http://backalleybazaar.wordpress.com/2012/12/10/item-greenhousemssng-split-tape/
I think I have one, maybe two copies of this left. If you're interested, send me an email.
Monday, December 10, 2012
Greenhouse/MSSNG Split cs on Back Alley Bazaar
Here's some brief, though very nice words about my split cs with MSSNG from Back Alley Bazaar. A nice way to start a day, reading words like these.
http://backalleybazaar.wordpress.com/2012/12/10/item-greenhousemssng-split-tape/
I think I have one, maybe two copies of this left. If you're interested, send me an email.
http://backalleybazaar.wordpress.com/2012/12/10/item-greenhousemssng-split-tape/
I think I have one, maybe two copies of this left. If you're interested, send me an email.
Thursday, December 6, 2012
Favourites of 2012
Here's a list of some of my favourite records released this year. No particular order. Thanks for reading.
Locrian and Mamiffer - Bless Them That Curse You (Utech, Profound Lore)
Locrian and Christoph Heemann - s/t (Handmade Birds)
Locrian continue to push the boundaries of metal, drone and experimental music in some exciting ways. I've spun both of these LPs heavily this year, and I cannot say enough about either of them. Bless Them That Curse You traverses the very sparse and minimal with the very maximalist and crushing, the beautiful with bleak, all the while feeling extremely organic. I've written extensively about the Locrian/Heemann LP. Read that here. Highly, highly recommended listening to say the very least.
Swans - The Seer (Young God)
Holy shit. What a massive album. When was the last time you listened to a two-hour record without getting even remotely tired or bored? When was the last time you heard a two-hour record? But it isn't just the length of this record that's impressive, it's the attention to detail, the restraint, the unhinged moments and overall, the control that Gira and co. exhibit here. I'm not sure I can pick out a specific highlight. This is an album that you just need to listen to. Over and over again.
High Aura'd - Sanguine Features (Bathetic)
I like this record so much that I almost avoid listening to it. That doesn't make any sense, I know, but there it is. My favourite albums, especially drone/experimental albums, evoke a sense of place or atmosphere, and Sanguine Features does it so superbly that it stuns me every time I hear it. Koner-esque glacier concrete, restrained-yet-sinister hiss and far-distant melodies, all expertly arranged and produced. It's a beautiful record, but it carries this dark, foreboding edge to it that I find very compelling. I like this album so much that I bought a digital copy and the LP.
William Fowler Collins - Tenebroso (Handmade Birds)
I'm a huge fan of WFC, and I was so excited for this disc to show up in the mail. And Mr. Collins delivers the goods again. With Tenebroso, he's pushed even further in the the dark recesses of, well, darkness. His sound sources (guitar, mainly) are almost completely unrecognizable, leaving the listener in a dark boiler room of churning low end and caustic static. Even at its harshest, this is an incredibly listenable affair.
Burning Love - Rotten Thing To Say (Southern Lord)
Great record. It's loud and pissed off, but it's also really fun and catchy. And it has some SERIOUS hooks. Check out "Hateful Comforts." The riffs are mind-numbingly perfect and hit you square in the chest every time. I finally got to see them live when the came through Winnipeg, but sadly the folks who booked the show booked it in a coffeehouse, so the PA Colohan was using was the same one used for book readings. Needless to say, you couldn't hear a damn thing. Still, they killed it. A fun-filled, angry, heavy album with no filler whatsoever.
Propagandhi - Failed States (Epitaph)
I love this band. I always have and I probably always will. This band just gets better and better. Razor-sharp songwriting, goosebump-inducing shredding, terrific vocals and some of the best lyrics of our time. I don't really think I need to say much more. If you know, you know.
Converge - All We Love We Leave Behind (Epitaph/Deathwish)
Similarly to Propagandhi, I've been a massive fan of Converge since I was about 16, so it's hard for me to get really objective here. This guys still do what I love about them: blindingly fast, dark, technical and angry hardcore. Just unhinged emotion and piss at it's most vitriolic and convincing. Now if only my copy of the LP would ship...
Minus the Bear - Infinity Overhead (Dangerbird)
Another one of my all-time favourite bands. While this list may lead you to think otherwise, I am a massive sucker/fan of smart, well-executed pop. And when I say "pop," I don't mean top 40 horseshit, I mean "pop" in the sense of hooks, verse/chorus/verse structures, songs that stick in your head for days, that kind of pop. Minus the Bear pull this off effortlessly, but they infuse it with top-shelf musicianship and creativity that you don't even notice the simple structures that lay underneath. They're just a great band. "Diamond Lightning" is probably my favourite song of 2012.
Flying Lotus - Until the Quiet Comes (Warp)
FlyLo delivers another record that just gets better with each listen. There's so many textures, emotions and valleys for you to get lost in. This guy is a master of his craft, without a doubt. I'm really enjoying the mix of bangers and mellow, jazzy tracks on this album. Perfect nighttime listening. Perfect anytime listening, as long as it's uninterrupted.
Vatican Shadow - Kneel Before Religious Icons (Type)
Deathspell Omega - Drought (N.E.D.)
Pallbearer - Sorrow and Extinction (Profound Lore/20 Buck Spin)
Doom is genre that I really never fully got into. Sure, I've got some albums in my collection, but I've always felt luke-warm about most doom that came my way. I could never get into the whole stoner culture of bands like Electric Wizard and Sleep, and most of the "scary," stacks of expensive amps, ugly sounding doom bands are nowhere near, and never will be, as scary or as heavy as Khanate. But Pallbearer are such a breath of fresh air to my ears. Sure, comparisons to Sabbath are inevitable, but this album feels so genuine and organic that I think it's unfair to tag them as a Sabbath clone. Way unfair. Soaring vocal melodies, crushing riffs and, what's this? melodic guitar leads. Sure, it's very listenable and approachable and I'm sure there are scores of doom fans out there who think this isn't true doom or whatever, but I could care less. A terrific record, regardless of genre tags.
Extremely hounourable mentions: Aaron Dilloway - Modern Jester; Ash Borer - Cold of Ages; Pete Swanson - Pro Style; The Subtraction - Those Who Infest Ships; Tragedy - Darker Days Ahead; Sutekh Hexen - Larvae/Empyriarcsh; Sophie Hutchings - Night Sky; Andy Stott - Luxury Problem; Fermentae - Glossolalia; Silent Servant - Negative Fascination;
Tuesday, December 4, 2012
Wrecks
I seem to be obsessed with abandoned, man-made structures lately: mansions, ships, towns, factories, cities. Here's just a few really amazing photos that really get my imagination running wild.
I don't intend to claim the rights to any of these photos, just sharing some amazing work. I've posted links to the original sources, where possible. If you are the owner of these works and you don't want them posted here, just contact me and I'll remove them immediately.
I don't intend to claim the rights to any of these photos, just sharing some amazing work. I've posted links to the original sources, where possible. If you are the owner of these works and you don't want them posted here, just contact me and I'll remove them immediately.
http://www.lovethesepics.com/
Kowloon Walled City. I need to do more reading about this place. I can't actually believe something like this actually existed. From this article here.
via alterallensteiner's flickr. Highly talented photographer of abandoned mansions in Eastern Europe.
Again, if you are the owner of these works and you don't want them posted here, just contact me and I'll remove them immediately.
Current listening: John Coltrane - Om; Metz - s/t; Depeche Mode - Violator; Ash Borer - Cold of Ages; Sutekh Hexen - Empyriarsch.
Tuesday, November 13, 2012
It's been a long, lonely time
Yes. I haven't posted anything is a super long time. I've been busy with several other avenues of life as of late.
Just wanted to put it out there that I'm still here.
And while I'm at it, go check out the new Prairie Fire Tapes site. It's awesome. Plus, their latest batch of tapes look terrific. I will need to get my paws on them. While you're there, why not grab a copy of "Tired Forever"? It's been too long since I've had some new tracks to offer. I will be doing some recording as soon as my schedule allows. Definitely over the winter months. Definitely. Without giving away anything, I'm very excited to record and very excited about the next year.
Current fixations: Pete Swanson - Pro Style; Locrian & Christoph Heemann; Cloud Atlas - David Mitchell; Pallbearer - Extinction and Sorrow; Tragedy - Darker Days Ahead; GY!BE - Don't Bend, Ascend!
Just wanted to put it out there that I'm still here.
And while I'm at it, go check out the new Prairie Fire Tapes site. It's awesome. Plus, their latest batch of tapes look terrific. I will need to get my paws on them. While you're there, why not grab a copy of "Tired Forever"? It's been too long since I've had some new tracks to offer. I will be doing some recording as soon as my schedule allows. Definitely over the winter months. Definitely. Without giving away anything, I'm very excited to record and very excited about the next year.
Current fixations: Pete Swanson - Pro Style; Locrian & Christoph Heemann; Cloud Atlas - David Mitchell; Pallbearer - Extinction and Sorrow; Tragedy - Darker Days Ahead; GY!BE - Don't Bend, Ascend!
Tuesday, September 4, 2012
Locrian & Christoph Heemann - s/t LP
It should come as no surprise to anyone who knows me or is familiar with my music that I'm a massive fan of Locrian. Over the course of four LPs and countless EPs, splits and cassettes, this Chicago-Baltimore three piece have created a blackened body of dense noisescapes and bleak atomspherics like no one else. While the trio skillfully touch on decidedly narrow genres like black metal, doom, noise, experimental and minimalism, Locrian remain largely unclassifiable, where strict genre trappings and record store organization is concerned. Locrian are able to blend tormented screams straight out of Norway and buzzing guitar melodies with analogue synth tones and clattering electronics seamlessly, though such descriptions do not remotely come close to describing or understanding the magnitude of the band, which makes writing about Locrian no simple task.
It may be helpful, then, to begin to understand Locrian by way of the themes they explore - or at least seem to explore. Certainly, their previous full-length, "The Clearing" invoked themes of decay, urban and otherwise, and collapse — from the eerie photographs of an abandoned shopping mall on the sleeve to the sounds that lay within. To be sure, this is a far cry from the eschatological or "satanic" end-time tropes so common in metal — and this is perhaps where one can begin to draw some lines in the sand: Locrian does not see the devil walking the Earth, laying waste to humanity; there are no inverted crosses or pentagrams on their records. For Locrian, our end is of our own design, from our own hands: environmental ruin, the depletion of resources, economic collapse, greed. And this distinction is what makes Locrian truly unique, fascinating and terrifying: their ability to evoke through sound the reality that many of us cannot (or blindly refuse) to face. Listening to Locrian, one cannot help but picture crumbling skyscrapers, dust whipping through derelict streets, or imagine the detritus left behind by humankind after some undisclosed, unspoken fallout.
If "The Clearing" was the soundtrack to the seismic fall of Western civilization, this collaborative LP with German electronic musician Christoph Heemann is what life on our ruined planet sounds and feels like in the weeks and months that follow. The fires have long since burned out, no birds fly. All that remains is an eerie silence. This is some of Locrian's most restrained material to date, and it is also some of their strongest. Yet by no means is this easier listening. The restraint shown by these musicians ratchets up the tension and rarely, if ever, releases it. Admittedly, I am unfamiliar with Heemann's work until now, but he sounds perfectly at home next to Locrian. Those familiar with Locrian will no doubt notice some new sounds, but buy the end of the record you will be hard pressed to pick out who's playing what. One of the strengths of this collaborative effort is that this record is not about guest spots or trading riffs. These four artists have created something that speaks for itself, a work of singular vision that some artists fail to create throughout their entire careers.
"Hecatomb" begins with ghostly electronics and acoustic guitar work that almost brings to mind Popol Vuh, but before any motifs can anchor themselves in the ears of the listener, the guitars begins to double back on itself before disappearing into the ether of swirling synths, while the slow thrum of drums pounds in the distance and a piano surfaces, providing one of the only glimmers of light on this record. The various elements at work on this track, and on this entire album, both acoustic and electronic are used masterfully. Sounds and textures and introduced and removed with surgical precision, yet these four tracks maintain a free, structureless feeling — another testament to the abilities of these four individuals.
The middle two tracks see Heemann and Locrian really stretch out and create some serious space. To be sure, this space is tension-filled, bleak and covered with a fine layer of ash. Terrence Hannum's anguished vocals provide the lone human element in an otherwise hostile, bleak sonic landscape of low frequency hums and shimmering cymbals on "Loath the Light." While the slowly shifting tones of "Edgeless City" bring to mind just that, wandering through a darkened, indistinct, abandoned city with the echoes of a fallen civilization ringing through the concrete caverns of a ruined metropolis.
The closer, "The Drowned Forest," is certainly the most unique and powerful track here. The foundation of the piece is vocals, nearly five minutes of several voices singing a mournful, positively haunting melody, as if only a choir were left to bear witness to humanity's final days. Only slowly does some tape hiss and very distant drones start to surface before everything is swirled together, with the occasional voice reaching out above the din. Finally, everything dissolves.
Impeccably performed, this LP is a harrowing, spellbinding and unforgettable listening experience.
Handmade Birds Records
Locrian
It may be helpful, then, to begin to understand Locrian by way of the themes they explore - or at least seem to explore. Certainly, their previous full-length, "The Clearing" invoked themes of decay, urban and otherwise, and collapse — from the eerie photographs of an abandoned shopping mall on the sleeve to the sounds that lay within. To be sure, this is a far cry from the eschatological or "satanic" end-time tropes so common in metal — and this is perhaps where one can begin to draw some lines in the sand: Locrian does not see the devil walking the Earth, laying waste to humanity; there are no inverted crosses or pentagrams on their records. For Locrian, our end is of our own design, from our own hands: environmental ruin, the depletion of resources, economic collapse, greed. And this distinction is what makes Locrian truly unique, fascinating and terrifying: their ability to evoke through sound the reality that many of us cannot (or blindly refuse) to face. Listening to Locrian, one cannot help but picture crumbling skyscrapers, dust whipping through derelict streets, or imagine the detritus left behind by humankind after some undisclosed, unspoken fallout.
If "The Clearing" was the soundtrack to the seismic fall of Western civilization, this collaborative LP with German electronic musician Christoph Heemann is what life on our ruined planet sounds and feels like in the weeks and months that follow. The fires have long since burned out, no birds fly. All that remains is an eerie silence. This is some of Locrian's most restrained material to date, and it is also some of their strongest. Yet by no means is this easier listening. The restraint shown by these musicians ratchets up the tension and rarely, if ever, releases it. Admittedly, I am unfamiliar with Heemann's work until now, but he sounds perfectly at home next to Locrian. Those familiar with Locrian will no doubt notice some new sounds, but buy the end of the record you will be hard pressed to pick out who's playing what. One of the strengths of this collaborative effort is that this record is not about guest spots or trading riffs. These four artists have created something that speaks for itself, a work of singular vision that some artists fail to create throughout their entire careers.
"Hecatomb" begins with ghostly electronics and acoustic guitar work that almost brings to mind Popol Vuh, but before any motifs can anchor themselves in the ears of the listener, the guitars begins to double back on itself before disappearing into the ether of swirling synths, while the slow thrum of drums pounds in the distance and a piano surfaces, providing one of the only glimmers of light on this record. The various elements at work on this track, and on this entire album, both acoustic and electronic are used masterfully. Sounds and textures and introduced and removed with surgical precision, yet these four tracks maintain a free, structureless feeling — another testament to the abilities of these four individuals.
The middle two tracks see Heemann and Locrian really stretch out and create some serious space. To be sure, this space is tension-filled, bleak and covered with a fine layer of ash. Terrence Hannum's anguished vocals provide the lone human element in an otherwise hostile, bleak sonic landscape of low frequency hums and shimmering cymbals on "Loath the Light." While the slowly shifting tones of "Edgeless City" bring to mind just that, wandering through a darkened, indistinct, abandoned city with the echoes of a fallen civilization ringing through the concrete caverns of a ruined metropolis.
The closer, "The Drowned Forest," is certainly the most unique and powerful track here. The foundation of the piece is vocals, nearly five minutes of several voices singing a mournful, positively haunting melody, as if only a choir were left to bear witness to humanity's final days. Only slowly does some tape hiss and very distant drones start to surface before everything is swirled together, with the occasional voice reaching out above the din. Finally, everything dissolves.
Impeccably performed, this LP is a harrowing, spellbinding and unforgettable listening experience.
Handmade Birds Records
Locrian
Monday, August 20, 2012
Slight Hiatus
I won't be posting too much in the next week or so as I'm busy preparing for my band's first show on Friday at the Lo Pub here in Winnipeg. After that's done, I plan to do lots of recording. That's the plan, anyway.
Thursday, August 16, 2012
Daniel Menche
Once again, I'm late to the party.
Having been heavily involved in listening and creating experimental, drone, noise, whathaveyou for a however many years, Daniel Menche is a name that comes up all too often, and for good reason. He has an extensive discography and his records really don't sound like anyone else. They're harsh, haunting, beautiful - sometimes all at once.
But for some reason I never really took the plunge. I knew he was out there, knew he was one of those "must listens," but I suppose I never really got around to it.
But after stumbling upon his blog, I realized my error. First off, his photography work is really interesting. I'm convinced Portland is magical. Plus, he's got a series of raw field recordings loaded to his Soundcloud, which honestly could be stand-alone albums (check out the "Abandoned School Basement" - it's really creepy and awesome). But he's also uploaded a ton of albums to his Bandcamp, which is great for someone like me who isn't sure where to start. I'm listening to the Utech releases, "Terre Paroxysm" and "Wolf's Blood" today, and I'm really enjoying them. You should go and check them out. They both feature some really icy tones with some more textured, harsher elements expertly mixed in. It's great work.
Having been heavily involved in listening and creating experimental, drone, noise, whathaveyou for a however many years, Daniel Menche is a name that comes up all too often, and for good reason. He has an extensive discography and his records really don't sound like anyone else. They're harsh, haunting, beautiful - sometimes all at once.
But for some reason I never really took the plunge. I knew he was out there, knew he was one of those "must listens," but I suppose I never really got around to it.
But after stumbling upon his blog, I realized my error. First off, his photography work is really interesting. I'm convinced Portland is magical. Plus, he's got a series of raw field recordings loaded to his Soundcloud, which honestly could be stand-alone albums (check out the "Abandoned School Basement" - it's really creepy and awesome). But he's also uploaded a ton of albums to his Bandcamp, which is great for someone like me who isn't sure where to start. I'm listening to the Utech releases, "Terre Paroxysm" and "Wolf's Blood" today, and I'm really enjoying them. You should go and check them out. They both feature some really icy tones with some more textured, harsher elements expertly mixed in. It's great work.
Tuesday, August 14, 2012
Music in the mail
A few of the great albums I received in the mail:
Mirrorring (Kranky): Simply beautiful and spellbinding work from two highly talented individuals. Tiny Vipers' ghostly folk doesn't sound out of place wrapped up in Grouper's ethereal drones for a second.
The Sight Below - It All Falls Apart (Ghostly International): I was unfamiliar with this, but I'm do glad I'm in the know. Imagine if Tim Hecker was on Kompakt. Really beautiful textures with some barely there minimal throb. There's also some pretty hefty low end buried in there, so listen on some decent speakers.
Locrian - The Clearing & The Final Epoch (Relapse): No mystery what a huge fan of Locrian I am. I own most of the material on this collection on vinyl (naturally) but some of it I don't. Plus, I'm a bit of a completist and I will gladly give my money to this band.
Not pictured: Fermentae - Glossalia cs: Kevin from Sutekh Hexen's solo project. Admittedly I haven't finished listening to this yet, but I really, really like what I'm hearing so far. Plus, the design (also done by Kevin) is terrific. Hey Kevin, want to design something for Greenhouse one day?
Mirrorring (Kranky): Simply beautiful and spellbinding work from two highly talented individuals. Tiny Vipers' ghostly folk doesn't sound out of place wrapped up in Grouper's ethereal drones for a second.
The Sight Below - It All Falls Apart (Ghostly International): I was unfamiliar with this, but I'm do glad I'm in the know. Imagine if Tim Hecker was on Kompakt. Really beautiful textures with some barely there minimal throb. There's also some pretty hefty low end buried in there, so listen on some decent speakers.
Locrian - The Clearing & The Final Epoch (Relapse): No mystery what a huge fan of Locrian I am. I own most of the material on this collection on vinyl (naturally) but some of it I don't. Plus, I'm a bit of a completist and I will gladly give my money to this band.
Not pictured: Fermentae - Glossalia cs: Kevin from Sutekh Hexen's solo project. Admittedly I haven't finished listening to this yet, but I really, really like what I'm hearing so far. Plus, the design (also done by Kevin) is terrific. Hey Kevin, want to design something for Greenhouse one day?
Wednesday, August 8, 2012
Live from ArtsJunktion - visual
Here's some photos from the Robert Szolnicki. Robert is an absolute delight. He's super supportive of the arts in our city and takes terrific photos. Plus, he was super patient with my 15-month-old as she tried to look through the viewfinder while he was shooting and even pressed the stop button on his video recorder at one point during the set. Get wise and follow his blog right here.
Wednesday, August 1, 2012
Saturday, July 28, 2012
Friday, July 27, 2012
Experimedia Sale!
I was just scoping out the new Bronze Age that's dropping from the Bed of Nails compound and noticed Experimedia is having a sale and wouldn't you know, "Tired Forever" is on sale now for 25% off. They have the wrong cover art up there, but whatever. Anyway, if you're already ordering some stuff from those folks, why not roll in a Greenhouse tape? Plus, the latest Gomeisa tape is there too. It's a goody. Bleak shit.
The Cosmic Dead
So, the recording experiment I tried last night didn't really work out, so I have nothing to say today other than to say buy a copy of this tape by The Cosmic Dead from Dub Ditch Picnic.
I just got a copy today (thanks Chris!) and man oh man. Really, really good drawn out, restrained, subtle psych jams a la old Pink Floyd or even Acid Mothers Temple (at their most reigned in). Apparently this tape is already almost sold out. So act fast. Hit up DDP and get a copy of this asap.
I just got a copy today (thanks Chris!) and man oh man. Really, really good drawn out, restrained, subtle psych jams a la old Pink Floyd or even Acid Mothers Temple (at their most reigned in). Apparently this tape is already almost sold out. So act fast. Hit up DDP and get a copy of this asap.
Thursday, July 26, 2012
Foxy Digitalis Reviews "Tired Forever"
"This is the third release for Winnipeg’s Prairie Fire Tapes by drone guitarist (and Foxy D. contributor) Curran Faris. It’s
implied by PFT that Faris is playing guitar at least a bit here, but
it’s not a bad thing that the instrumentation rarely identifiable.
“Early Mornings and Late Nights” is super blown-out, with a thick layer
of feedback and low rumbling threatening to swallow up any recognizable
notes (note that I say a layer, as opposed to layers –
a crucial distinction). Occasionally, out of this miasma, a theme looms
and then recedes – perhaps a heavily delayed note, or sustained synth
drifting. “All That is Left” mesmerizingly loops minimal filter sweeps.
“Glissed” is built on layers of drifting guitar feedback. The two epic
B-side drones, “Accept This” and “Drop-off,” are more guitarish, the
former blissfully looped and layered, the latter returning to a low
drone for a sustained, satisfying, and long conclusion. Unhurried, full,
and using the tape medium expertly – this is excellent work."
Original here.
Original here.
QRD Magazine Interview
This was really fun to be a part of. An interview for all of you gear nerds out there. Check out QRD here. They interviewed Mick Barr in the same batch (!!!!).
QRD – What was your first guitar & what happened to it?
Curran – My mom’s classical guitar. It’s sitting upstairs in my office.
QRD – What’s your typical set-up from guitar to effects to amplifier?
Curran – Fender Telecaster Thinline - Ernie Ball volume pedal - Boss tuner - Fulltone OCD - Ibanez Tube Screamer - Boss pitch shifter - Electro Harmonix Freeze - Diamond Tremolo - Line 6 DL4 - Electro Harmonix Holy Grail - Verellen Loucks - Sunn 4x12
QRD – What’s the most important part of your rig - guitar, amplifier, or effects?
Curran – Tough call, but I’m gonna go with my Loucks.
QRD – What’s your main amplifier & why?
Curran – Verellen Loucks. It’s simple, yet extremely touchy & versatile. & it’s pretty loud too. It yields a big range of tones. I discover something new almost every time I play it.
QRD – What’s your main guitar & what are the features that make it such?
Curran – My main guitar for years was a Godin LG. I’ve been using my Tele for a few years now. I like the humbuckers in it. Gives it a bit more heft.
QRD – How many guitars do you own?
Curran – Five.
QRD – How & where do you store your guitars?
Curran – Mostly in their cases. One stays on a stand for easy access. Another is in a corner being neglected.
QRD – Do you upgrade & customize your guitars or just stick with what you get?
Curran – I’m a total caveman. I stick with what I get, besides from the obvious tune-ups to suit the gauge/tunings I use. If I need something technical done, I take it to Darcy Bunio here in Winnipeg. He’s a wizard.
QRD – How thoroughly do you research or test a piece of equipment before buying it?
Curran – Pretty thoroughly. I watch as many online videos as I can if I can’t physically try something first.
QRD – Do you change your rig around often?
Curran – Not really. Don’t have the funds to.
QRD – Are you after one particular guitar tone & locking into it, or do you like to change your tone around a lot?
Curran – I’ve been pretty locked in for a while. I tend to stay away from super high treble. I like smooth, diamond-clear clean tones & loud, but distinct distortion.
QRD – What are some guitars, amps, & pedals you particularly lust after?
Curran – Sunn Model T. Gimme.
QRD – What have been the best & worst guitar related purchases you’ve made?
Curran – Best: Sunn 4x12 used for $400. Vox AC-30.
QRD – What are some effect, amp, & guitar brands you particularly like or dis-like & why?
Curran – Verellen Amps. Fulltone overdrives.
QRD – What’s the first thing you play when you pick up a guitar?
Curran – Chromatic warm-ups.
QRD – How old were you when you started playing guitar?
Curran – 10?
QRD – At what age do you think you leveled up to your best guitar playing?
Curran – Early to mid-twenties, right when I started teaching.
QRD – Why do you think a guitar fits you more so than other instruments?
Curran – I’m not sure that it does. I can go from feeling perfectly “fitted” with guitar to feeling totally outclassed by it.
QRD – Do you think guitar should be people’s first instrument as often as it is?
Curran – After years of teaching, I still think I can’t say one way or the other. I can tell you I wish I had learned piano first.
QRD – Do you see your guitar as your ally or adversary in making music?
Curran – Both, but mainly an adversary.
QRD – Who are the guitarists that most influenced your playing & sound?
Curran – Off the top of my head: Jonny Greenwood, Steve Brodsky/Adam McGrath, Andrew Elstner, King Buzzo, Jake Snyder/Dave Knudson, Andy Summers... I dunno. Honestly at this point I’m more influenced & inspired by my friends & bandmates.
QRD – Do you think people anthropomorphizing their guitars is natural or silly (e.g. naming their guitar)?
Curran – Silly.
QRD – What’s the most physical damage you’ve done to a guitar & how did you do it?
Curran – Dented the finish on my Godin when the volume pot flew off & landed on the body. It was so flukey.
QRD – How many hours a week do you play guitar & how many hours would you like to?
Curran – Not nearly enough. Anything more at this point would be great.
QRD – What type of pick do you use & why?
Curran – I use these Traynor picks that are basically like the Jazz III, but the texture is smoother.
QRD – What gauge strings do you use & why?
Curran – D’Addarrio. Jazz gauge. They’re just so dang heavy.
QRD – How often do you change strings?
Curran – When they start sounding bad/feeling gross.
QRD – How often do you break strings?
Curran – Not often.
QRD – Which do you feel is more proficient, your strumming hand or fretting hand & how does that effect your style?
Curran – Strumming. I’ve never been into intense fretboard acrobatics.
QRD – Do you set-up your guitar yourself or send it to a guitar tech (or not set it up at all) & why?
Curran – If it’s a significant repair or something I will most certainly screw up, Darcy Bunio is where my guitars go.
QRD – What tunings do you use & why?
Curran – Standard, 1/2 step down, drop D, & this drop C tuning with a few twists of my own.
QRD – Do you prefer tablature, sheet music, or some other notation system for writing down your own ideas?
Curran – Nowadays, I just record anything I need to remember.
QRD – What’s a bad habit in your playing you wish you could break?
Curran – Laziness.
QRD – What’s a type of guitar playing you wish you could do that you can’t?
Curran – Jazz. Death metal. I have no idea. Probably almost anything.
QRD – What would you teach someone in a guitar lesson that you don’t think they would generally get from a guitar teacher?
Curran – I used to be one, so maybe I can’t answer this one.
QRD – What’s something someone would have to do to emulate your style?
Curran – Delay. Jangly chords.
QRD – How often do you adjust your tone knob?
Curran – Only when I accidentally turn it off & start playing a song & notice half way through that my guitar sounds terrible.
QRD – If a band has good guitar work, can you ignore the rest of the band not being good?
Curran – Probably not.
QRD – Where can people hear your best guitar work?
Curran – My most technical/hectic work was done in my stint with Hide Your Daughters, though that has yet to be recorded since the band is on permanent hiatus. My newest band Warsaw should hopefully record something sometime. Greenhouse is my solo ambient stuff. It’s guitar work, but it’s not obviously guitar - or work.
QRD – What was your first guitar & what happened to it?
Curran – My mom’s classical guitar. It’s sitting upstairs in my office.
QRD – What’s your typical set-up from guitar to effects to amplifier?
Curran – Fender Telecaster Thinline - Ernie Ball volume pedal - Boss tuner - Fulltone OCD - Ibanez Tube Screamer - Boss pitch shifter - Electro Harmonix Freeze - Diamond Tremolo - Line 6 DL4 - Electro Harmonix Holy Grail - Verellen Loucks - Sunn 4x12
QRD – What’s the most important part of your rig - guitar, amplifier, or effects?
Curran – Tough call, but I’m gonna go with my Loucks.
QRD – What’s your main amplifier & why?
Curran – Verellen Loucks. It’s simple, yet extremely touchy & versatile. & it’s pretty loud too. It yields a big range of tones. I discover something new almost every time I play it.
QRD – What’s your main guitar & what are the features that make it such?
Curran – My main guitar for years was a Godin LG. I’ve been using my Tele for a few years now. I like the humbuckers in it. Gives it a bit more heft.
QRD – How many guitars do you own?
Curran – Five.
QRD – How & where do you store your guitars?
Curran – Mostly in their cases. One stays on a stand for easy access. Another is in a corner being neglected.
QRD – Do you upgrade & customize your guitars or just stick with what you get?
Curran – I’m a total caveman. I stick with what I get, besides from the obvious tune-ups to suit the gauge/tunings I use. If I need something technical done, I take it to Darcy Bunio here in Winnipeg. He’s a wizard.
QRD – How thoroughly do you research or test a piece of equipment before buying it?
Curran – Pretty thoroughly. I watch as many online videos as I can if I can’t physically try something first.
QRD – Do you change your rig around often?
Curran – Not really. Don’t have the funds to.
QRD – Are you after one particular guitar tone & locking into it, or do you like to change your tone around a lot?
Curran – I’ve been pretty locked in for a while. I tend to stay away from super high treble. I like smooth, diamond-clear clean tones & loud, but distinct distortion.
QRD – What are some guitars, amps, & pedals you particularly lust after?
Curran – Sunn Model T. Gimme.
QRD – What have been the best & worst guitar related purchases you’ve made?
Curran – Best: Sunn 4x12 used for $400. Vox AC-30.
QRD – What are some effect, amp, & guitar brands you particularly like or dis-like & why?
Curran – Verellen Amps. Fulltone overdrives.
QRD – What’s the first thing you play when you pick up a guitar?
Curran – Chromatic warm-ups.
QRD – How old were you when you started playing guitar?
Curran – 10?
QRD – At what age do you think you leveled up to your best guitar playing?
Curran – Early to mid-twenties, right when I started teaching.
QRD – Why do you think a guitar fits you more so than other instruments?
Curran – I’m not sure that it does. I can go from feeling perfectly “fitted” with guitar to feeling totally outclassed by it.
QRD – Do you think guitar should be people’s first instrument as often as it is?
Curran – After years of teaching, I still think I can’t say one way or the other. I can tell you I wish I had learned piano first.
QRD – Do you see your guitar as your ally or adversary in making music?
Curran – Both, but mainly an adversary.
QRD – Who are the guitarists that most influenced your playing & sound?
Curran – Off the top of my head: Jonny Greenwood, Steve Brodsky/Adam McGrath, Andrew Elstner, King Buzzo, Jake Snyder/Dave Knudson, Andy Summers... I dunno. Honestly at this point I’m more influenced & inspired by my friends & bandmates.
QRD – Do you think people anthropomorphizing their guitars is natural or silly (e.g. naming their guitar)?
Curran – Silly.
QRD – What’s the most physical damage you’ve done to a guitar & how did you do it?
Curran – Dented the finish on my Godin when the volume pot flew off & landed on the body. It was so flukey.
QRD – How many hours a week do you play guitar & how many hours would you like to?
Curran – Not nearly enough. Anything more at this point would be great.
QRD – What type of pick do you use & why?
Curran – I use these Traynor picks that are basically like the Jazz III, but the texture is smoother.
QRD – What gauge strings do you use & why?
Curran – D’Addarrio. Jazz gauge. They’re just so dang heavy.
QRD – How often do you change strings?
Curran – When they start sounding bad/feeling gross.
QRD – How often do you break strings?
Curran – Not often.
QRD – Which do you feel is more proficient, your strumming hand or fretting hand & how does that effect your style?
Curran – Strumming. I’ve never been into intense fretboard acrobatics.
QRD – Do you set-up your guitar yourself or send it to a guitar tech (or not set it up at all) & why?
Curran – If it’s a significant repair or something I will most certainly screw up, Darcy Bunio is where my guitars go.
QRD – What tunings do you use & why?
Curran – Standard, 1/2 step down, drop D, & this drop C tuning with a few twists of my own.
QRD – Do you prefer tablature, sheet music, or some other notation system for writing down your own ideas?
Curran – Nowadays, I just record anything I need to remember.
QRD – What’s a bad habit in your playing you wish you could break?
Curran – Laziness.
QRD – What’s a type of guitar playing you wish you could do that you can’t?
Curran – Jazz. Death metal. I have no idea. Probably almost anything.
QRD – What would you teach someone in a guitar lesson that you don’t think they would generally get from a guitar teacher?
Curran – I used to be one, so maybe I can’t answer this one.
QRD – What’s something someone would have to do to emulate your style?
Curran – Delay. Jangly chords.
QRD – How often do you adjust your tone knob?
Curran – Only when I accidentally turn it off & start playing a song & notice half way through that my guitar sounds terrible.
QRD – If a band has good guitar work, can you ignore the rest of the band not being good?
Curran – Probably not.
QRD – Where can people hear your best guitar work?
Curran – My most technical/hectic work was done in my stint with Hide Your Daughters, though that has yet to be recorded since the band is on permanent hiatus. My newest band Warsaw should hopefully record something sometime. Greenhouse is my solo ambient stuff. It’s guitar work, but it’s not obviously guitar - or work.
Go Get This
I figured I would give you all a heads up about some great sounds being made by some great artists on this blog from time to time, so here we go.
Up first is this powerful, alarming, yet somehow listenable album by the illustrious Gomeisa. For those of you paying attention, Gomeisa is Prairie Fire Tapes co-honcho and my fellow Humboldt collaborator Cole Peters. He's also an amazingly terrific person. His catalogue is totally worth checking out, but he just posted this album of power electronic menace on his Bandcamp for free. So do yourself a favour.
Up next is Crystal Hell Pool. I've never met this dude in person. But he's super friendly and talented. CHP goes from dark, menacing drone to 70's italian horror soundtracks and synth kosmiche a la Oneohetrix Point Never and Umberto. But still, there's something lurking behind everything this guy does that I can't quite put my finger on, but I like it. Hit up his blog for more info, or see what's left from labels like Dead Accents (also a stellar imprint).
Up first is this powerful, alarming, yet somehow listenable album by the illustrious Gomeisa. For those of you paying attention, Gomeisa is Prairie Fire Tapes co-honcho and my fellow Humboldt collaborator Cole Peters. He's also an amazingly terrific person. His catalogue is totally worth checking out, but he just posted this album of power electronic menace on his Bandcamp for free. So do yourself a favour.
Up next is Crystal Hell Pool. I've never met this dude in person. But he's super friendly and talented. CHP goes from dark, menacing drone to 70's italian horror soundtracks and synth kosmiche a la Oneohetrix Point Never and Umberto. But still, there's something lurking behind everything this guy does that I can't quite put my finger on, but I like it. Hit up his blog for more info, or see what's left from labels like Dead Accents (also a stellar imprint).
Wednesday, July 25, 2012
Tuesday, July 24, 2012
Live Recordings
Here's a live Greenhouse set from May 12, 2012. Performed at NGTVSPC with AUOH and crys cole. Recording courtesy of R. Szolnicki. I was really tired during this set, but it turned out OK.
Here's the last set Humbolt played a few months ago at Frame Gallery here in Winnipeg. Recording courtesy of R. Szolnicki.
Here's the last set Humbolt played a few months ago at Frame Gallery here in Winnipeg. Recording courtesy of R. Szolnicki.
Hi There
I'm not sure why I didn't think of this sooner, but I've put together this blog as an online housing for all things Greenhouse and Humboldt related. Keep an eye out for show and release announcements, photos, live recordings, news and whatever else occurs to me to post here.
Just in case:
Greenhouse is Canadian musician Curran Faris.
Humboldt is the collaborative project between Curran Faris and Cole Peters (Gomeisa, Secret Girls).
Not much to see here yet. I've posted a Discography section for those interested. Some of it is still available direct for the labels, some is available directly from me and some stuff is out of print. Anyways, thanks for reading and listening. Leave me a comment or something.
Banner photo: Robert Szolnicki
Recently enjoying - Impetuous Ritual "Relentless Execution of Ceremonial Excrescence", Hooded Menace "Never Cross the Dead", Sutekh Hexen "Larvae", Mike Shiflet "Sufferers."
Just in case:
Greenhouse is Canadian musician Curran Faris.
Humboldt is the collaborative project between Curran Faris and Cole Peters (Gomeisa, Secret Girls).
Not much to see here yet. I've posted a Discography section for those interested. Some of it is still available direct for the labels, some is available directly from me and some stuff is out of print. Anyways, thanks for reading and listening. Leave me a comment or something.
Banner photo: Robert Szolnicki
Recently enjoying - Impetuous Ritual "Relentless Execution of Ceremonial Excrescence", Hooded Menace "Never Cross the Dead", Sutekh Hexen "Larvae", Mike Shiflet "Sufferers."
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