BIG UPDATE!

Hey all!
Big news, I'll just lay it out quickly....

If you don't know OVER THE TOP festival is going on THIS weekend in Toronto. Visit www.overthetopfest.com. It's an all ages music indie music festival with tons of great bands! Including... a solo show from Kevin Barnes (Of Montreal), An Albatross, Wooden Sky, and tons tons more. there's also a huge film component, so check out the website!!!

ALSO! I will be on the road with a lovely band called Elephant (www.elephantlive.com) for all of May! It's part of the Skate 4 Cancer Tour with Shad and Matthew Johnston. All the dates are free and all ages so come out and say hello!!! Visit Elephant's website to see the tour dates and hear their tunes!!

Take care everyone!
Sari

FEATURE: Plants and Animals

When I showed up to interview Montreal’s Plants and Animals across the street from the Mod Club a couple of months ago, hours before a sold out show with Patrick Watson, the band had not yet arrived. Their publicist was there to greet me however, along with a box of freshly pressed CD’s entitled Parc Avenue. As the power trio arrived, they giddily tore open copies of the album, while inspecting the packaging, the Sgt. Pepper’s esque cover portraying a freak fest on Mount Royal, between ordering drinks. In February, the colourful debut LP was released into the world, and this is indeed a great cause for celebration. Parc Avenue’s mixture of gorgeous instrumentals, folky string sections, witty, unpretentious lyrics and sparingly scattered hooks is a distinct and ecstatic piece of work, sure to make a splash in the world of Canadian music. See the show, get yourself a copy, what else can I say?

Audio Blood: I’ve seen you guys live three times, once at Tiger bar, and then at pop Montreal opening for Grizzly Bear and just last week at the Drake. It’s been kind of cool to have seen the progression, from playing smaller shows like Tiger Bar to opening for Grizzly Bear and now Patrick Watson. Do you feel like this attention is out of left field or do you feel like you’ve earned it?

Warren: We just played a lot. We played a lot and met a lot of the right kind of people, people who wanted to work with us, so we just kind of ended up having to play shows which was ideal and then it just started to, y’ know… in terms of Toronto, with Tiger bar we had no idea, when we got there it was ridiculous, we couldn’t believe it, it turned out to be a great show. We made some friends there, we just kept coming back and it kept spreading.

AB: How do you feel about being courted by bigger bands like Andrew Bird and Patrick Watson?

Warren: Perfect really, it was more or less our plan to hook up with some bigger bands and play bigger venues. Our main plan was to keep busy until the record (Parc Avenue) comes out, in February. With Andrew Bird, it was out of the blue, they came to us, I have no idea how that happened, they heard about us somewhere. So that was nice, to know that people are hearing about us somehow, somewhere without us going to them.

AB: I think you guys have a really good three man dynamic, how long have you been playing together?

Nic: I can’t remember how it started, but it’s always been the three of us.

Woody: We had a bass player once, we played a wedding.

AB: how was the wedding gig?

Woody: It was amazing, it was in a barn.

AB: did you play any covers? I feel like people at a wedding would want to hear covers.

Woody: No, I don’t think we did.

Nic: We were kind of a weird band in those days.

Woody: and they were the apple orchard crowd.

AB: So now that you’re getting bigger and might start headlining at bigger venues, what kinds of bands would you like to see opening for you.

Nic: I don’t know…. U2?

Woody: We’ve been opening for people for awhile, so it’s hard to imagine it from the other side. I always liked the way that more successful bands take other bands under their wings, like in Halifax Sloan did with that with Thrush Hermit and they got big touring with them.

Ukula: I read somewhere that Warren is a Professor of sound recording and that Nic does musical theatre.

Nic: I used to compose sound design for plays. We all stopped what we were doing for the band, it was hard to be everywhere and the same place.

Ukula: What kind of music theatre did you do.

Nic: Modern plays. If they needed a car sound I would do a car sound.

Ukula: not like Broadway musicals?

Nic: no, plays, real plays. Those guys (Woody and Warren) played on some of the plays sometimes, it sounded really nice.

AB: what was it like being a sound professor?

Warren: I did for two years, last year and the year before, at Concordia. It was good, it was really unexpected, I never expected to do that.

Woody: He did his PhD just expecting to go into research (laughs), to research great sounds.

Ukula: you seem kind of young for a professor.

Warren: Ya, I look just like the kids.

Ukula: were you down with the kids?

Warren: Kind of, I tried.

AB: so you all met at Concordia, but two of you (Warren and Woody) have been playing music together since you were thirteen, I was wondering what kind of phases you went through.

Woody: I still play the same beats.

Warren: It’s come full circle now actually. We started with classic rock.

AB: So if you guys had made an album when you were thirteen it would have sounded like this (pointing at the album).

Warren: I think so, actually.

AB: Your songs don’t really have verse/chorus/verse structures, it seems to flow very naturally, in terms of song writing, how do you make your songs.

Warren: Some of them start small and grow from there. It might just be a small musical idea and then, we kind of build around it, other ones show up pretty much fully formed. Usually we don’t really see the outcome before we get to it, if you know what I mean, and maybe that’s why the songs don’t always organize in typical ways. Inevitably they kind of organize themselves, once you work on it enough. If you were visually thinking you just work for awhile and then stand back and then figure out what you needed to fill in this part, work some more, come back, and then by the end it may not have a conventional pop structure. People who are used to listening to conventional pop structures may find it really jarring or uncomfortable.

AB: Is it a collaborative process? Is one of you the musical genius? It’s Nic isn’t it?

Nic: It’s not me, it’s none of us. It all comes from space.

Woody: The spark usually comes from Warren.

Nic: Sometimes its accidental too, like we’re tuning and we’re like ‘oh fuck, that sounds good’, a few songs were formed like that.

AB: I saw an interview of you guys in Iceland, you were talking about the livestock,
Nic was saying he wanted to harpoon some horses.

Nic: I was really into hunting when I was in High School.

AB: Just so you know, it’s like the second listing when you search Plants and Animals on the internet.

Nic: That’s fine, (laughing) I’m going to have a tv show soon, I’ve been approached to do a TV show in Iceland about horses.

AB: How was Iceland?

Warren: It was Insane. It was great.

AB: Did you tour Iceland?

Warren: We played Iceland Airwaves (festival)

Woody: there’s only two places.

Nic: Reykjavic and Akureyri.

All: (Laughing) we did a tour.

- Dave Hurlow

FEATURE: Nick Verona

“I had a lot of younger kids tell that the music I was writing helped them through a lot of difficult situations,” says Oshawa acoustic rock artist, Nick Verona. “That was basically the only reason I kept writing.”
On the road to a Kingston show at the Youth For Christ Centre, freshly completed his first full-length effort envy, Verona, 21, reveals a genuine understanding for those who take in his expressively poignant music.
“It matters more to me if the listener can feel something, if they can put it to a personal experience or something like that especially if it helps them through a darker time in their life.” Verona said.
Most of the feedback he has received was for the song “Skeleton” for its straightforward account of heartbreak. The song is a prime example of the storytelling style he uses to connect with the listener.
His throaty, pronounced voice commands attention with not only its volume, but also the energy behind it. The delivery is consistent even on “New York City”, a slightly more hushed, mildly toned song about the need to escape.
Writing the record couldn’t have been more organic, so much that nothing needed to be written down. Drinking wine and listening to Sigur Rós were the primary sources of inspiration as he worked his magic. Studying the works of Elliott Smith, Conor Oberst and John Mayer also played a part in his lyrical workings.
He goes it alone for now, but even minus the stage band, his capabilities are more than enough to catch the crowd’s attention. He admits it gets lonely, though the life of a one-man-band has proven successful before.
Verona’s success came with past challenges and it’ll take more than a few shortcomings to stop him now.
“After so many years of having so many doors slammed in your face, you brace yourself for that impact and after having a door opened, you stand there with a stupid look on your face... right now I’m kind of dumbfounded, things are starting to roll.”
envy is available for pre-order on his MySpace and is due out in late April early May following another release for the fall.

- Ashkon Hobooti

FEATURE: Say Anything

Three years after their debut album …Is A Real Boy, Say Anything finally released their anticipated follow-up In Defense of the Genre this past fall. The patience and dedication of Say Anything fans was more than compensated for, as the new album is a double-disc release featuring 27 tracks. With the support of major label J Records, Say Anything were able to the time to perfect the album alongside producer Brad Wood, known for his work with Sunny Day Real Estate and The Smashing Pumpkins.
“It was a lot easier to do the newer one than the older one due to the fact that it was more organized. The process was more relaxed, the producer was more relaxed, so it was just easier that way,” said guitarist Jake Turner.
In addition to the vast amount of songs on the album, In Defense of the Genre also features 23 notable guest musicians/vocalists. The assortment of talented artists chosen to defend the innovation of their emo genre include Adam Lazarra (Taking Back Sunday), Chris Carrabba (Dashboard Confessional), Gerard Way (My Chemical Romance), Aaron Gillespie (Underoath), Anthony Green (Circa Survive), among others.
“A lot of the people were friends of ours or people we have met over the years. There’s a couple other people that are really cool that we were excited about working with, like Trevor Keith from Face to Face and Matt Skiba from Alkaline Trio,” said Turner. “We were all big fans of these guys and we were really fortunate to have them on the record.”
After filling rooms across Canada and the United States through January and February with headliner Thrice, Say Anything are going on the road with Manchester Orchestra, Biffy Clyro and Weatherbox across the States this spring. This tour will be their first headlining tour for In Defense of the Genre, and will certainly please fans with their wide selection of hits.
“I’m pretty stoked because we are all big fans of the bands we’re working with. There’s going to be a lot more smaller venues than the last few tours we have done, so we hope to just pack the rooms and let everyone have a good time!” said Turner. “It will definitely be a more intimate tour.”
Jake Turner, along with his twin brother Jeff, are also in a band together called XO. Before leaving for tour this winter, they spent some time in the studio recording an EP with producer Matt Malpass. Although 2008 is going to be dedicated to touring with Say Anything, XO hopes to be on the road in 2009.
“We definitely want to do some touring. We might tour with Max and Coby, since they have a side project with Chris and Dave from Saves the Day,” said Turner.
With only a few Canadian dates on their tour with Thrice, Say Anything wish to be back in Canada before the end of the year.
“I hope we will be back soon. There is talk of doing Warped Tour, so hopefully if we do that we will be back by the summer!”
- Marshal Hignett

REVIEW: Desaster - 666 Satan's Soldiers Syndicate

Two decades in and Desaster has further proven their aptitude. Making their mark for the sixth time, their appropriately titled new installment, 666 – Satan’s Soldiers Syndicate lands a severe blow to the modern black metal front.

Title references aside, it really makes you think this is what Satan listens to. Hailing from the historical town of Kolbenz, Germany, these four metal craftsmen know the principles of metallic quality and the mechanics behind their work is nearly flawless. Songs usually start with a thunderous burst of lightning speed chugs and pounding drums then ease into breakdowns just when necessary.

"Hellbangers" is a highlight track for its intricate, speedy and perfectly timed guitar solo. It’s just the right amount of shred before you lose your mind. Not the only solo on the record as they come in on a less-than-friendly but occasional basis. The album is straight up old school black metal with deep, growly vocals and quick, chunky guitar chords.

666 is a fast-paced, blistering assault comparable to the late Azazel or Venom. It’s essential not only for metal heads, but anyone who appreciates well-crafted brutal rock and roll. Dig it.

- Ashkon Hobooti

Content coming! HERE

Hey everyone,
ABZ#4 will be delayed so in the meantime I will post up a bunch of writing from our writers, which I have been holding on to. Thank you for the patience. Exciting show news coming soon! Look at the above posts...

much love,
Sari