Nap Eyes Thought Rock Fish ScaleLP/CD/Digital - February 5, 2016
- Lion In Chains
- Don't Be Right
- Click Clack
- Alaskan Shake
- Roll It
- Nap Eyes is Nigel Chapman, Seamus Dalton, Brad Lougheed, and Josh Salter
- Recorded live to 4-track tape, without any overdubs, on the North Shore of Nova Scotia, Canada, 2014
- Recorded and mixed by Mike Wright
- Mastered by Patrick Klem at Klemflastic Sound
- Back jacket and label photos of Pictou by by Nigel Chapman
- Sleeve photos by the Chapman family
- Cover drawing by Danika Vandersteen
- Design and Layout by Brendan Greaves
There is a short poem by the mystically inclined minimalist poet Robert Lax, the entirety of which comprises this single sentence:
the angel came to him & said
I’m sorry, mac, but
we talked it over
& you’re going
to have to live
a thousand years
It’s delivered as an apologetic aside, a joke (“sorry, mac”), but this epigrammatic curse carries a weirdly devastating weight. It’s not immortality that this blunt angel promises—if you can accept the unfathomable premise, living forever might have its fringe benefits, I guess—but just a millennial attenuation of desire, of pain. In the immortal words of Charlie Brown and Kris Kristofferson, why me?
The spectral visitation that occurs in the Nap Eyes song “Alaskan Shake,” a centerpiece of the Halifax band’s gorgeous new album Thought Rock Fish Scale, invokes, oddly and unbidden within the song’s narrative context, a black swallow with a crutch, a familiar who heralds “the ghost of the early morning.” “Speaking like a bell”—an apt description of how songwriter and guitarist Nigel Chapman intones his alternately cryptic and concrete lyrics—this unnamed ghost incites little boys and girls to “stand up and be peaceful” and to memorialize a thousand years of foremothers. The song ends with a generationally unspooling refrain of “My old great, great, great, great, great, great / Grandmother mother mother mother.”
It’s one of several movingly ineffable moments on the album that gathers loved ones and legacies at a cautious if affectionate distance, folding them into carefully articulated but centerless koans. Like the “wolf in sheep’s clothing” in “Click Clack,” these eight songs are deceptively simple and gentle, almost radical in their purity of intent and populist subject matter—they are, after all, minimalist rock and roll ruminations on family, friends, work, faith, feelings. But Chapman’s plainspoken poetry, divested largely of description and rhetoric, renders them enigmatic, oracular, allegorical. So in “Stargazer,” ennui and indecision are distilled to a base need “to be clean and try to control my body / ’Cause nobody else going to.” In “Trust,” what shrinks call “trust issues” catalyze somatic paranoia: “Somebody look at me / Do I have a glass eyelid? / Do I have a glass forehead? / Can you see through it?” And in the shivering, anthemic “Lion in Chains,” the eponymous beast hangs, heraldic and haunted by hometown nostalgia, above singer and audience alike—but only following a beautifully banal stanza about the hot water heater problems at the laboratory where Nigel works as a biochemist.
Nap Eyes recorded their second album in the crisp daylight of late May 2014, in the living room and screened porch of a seaside family home near Pictou, a small Nova Scotian town whose evocative name derives from the Mi’kmaq word for “explosion.” Like all of their recordings to date, the album is framed by a set of severe self-imposed strictures: a mere four days to capture as many songs as possible completely live, with no overdubs, to a temperamental old TEAC four-track ¼” tape recorder. The result is a document pristine in its intentional imperfections.
After the dark, drunken night of Whine of the Mystic (recorded nocturnally in Montreal), Thought Rock Fish Scale brings blinding sunlight and blue horizon to these elemental stories of water, fire, and spirit. Compared with its predecessor, this album is far less concerned with the effects of alcohol—excepting “Click Clack,” with its admission that “Sometimes, drinking, I feel so happy but then / I can’t remember why … Sometimes, drinking, I don’t know my best friend for my best friend”—and more concerned with negotiating the mornings after, all the hungover or otherwise creaky, tentative new mornings of a life assembled from discrete days.
Musically, a new delicacy and tautness manifest here as well, a patient willingness to wait; Josh Salter (bass), Seamus Dalton (drums), and Brad Loughead (lead guitar) exhibit consummate restraint. Sonic touchstones remain similar—The Go-Betweens (particularly Robert Forster’s melancholic bite), The Only Ones, Lou Reed, Nikki Sudden, Bedhead—but here the players circumnavigate the negative space of those artists’ styles, summoning them with fond absence, with silences. (Listen to how “Mixer” uses the space between ringing chords to deconstruct a coed party episode—the most archaic and trite of teen pop tropes—into an analytical out-of-body experience, charting a path from the mall to “my Jesus” to a local judge’s recriminations.)
Thought Rock Fish Scale deploys the language of anxiety and self-reflection as a sort of symbolic vernacular. (“Heavy with moral learning / you grumble and bite,” Nigel sings in “Don’t Be Right.”) Chapman’s songs ask us to consider the ways in which we stupefy and medicate ourselves into passivity and longevity; to consider how we seek to lose ourselves within ourselves; how we endeavor to reorient the mind, or if you will, the soul, to disappear into ease and forgetting. Indeed, Nap Eyes make soul music, in the sense that their music describes, from a position of uneasy humility, the often mundane maintenance of the fragile human soul. How long can we keep ourselves buoyed or crutched, even provisionally, like that sad swallow in “Alaskan Shake”? As Nigel asks in “Mixer,” “Then again what else is there / Another life, some other way?”
- Brendan Greaves, Paradise of Bachelors
Steven Lambke Days Of HeavenLP/CD/Digital - October 30, 2015
- Days Of Heaven
- Sunflower Mind
- Memory Forever
- Dead Stones
- A Good Light And Tired Feeling
- You Know Me Well
- Moonshine Brother
- Under A Dumb Moon
- Days Of Rough Grace
- Songs By Steven Lambke
- With Tamara Lindeman, Ian Kehoe, Ross Miller, Mika Posen, Shary Boyle, Richard Laviolette, and Darcy Hancock
- Recorded and Mixed by Jeff McMurrich at 6 Nassau St, Toronto
- Additional recording by Steven Lambke, Ian Kehoe, and Tamara Lindeman
- Mastered by Harris Newman at Grey Market Mastering, Montreal
- Cover Art: Shary Boyle. La Lune, 2012. Porcelain, glazes
- Photograph © Rafael Goldchain, 2012
- Layout and Design by Paul Henderson
Having very little idea of the sort of thing you’re expecting or desiring, but acting on the gut sense that I was better to move ahead in that obscurity than to seek clarification that might shut down possible directions, I have written three small pieces for you to choose amongst or chuck out entirely. (See attached.) I don’t know what you’ll make of them. The first is a bit of prose – fairly abstract, but referring directly to your work on this album. The second is a bit of poetry. Here the reference to your album is still fairly direct but the mode has shifted. The final piece, which is my favourite – but also the most unconventional, qua album text – is a poem called “Endymion” (I don’t think you need to print the title). It is inspired both by your songs and by Shary’s art, though it also comes out of my own thinking about mythology. I like it best: but it is far away from anything like a conventional album “bio.”
If none of this serves your turn, I am happy to go back to the drawing board – but wanted to send these along, as my first tries.
With love, and in gratitude for Days of Heaven.
P.S. Two brief footnotes:
“What one can’t speak, that one must pass over in silence (‘schweigen’)” is a famously untranslatable bit of Wittgenstein. You probably know this better than I do, but just in case. I don’t think anyone needs to know that it’s Wittgenstein, though: the songs provide their own gloss on this (or, rather, are the texts to which this is gloss).
Endymion: “In Greek mythology, a beautiful youth, sometimes said to be a king and sometimes a shepherd, who, as he slept on Mount Latmus, so moved the cold heart of Selene, the Moon goddess, that she came down and kissed him and lay at his side. He woke to find her gone, but the dreams which she gave him were such that he begged Zeus to give him immortality and allow him to sleep perpetually on Mount Latmus. Other accounts say that Selene herself bound him by enchantment so that she might come and kiss him whenever she liked.” (Brewer’s Dictionary of Phrase and Fable, rev. ed., 1963)
Three possible texts for Steven Lambke’s Days of Heaven, by Amanda Jernigan, August 2015.
Memory is the daughter of heaven and earth, and the muse is a daughter of memory and everything. It is traditional for an artist to call on the muse at the beginning of an endeavour. This suggests that the great works of art begin, not in the presence of the muse, but in her absence.
Sometimes an artist decides that the true impression of the universe on the cosmographic negative of the human soul is silence; sometimes he decides that the true impression of the universe on the cosmographic negative of the human soul is the human body: the human body with its strings and stops and chord structures.
My husband, who is a photographer, tells me that the light of the moon is strong enough to expose a photographic negative; given time, so is the light of the stars.
What one can’t speak, that one must
schweigen, which beggars translation.
Sometimes listening to the silence
one catches oneself humming
along. Sometimes listening
to the humming, one catches
oneself speaking: what one
can’t speak, that one must.
Endymion slept on Latmus like
the dead: the silver moon awoke
to find him gone. And in that state
she gave to him such visions that
he woke to find her gone. Awaking
he prayed to immortal god to make
him immortal so he could sleep forever
on Latmus like the dead — but he
awoke to find himself, waking
on Latmus, and the moon, waning,
in the first light of the dawn.
Nap Eyes Whine Of The MysticLP/CD/Digital - July 10, 2015
- Dark Creedence
- Make Something
- Tribal Thoughts
- Delirium And Persecution Paranoia
- No Man Needs To Care
- Dreaming Solo
- The Night Of The First Show
- Oh My Friends
- No Fear Of Hellfire
- Nap Eyes is Nigel Chapman, Seamus Dalton, Brad Lougheed, and Josh Salter
- Recorded March 2013 at Drones, Montreal, Quebec
- Recorded and Mixed by Mike Wright
- Mastered with Peter Woodford at Bottle Garden
- Cover Art by Danika Vandersteen
- Reverse Photo by Josh Salter
- Layout and Design by Brendan Greaves
- Layout and Design by Brendan Greaves
- Originally released in a limited edition of 200 LPs by Plastic Factory Records of Montreal, 2014
Drink wine, for it is everlasting day.
It is the very harvest of our youth;
In time of roses, wine and comrades gay,
Be happy, drink, for that is life in sooth.
– Omar Khayyám
Whine of the Mystic is Nap Eyes first full-length album, a brilliant small-batch brew of crooked, literate guitar pop refracted through the gray Halifax rain. Recorded live to tape with no overdubs, it’s equal parts shambling and sophisticated, with one eye on the dirt and one trained on the starry firmament, inhabiting a skewed world where odes to NASA and the Earth’s magnetic field coexist easily with songs about insomnia and drinking too much.
The record’s punning title references (and wryly deflates) the great 11th-century Persian mathematician, astronomer, and poet Omar Khayyám’s famous propensity for wine-soaked mysticism. Songwriter, singer, and rhythm guitarist Nigel Chapman’s songs share with Khayyám—a rather quaintly old-fashioned inspiration—a certain vinous preoccupation that may well lubricate the similarly conversational tone and philosophical focus. Throughout the record, workaday details punctuate (and puncture) cosmic concerns, as Nigel wrestles with air and angels, struggling (and often failing) to reconcile the Romantic rifts, both real and imagined, that define our lives: between chaos and order (or wilderness and paradise, as in “Tribal Thoughts”); solipsism and fellowship (“Dreaming Solo” vs. “Oh My Friends”); the anxiety of social (dis)orders both big and small (“The Night of the First Show”; “No Man Needs to Care”); and the various intersections and oppositions of religion, art, and science (“Dark Creedence” and “Make Something.”)
The latter three collapsing categories ring particularly relevant for Chapman, a biochemist who spends his weekdays in a research lab, mutating the gene/DNA encoding of a cell-surface receptor protein. As with us all, our diurnal labor and studies inform our creativity, day creeps into night, and so it’s no surprise that sicknesses of “brain protein aggregation” and “up-regulated oncogene” appear in “Make Something,” infecting, by proximity, the more traditionally songwriterly tropes of heart sickness that haunt “Oh My Friends” and “Dreaming Solo.” The two longest and most ambitious songs here, “Delirium and Persecution Paranoia” (which takes place, in part, within the Earth’s core) and “No Fear of Hellfire” (which takes place, appropriately, on a Sunday morning) clatter and buzz along with heedless momentum, tackling, respectively, unstable psychology and geology, and the riddles and contradictions of faith. The songs resonate because they manage to delicately balance the cryptic and the quotidian, rendering a compellingly honest equivocation without evasiveness, a relatable ambivalence without apathy.
Originally released in 2014 by Plastic Factory Records in a highly limited edition of 200 LPs, Whine of the Mystic has gone largely unheard beyond the finely-tuned ears of Montreal and the Maritime Provinces, so Paradise of Bachelors and You’ve Changed Records are delighted to make it more widely available. In typically insular Halifax music scene fashion, Nap Eyes shares three of its four members—Josh Salter (bass), Seamus Dalton (drums), and Brad Loughead (lead guitar)—with two other notable local bands, comrades and sometime touring partners Monomyth (Josh and Seamus’s project) and Each Other (which includes Brad as well as Nap Eyes recording engineer Mike Wright.) Though the indelibly wistful vocal melodies are Nigel’s, Josh, Seamus, and Brad are the primary architects of Nap Eyes’ keen sonic signature, which cruises briskly and beautifully along the dog-eared axes of jangle-jaded Oceanic pop music (The Clean, The Verlaines, The Go-Betweens), and through the backpages of Peter Perrett (The Only Ones, England’s Glory) and Nikki Sudden (Swell Maps, Jacobites), via all things Lou Reed and Modern Lovers, without ever sounding very much like anything else happening today.
Part of the secret of Nap Eyes may reside in their avowed recording method, which eschews any overdubs in favor of capturing the immediacy and singularity of full-band live performances. Nigel explains their methodology best: “You get the feeling of the song; everyone’s feeling, all as one take in time, so things fit together naturally, and even mistakes sound natural. This not to discredit any of the incredible recordings made by different principles; it’s just its own kettle of fish.” As a result, both lyrically and musically, Whine of the Mystic articulates the urgency of youthful grace. It’s the sound of being young and alive in the city, a tenuous and impermanent counterpoise of recklessness and anxiety, archness and earnestness. “The very harvest of our youth,” indeed!
-Brendan Greaves, Paradise of Bachelors
Marine Dreams Producer’s WonderlandCassette/Digital - January 27, 2015
- One Question
- Polished Stone
- Snake Fish
- Snake Fish
- No Use
- Learning Experience
- Sunny Starry Moon
- Love (After "Eros The Bittersweet")
- Men Without Grace
- Prisoner Of Eternity
- Written, Performed, Recorded, Produced, Mixed, and Mastered by Ian Kehoe
- Tamara Lindeman is The Voice in Sunny Starry Moon.
- Love (After Eros The Bittersweet) was inspired by Anne Carson's book Eros The Bittersweet.
- Photography and Layout by Colin Medley
Ian Kehoe is Marine Dreams. I want to make this clear as he brings us this new and very personal album. Written, performed, recorded, mixed, and mastered by Ian in his home studio, Producer’s Wonderland is the work of a singular vision and a unique mind.
Displaying Ian’s robust commitment to ongoing creativity and continuing development as a songwriter and musician, Producer’s Wonderland is rich in melodic and rhythmic adventures. Vocal harmonies and acoustic guitar textures mix with programmed drums and synths in deep and surprising pop songs.
If this is a new sound for Marine Dreams, it increases my impression that this is an album about personal growth, about learning – there’s even a song called “Learning Experience” that describes the making of Lemon Tree, the previous Marine Dreams album. It’s as if what is being “produced” is not just the music, but also the person making the music. What does it mean to love (“Love(After Eros The Bittersweet)” named for the Anne Carson book), to maintain life-long friendships (the tender and beautiful “Michael”), to live with uncertainty (“No Use”)?
There are big questions asked here, but asked joyfully; posed and arranged in a group of absolutely wonderful and magical songs.
Community Theatre Northern Register180g LP - October 9, 2014
- Plymouth Acclaim: For Sale
- I Think My World Just Got A Little Bit Bigger
- Onward & Upward!
- Winter Studies No. 4
- The Quickening
- Will You Know?
- Featuring Shotgun Jimmie, Steven Lambke (Baby Eagle), Ian Kehoe (Marine Dreams), Richard Laviolette, Michael Feuerstack, Mathias Kom (The Burning Hell), Wax Mannequin, Construction and Destruction, and Kyle Cashen
- Illustration and Collage by Shary Boyle
- Recorded and Mixed by Jordy Walker
- Mastered by Ryan Morey
- Layout and Design by Corey Isenor
- Executive Producer: Andrew Stratis
In October 2013, Headless Owl Records, based in Whitehorse, Yukon Territory, invited Shotgun Jimmie, Steve Lambke (Baby Eagle/Constantines), Richard Laviolette, and Ian Kehoe (Marine Dreams/Attack in Black) to travel north for a very special collaborative recording project with Michael Feuerstack, Mathias Kom (The Burning Hell), Colleen Collins and David Trenaman of Construction and Destruction, Wax Mannequin, and Kyle Cashen. Each songwriter was invited to contribute a new song for the occasion and to contribute musically to the other songs. The next few days were completely magic: filled with hard work, dedication, beautiful music, and many laughs, all moved by a wonderful and rare spirit of collaboration.
The live performances of the group, featuring live projections by acclaimed visual artist Shary Boyle, and presented as “The Cost of Doing Business”, won the 2013 Yukon Arts Audience Awards for Best Music Performance in both Whitehorse and Dawson City.
Community Theatre – Northern Register collects the Whitehorse recordings in a beautiful gatefold jacket featuring illustration and collages by Shary Boyle. The music ranges from the Crazy Horse/Magnolia Electric Co style rock of Richard Laviolette’s Snailhouse, to the dark dub-pop of Kyle Cashen’s Engines. A choir of positivity joins Shotgun Jimmie on Onward & Upward! Construction and Destruction get glacial (slow and heavy and sparkly) on Winter Studies No. 4. Baby Eagle tells a John Prine inspired shaggy-dog story on Plymouth Acclaim: For Sale. Michael Feuerstack’s beautiful Will You Know? gets the full We Are The World treatment.
We are very happy to be releasing this unique album in collaboration with Headless Owl Records.
The Weather Station What Am I Going To Do With Everything I Know12" 45 RPM EP, Digital - October 14, 2014
- Don't Understand
- What Am I Going To Do (With Everything I Know)
- Seemed True
- Soft Spoken Man
- Almost Careless
- Tamara Lindeman - vocals, guitar
- Daniel Romano - guitars, bass, percussion, keys, vocals
- Phil Cook - organ, guitar
- Brad Cook - bass
- Terry Lonergan - drums
- Aaron Goldstein - pedal steel
- Carleigh Aikens - vocals
- Carleigh Aikens - vocals
- Felicity Williams - vocals
- Recorded by Daniel Romano (2, 4, 5, 6) and Brian Haran and Jim Bob Aiken (1, 3)
- Mixed by Stew Cookes (1, 4, 5, 6) and Tamara Lindeman (2, 3)
- Mastered by Jeff Elliott
- Photography and Design by Colin Medley
Recorded with All Of It Was Mine (YC-011) producer Daniel Romano in Welland, ON and in North Carolina with members of the band Megafaun, the sound of What Am I Going To Do With Everything I Know (YC-019) is deep and rich, quiet but soulful, and startlingly intimate. Each side of the record is a trio of interconnected songs. Side A is a meditation on knowledge. Side B is a narrative, a love story in three parts. States of mind and domestic situation are described with equal and incisive fidelity.
Since the release of All Of It Was Mine in 2011, The Weather Station’s Tamara Lindeman has been touring as handpicked opener for Bahamas, Basia Bulat, Jason Collett, among others. She has also been in demand as collaborator, appearing on new records by Doug Paisley (Warner), Field Report (Partisan), Wayne Petti (Paper Bag), Siskiyou (Constellation), and Daniel Romano (New West). Her work has been covered by Pitchfork, The Globe and Mail, Toronto Star, and many more, and has been played on CBC, BBC, NPR, and college radio. The Duets Series, an ongoing project of digital singles co-written by Tamara with other songwriters, was nominated for the 2013 SOCAN songwriting prize.
The Constantines Shine A LightLP + 7inch - June 10, 2014
- National Hum
- Shine A Light
- Nighttime/Anytime (It's Alright)
- Young Lions
- Goodbye Baby & Amen
- On To You
- Scoundrel Babes
- Tiger And Crane
- Tank Commander (Hung Up In A Warehouse Town)
- Thank You For Sending Me An Angel
- Raw Youth
- Hotline Operator (2003)
- The Constantines - Will Kidman, Steve Lambke, Doug MacGregor, Bry Webb, Dallas Wehrle
- Recorded by Steve Clarkson
- Mixed by James Heidebrecht and Rudy Rempel
- Mastered by George Graves
- Album Artwork by Dallas Wehrle
You’ve Changed Records is very happy to announce this special deluxe 11th anniversary reissue of the Constantines Shine A Light LP.
Named one of the top 200 records of the 2000s by Pitchfork and often cited as one of the best Canadian records ever, this legendary album has been out of print since 2007.
A new vinyl master has been cut for the reissue, and the original gatefold artwork from the 2003 release has been re-photographed to reflect its age and the past 11 years of neglect in dank basements. We’re all a little rougher around the edges.
This deluxe LP is packaged with a bonus 7” containing 3 B-sides from the time of Shine A Light:
• Thank You For Sending Me An Angel – a cover of the Talking Heads song recorded during the Shine A Light sessions
• I Am A Raw Youth – a live recording of a song by Royal City from a live 2003 CBC session.
• Hotline Operator (2003) –a distinct piece from the song included on the Constantines 2005 LP Tournament of Hearts with which it shares a name. Some might call this a jam; some might call it a trip; it is certainly “out”. In any event it displays an inclination towards free musical expression not always apparent from The Constantines recorded output, but well known from parts of their legendary live shows. Recorded in a fog during the 2003 sessions for Shine A Light.
This is the first ever vinyl pressing for these B-sides.
Some things are too big to talk about except with simple words and call them facts; we’ve been asked about this record many times and I’m glad it’s available again.
Marine Dreams Lemon TreeCassette/Digital - May 22, 2014
- Video Life
- Flowers For Healing
- So Long
- Blank Moods
- Constant Love
- Blowing Steam
- Naked Fool
- Ian Kehoe - All sounds, recording, and mixing
- Tamara Lindeman - additional playing
- Steven Lambke - additional playing
- Ross Miller - additional playing
- Dan Weston - mastering
- Colin Medley - layout
- Sylvie Smith - title font
- M. S. Giganti - cover photograph
I’ve never seen a lemon tree; or, I’ve seen not knowing. It’s entirely possible to look at a tree and, if think at all, think only: “there’s a tree.” To be aware that something exists in all it’s particulars outside of your understanding is a peculiar type of knowing. From something very small, a word perhaps, or a name, the idea takes on weight and shape. It roots and flowers and blooms, bears fruit, seed, and sapling, through multiplying generations of bewilderment.
There’s a cool shade between the lines of trees. A human voice is singing: “I do not know! I do not know!” The sound echoes off the wood; the orchard itself is singing.
Two lovers lie beneath the trees. They decide to look together through the leafy branches for the sky and tell each other what they see: a leafy sky that’s filled with suns! Dark green leaves like holes in the light!
Marine Dreams Corner Of The EyeLP, Digital - September 24, 2013
- Straight Path
- Damp Eyes
- Corner Of The Eye
- Roots Come After Lengthy Waits
- How Can I Be So Misunderstood?
- I Won't Be Abandoned
- Guarding My Love
- Scared Of Burning Up
- Ian Kehoe - Vocals, 12-string acoustic
- Tamara Lindeman - Harmony vocals, flute
- Daniel Romano - Harmony vocals, guitar, drums
- Ross Miller - Bass
- Ian Romano - Drums
- Recorded by Daniel Romano
- Mastered by Tapes and Plates
- Design and Photography by Colin Medley
On Marine Dreams’s self titled debut, Ian Kehoe’s poetic lyrics and guitar driven production stayed close to his roots in rock and roll and punk music. Now comes Corner of the Eye, a dreamy, unforced exploration of a musical world of its own invention.
Made quickly in a basement in Welland, ON, with Daniel Romano at the helm and Ross Miller, Ian Romano, and Tamara Lindeman on hand, songs were begun and finished in just a few hours. Passing a book of Henri Rousseau’s paintings around the control room, naive depictions of imaginary lions and jungle blossoms, the friends turned away from drum fills, cymbals, electric guitars. Rather, three part harmony, drum machines, and acrobatic bass create an idiosyncratic sound. Flashes of Lee Perry and Jeff Lynne era Petty. A joyful, complex sense of melody. A surprising focus on groove and rhythm. Kehoe’s lyrics, at first glance dreamy, reveal themselves on repeat listens to contain surprising complexity. The internal is the literal on the this record, love as a force, a thing that ‘goes by, confident in it’s crazy pride’. Emotion conflates reality. “It’s the corner of the eye that can see the human lines’ sings Kehoe, and the line is fitting. This is a record, and a songwriter, that exist themselves on the margins, looking out.
Pressed on 180 gram vinyl replete with a fin de siecle silhouette of a dancing woman and a prose depiction of an elephant hiding in a cherry tree, Corner Of The Eye is unusual, certainly, but irrepressible. A record for the ages, or for some other age, perhaps, one that never actually existed, some time lost between the unfettered poeticism of the twenties and the musical confidence of the sixties. Or perhaps it is a record only for this age, an act of sincerity by Ian Kehoe, throwing out massive choruses and three key change endings while singing quietly of the state of his soul, the complications of his love, of damp eyes and streets wet with the tears of strangers.
Shotgun Jimmie Everything, EverythingLP/CD/Digital - March 26, 2013
- Standing In A Line
- Big Sur
- Growing Like A Garden
- Adventure In The Heart
- Last Night
- Carry On
- Sum Of My Parts
- Skype Date
- Bridge Street Stage
- Over A Million
- Proud Champions
- I Will Climb Mountains
- Everything, Everything
- Recorded by Shotgun Jimmie
- Mixed by Cam Loeppky and Shotgun Jimmie
- Mastered by Harris Newman
- Written and Performed by Shotgun Jimmie
- Julie Doiron sings on Bridge Street Stage
- John Kilpatrick plays a dumpster door on I Will Climb Mountains
- Cole Woods plays a trombone on 3212
- Leanne Zacharias sings on Last Night
- Artwork and Design by Thunder and Lightning, Ltd
Where’s Jimmie gone? Jimmie’s gone all over the world!
It’s been two years of heavy touring, across Canada, through the US, and Europe, since the release of the acclaimed, Polaris-prize long-listed, Transistor Sister (YC-009, 2011). In that time Shotgun Jimmie also contributed lead guitar to John K Samson’s Provincial album, and toured in the all-star Provincial band.
After all that traveling, Jimmie landed in a cold snow-bound cabin on the banks of Lake Clementi, Manitoba with a suitcase full of songs and his trusty old four-track. But, this is not the story of a love-wounded man, lost within his own beard, singing sad heartbreak, reclusive. No! Jimmie’s gone to the woods to sing the joys of love, and travel, and sunny climates! Like the bioluminescence, he’s positively aglow!
Still, it’s winter and he’s way out in the woods, so he plays this one himself, records himself, trying to get it all down. Channeling the best bits of classic Guided by Voices, the tape hiss, the hook-filled rock and roll, the British invasion inspired acoustic psychedelia, the sci-fi anthems, the abundance of songs. Trying to get it all down, everything, between chopping wood and shoveling snow. Everything, everything. In other words, life as we know it: dates, pals, listening to tunes, gardens, climbing mountains, waiting for another bus, another plane, growing up, still rocking, falling in love, love. Put it in the suitcase. Hit the road.
Daniel Romano Workin’ For The Music ManLP - November 6, 2012
- Workin' For The Music Man
- Missing Wind
- A Losing Song
- Missing Wind
- On The Night
- So Free
- She Was The World To Me
- Poor Girls Of Ontario
- Your Hands
- My Greatest Mistake
- Joseph Arthur
- Workin' For The Music Man Pt 2.
- Daniel Romano - vocals, guitars, pedal steel, drums, bass, piano, organ
- Misha Bower - vocals
- Natalie Walker - violin
- Victor Belcastro - saxophone
- David Romano - guitar, harmonica, vocals
- Darlene Romano - vocals
- Dan Weston - mixing, mastering
You’ve Changed records is very pleased to announce the first ever vinyl pressing of Daniel Romano’s debut solo album Workin’ For The Music Man.
Originally released on CD in 2010, Workin’ For The Music Man was a striking and unexpected move away from the Punk and Rock music Daniel had played with his much-loved band Attack in Black. Here he drew on the music he’d heard and loved since childhood, the folk-tinged ballads and country music of Hank Williams and George Jones that his parents had played around the kitchen table, to create a warm and big-hearted and personal sound. Matching method to content, Daniel recorded himself in his own 2” 16 track studio using only his own instrumentation and select contributions from family and friends, and sang with humour of the corrupting influence of the music business. A great artist won’t be tied down by expectations, management, or bad contracts. He’ll always sing himself loose.
Workin’ For The Music Man is the missing step between the cult favourite folk collaboration Daniel, Fred, and Julie (YC-003) and the already classic Sleep Beneath the Willow (YC-010) and we’re happy to finally satisfy the demand for a high-quality vinyl pressing.
Apollo Ghosts LandmarkLP/CD/Digital - May 15, 2012
- What Are Your Influences?
- American Joint
- I'm In Love With The U.S.A.
- Why Can't I Be The Man On Stage?
- Violet Margaret
- So Much Better When You're Gone
- Weekend Fantasy
- Day of Glory
- For What They Do, They Do
- Paralysis Of My Long Clerkship
- I Followed The Rules And I Got Everything
- Guitar Brother
- Will You Forget Me?
- Jason Oliver - Guitar
- Amanda Panda - Drums
- Jarrett K - Bass
- Adrian Teacher - Guitar
- Sleeve Artwork: Amanda Curti
- Insert and Layout: Melanie Coles
- Recorded by Jay Abner and Adrian Teacher in Vancouver, BC, November 2011-February 2012
- Mastered by Prairie Cat Mastering in Belvidere, Illinois
After Hastings Sunrise and Mount Benson, Apollo Ghosts have written a third album about island paradise, doing the dishes, and love. Adrian Teacher wrote most of music for Landmark in Sackville, New Brunswick and finished the lyrics in a small cabin on Protection Island, after shopping for a weekend’s worth of groceries. Landmark is the most domestic and personal album the Ghosts have recorded. The songs are deeply informed by the concept of home, the worries of ageing and lost love, sexuality and abandoned friendships.
Apollo Ghosts recorded Landmark themselves with the help of Jay Arner (No Gold, Fine Mist) in their practice space. Jay Oliver, Jarrett K., Amanda Panda, and Adrian Teacher pressed into the shoebox room and recorded takes wedged between metal bands, bribing them with six-packs when necessary. Unsurprisingly then, their third full length album Landmark is inspired by tiny spaces and islands at night; it’s about coming home, and being away; and about being in a band on weekends with your best friends.
Apollo Ghosts have performed across Canada and the USA and have recently been called “one of the best live bands in the business” by Exclaim Magazine. Weird Canada claimed that their most recent release was “the best 7” to come out in 2011.”
Baby Eagle and the Proud Mothers Bone SoldiersLP/CD/Digital - March 6, 2012
- Bone Soldiers
- Strange Bodies
- Brave Women
- Rebel Crimes
- Old Punks
- Good Times/Bad Times
- Marching Orders
- Peace on Earth
- Hard Truths
- Hurricane Weather
- Proud Mothers: Steve Lambke, Ian Kehoe, Nick Ferrio, Will Kidman, Spencer Burton
- Recorded and Mixed by Jeff McMurrich at 6 Nassau, Toronto, ON, Oct 24-27th, 2011
- Mastered by Harris Newman at Grey Market Mastering, Montreal, QC
- Art and Design by Paul Henderson
“I dealt myself the winning hand: the lizard and the bleating goat, the eight of bones. But if I could choose the type of beast that I would most happy be, I’d be a man, my love, short, fat, and strong.” – Hurricane Weather
If there were such a position to be held, Steven Lambke would be the rock and roll poet laureate. Putting in ten years as a guitarist and vocalist in The Constantines, releasing three, now four records as Baby Eagle, and co-founding scrappy independent label You’ve Changed Records (Daniel Romano, Shotgun Jimmie, The Weather Station), Lambke’s output has been ceaseless. No wonder that Bone Soldiers, his fourth record as Baby Eagle, abounds with military metaphor. It is the work of a veteran. Loud, brief, and incendiary, it’s both a return to his punk roots and a continuation of his increasingly sophisticated work with lyrics. As with the critically acclaimed Dog Weather, the record is a perfectly interconnected narrative. Lines that casually mix thorny questions of purpose and meaning with rich imagery and seemingly minor incident. Gorgeously bent guitar solos face up to Lambke as grinning narrator, wheezing, shouting, and whispering his way through a rich stew of rhythmic precision and pop decadence.
Decamping to Toronto’s vaunted 6 Nassau with Constantines producer Jeff McMurrich at the helm, Lambke enlisted an all star team of friends and bandmates to be his Proud Mothers; Will Kidman (The Constantines), Ian Kehoe and Spencer Burton (both of Attack in Black), and Nick Ferrio (of his Feelings). They recorded the whole thing live off the floor in a couple days at the tail end of a long tour. The band sounds determined, bound in lockstep by time and meter yet taking every opportunity to slip out the sides, falling over into freewheeling solos, simple melodies with a few notes out of place, like a square that’s been hit by a hammer. At times gentle, at times joyfully deranged, the disc never fails to be vivid, as Lambke talks duty, dischord, and tangled connection. ‘We know love is a mongrel thing; a mix of chance and cross spirits’, he shouts in the pop laced Marching Orders. By the last song, the crackling Hurricane Weather, we can hear the accumulated hum of four amps, brothers and bandmates standing in a room, listening to a final note of feedback oscillating and wobbling to its foreshortened conclusion.
- Tamara Lindeman
Marine Dreams Marine DreamsLP/CD/Digital - November 15, 2011
- Fold The Sky
- Yet To See The Sun
- Season In Hell
- We'll Get Her Back In Your Arms
- New Decade
- No Face
- Sudden Dark Truths
- I Can Laugh
- Marine Dreams
- Recorded and Mixed by Tapes and Plates
- Mastered by Harris Newman
Marine Dreams is a record of modern pop songs written by former Attack in Black bassist, songwriter, and lyrical contributor Ian Kehoe. A debut of precise athletic force, Marine Dreams serves as a testament to the idea of songwriting as a craft by unexpectedly destroying the expectations we have in songs. So strange and unlikely is the emotional space it occupies, Marine Dreams appropriates the sound and scope of bubble gum pop songs if Werner Herzog wrote bubble gum pop songs. These songs are grandiose and intricate in the midst of their seemingly idiotic simplicity. Two drum kits. Dreams of Greece. Violent reactions. Astral planes. Rock and Roll music.
The album was recorded in two sessions in Welland, Ont at the home studio of Daniel and Ian Romano with musical contributions from all former Attack in Black members.
The Weather Station All of It Was MineLP, CD, Digital - August 16, 2011
- 1. Everything I Saw
- 2. Came So Easy
- 3. Traveller
- 4. Trying
- 5. Chip On My Shoulder
- 6. Know It To See It
- 7. Yarrow and Mint
- 8. Running Around Asking
- 9. Nobody
- 10. If I've Been Fooled
- Tamara Lindeman - Vocals, Banjo, Guitars
- Daniel Romano - Guitars, Vocals, Pedal Steel, Drums, Bass
- Misha Bower - Vocals
- Elaine Kelly - Violin
- Dan Weston - Mixing
- Fedge - Mastering
- Produced and Recorded by Daniel Romano
This album was recorded stereophonically. The vocals were reproduced through a Royer 122 Microphone; rhythm, Royer 121; violin, apex 210; and guitars, Royer 121, Sennheiser 421. The session was recorded in December 2010.
At first glance, the second record by The Weather Station is a humble thing, gentle, warm. The elements are simple, finger-picked acoustics and three part harmonies, an unexpected snare drum, a stray electric guitar – the very opposite of songwriter Tamara Lindeman’s first record, the painstakingly arranged and darkly expansive The Line. And yet, All of it Was Mine is a record that appeared stubbornly.
She’d entered a studio, attempting a follow-up but was getting nowhere. Trying to do too much to the songs, trying to make them into something they weren’t. So, she took up Daniel Romano on his long-standing offer to record a few demos at his home studio in Welland, ON. The two played the songs one by one, arranging on the spot, recording with a couple of ribbon mics to a digital 8 track. From time to time, the incomparable Misha Bower (Tamara’s band-mate in the Bruce Peninsula) came downstairs to sing harmonies.
Freed of expectation and ambition, safe in the hands of friends, the songs revealed themselves as folk songs, and it started to come easy. A good record is all timing, and this one was caught at just the right moment – the moment when a musician sets aside old habits and expectations, strips away the excess and finally just gets to the guts of the matter. In a matter of days, studio album abandoned, there was the record.
Lindeman’s lyrics stay close to home, detailing a creaking house in disrepair, a quiet side street, a seemingly idyllic summer; but also the heartache that comes in slyly, inexorably, as it always does, softly, like the moths that attack the flour. It’s beautiful, certainly, unabashedly so, but unsettled, all creeping nature, dirt and sweetness, accusation and acceptance. Short, small in scope, and curiously complete. Ten songs doing nothing more than speaking for themselves, quietly perhaps, but with grace, not one word out of place.
Daniel Romano Sleep Beneath the WillowLP, CD, Digital - April 5, 2011
- 1. Time Forgot (To Change My Heart)
- 2. Hard On You
- 3. Lost (For As Long As I Live)
- 4. Knowing That You're Mine
- 5. Louise
- 6. Helen's Restaurant
- 7. Paul And Jon
- 8. I Won't Let It
- 9. Never A Forced Smile
- 10. There Are Lines In My Face
- 11. Nothing
- Daniel Romano - Vocals, Guitar, Pedal Steel, Drums, Bass, Organ
- Misha Bower - Vocals
- Produced and Recorded by Daniel Romano
This album was recorded stereophonically. The vocals were reproduced through a Sennheiser 421 microphone; rhythm, Royer 121; piano and organ, Royer 121, violin, Royer 121; and guitars, Royer 121. The session was first recorded on Ampex audio tape at 15 inches per second.
Sleep Beneath the Willow mixes timeless songwriting with late ’60s AM country arrangements baring the influence of artists such as Lee Hazelwood and Wichita Lineman/Galveston era Glen Campbell. The album is constructed around flourishes of fiddle, honky-tonk guitar, banjo, and sweeping harmonies courtesy of a trio of Toronto singers; Misha Bower (The Bruce Peninsula), Tamara Lindeman
(The Weather Station) and Lisa Bozikovic. The songs tell stories of regret, sorrow, love, and yearning; the stuff of life. They tell of ex-wives, bluebirds, and finding the strength to do the right and proper thing. It’s a big, warm sound.
Approaching his music like a true craftsman, Daniel produced, engineered, and performed the majority of the instruments on Sleep Beneath the Willow. It was recored to two inch tape in his home studio in Welland, ON.
Shotgun Jimmie Transistor SisterLP, CD, Digital - March 8, 2011
- Late Last Year
- King Of Kreuzberg
- Paper Planes
- Confidence Lodge Stairwell Recording #1
- Transistor Sister
- Too Many Flowers
- Stereo And The Stove
- Swamp Magic
- Peace And Love
- Bar's Open
- Bar's Closed
- Shotgun Jimmie – Guitar and Vocals
- Jay Baird – Bass, Vocals, Horns
- Ryan Peters – Drums, Vocals, Auxillary Percussion
- Diego Medina – Analog Synthesizers
- Ilse Kramer – Back-up Vocals
- Frederick Squire – Lap Steel Guitar on The Haze
- Recorded and Mixed by Diego Medina at The Confidence Lodge, Riverport, NS
- Mastered by Harris Newman at Grey Market Mastering, Montreal, QC
- Art and Design by Paul Henderson
World traveler, collaborator, under-dog, hard-working man, Shotgun Jimmie stakes his claim for the hearts and minds of millions with Transistor Sister. A much anticipated addition to a growing discography, following the solo debut The Onlys (Delorean) in 2007 (featuring the CBC Radio 3 and college radio chart-topping single “Bedhead”), and the much loved Attack in Black backed Still Jimmie (You’ve Changed) in 2009, Transistor Sister sounds a new confidence in Shotgun Jimmie, a confidence earned by the mile, by train or by busted up mini-van, on countless Canadian crossings and a couple of recent tours overseas.
Transistor Sister was written on tour in Europe and you can hear Jimmie in this new environment, telling the people he meets about back home, what it looks like, what falling in love there feels like, how we think about things like songs, and peace, and love. It’s a good way to see the world; packing light, a bunch of two minute blasts of pop perfection (“Late Last Year,” “Suzy,” “Transistor Sister”), a few all out anthemic rock hits (“King of Kreuzberg,” “Swamp Magic,” “Peace and Love”), and a couple of stellar collaborators: Ryan Peters of Ladyhawk and Lightning Dust on the drums and harmonies, and Jay Baird of the Feist live band and Do Make Say Think on bass and flute.
Transistor Sister is also the first Shotgun Jimmie album recorded in a fully operational professional studio, at Riverport NS’s The Confidence Lodge by Diego Medina, but it maintains the experimentation and spontaneous sense of creation of the best home recordings. Run down the stairs, slamming doors, grab a weed whacker from the shed and mic it through a wah pedal. It just sounds better doing it than it has before. The album was tracked and mixed in a couple of weeks at the end of August 2010, hurricane season, as the unusually warm waters off the south shore crashed and waves broke.
Baby Eagle Dog WeatherLP, CD, Digital - August 17, 2010
- Day Of Our Departing
- Fisherman Or Fish
- Haybale Song
- Dog Failure
- Broken Bones
- Man Of My Time
- Thistle In Bloom
- Crooked Coin
- Child Of The Weather
- River Bank Sitter
- Me vs. The Devil
- American Drum
- Last Song Of The Night
- (The World Covered In Mud)
“Dog Weather is the next great novel of my generation.”
- Paul Henderson, Chairman of the Board
Dog Weather is the new album from Baby Eagle and the latest release from You’ve Changed Records, a small Canadian label steadily building a reputation for the collaborative nature of it’s roster and the high quality of it’s product. YC co-owner and Baby Eagle songwriter Steven Lambke (Constantines) is back with a rock band featuring lablemate/co-owner Daniel Romano (Attack in Black), Shotgun Jimmie, and David Trenaman and Colleen Collins (Construction & Destruction).
The story of this record isn’t all that different from a thousand others out here. Songwriter forms a scrappy band of talented friends when their schedules allow. At the tail end of winter the aforementioned band heads to a big rural house overlooking a vast body of water. Wood is burned, dogs shit, wind howls. Meals are cooked and people sing, play instruments, and a record gets cut. Serendipity trumps bad luck.
What is different on this record, is the way its stories are told, what they describe, and the undeniable joy with which they’re played. It is a record full of natural imagery, domestic narratives and ragged characters trying to patch a wound of meaning on the world. This is a rock band shaking its wet fur dry, pulling its boot from the mud and driving another mile.
Dog Weather is the third record from Baby Eagle, and its very much of its time. Its characters standing on the other side of some fast and reckless youth, some shitty day jobs, a little scarred but settled, holding very little, outside enough love to matter. Guitars come and go like flyweights in a barnfight, the drummer is a steady, smiling underdog. “What the hell did you expect from us? What more do you want?”
Biography in the First Person:
Baby Eagle is the songs of Steven Lambke, that’s me. We discourage the term solo project and are happy in collaboration. This is something we have to do together! We, slippery devils and shadow lurkers, are not easily photographed or described. When pressed to settle upon a description we say “garage folk”. One imagines both the dusty uncovered stage in a distant corner of the folk festival, listed somewhere down the bill, misspelled, and the beer can littered basement of the punk rock show where the words are lost but the spirit remains, encoded in the noise and the having been there. We say roots, and include the protest song, the beat, and the all-ages show. (We avoid all reference to the cultural toxic of classic rock radio but are sure it remains, somewhere. That’s okay, we like that Neil Young/Bob Dylan/John Lennon song).
Steve Lambke has been in Constantines, Daniel Romano has been in Attack in Black and Daniel, Fred, and Julie, Shotgun Jimmie is Shotgun Jimmie, David Trenaman and Colleen Collins are Construction and Destruction. Together, for 3 days in January, in a house in Port Greville, NS called the Quarantine, we were Baby Eagle, one and all.
Steven Lambke and Daniel Romano are the owner/operators of You’ve Changed Records.
Dog Weather is broken bones, the public radio, the long road, the grown tall and gone to seed, the wind whistling on the lip of a bottle, the monkey in your dreams, and the two between the sheets. Dog Weather is the here and now. There ain’t no road sign at the corner, kid. You just have to know the way.
Richard Laviolette All of Your Raw MaterialsLP, CD, Digital - July 6th, 2010
- Snuck Right Up
- Airtight; No Sunlight
- Break Down These Blues
- Telephone Wire
- Funeral Song
- Picture Cards
- This Evening
- With Tape and Purposeful Hats
- Yes, I Mean All of It
- Richard Laviolette, guitar, vocals
- Jenny Mitchell, bass, vocals
- Lisa Bozikovic, keys, vocals
- Matt Reeves, guitar, vocals
- Meredith Grant, accordian, vocals
- Greg Denton, banjo, vocals
- Geordie Gordon, fiddle, mandolin, vocals
- Mike Brooks, pedal steel, vocals
- Mathias Kom, ukulele, vocals
Digital and CD versions contain the songs Body Maps and Two Hinges which had to be left off of the LP version due to time constraints.
Richard Laviolette, guitar, vocals
Jenny Mitchell, bass, vocals
Lisa Bozikovic, keys, vocals
Matt Reeves, guitar, vocals
Meredith Grant, accordian, vocals
Greg Denton, banjo, vocals
Geordie Gordon, fiddle, mandolin, vocals
Mike Brooks, pedal steel, vocals
Mathias Kom, ukulele, vocals
Recorded, Mixed, and Mastered by Andy Magoffin at the House of Miracles in London, ON
Richard Laviolette writes a hundred songs a year. Songs of clever, heartfelt, rolling lyrics, sung in a strong, full voice. Echo and melody. Laviolette’s voice is a deep well of water. His lyrics are brilliant scraps of paper. Letters written home. He sings about death, anti-colonial struggle and long distance relationships.
“All Your Raw Materials” is Laviolette’s 4th Album, and his first with The Oil Spills. Originally released independently on CD in September, 2009, the album was recorded live-off-the-floor at the legendary House of Miracles in London, ON the previous summer. We got a copy at a house show in Guelph, ON, and listened to it endlessly through the fall and winter. We loved it, and we wanted everyone to hear it. You’ve Changed Records is happy to make this album widely available and to offer it for the first time on LP.
The Oil Spills are Geordie Gordon (The Magic, Barmitzvah Brothers, the Islands), Meredith Grant, Greg Denton, Mike Brooks (Kae Sun), Lisa Bozikovic, Matt Reeves, Jenny Mitchell (Barmitzvah Brothers, The Burning Hell, Jenny Omnichord). This highly talented cast step up to the plate and deliver a darling country album inspired by a childhood full of waking up on weekends to country, gospel, and bluegrass records blasting from the living room, records such as George Jones, Tammy Wynette, The Judds, Dolly Parton, Roger Miller, Lester Flatt and Earl Scruggs, Bob Wills, Neil Young’s ‘Old Ways’, and The Nitty Gritty Dirtband’s ‘Will the Circle Be Unbroken’.
Richard Laviolette has previously released Aging Recycling Plant (with the Hollow Hooves, Independent 2009), Hands and Feat(s) (Burnt Oak 2007), and A Little Less Like a Rock, A Little More Like Home (Burnt Oak 2006).
Daniel Romano Workin’ For the Music ManCD/Digital -
- Workin' For The Music Man
- Missing Wind
- Losing Song
- On The Night
- So Free
- She Was The World To Me
- Poor Girls Of Ontario
- Your Hands
- My Greatest Mistake
- Joseph Arthur
- Workin' For The Music Man Pt. 2
- Produced by Daniel Romano
“My folks gave me up shortly after I was born. An older couple, Dwayne and Clairey Talbot, adopted me when I was five. They said that in music years they were old but that their children had kept them young. They said that I was an old soul and that they intended to raise me backwards. Dwayne played the tenor guitar and Clairey played the autoharp. They had me play the six string guitar and told me my other job was to keep the wood box full. I thought I’d been raised on music rather than born into it but when I was thirteen, the Talbots got a call from my birth parents saying they wanted to meet me. The Talbots said that was alright, “in deference to the blood in your veins,” and when I met my birth folks I was surprised they were a musical family. I visited them more and more and we started playing together here and there. Mostly, I spent the next two years trying to get my pilot’s license but as I got close to the final test I found out I was colour blind. When that happened I started drinking and one day me and my brother (my real blood brother) were shooting BBs at a pop can hanging from a tree and one of the pellets refracted off the can and hit me in the eye. I lost 70% of the vision in my left eye and when that happened, I got really depressed. Mr. and Mrs. Talbot passed away and so I decided to go back to the old house. My brothers and sisters were looking after it but no one was actually living there and so I went there. I bought a tape player and started recoding music there. I started gigging around and selling the cassette tapes offstage. I played a show in Welland, Ontario where these guys asked me to start a band with them and so I did. They said they wanted a drummer and I told them my brother can play drums and we started a band and played together for seven years. I started missing what I was doing at the beginning, the simplicity of it, and it happened that we had a long break. I went back to the same house and wrote a whole bunch of songs and then recorded them. I went to play a show on the weekend and while I was away the house got demolished. Someone in the family who I hadn’t spoken with hired a demo team to tear the house down and in the process, all the tapes got destroyed. Instead of recording the same songs over again, I wrote a whole bunch of new songs. Really it was a blessing in disguise, as they say, because the twelve songs I’d written before were dark and depressing and something about the old house being torn down was sort of a relief. Certain memories and thoughts that I didn’t even know were lingering there seemed to finally come through the other side of my soul (like how dirty water without knowing it runs a long distance to get clean…) At the moment I realized the recordings were gone I also realized it was the same thing with the music I’d been writing the last 7 years. As soon as a song was completed it was forgotten – never the same as it was in the form it took up in completion. To this day, I wish every record I ever made could be buried somewhere (along with those songs, that old house and the wreckage of the plane I went and flew blind anyways…)” – Daniel Romano
Daniel Romano Songs For Misha12” EP - July 2011
Daniel, Fred and Julie Daniel, Fred and JulieLP, CD, Digital - December 1, 2009
- The Gambler and His Bride
- I Dream of Jeanie
- No One Knew My Name
- Hallelujah, I'm a Bum
- Down by the Weeping Willow
- Bonny Black Bess
- Your Love
- Johnny Sands
Daniel, Fred, And Julie is a very special collaboration between three much loved musicians. Daniel Romano sings and plays guitar in Attack in Black. Calm Down It’s Monday’s Fred Squire sang and played guitar in legendary indie-rock group Shotgun and Jaybird, and is a jack-of-all-trades and master of some in the Julie Doiron band. And Julie Doiron is the legendary songwriter, singer, guitar shredder, collaborator with Mount Eerie, Gord Downie, Herman Dune, Wooden Stars, and member of Eric’s Trip, who needs no introduction. But this is a record unlike any previously heard from these fine and versatile musicians.
Dan took the train to Sackville, NB in the summer of 2009, with a couple of acoustic guitars and a couple of song books of folk songs. The tape machine was set up in Fred’s garage. A microphone was placed on the floor in front of a semi circle of folding chairs. The weather was good that week, the garage door was open, cars would pass, and kids on bicycles. Arrangements were made up quickly, harmonies worked out, lyrics written on long scraps of paper, verses picked and chosen. Dan and Fred playing guitars, all three singing together. The songs were put down quickly, with no overdubs or edits, and the record was finished in a couple of days.
A record of Folk Music, three part harmonies, guitar picking and strumming. Songs of romance, justice, murder, loafing, and complaint, horses and gambling. Old songs, in the public domain. Public songs for singing together. Daniel, Fred, And Julie also features two new compositions by Dan: Runner, about the eternal doomed rambling of a man, sung here spookily and powerfully by Fred, and the lamenting and beautiful Your Love.
Daniel, Fred, and Julie is available on LP and CD and for Digital download. The record in all formats is proudly Mono.
Attack in Black and Baby Eagle SplitLP, CD, Digital - May 5th, 2009
- Some Things We Lose
- Half Moon on the City High
- Let Wander Your Restless Hearts
- Rainwater Blues
- Inches and Ages
- Leather Jacket
- Leaving Your Death in a Flowerbed
- Produced by Attack in Black and Baby Eagle
- Steve Lambke, Daniel Romano, Ian Kehoe, Spencer Burton, Ian Romano
- Jessie Stein, vocals, pianet / Julie Fader, vocals / David Romano, guitar
- Recorded in Welland, Ontario by Julien Brousseau
- Mixed by Daniel Romano and Julien Brousseau
- Mastered in Mississauga, Ontario by Dan Weston
You’ve Changed Records 002, ‘SPLIT’ was born in the backseat of a Ford Econoline, somewhere near the Quebec – New Brunswick border. Some old tour van in summer. Some guys in bands. We were on our way home from the 3rd Annual Sappy Records Music Festival and we were inspired. The drive was long but the passions were high. We were full of fire and sunshine. We were hopped up on road snacks and ready. I’ll sing your songs if you sing mine. Let’s make a record, start a label. Why not?
The idea grew once the tape was rolling. We started with one song each, Attack in Black covering Baby Eagle, Baby Eagle covering and backed by Attack in Black. This became two, and finally a happy four. Eight tracks in total, two sides of a vinyl LP. Our favourite songs of each other’s, ruthlessly manhandled, reinvented, knocked around and abused, cut into new shapes. Baby Eagle’s rickety folk songs polished and tuned. Attack in Black’s youthful anthems busted into shards and aged. Sounds like a good idea.
‘Split’ was recorded in Welland ON, in the Romano household. It’s all a blur, making this record and ‘Still Jimmie’ (YCR001), like one memory of people coming and going, making songs, making dinner, pot roast and coffee. Sleeping on a couch by the mixing board, sitting around the kitchen table singing. The Fall of 2008, like any moment, a split between the past and the future. This is the record we made.
Shotgun Jimmie Still JimmieLP, CD, Digital - March 10th, 2009
- Mind Crumb
- Road Animal
- Province to Province
- Used Parts
- Louis Depson
- Waist Deep in the Water
- The Cost of Doing Business
- Dawson City
- Valentine's Day
- I Asked Cupid
- Tread Water
- Shotgun Jimmie, Daniel Romano, Ian Romano, Ian Kehoe, Spencer Burton, Julien Joseph Lucien Brousseau
- Simone Schmidt, vocals on "Quicksand" / Jessie Stein, vocals on "Treadwater" / Dave Romano, Guitar on "I Asked Cupid"
- Recorded and Mixed in Welland, Ontario by Julien Joseph Lucien Brousseau
- Mixed in Mississauge, Ontario by Dan Weston
Shotgun Jimmie used to play in Shotgun and Jaybird. Everybody loved Shotgun and Jaybird because they had great songs, they were funny, they were sad, and they were wonderful. They were sloppy and drunk and at times totally transcendent. They had a drummer that could hardly play, and then after he left, they had one of the best drummers imaginable. Everybody who ever heard of Sackville, New Brunswick wanted to see them play.
After the band broke up Shotgun Jimmie made a record in his living room called “The Onlys”. Everybody loved it. He sang about getting up early in the morning, about writing songs, about good times and bad times and a mysterious “sparkle revolution”. He played a bunch of shows supported by a shifting group of some of the top musicians of our time: Construction and Destruction, Jesse Baird, Jay Baird, Bucky Buckler, Baby Eagle.
Soon, Jimmie started playing a bunch of shows with Welland, Ontario’s Attack in Black. The shows were different then what they’d been before. What was once ramshackle and sweet and funny, was now still somewhat ramshackle, was sweet, funny and also pretty rocking. That is to say it rocked. They blasted through the songs with urgency and purpose. Then Jimmie wrote a bunch of new songs and recorded them with Attack in Black in their basement studio. Jimmie calls this his serious record, and it is, in a way. but he codes his worry in rhyme and in tune. He makes jokes. He plays guitar solos. It’s wonderful. The songs are crunchy and catchy and unforgettable. There’s a shambling duet with Simone Schmidt of Toronto country bad One Hundred Dollars called Quicksand. There’s the questioning rock generation anthems of Mind Crumb, and The Cost Of Doing Business. There’s emotional laments: Province to Province, which sounds like one, and Waist Deep In The Water, which doesn’t. And there’s my favourite song: used parts. It’s a different sounding Jimmie, but it’s Still Jimmie.
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