just enjoy with a tall glass of orange juice.

Devin the Dude’s “Doobie Ashtray” tops the list for me. The mix between DJ Premier’s subtle cuts and Devin’s nonchalant flow is the best way to crack spliffage.

Follow it by Bone Thugs and Harmony’s “Budsmoker’s Only.” A bud-inspired melodic tune that you can bob your head to casually while getting your mind blown by the group’s trademark two-time flow.

Brand Nubian’s “Slow Down,” a classic track from ’91, will keep the cipher flowing smoothly. The sample-chorus echoes in your head as the strings take care of the rest.

Juelz Santana and Lil Wayne’s “Birds Flying High” will sustain your buzz. A Nina Simone sample carries the song as the two rappers deliver their own take on the art of smoking.

Then you can take it West Coast with Warren G. and Nate Dogg’s “Nobody Does it Better” followed by Snoop’s “It Blows My Mind” and top it off with Cypress Hill’s “Dr. Greenthumb.”

When the roaches are stacking and the baggie is dwindling, throw on “Electric Relaxation” by A Tribe Called Quest and Styles P.’s “I Get High” to end with a banger.

There’s definitely many more to add but if you need a soundtrack for your next session, throw these on and kick back. Let me end this with righteous words given to me by my ninth grade teacher: “Don’t smoke weed, read books!”

That being said, it would be a shame to stay baked on the couch this week. As mentioned before, the legendary Illadelph Roots crew is performing at Metropolis on March 25 so hurry if you don’t have your tickets yet.

There is also a ?uestlove DJ set on the same night at Le Sociale (on Bishop) organized by Sofa King Raw and Le Kop Shop. Tickets are available at Off The Hook (1021 Ste. Catherine W.) and Le Kop Shop (111 Roy E.)

For a good laugh, check out Hip-Hop Karaoke, a new concept in Montreal introduced at Lola Lounge every last Tuesday of the month and going on its second run next week. So if you think you can handle Busta’s “Gimme Some More” somewhere else than in the shower, come show them what you’ve got.

If you’re ready to get laced in to some new gear, check out ‘Illusion Of A Dream’ at Metropolis on March 22. The fashion show, attended by heavy industry people, will showcase new up-and-coming designers and give people a chance to catch a glimpse of the next trends. Keep an eye out for Proper Apparel, a local new brand that is simply too fly.

Got beats? Rhymes? Opinions? Events? Send them to my gmail…

Every-Ting Irie!

Classic Gems:

Afu-ra: “Whirlwind Through Cities”

BDP: “South Bronx”

Mos Def: “Traveling Man”

New Jams:

Little Brother feat. Kardinal Offishal: “Cross That Line (remix)”

DJ A-Trak: “Stuntin Like My Guitar”

Uncle Murder: “Bullit Bullit”

Addictiv isn’t afraid to throw down a challenge, especially a big one, when it comes to two of her closest passions: music and Canada. She’s stamping herself as the Canadian queen of hip-hop and R&B, and is ready, even encourages, anyone who wants to challenge her. I connected with the Montreal-native over the phone, at the end of her whirlwind week in Toronto.

“It’s not disrespect to anybody in Canada,” she said. “Nobody else has stepped up. My name’s Addictiv, and that’s a lot to live up to. I’m representing properly and strong.”

Before her debut album drops early summer, her first track Little Game is getting big radio airplay and a lot of traffic on her myspace page. Checking out the scene last week at Toronto’s Canadian Music Week, Addictiv was also in town celebrating two nominations for best new artist at the Canadian Radio Music Awards. “I’m not a diva . . . yet,” she laughed. “I haven’t earned that. Right now it’s about working on the music, blood and sweat. First I have to execute.”

Independent label Urban Heat Music has already invested a lot in Addictiv, aka. Tasha, recognizing a true artist because of her dedication and love for the music. They are also confident backing up her claim to the northern hip-hop and R&B crown. Urban Heat owner, Miguel Lopez, said “She doesn’t rap, loves rap, but she’s a singer. To be honest, she’s the closest thing Canada has to Mary J. Blige. And she lives the hip-hop and R&B way of life. She’s hanging out with the boys, going out bowling with the boys. She’s a real person and down to earth.”

She’s opened for Erykah Badu and Ashanti, and has worked with international artists like Papoose and Kay Slay, but stays focused on her commitment to making music, which she says has always been in her blood. Growing up there was always music playing in her house, from her dad practicing piano during the day to more lively evenings. She credits her family for inspiring her taste for music as a kid, and these days for helping her stay grounded.

She also gives others around her a lot of credit for keeping her head level, like Lopez, Urban Heat, and her management. Despite some education in New York City and feeling out the flavours in Miami and Los Angeles, Addictiv picks up knowledge in other places to bring it home to Canada. “I’m representing here,” she said.

And she hopes to see a bit of a shake-up in the Canadian scene. “There’s only a small handful of names from urban sound in Canada and I know we’ve got talent. We’re not raising a big enough buzz and rely on American acts too much. Forget that. We can do it. Radio needs to take on a Canadian artist and play the (grunt) out of it, and knock off some Americans. We gotta change that, and so it’s not just rock in Canada.”

The debut album will show off her range and power as a singer and song-writer with a mix of commercial tracks and introspective ballads and mid-tempo tracks, in what could be described as her ‘biography.’ “Music is the soundtrack of everybody’s lives, and mine,” she says. “I try to put myself in other people’s shoes, and also think about what I like to hear. What we listen to before we go out to the club, or when we get sad, or mad . . . everything that’s around us, there’s a song for it. A song can be about nothing, some hooky track with a good vibe you hear at a club.”

With an album and tour on the horizon, the singer, who describes her R&B style as sexy and class, not slack, holds some secrets back. “I don’t want to pull all my tricks out of the bag at once.” She does mention a cross-country tour she’ll be undertaking to visit high schools, promoting things like safer-sex, the dangers of drugs and the importance of education. Sharing a good image with kids is another important part of her growing success.

Get Addicted.

Visit the official website www.addictiv.com

or www.myspace.com/addictiv

“We’re going to hell in a handbag!” Tamara Nile devilishly exclaimed. “We tend to think we’re screwed and things can look really daunting, but that attitude doesn’t help. I believe that even in the face of things looking terrible, we have immense creative power. There’s hope and we aren’t powerless.”

With her debut full length release At My Table, armed with her banjo, her soul driven voice and thought provoking lyrics, “powerless” is the last of the very last descriptive words out there for this artist.

With word from the West, this British Columbian songstress is being praised as “the biggest roots noise out of [those] very rootsy parts since Neko Case and the Be Good Tanyas.” With songs like the haunting acoustic “Willie”, the sticky-catchy “Friday Night” and the fresh feel good reggae number “Get Together”, Nile seems to have no musical limitations and has merited the noisemaker status.

Why did you choose to title your debut full length album At My Table?

I have a large kitchen and a lot of the action in my house goes on at the table. I did a lot of work for the album there. There’s actually really good sound quality in my kitchen; the song “Something Better” was recorded at my table!

There is a vast variety of genres on the album; pop, folk, roots and even reggae. Can you tell us what inspired your reggae infused song “Get Together”?

I love reggae! It just has a feeling of community. I love that when I go to a reggae show there is such good vibes. I’m influenced by reggae and I wanted this song to feel good. We don’t need anymore doom and gloom.

Inspiration is an interesting thing. It can just arrive from somewhere you don’t know. Sometimes it’s like your tapping into something and transcribing it. That’s how it was with “Get Together”; it just arrived.The song is like a rallying call to set aside our differences and get together. We can get back on the right track.

Do you think we have become that disconnected and detached?

People seem to be more and more isolated; very individualistic.

Do you believe there is a remedy for this isolation?

That’s a good question. I certainly make efforts to connect with people. For example I have roommates, I’m friends with my upstairs neighbours, we have a garden in our backyard and we all garden together. I have dinner parties and jams at my house.

I also have a show that I put on at a club every month where I bring people together from different disciplines and genres of music and get them together on one stage and connect.

What else do you think we could do?

Fight the wave of individualism and consumerism; the things that are brainwashed into us. We get stuck in a cycle of production and consumption. We produce to be able to consume to be able to produce and to consume again.

It’s like a treadmill and I try to step off that treadmill and be in the moment and enjoy life.

I read that the lead song on the album “Trees” is an ode to a simpler, joyful life. What are things that make your life simpler?

“Trees” is about the way I grew up. I would love to be able to live that way again. Right now I’m very involved with my music, but I hope to live a life outside the city, grow my own food, and be a part of a small community.

I don’t think it’s about simpler, it’s about being more connected to nature and the cycle of life. In an urban environment there are all these distractions that can take you away from some very important parts of life.

Which important aspect that is lacking in an urban environment comes to mind?

Intergenerational contact. It’s something needed in the evolution of humans; to be around people of all ages, children and the old. It’s something normal and important. Now there seems to be less of that.

In the city there’s this weird age segregation and I don’t think it’s healthy. Old people are hidden off in retirement or senior homes. Then there’s this fear where everyone is afraid for their children so nobody talks to kids because you don’t want to be considered a creep.

Speaking of images, would you consider your music political and socially conscious even if the messages are soft, subtle ones?

I don’t want to jump out and be this political artist because then you get pigeonholed.

I like being subtle to the point that some people may think [my music] is light and fluffy. But I want to empower people through music. I hesitate to say that because it almost sounds arrogant on my part to think that I could.

But my aim is to empower myself with my music and hopefully empower others. I wanted to make music that is meaningful and beautiful. Something that I like and that other people would like.

And if I make something I don’t like I won’t put it out there, I promise.

Tamara Nile plays the Yellow Door, 3625 Aylmer 514.398.6243 on Friday, March 16.

In this hip-hop world full of death threats and drug talk, a rap group full of nice guys that just want to party, spread good vibes, and please the girls is hard to come by. Fortunately, upon hearing French rap collective TTC, one needs to look no further.

The group performed songs from the new album at Sala Rosa last Monday and the response was nothing less than ecstatic. When rapper Cuizinier invited girls to the stage for a couple of songs, a dozen vigorous females rushed up and crowded around them. A little while later, when the group performed their hit “Dans Le Club”, the dance floor turned into a moshpit.

Hailing from Paris and composed of three producers- Tacteel, Para One, and DJ Orgasmic- as well as three rappers – Teki Latex, Tido Berman, and Cuizinier- this six-man collective just released their third opus 3615 TTC and came to pay us a little visit for a ritual celebration.

“We always look forward to coming to Montreal. We get very inspired, especially when we eat poutine,” Teki Latex said.

TTC’s relationship with Montreal has quickly turned into a love story. Ever since their first performance here at the SAT in 2003, the group has been coming back to here several times a year to a loyal and adoring fan base. Bringing a bag of new sonic explosions and quirky antics each time, TTC always delivers a fun time to enthusiastic boys and girls. Their reputation here was officially solidified when they released the local anthem “Pour Te Rechauffer” with Montreal rap group Omnicron and producer Ghislain Poirier.

In essence, the goal of TTC is to developing a blend of futuristic sounds that can be accessible to a wide spectrum of people. Equally influenced by the G-Funk era than by the late 90s New-York underground hip-hop scene, TTC are fans of music before anything. ” We’re very inspired by local, homegrown music scenes like snap music in Atlanta or Ghettotech in Detroit” explained Teki, “so we pay homage to it in our own music.”

TTC’s wide musical connoisseurship is what allows them to walk a fine line between different musical genres. “When we can find a meeting point between American music’s efficient, first degree sounds and Europe’s more elaborate intellectual style, that’s when it starts getting interesting” explained Teki.

He also points out that the relationship between America and Europe has fueled music for a long time. From German group Kraftwerk’s invention of electronic music, which inspired Bambaatta’s “Planet Rock” giving birth to techno, which in turn inspired Euro dance music that years later influenced Lil Jon’s development of Crunk right back to TTC’s music today, it has always been a dialogue between the two continents.

The group’s endless quest for innovation also extends to rhyme skills. Taking a cue from Wu-Tang, Teki, Cuizinier, and Tido’s very distinct flows bring a somewhat theatrical aspect to the TTC experience. “From the start, it was very important to us that each member have his own style, his own flow, his own voice, his own themes.” They had their chance to prove that last Monday when all three busted out tongue-twisting accapella freestyles to an impressed crowd.

If you missed the concert last week or the party at Club Lambi last Saturday, where DJ Orgasmic delivered a delicious set, do not fret. The boys will be back in town by July to perform for the Francofolies De Montreal. Until then, go buy a copy of 3615 TTC and tell all your friends you found a new way to learn French.

This Toronto trio is definitely playing outside the lines and breaking all the rules. Best of luck categorizing this breed of rock from guitar/vocalist Brent Jackson, bassist Matthew Jameson and dummer Michael Taylor.

The Junction’s self-titled album begins with the hard rocking opener “Station Me” then smoothly and nearly flawlessly shifts into alt-rock emo sounds and indie-rock territory.

Darker rock tracks turn to lighter, brighter radio friendly pop tinted numbers with catchy hooks like “Deceptions” and “In Recall”.

Listen a few minutes longer and underlying jazz influences and classic rock vibes resonating The Police surface.

Then just when you think you may be acquainted with their sound and you think you’ve figured these boys out this Jekyll turns Hyde; a dark scratchy rock revisited (see “The Darkest Hour”).

The Junction defies the laws of the biz, embodies the sound of splitting multiple personalities and is breaking boundaries all in a days work.

FREE TICKETS!

Be the first to email concordianmusic@hotmail.com after midnight Thursday, March 15 to get your name (and a friend’s) on The Junction’s Guestlist for their March 19 show at La Sala Rossa!Type the band name THE JUNCTION in the subject line and include your full name
and phone number.

Students Taking Action Now (STAND) Concordia is organizing Rock Darfur, a benefit concert March 15 at Club Lambi. Bands featured are: La Defense, NateEscape, Heruba, Feel Gud and Polar Eyes. All proceeds go to Doctors Without Borders.

STAND consists of Concordia students seeking to raise awareness about the major humanitarian crisis in Darfur. Darfurian rebel groups are in conflict and civilians are suffering in the crossfire.

STAND member Roxi Benchman said, “This is a passion for us. This concert was organized to provide direct aid and try to ease at least a bit of the suffering.”

The Save Darfur Coalition’s website (www.savedarfur.org) estimates that about 400,000 people have died and over one million people have been displaced. A more substantial study was conducted by the UN’s World Health Organization in 2004, estimating the death of displaced persons from diseases to be at 70,000. However this study doesn’t include the death toll for the past three years.

Doctors Without Borders has been working in Darfur for the past four years and has over 2,000 staff workers in 17 regions of Darfur. The organization focuses on working with victims of violence and setting up health centres to handle infectious diseases and other medical needs. Relief workers risk their lives daily.

Philip Humphris, the head of the West Darfur mission, reports about 12 humanitarian workers have been killed in Darfur since May 2006.

The bands in Rock Darfur support the endeavor to raise awareness about Darfur. Jason Lalonde of La Defense said, “Knowing what about the situation in Darfur has definitely peaked my interest, and now I’m hard-pressed, wondering what else I’m not aware of. The most important thing is being informed and showing support.”

In addition to the bands performing, there will be poetry readings. The event takes place Thursday, March 15 at Club Lambi (4465 St. Laurent) from 7 p.m. to 12 a.m. Tickets may be bought in advance or at the door at $10.

For more information contact: stand.concordia@gmail.com or visit www.msf.ca and www.doctorswithoutborders.

Greetings Dudes and Dudettes,

A heated debate has emerged in the world of hip-hop heads in the past few months following Nas’ latest half-decent album Hip Hop Is Dead. Basically, it revolves around this very important existential question: Is hip hop, in fact, dead? There’s a million different ways to answer this which leads to a million more questions and debates.

Of course if you look at the way hip hop culture has breathed air in mediums like graphic design, theatre, and social activism, then its definitely alive and well. It’s also alive through commercial rap (i.e. pop music) but the rebellious, anti-establishment concepts at the root of the culture are nowhere to be seen on the horizon.

We can say it’s also alive through independent, underground artists but too often these guys fall into the cliche of basing their whole style on criticizing commercial rap. And as much as I agree with them, it just makes the music boring and redundant.

So we can say that hip-hop, as pioneered by godfathers Kool Herc and Bambaatta, is, if not dead, definitely on life support. But instead of mourning the departed, let’s take a minute and celebrate the birth of this simple form of expression that has extended its influence to the four corners of the world, from China to Chile.

Here’s a quick history lesson for all of you who know every word to Coolio’s “Gangster’s Paradise” but have never heard Rakim’s “Microphone Fiend.” Hip-Hop’s birthplace is Cedar Park, on the corner of Cedar and Sedwick, in the Soundview Projects of the Bronx, New-York. That’s where DJ Kool Herc, a jamaican-born New-Yorker, would throw park jams and ingenuously decided to buy multiple copies of identical funk records and play doubles of what is known as the “break.” This began in 1973 and led to people developing the very first breakdancing techniques and MC skills.

It’s also when graffiti started popping off in the city but its roots can actually be traced back to WWII when dying soldiers would write next to their death place “So-and-so was here” before their last breath. Within years, Afrika Bambaatta’s creation of electrofunk with the quintessential record “Planet Rock” was the spark that fueled the groundwork for not only hip-hop but also dance, techno, house, and Miami base. It’s interesting to see that Bambaata was heavily influenced by German electro pioneers Kraftwerk who’s 1977 release “Trans-Europe Express” was sampled for the melody of “Planet Rock”. Ironically, two German dudes named Hutter and Schneider played a key part in the development of hip-hop.

Then came Run-DMC, KRS-One, Rakim, Big Daddy Kane, Brand Nubian, A Tribe Called Quest, Geto Boys, Outkast. And then P.Diddy happened. Damn it. But rest assured, even here in Montreal there are plenty of things that would make the pioneers proud of their legacy. In the coming weeks, I’ll make sure to shout out the people that provide ICU to the greatest invention since the wheel. In the meantime, cook up those beats, finesse those rhymes, and let’s make sure hip hop never dies, aiiiiiiiiiiiight.

Babylon Burn Down!

Classic Gems:

– AZ feat Nas: “How Ya LiVin'”

– Fab 5: “Leflaur Leflah Eshkoshka”

– Geto Boys: “Gangsta Boogie”

New Jams:

– Sean Price: “P-Body”

– Styles P: “How We Live”

– Fabolous feat. Lil Wayne: “Diamonds On My Damn Chain.”

Chantal Kreviazuk conquered the stage at Spectrum de Montreal on Friday, March 2.

From the moment that I stepped into Spectrum, the atmosphere was already set for a night of brilliant music. It was an intimate experience sitting at closely arranged tables, sipping drinks under romantically dimmed lighting.

Whether you were with someone special or just hanging out with a friend, the show was definitely enjoyable and worth seeing. Chantal’s vocals were stronger than ever and revisited the fact that there is nothing comparable to a live show with the artist in the flesh.

Not only did Chantal rock the venue with tracks from her latest album Ghost Stories including “All I Can Do” and “Wonderful”, but she also blew the audience away with songs such as “In this Life”, “Time” and an unplugged version of “Far Away”. Moreover, Chantal performed “Leaving on a Jet Plane” with her son in her arms which made it more of a family affair.

Raine Maida, her husband, opened the show with several tracks from his solo album Love Hope Hero. Raine also performed a lighter version of “Innocent” which made everyone in the audience reminisce about the good old ‘Our Lady Peace’ days.

Chantal thanked her ‘favourite audience’ with more of her classics “Before You”, “Surrounded”, and “Feels Like Home”. It was surely a night to remember.

With my heart pounding and palms sweating, I nervously dialled his number. The ringing was interrupted by a friendly, inviting “Hello?”

If I hadn’t been leaning against the back of my couch, the only sound Dominic Cifarelli would have heard through the phone line was the “thud” of my unconscious body hitting the floor. I struggled to maintain my composure and tried to keep the giddy school girl inside me quiet.

“I’m a huge fan of yours!”

Oh well, so much for that idea.

Part I: The Introduction

Many who know of Dominic Cifarelli, one of Montreal’s great musical talents, first heard of him through the now defunct Montreal rock band Pulse Ultra. Lately, people have been discovering Dominic through another band he was part of: Rise Electric, fronted by Lukas Rossi (now of Rock Star Supernova). No matter what led us to him, the path followed or turn of events bring us to his current project: The Chronicles of Israfel.

Part II: The Beginning

“It was while we were looking for a new singer for Pulse Ultra, that the idea of making an instrumental rock album came about,” Dominic said about the beginnings of The Chronicles.

“After recording with Pulse Ultra I would go back to the studio with Joey Bastone and jam. It felt great, I did what I wanted without being told to stop or have a group discussion with a band. Joey just backed me up.”

The chemistry between the former drummer of Unbind and Dominic led to the recording of a few songs. It wasn’t long before Joey encouraged Dominic to take this project further. And he did.

Part III: Israfel

For a year and a half now, Dominic has been writing and recording the first, and highly anticipated, The Chronicles of Israfel album. The album’s songs create a story about a boy who’s lost in a big city, slowly discovering his split personality and coming to terms with it. This premise gives way to a diverse album of heavy riffs, sinister vocals, as well as a somewhat lighter symphonic side.

The music is actually the score to a movie, which is, for the moment, trapped in Dominic’s creative mind. He passionately talked about his ideas for videos and future albums.

“Future albums?” I politely pointed out that his first album isn’t out yet and already future albums are being planned out? “Four, maybe five,” he affirmed.

Having complete creative control over The Chronicles of Israfel seems to have opened up the gates to a flood of original ideas and inspiration. “A lot of the songs are based on my dreams,” he said explaining the dark content in his music.

Having such graphic and vivid dreams led to darker songs which, after a while, brought the usually upbeat Dominic to a different state of mind. “I would have these dreams, then spend hours in the studio recording. I thought, ‘I need to take a break’.”

The need for a break is understandable, not many artists spend almost two years on a record. So, what happened? “The album was supposed to be released in August 2006.”

Ok, so he’s a little behind schedule.

“I’ve gone way over budget,” oh, and spent a bit more on this than planned. What started as a guitar centred rock album, has now turned into something more.

“It’s experimental, progressive rock,” he described. “But I consider it metal rock.” Having heard two of the songs available on his Myspace page, I sensed an orchestral feel to the tunes.

“It’s funny that you say that because we brought in a violin, cello, and viola.” Dominic carried The Chronicles to another level.

“Every month that went by I just kept adding something to it, like the strings. It got to the point where my cousin said ‘we’ve gone this far, let’s just do it.'”

Part IV: The Man, the Cousin and the Album

“I started playing the guitar because of my cousin,” Immediately I sensed a departure in time travel. “I would go to his house, he had these guitars and he taught me how to play some Pink Floyd.”

Genuinely excited, Dominic talked about how the man who taught him how to play guitar was now supporting him morally and financially with The Chronicles of Israfel.

“If he didn’t like the music, he wouldn’t be supporting it,” said Dominic.

With the amount of respect Dominic has for his cousin, something tells me that having gained his cousin’s approval of the music means more to him than the money.

With the go-ahead from his cousin, Bridge of Hands Entertainment was created. “It’s a way for me to just get my music out there without having to answer to anybody.”

With such a positive attitude and driven determination, it’s hard not to respect this musician. Can The Chronicles of Israfel album be expected soon?

“March! Definitely!” Dominic resolutely vowed.

Angèle Dubeau
Angèle Dubeau Solo
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Angèle Dubeau’s new album, Ang

Of Montreal, (not actually of Montreal) paints the darkness of depression with vivid color and glitter. This quintet from Athens Georgia, fronted by guitarist/vocalist Kevin Barnes, are currently on tour supporting their eighth album Hissing Fauna, Are You The Destroyer, a full length recording of contradictory delight.

Hissing Fauna is a sweet combination of gloomy lyrics harmonizing with happy neo-psychedelic sing-a-long indie-pop. This recipe seems to be the perfect remedy for despondency. Of Montreal’s bassist Bryan Poole took a few minutes to chat mobile to mobile before jumping back on their tour bus.

How does an American band end up with a name like Of Montreal?

That’s pertinent considering you’re actually of Montreal, we usually don’t like answering that question, but I will. There are a lot of different stories floating around about this. Kevin was a gymnast at an early age and there was a really important competition in Montreal. His dismount went awry and he broke his leg! So that took him out of the competition. At that point his life had been geared towards gymnastics and there he was being sent home to recover. He had to recuperate and stay in bed and that’s when he picked up the guitar. If it wasn’t for this accident he might not have discovered playing music. In a weird way, for Kevin, where the music comes from is Montreal.

What is the significance of the album title Hissing Fauna, Are You The Destroyer?

For the most part, Kevin has gone through a lot of stuff in the last couple years in his personal life; a lot of depression, anxiety and paranoia. He got married to Nina, a beautiful Norwegian girl, who played bass with us. Things we’re going very well, but then uncertainties came. Trauma rose between Kevin and Nina. We toured for nearly two years straight and he was gone all the time and wasn’t seeing his baby girl grow up. One decision was good for the band, but then hurt his family. Kevin felt the world and everything was plotting against him in a way. I think he really felt like things were out to destroy him.

The first song on your record is called “Suffer for Fashion” and that reminds me of the lack of fashion or rather the lack of clothing regarding a little commotion I heard about at a show in Las Vegas where Kevin took it all off.

Yup! Kevin got naked! Just something Kevin felt like doing. It was a 21 and over show and it was Vegas! We even asked the venue if they were ok with it. They said “Hell yeah!” It was just something about pushing the boundaries of sexuality and freedom of expression.

Seeing you perform, hearing your music and even just looking at your website, you can’t help feel an 80s vibe. What are your favorite 80s albums?

I could give you a list of five Prince records!

Is there an 80s icon you’d love to perform with?

Aw! Grace Jones.

What do you think was the best thing to have come out of the 80s?

Well not Ronald Reagan! [Laughs]

What about Cyndi Lauper or Madonna?

I like Cyndi Lauper, but I’d say Madonna. She had a lot of impact in a lot of different ways. They’ve figured out a whole formula based on her. Britney Spears and that pop stuff are like watered down versions of what she was doing. Mind you Madonna’s on a major label, but she is still an independent, savvy woman! I think Madonna knows how to manipulate. Look, she’s still here and headlining!

David Bowie or Robert Smith?

I absolutely love The Cure. But Bowie is the ultimate! He’s so “I am not what you think.” Creating characters like Ziggy Stardust; he just made things so theatrical. He’s up there with the cleverest!

Mullets or Mohawks?

Ugh! Those perm-mullets were the worst things in the world! I had a mullet, unfortunately, but I was very proud of my Mohawk! Mohawks are cool. Look at the girl from Bow Wow Wow and her Mohawk. That was hot!

Star Wars or Indiana Jones?

Some archeologist finding weird stuff, stepping on something and then arrows shoot out? Hmm. Then there’s space adventure! So Star Wars then! You’ve got Obi-Wan Kenobi and Darth Vader! Good vs. Evil. You know, that’s what it’s all about!

Of Montreal plays La Tulipe, 4530 Papineau Ave., Monday, March 12 at 8 p.m.

For better or for worse; Dean and Britta side by side like Bonnie and Clyde. He is the former front man of the bands Galaxie 500 and Luna. She is the singing voice behind animated sensation JEM & the Holograms. Guitarist/vocalist Dean Wareham and bassist/vocalist Britta Phillips are husband and wife and psych-folk duo Dean & Britta.

Ladies first. Before there was Dean & Britta there was Britta and JEM. The vocalist lent her voice to the “truly outrageous” animated TV series in 1985.

“Yes! She was the singing voice of Jem! But I was too old to have watched it sadly,” Wareham laughed. “We meet some fans who are like ‘Oh my God you’re Jem!’ But it doesn’t seem to have that affect on me. I was just too old at that time.”

Phillips is a beautiful well-rounded artist who’s acting career then debuted along side a stellar cast, Julia Roberts, Justine Bateman, Liam Neeson and Deborah Harry in the 80s flick Satisfaction (also known as Girls of Summer). Britta played in the bands Belltower, Ultrababyfat and Ben Lee before joining Dean Wareham in Luna.

One year earlier Wareham formed the band Galaxie 500 in 1987 creating a loyal following but eventually left to create the band Luna in 1991 where Dean and Britta were first acquainted. After thirteen years of monogamy and devotion to Luna, Wareham began a side project, L’Avventura making an accomplice out of Luna bassist Brita.

“I was just going to do a solo album of covers, and then Britta started helping me with it. She had a couple songs she had written and I had a couple songs that I had written,” Wareham explained. “It wasn’t planned, yet it turned out great.”

Dean and Britta’s musical collaboration didn’t end with L’Avventura and survived Luna’s breakup two years back.”L’Avventura felt so great that when Luna was over I knew that this was the next thing I wanted to do,” the guitarist said. “I’m not the kind of person who can or wants to do it all myself. Britta has all kinds of musical skills that I don’t have.”

Together, Wareham and Philips bring their second full-length album as a duo Back Numbers to life. “We just work well together. I’ve always needed someone like that,” said Wareham.

Dean & Britta play The Main Hall, 5390 St. Laurent, Saturday March 10, 8 p.m.