Phildel’s latest release, The Glass Ghost EP, is now available on iTunes. Meanwhile, check out the playlist she shared with us during our interview!
Phildel’s latest release, The Glass Ghost EP, is now available on iTunes. Meanwhile, check out the playlist she shared with us during our interview!
The life of Phildel has been anything but ordinary, and she uses the power of her personal experiences to create extraordinary music.
As a child, Phildel found herself entrapped in a religious household void of power and deprived of music. Wordsworth put it best: “We will grieve not, rather find strength in what remains behind.” She left home at the age of seventeen to rebuild her personal identity and to develop the musical visions that had been manifesting in her imagination. The result of those visions can be heard in her debut album, The Disappearance of The Girl, with the title alluding to her past.
Following a stellar performance in Vancouver last week at CBC Studio 700, I had the opportunity to talk to Phildel about the effect that music has had on her, the most rewarding process in making her debut, and the message of her music.
asapmusicblog.ca: To get to know you a little better, I know that you graduated with a degree in English Literature. I was wondering what your favourite course was during your time in university?
Phildel: It was poetry – a general, basic course. In that we studied so much different stuff, from Wordsworth’s The Prelude to T.S. Eliot. Actually, Wordsworth… The Prelude really defined a lot of my artistic vision in many ways, It’s sort of about the landscape and the sublime of the landscape, and the feeling like you can almost go on a spiritual journey within yourself by traveling through the landscape and connecting with nature, and it was something that I found really resonated with me later in my life. But yes, so I’m really close to nature now, and that’s partly why The Glass Ghost is kind of winter-inspired.
A: You grew up in a household void of music, as a form of oppression in the hands of your stepfather. When you finally had access to all of this music you were deprived of, what aspects of it did you connect with the most?
P: I’d say the power of it, and I think because I came from a very… I don’t know if disempowered is even a word, but I came from a place of real vulnerability. The first thing that I loved about music was the power behind dance music and really powerful music, I suppose, that whips you up and gives you this energy and that’s quite euphoric – those are all the things that I loved first off about the music that I was getting into. I think I still kind of have that a bit, like my angriest songs are all dance-y songs that really kind of energetic.
If there were one word to use to describe The Paper Kites, it would be humble.
The five-piece band from Melbourne, Australia began as a collaboration between Sam Bentley and Christina Lacy. After being accepted to play a local music festival, Sam Rasmussen, David Powys, and Josh Bentley were added to fill the band’s roster. The chemistry of the band was evident from their first show, and the rest they say, is history.
The band has sold out most of their Canadian tour dates, and Vancouver was certainly on that list. The Paper Kites played a solid set to a packed crowd at The Biltmore Cabaret, which included a lovely cover of Fleetwood Mac’s ‘Dreams’. It’s easy to see why music fans have fallen in love with The Paper Kites, as their music is as modest as it is earnest.
I had the opportunity to chat with co-vocalist and guitarist Christina Lacy just before they played Lucky Bar in Victoria last Thursday night, and discussed their first headlining tour, opening for City & Colour, and the message behind their music.
asapmusicblog.ca: The Paper Kites are now a few shows into the first headlining US & Canada tour for you guys. The response seems to be really positive so far, and a lot of the Canadian tour dates have sold out – how are you guys feeling about the tour so far?
Christina Lacy: We’re really stoked, to be honest! We’re feeling really stoked – we certainly didn’t expect any of these shows to sell out, let alone having a few of them sell out over here. We’re so excited! Our first couple of shows that we’ve just done in San Francisco, and Portland, and Seattle have been really good and they had a really great response and a really awesome crowd. We’re kind of on top of the world, really.
Hometown: Calgary, AB
Label: 604 Records | Website: http://catthomsonmusic.com
Cat Thomson is a girl on a mission.
With her darkly ethereal vocals and a knack for dynamic arrangements, Cat Thomson is ready to tackle the charts with her debut single, “Sticks & Stones”, set for release tomorrow (October 22nd) on iTunes. The singer-songwriter has been paving her musical path from the moment she started piano lessons at age five to studying opera for five years at Louisana State University on a full scholarship.
Now signed with 604 Records, Thomson is shaping her music with the depth of her voice and lyrical intuition, and this was evident in her performance at Safefest earlier this month. Her full-length debut album, Puzzle, is slated for release in early 2014. I had the opportunity to chat with Cat at Safefest about shooting the music video for “Sticks & Stones”, her songwriting process, and ‘Cassica’.
asapmusicblog.ca: So in relation to Safefest, which you are playing tonight, what was the first all-ages show that you attended and what was the first legal age show you attended?
Cat Thomson: The first concert that I ever went to that would have been all-ages was actually Britney Spears, and it was the Baby One More Time… concert. I remember I was never a big Britney Spears fan, but we went, and it was so fun! I was in grade nine, I think, when that came out. The first non-all ages show I went to – you can see how the tastes have changed – I went to Three Days Grace at Cowboy’s Bar in Calgary, I was just eighteen.
That is, the four-piece band from Vancouver, who signed to Light Organ Records earlier this year and released their hard-hitting The Sharkweek EP back in June. Their namesake was inspired by the energy and stage presence of a post-rock Japanese band, all girls, called Mass of the Fermenting Dregs – in case you were wondering. Those two very words, energy and presence, could interchangeably be used to describe Japanese Girls and their live shows.
Japanese Girls consists of lead singer Charlie Kerr, guitarist Oliver Mann, bassist Chris McClelland, and drummer Graham Serl. The band’s chemistry is quite evident, in their music, in their live performances, and in conversation. I had the chance to chat with Japanese Girls about their humble beginnings, their upcoming record, and their musical tastes.
asapmusicblog.ca: Japanese Girls is playing at Safefest tonight. I was wondering what your first all-ages show was, and what your first legal age show was, that you played as a band?
Charlie Kerr: If we’re talking about when Graham was actually in the band, our first all-ages show was at the Vogue for Supernova. We won a contest – do you know what Supernova is?
Charlie: It was this thing – it was an evil corporation, basically. If you couldn’t get gigs as a band that’s just started off, you get what was called a Supernova gig, which were battle of the bands, and how it worked was if you sold a certain amount of tickets, you got the best time slot for that evening and then the judges judged the bands and whoever won got a prize that they usually didn’t come through with. We got second place, and we won one, and then we got the opportunity to play the Vogue Theatre.
Graham Serl: They also keep all the money from all the ticket sales.
Oliver Mann: They charge a lot of money for their tickets, they keep all the sales – your only intent is to sell is for the place, right? Then if you win, they always have these great prizes but they never come through. We just played Supernova in the end for the venues, because it was a really cool show to play the Vogue.
Charlie: I remember stepping on stage and being like, ‘You gotta remember this, you really gotta take a serious fucking lap around the stage”… because like god willing, it’ll happen again, but that was huge. Our first all-ages show with Graham was an awesome one.
October is a busy month for Daniel Moir, and it has barely begun.
Yesterday marked the release of his third independently released album, Monday Morning, and tomorrow (Thursday October 3rd) is the album release party at The Railway Club, which also signifies the start of a short tour through BC, Alberta, and Washington. For more information on the release party, and for the rest of the tour, check out: http://www.danielmoir.com/.
We had the opportunity to chat with Daniel about the process of making his new record and his songwriting process.
asapmusicblog: Today is the first day of October, and it’s the start of a big month for you with the release of Monday Morning, and a tour beginning in a few days. How has all of that been sinking in for you?
Daniel Moir: Yeah, it’s kind of crazy because it’s been such a long process getting the songs that I’ve been writing for up to three years time and thinking about it for so long. The recording process just about killed me, and I worked so hard on that for quite a long while as well – so it kind of feels like it was never going to quite get here. I woke up this morning and did all the release stuff, and it’s just a pretty surreal feeling today.
There is a sense of familiarity in listening to Jasper Sloan Yip’s music that is as comforting as having a conversation with an old friend.
Perhaps this is due to the heart-on-the-sleeve nature of his songwriting, which is as confessional as it is reflective. Cue the creation of his sophomore album, Foxtrot, which chronicles the ending of a relationship while piecing together the fragments of the life that once framed it.
In the three years between his debut album, Every Day and All At Once, and now, Yip has fine tuned his songwriting craft which is certainly evident in the details of the nine tracks that map out Foxtrot. The first song off the album, ‘Show Your Teeth’, won Shore FM’s Best of BC contest this past May.
We recently had the opportunity to chat with Jasper on the new album, the local music community, and the upcoming cross-Canada tour. Foxtrot is out as of tomorrow, and the release party for the album will be at The Media Club this Wednesday July 17th. Don’t miss out!
asapmusicblog.ca: If you were asked to introduce yourself and your music to someone who has never heard of you before, how would you describe it?
Jasper Sloan Yip: I get that question a lot – I usually say it’s alternative folk-rock, folk-pop. A little bit progressive, at times a little bit psychedelic, but mostly it’s straight ahead alt-folk-rock… these days.
a: When I was looking over the lyrics for Foxtrot, I noticed that your lyrics read like poetry. They have a real poetic sensibility to them. What is the songwriting process like for you?
JSY: For this album, I wanted the lyrics to read really well on the page, almost like a story or in unbroken sentences – I wanted them to be very vivid, I really wanted to paint a picture of our life together with economy. I tried to be poetic, so I’m glad you say that. The songwriting process for me is generally the same – I’m very slow, I dwell on lyrics for a very long time. Usually a melody comes first, and then I dwell on it for a long time, and I walk with it. I do a lot of writing while I walk or ride my bike – something about the rhythm of movement that helps me get the words out.
And often I’ll write a ton of songs – I wrote a lot of songs for this record. I cut up songs and I put all the best parts together to make these Franken-songs, and that’s how I’ve always done it. I write a lot of material, I take the best stuff, and then I put it all together and then I just dwell on lyrics forever. It takes me a long to say what I want to, to find the right way to say what it is that I want to say.
During our chat with Bryan Sammis, drummer of The Neighbourhood, he gave us his playlist picks. Fun Fact: “Started From The Bottom” by Drake is the track that the band came out to before their set at the Biltmore Cabaret.
Check back tomorrow for an exclusive The Neighbourhood contest you won’t want to miss!
The Script is a band with no boundaries. Musically speaking, that is.
The band’s debut single “We Cry” back in 2008 showcased R&B and hip-hop influences, and four years and three albums later, The Script continue to blend elements of these genres together. As guitarist Mark Sheehan explains: “A lot of people think we’re trying to be this rock band, but we’re not a rock band at all – we’re a R&B/hip-hop/pop band. We don’t really prescribe to the rock genre at all.” He has a point. Lead singer Danny O’Donoghue previously referred to it as ‘celtic hip-hop’. There may be difficulty in narrowing down a category to place The Script in, but one thing is certain – the heart and soul of their music is written on their sleeves for the world to see.
Case in point, the track “If You Could See Me Now” on their latest album #3 was noted by the band as a difficult song get through in terms of the writing and recording process. The track is a touching dedication towards Danny’s father and both of Mark’s parents, and steers towards the emotional rapport that the band creates for the listener at such a personal level. Along with drummer Glen Power and the band on tour, this connection is made stronger through their live shows. It is obvious that the fans are every bit as enthused and emotionally attached to the songs as the band is.
I had the opportunity to chat with Mark on the phone just before The Script played at the Orpheum Theatre in Minneapolis on October 26th, and he spoke about life on the road, the touring band, and writing from a personal level.
Happy Halloween! Trick or treat you say? Look no further…
Can you figure out what Jesse Labelle has drawn on the card?
1) Follow us on Twitter @asapmusicblog and RT this message:
RT @asapmusicblog: Win a card designed by Jesse Labelle! – http://tinyurl.com/jesselabelleasap – RT to win! #jlasap
2) Like us on Facebook: http://facebook.com/asapmusicblog – find the designated Jesse Labelle contest status and “Like” it.
Feel free to enter both ways, but keep in mind that you will only be eligible to win one of the two pictures! We will be choosing one winner, per social networking platform. Fans from all over the world are welcome to enter!
Rules & Regulations: Contest will begin on October 31, 2012 and will end on November 10, 2012 – 11:59 PM (PST). There is one (1) card designed and signed by Jesse Labelle to win. One (1) winner will be chosen from Twitter and/or Facebook, and will be contacted within 24 hours after contest closes. We reserve the right to void any entries we deem as duplicates, or if we are unable to contact the winner within 72 hours after the contest closes. One entry per account, per platform.