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Music

The Strain know best: family and friends come first

If you look up directions from Montreal to Wakefield, Google Maps will point you two and a half hours westward — three hours and

The Strain plays Petit Campus on Monday, Jan. 28 at 8 p.m. Press photo

three minutes in current traffic. Nestled in the boonies of our frigid province and glued to the Gatineau River, this cozy, friendly, quintessentially-Canadian small town is where The Strain hangs its hat.

Adhering to their modest beginnings, the band’s roots are equally quaint. Today, the self-proclaimed “electro/alt-pop-rock” group is comprised of siblings David and Rylee Taggart, their cousin Alex Serre, and longtime childhood friend Nick Johnston. When The Strain started out, however, it was merely half its current size.

“[Serre] and I have been in bands forever, since I was 12 or 13 and he was 10,” said David. “We were just a duo, in cover bands doing Green Day, Nirvana, and The Beatles.” At 15, they were opening for screamo bands at the Black Sheep Inn, a venue that has helped put Wakefield on the map.

“Our voices were so high, it was pretty funny,” said David. “But it introduced us to the gig scene early. We learned at a young age what it’s all about.”

With no other bandmates, the duo headed home to recruit David’s volleyball-playing sister Rylee, who “had a piano kicking around” and “used to watch YouTube videos so she had rhythm.”

Family friend Nick, who had his own solo guitar act, was also taken on, and The Strain was born. Since that fateful fusion, progressing as a unit has been smooth and natural.

“Being in a band with your relatives is a lot easier because you don’t have to beat around the bush,” David said. The singer/guitarist admits to having the occasional sibling argument with his sister, but smooth sailing is the norm.

Big Money Shot, a competition open to bands around the Ottawa region, was an essential stepping stone towards success. Out of 60 participating bands, The Strain took home the $25,000 grand prize. The winnings went towards funding their tour, buying some gear, and hiring a public relations company. And of course, their humble roots backed them up every step of the way.

“Our town was so supportive,” said David. “They were the most rowdy, they made the most noise. Our whole town, young to old, we packed a school bus and they came to the grand finale.”

The band’s small-town upbringing also played an indispensable role in the production of their music. “A lot of our songs were influenced by the characters that were in our small town and the stuff they do,” said David. On Three Sheets in the Wind, the track “Earl” pays homage to Wakefield’s very own town drunk —  a character indeed.

“I remember this one time when he left our house on New Years Eve and he shouldn’t have been driving,” recalled David. “He barely got out of my driveway and went into a ditch. He got upset and said, ‘If you guys can get it out, you can have it!’ So [Serre], my sister and I, and a friend spent the whole day pulling it out with ropes attached to our van. Then we had a joyride around town.”

Representing a younger demographic (David is 21, while the rest of the band members are 19) has taught The Strain how to garner respect in a whole new way. “Some people saw that we were young and pretty much judged a book by its cover, but when we started playing, it changed their minds.”

From the days of diaper bags —  David cites one particular video from Alex’s first birthday in which Nick can be seen getting “run over by his mammoth dog” —  to their current tour across the Canadian East, The Strain has been and will always be a family affair.

 

The Strain plays Petit Campus on Monday, Jan. 28 at 8 p.m.

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Music

Plaster wants to Let It All Out

Plaster’s latest album Let it All Out

Plaster is like no other electro-rock band. The trio is one special unit, working in harmony to mix and match a handful of different sounds. They harmonize bass with drums and keyboard to create a vibe that gets you dancing all night long. Most impressive is that the majority of their repertoire is instrumental, which is somewhat rare in this day and age.

“There’s no singer in the band, so the space that a singer normally occupies in a band has to be filled by the musicians by the way we perform and by the way we put on a show,” explained drummer Jean-Philippe Goncalves.

Plaster, composed of keyboardist Alex McMahon, bassist François Plante and Goncalves on drums, released its debut album First Aid Kit in 2005. It was awarded Best Electronic Album at the 2006 edition of the Gala de l’Association québécoise de l’industrie du disque, du spectacle et de la vidéo. Following the tour for that album, they were all busy with side projects and took a break from composing. Their latest album, Let It All Out, was released in May 2012 to rave reviews.

“At one point, after all our other projects came to terms, the planets aligned and the three of us were available, and we wanted to start working on a new album,” said McMahon. “During those years we also tried meeting almost every season for a recording session at the studio because the desire to do that kind of music was there, but the time to get implicated in recording a whole album was not.”

After taking a seven year break from music production, the band admitted that when they finished recording their latest album, they almost couldn’t believe it.

“When [Let It All Out] came out, there was a whole generation that didn’t know us from before, and other bands have come into the spotlight while we were working on other projects, but we’re slowly making our way back to where we were,” said Plante.

“Our new album is a new thing for many people, and for those who remembered Plaster from before, I think they were curious to hear the new material,” said McMahon. “I don’t think anyone was disappointed, and for those who didn’t know us, I think we offer a kind of music that is even more accessible to people than what we did on the first album.”

The trio played this year’s M for Montreal festival and things are looking good for the band. Plaster’s Montreal comeback show is next on the agenda this Thursday at Club Soda.

“We worked really hard on this show, and we’re pumped to present it to everyone. Hopefully the crowd will be as pumped as we are,” laughed McMahon.

 

The Concordian is giving away a pair of tickets to Plaster’s Nov. 29 show at Club Soda, 1255 Saint-Laurent Blvd. Follow @TheConcordian on Twitter for details.

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Music

Malajube taking a well deserved breather

After nearly a decade since their debut in the francophone cultural landscape, it’s time for Malajube to take a break. To close their 2012 tour, the franco-rockers have chosen to play one last show in the city they’ve called home for years — Montreal.

Malajube will perform at the Corona Theatre on Nov. 28. Photo by Joseph Yarmush

While originally from Sorel-Tracy in southwestern Quebec, the French indie rock band has won numerous recognized prizes. In 2006, Malajube won three Felix Awards at the Gala de l’ADISQ; they were awarded Best alternative album and Best cover art for their second album, Trompe-l’oeil, as well as Revelation of the year. The band reached national recognition that same year after being shortlisted for the 2006 edition of the prestigious Polaris Prize. With the 2009 release of Labyrinthes, the band again was shortlisted for the Polaris Prize.

With all of these in hand, they feel they are ready to take some time for reflection.

“With four albums in our pocket, the need has been stronger than ever to take the time for pausing,” said Francis Mineau, the band’s drummer. “It’s the end of a cycle and the beginning of a new one.”

Next year, each group member plans to focus on their own personal musical projects, and many of them will be solo albums. It’s an opportunity to reconsider their individual places inside the collective. As Mineau described it, it will allow them to “take a breath of fresh air outside of the common project.”

A common project that they without a doubt wish to continue next year when they get back together. With gratitude, Mineau recalled “the amazing encounters along the way and the incredible opportunities seized on our path.”

It’s about taking a step back to get an overview of everything that has been done.

When asked what form this moment of reflection will take or what they want to do during these months the drummer didn’t have an answer. He may not have one until their final show at the Corona Theatre this week. But Malajube is confident about one thing.

“It’s not just about releasing another CD, just to release another CD,” said Mineau.

It’s about situating their upcoming musical creation inside the course of their career in order to determine what the next step will be. And first and foremost, pinpoint what they can offer to their fans.

At the end of it all, as Mineau underlines, the most powerful link is the musical one. It’s about erasing yourself behind your songs, and giving music as a gift to those that are present to receive it.

 

Malajube play the Corona Theatre on Wednesday, Nov. 28. Tickets are $23 + ticket fees.

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Music

Kid Koala, collaging mistakes into masterpieces

Photo by Corinne Merrell

Pushing boundaries is simply what Eric San does. Over the course of his already 24-year career, Kid Koala has tested his own creative boundaries, challenged his collaborators to think differently about their work, and experimented endlessly with instruments and turntables. In the process, he’s challenged his fans’ expectations and led them through a maze of musical twists and turns.

And he’s not quite done yet. His most recent effort, 12 bit Blues, boldly plays with old-school raunchy, Delta-blues beats, tones, and tunes. From the sounds of it, it seems the Vaudeville Tour he’s built around the album will be pushing some boundaries of its own.

“We didn’t really know what to expect,” said San. “There aren’t usually these kinds of events happening in these venues. I actually didn’t know how it was going to go until we did our first show in Geneva a month ago.”

Describing Kid Koala as a jack of all trades would be bit of an understatement. Let’s say he’s not fully content with completely shaping and altering the very world of ‘scratch DJ-ing’ and hip-hop by sampling acts as legendary as the Beastie Boys, Radiohead and a Tribe Called Quest.

Kid Koala wanted more so he followed his many curiosities and succeeded at writing and illustrating children’s books and at laying down tracks for projects as different as Sesame Street and Scott Pilgrim vs. the World. He’s also created multi-media, multi-sensorial immersive show spaces in which he played music meant to cater to every sense. He’s toured with an experimental edgy (borderline sludgy) band called The Slew while simultaneously working on children-focused tracks, lullabies and soundtracks. He’s an interesting guy.

There is something slightly disarming about a person who can speak with equal passion about all of these things. Despite having all the street cred’ necessary to jump into the highlife, Kid Koala has kept his focus on the music in a world now packed with rockstar-status DJs.

“I’ve always found it kind of funny, because I’ve never met a DJ […] and I don’t care how much they’re making by show here. At the core, they’ve always been that shy kid,” San explained. “They were the ones at high school who felt more comfortable in front of $800 worth of turntable equipment than being out there as like, the captain of the football league.”

And that, perhaps, is why so many people connect to the music they create and the performances they put on — because they just seem like introverted guys or gals who love what they do. But by being human and relatable, artists like Kid Koala allow themselves to be vulnerable to glitches and imperfections. For most of us, that part of being human is something we try to avoid and steer away from. But Kid Koala kind of likes the mistakes and he almost prefers them to the perfect deliveries.

“The shows that go perfectly, you’re always saying ‘Yeah! That was awesome’. It’s not that they’re forgettable, but it’s just that all of a sudden, the stars all aligned and it just worked out,” said San. “But the times that it’s a complete disaster are the funniest ones. They’re the ones that end up making you smile the most. I like to have that element of danger.”

As far as success goes, the ability to measure it in millions of dollars isn’t really the point for him. It’s the testing of the boundaries; it’s the power to distort and play with sounds and how we hear them. It’s the ability to explore every creative curiosity and work with people from every walk of life. That is success.

Kid Koala ‘stepped things up’ a long time ago. He was first introduced to the turntables at the age of 14 and has grown and evolved with them since. Recently, more eyes have turned to the scratch genre, and people have started trying to analyze the tracks.

This led to Kid Koala having to clear things up every once in awhile. It seems a few of our perceptions about electronic music may have been off.

“It’s not really just a kind of collage. I mean, it is essentially. That’s how it starts off. But I think what’s different and unique about the [scratch scene is] it’s never been about the equipment, or even the source material, but what you’re able to do with it,” said San.

The type of work artists like Kid Koala do involves not simply smooth over-laying and switching between two songs, but using bits of songs as the actual notes of your track. And just like the violin is a difficult instrument to learn because of the lack of clear demarcation points on its bridge, vinyl offers only the lines, bumps and scratches on its surface as guidance. Every inch of the vinyl has a note or sound, and scratch DJs seek out every sound and nuance individually.

 

Kid Koala plays the Corona Theatre (2490 Notre-Dame St. W.) on Thursday, Nov. 29. Tickets are $31.90 for general admission.

 

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