Parade/Chromosphere
Microbunny
Cap Gun
More Plastic
The Connoissuers
The Jim Guthrie Quintet
The Mudpuddles

PARADE/CHROMOSPHERE
web:www.planeleven.com
WAVELENGTH 17 SUNDAY JUNE 4

Parade have been enigmatic sound pioneers on the fringes of the Canadian music scene for over a decade. Emerging from the industrial underground in the late '80's, Parade have been forging odd soundtracks to the imagination that have lead listeners on a fantastic journey that has yet to conclude (and perhaps never will).

Comprised of David S. Faris (keyboards, electronics), Stephen Seto (guitars, programming), and Julie S. Faris (vocals, lyrics), Parade incorporate multiple sonic influences and styles into their own, deconstructing music and noise with a restless urge to create something new. Their unique sound is a fusion of innovative electronic textures, effected guitars, sequenced drum machine rhythms, sweeping sythesizers, and passionate female vocals. Parade are also well known for integrating their background as visual artists into their live performances, which are multi-media events, merging projections, stage design, and costuming with their atmospheric music.

Parade's latest album, "Floating Here," was released in October, 1999 on their own label, Plan Eleven, and was hailed by Exclaim! as "an album of utter beauty that has almost no equal."

They are joined by labelmates Chromosphere on June 4th at Wavelength. WAVELENGTH's Paddy O'Donnell came up with some amazingly ordinary questions for them to answer in whatever capacity any of them decided.

David S. Faris: I've always felt that the final result was what was important, not necessarily the means. Whether music is created using electronic instruments or acoustic instruments is pretty much immaterial to me, as long as the results are interesting. I'm just as happy listening to Kraftwerk or Panasonic as I am listening to Nick Drake or Charlie Parker.
The biggest downfall to electronic music is that it can almost be created automatically now, just by turning on a few pieces of equipment and hitting play - the computer program "Rebirth" is a perfect example. Anyone with a computer and this piece of software can produce generic techno tracks that sound very authentic, but have little individuality. By the same token, how many countless 3-chord hardcore bands have you heard that also have no identity? You have to start somewhere, but where you arrive is the interesting point.
Chromosphere: Does it matter? I can't honestly say I'd recognize anyone from any band, unless their video/s is/are consistently in my face all the time. And that can't be good at all.

Elaborate on the importance/non-importance of art/design and the creation of a mood, mystique or association for the listener & observer.
DSF: Everyone in Parade has a background in visual arts, so we are all really interested in the visual side of the group, and music in general. Stephen and I have both designed record covers for years, as well as posters, flyers, etc. Because music is essentially an abstract artform, it lends itself to interpretation. Music and imagery combined create a larger entity, and we try to achieve this in some way through our live shows, combining our own images with the music, in the same spirit as Warhol's collaborative shows with the Velvet Underground. In terms of other bands and labels, I have always been drawn to labels and bands with a strong visual identity, and I'm sure this has had an influence on the way I approach music and design. Factory records, 4AD, and early Nettwerk were all outstanding in this respect, especially bands like Skinny Puppy, New Order, and Cocteau Twins. A more recent example would be the Blood and Fire label.
CS: I'm convinced that art/design are essential in presenting a mood, mystique... [etc.] But I'm not visual * at all in creating music. Perhaps I should be, but what are you gonna do? * Visually stimulated or influenced.

What does Plan 11 mean to you?
DSF: It is a tribute to the spirit of the great Edward D. Wood Jr. The man knew how to get things done, and make a lasting work of art, against all odds (and boy where there alot of odds!). He envisioned Plan Nine From Outer Space in the 50's. We estimated that Plan Ten was most likely disco in the '70's, so we continued the conspiracy in the '90's with Plan Eleven, a systematic restructuring of your listening habits!
CS: They're a voice I can trust. They allow me to be heard. We'll see if that is a good thing later, and who should be held responsible.

Drum machines... programming... curse or blessing? (Ie. Does a set structure make you freer or limit you more?)
CS: You create your own curses or blessings. Drum machines are merely one instrument. I trained as a drummer since early childhood; so I've never lacked rhythmic options. Set structure is the architecture you create. You can be as free as you want if you're smart enough to know your own limits. Our whole live thing is basic improvisations and chance music. I've never had any performance present me with limits. However, that is not to say that all have been the way I had wished them to be, or good for that matter. Occasionally the night starts to suck 5 minutes before you arrive and continues to suck until well into the next week. Those gigs just can't be helped.
DSF: We grew up in the early '80's, so the use of drum machines and synthesizers was very common place in the pop music of our youth. We like the sound of electronic drums - it is a different approach to rhythms altogether, and while it has limits, it also has a unique feel that can be a real asset. We often use a basic rhythm track or sequence as the basis for improvisation and noise excursions - in the end, it is just a question of choices. It's a lot easier to get to shows when you don't have to lug a drum kit around, and you can turn the machine down if you really want to!

How much change is there from live show to live show?
DSF: Since we don't play live that often, our live shows tend to vary quite a bit. We create new visuals quite often for use in our live show, and try to come up with a unique stage setup for each show, based on the space we're working in. Sometimes we just perform as a band, without any visual accompaniment - that is bare bones Parade! We try to keep things interesting for ourselves and the audience. Otherwise, what's the point of doing it? We're not a bar band running through our "set."
CS: We'll see.

Vocals vs. Vocal Samples... what should be said about this?
CS: Nothing. They're two entirely different things.
DSF: Listen to the song "Sexcrime" by the Eurythmics. This is a good study on the subject!

Tell us a funny story.
CS: No.
DSF: Dammit Jim, I'm a musician, not a comedian!

If you only had one sentence in which to make an impression, and had to impress upon someone what you personally thought life was all about, what would your sentence be?
DSF: Drinks for all my friends!
CS: Life is what occurs during ñdowntimeî for the chromosphere; so for me, it's the time I use to rest up.

What is your favourite music?
CS: Audible.
DSF: Anything that moves me, inspires me, impresses me, or makes me want to drink during the late/early hours. Some top bands over the years have been Joy Division, The Cure, Bowie, Rush, Skinny Puppy, Red House Painters, David Sylvian, Miles Davis, Eno, The Beatles, Velvet Underground, The Clash, The Wolfgang Press, Cocteau Twins, Dead Can Dance, The Legendary Pink Dots, Slowdive, and Swans, amongst many, many others (it's really criminal to even try to make a list, with all of the amazing music out there). However, if I gave a list of recent records that I've bought, it would include Dissidenten, The Carpenters, Chic, Weather Report, and a Scottish folk album called "A Toast To The Haggis." Variety is music to my ears, and I'm always on a quest for something new (or old) and exciting. And lets not forget those Hawaiian records...

Where will your band be a year from now?
CS: Where are we now?
DSF: Hopefully still playing cool nights like Wavelength, although with a completely new set!

Do you feel where you are from affects your music?
DSF: Yes, in an inexplicable way. Canadian music has a unique, undefinable quality to it, and I think that our music shares some of those characteristics. Also, being from Toronto, I think that the surrounding music community over the years has always been inspiring and supportive, which has helped us develop in a positive way.
CS: Of course. If it doesn't, you're a plagIarist.

Studio recording/Home recording...why one and not the other?
DSF: Both! All of our CDs have combined music recorded at home and in the studio. We just go into the studio so we can hang out with Rob (Sanzo). Otherwise, we'd never see him!
CS: What's the difference anymore?

MICROBUNNY
WAVELENGTH #18 SUNDAY JUNE 11

Microbunny, King Cobb Steelie, and the mysteries of the world as elucidated by Microbunny and investigated by Johnny Dovercourt, ESQ.

Q1. How did Microbunny get started and how does it differ from King Cobb Steelie?
Microbunny is a pseudonym I used for instrumental sequenced music I'd written and recorded in my home studio for fun, after leaving King Cobb Steelie. I've always loved playing a multitude of instruments, rather than limiting myself to just one, because I'm not that great at any particular one.

Taking a friend's suggestion to try adding a voice, I asked Tamara Williamson, because I had a feeling her voice would be right. It worked immediately, so I just kept feeding her music. Then an engineer I was working with suggested we try playing it live, which I hadn't even considered at that point. I discovered that by carefully deconstructing some of the pieces, that it could be done, so I called up the three more guys and here we are.

Musically it differs from King Cobb Steelie, in that it was written and played by one person, as opposed to a number of different people contributing to a collective writing process with a "director". Microbunny's music was/is presented in a completed form for the band, or for Tamara to sing on, then it mutates and each person brings their own style and ideas into the songs.

Q2. You appear to have assembled an impressive cast of players for this project. Who are they and what does each of them contribute?
Tamara Williamson (Mrs.Torrance)-Voice/Words/Loops
David Dacks (Excalceolators/Combustion Lente)-Computer Sequencing and Effects
Mitch Girio (King Apparatus)-Upright Bass and keyboards
Nathan Lawr (Jim Guthrie Quintet/KCS)-Drums

Q3. Microbunny vs. the Energizer Bunny: who would win?
In a fair fight, with all our gear, we would crush the Energizer Bunny and his puny bass drum, but in reality, I'm afraid he would win because he has the giant corporate funding behind him to buy off all the judges.

Q4. Should Toronto become an independent city-state?
Would this make Mel Lastman "Master of the Universe" ?

Q5. Would you ever incorporate (if you haven't you already) one of those Microjammer toy guitars into your repertoire?
The low-fi sound of the tiny speaker is nice, but they always program them with those intolerably wanky Eddie Van Halen riffs. Maybe if it was broken in a special way causing severe tape-warble...

CAP GUN
WAVELENGTH #18 SUNDAY JUNE 11

Interview: Chris from Capgun answers Paddy O'Donnell.

Hello Capgun, You are playing Wavelength in June. Who are you?
Chris Dobson: Vocals/Guitar, Locksley Taylor: Guitar (featuring many gadgets too numerous to mention), Andrew Lindsay: Bass/vocals, Jay Prentice: Drums

What are you about?
Writing any sort of damn pop song we feel like writing.

Why are you here?
Because we can't stop.

What is your deepest desire?
As a band: To be able to play any damn pop song we feel like writing. Personally: To surprise people rather than broadcast what I'm all about.

What makes you happy?
As a band: Surprising ourselves with something new Personally: People and events that are unpredictable

What do you think about in the dead hours of night?
I can't speak for the others but if I'm awake usually think about what my life would have been like if I made different decisions. (No regrets, though)

Do you suffer from insomnia?
Never. I don't think the other guys do either. They're a pretty relaxed bunch.

Are you loud?
Not as a rule. But we have been known to crank it up when we get excited.

Describe sound.
Well fermented pop songs that go down smoothly but leave you feeling a little dizzy a half hour later.

MORE PLASTIC
WAVELENGTH #19 SUNDAY JUNE 18

20 QUESTIONS FOR MORE PLASTIC

They are in the process of recording their next album ñThe 60-Watt Partyî; they are planning to tour; they are indestructible destructive rock & roll. They are More Plastic. And, apparently, it is bigger than a bread box.

1) You seem to have quite a lot of plastic already - why do you want more?
The incredible thing about plastic is that it never stains. Many new scientific advancements are based around plastic: ie. plastic vomit and plastic brain membrane which the smell of helps the thought process.

2) Have any of you ever been arrested? If so, why?
The whole lot of us for the kidnapping of Frank Ingliata. Well, turns out he was behind the whole thing. I love that guy.

3) What is the secret meaning behind music?
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4) Have any of the members of your group gone missing for extended periods of time... if so, and if they came back, what were the reasons?
Elliot Lake 98-99 - Juri Biond goes missing in the Uranium mines (he comes out glowing) October 99 - Kissing Jr. in the Imelda Marcos Shoe Rack Fiasco - he's never fully recovered.

5) Metaphor/simile/the band: More Plastic is like __________?
Pantsfucker.

6) Your lead singer, Dean, is quite active on stage...prepare a short list of injuries sustained during action and/or stories regarding rock and roll excess...
Oh let's see... brutalized swollen knees, chipped teeth, bleeding fingers, busted lips, bruised hands, twisted ankles, dulling the finger nails and the worst of all, ass ripping the slacks.

7) Mod/Punk/Funk/Soul/Disco... explain and relate to your experiences.
ñTriumphant was the way she feltî as ñyour pretty face is going to hellî, so ñfree your mind and your ass will followî and if ñit looks like nothings gonna change everything remains the sameî just ñvoulez-vous couchez avec mois ce soir.î

8) Pick one word to describe yourself that would score 23 points in a game of Scrabble.
Hyperbolicsyllabicsesquedalymistic.

9) Rock and Roll Revolution... cliche or necessity?
What is is, what is was, what it always shall be.

10) What has excited you as a band lately?
uh-oh.com

11) What's next?
uh-oh.net

12) What are your deep seated sentiments about playing music?
To be standing.

13) What is your impression of your typical audience?
Sorry, we don't do impressions, but if we did - Jerry Lewis.

14) What would you like to see occur at your shows?
People getting the sweat and the piss confused after the show.

15) Is it bigger than a bread box?
Yes, and shaped like a pizza slice.

16) All time favourite More Plastic Lyric
ñMy bus-stop Virgin Mary said take it all awayî, or- ñWhere's my water? I wanna find my ownerî.

17) When will it end?
When the super-gravity babies* are unleashed upon mankind. *Top secret gov't experiment where children are kept in an environment of increasing gravitational pull for the first 18 years of their life.

18) Glam?
Malg.

19) Describe your newest song.
Filling me softly.

20) Explain yourselves.
Yours elves. Elves that belong to you. They are yours-elves. But as a comic in all seriousness - HOW ARE YA?!!!

THE CONNOISSEURS
WAVELENGTH #19 SUNDAY JUNE 18

We see a room. A bed. Four walls. A window, curtain and night-table. A call for assistance button protudes from the wall. Doc Pickles is out cold. The room is white. Grey-white.

Connoisseurs enter stage left.

C- He's coming to.
D- Murph-
C- How are you feeling?
D- Where am I? Who are you?
C- We're the Connoisseurs. You're in a private clinic in Alberta. We've each given you a kidney.
D- Connoisseurs? Kidney? What? Huh?
C- There's no time for questions. We have to go. We can't afford any more time.
D- Kidney?
C- Yes, you now have four additional kidneys. Now you owe us a night at Wavelength.
D- But my kidneys were fine... who are you?
C- Don't you remember? We gave you your big rock'n'roll break. ñMore Than A Feelingî? The Rock? The Roll? The nonstop action? Remember?
D- Uh-oh... Well, uh, we're kind of busy this summer.
[Doc looks at his chest and begins to wonder how they stuffed all those kidneys in there.
C- We've been on CFNY.
D- Geez, well, why didn't you say so?! You're in! We'll just bump Zappacosta again.

THE JIM GUTHRIE QUINTET
WAVELENGTH #20 SUNDAY JUNE 25

Remember those shirts saying: ñMy parents went to Bermuda & all I got was this lousy T-Shirtî?

...Wavelength gave Jim Guthrie something even lousier...

Hi Wavelength!

It's Jim Guthrie here emailing you my little Guelph rant:

The good folks at Wavelength gave me the crappy job of writing an essay about being a musician in Guelph. While all the other bands in this issue probably got asked a lot of cool questions; I'm faced with the task of being back in high school.

I don't really know where to start because a lot has changed in the past couple of years, some good, some bad. Back when I first bought a four track and started playing shows (92-93), the underground local music scene was incredible. Everybody was making music and everybody had their own sound. It was weird because at any given show you would hear some of the craziest rock you'd ever heard and nobody was self-conscious, everyone was really into what they were doing. No one was in it for the money either, after you paid off renting a P.A. and renting a hall, there was really no money left. It was a lot of hard work but nobody cared because we all felt like we were sharing something more important.

It wasn't long before everyone owned a four-track and a tidal wave of homerock left us waxing up our surfboards. Everyone would play in everybody else's band and tons of one-off cassette albums were passed around throughout the scene. In an attempt to preserve all that was happening I hosted a radio show up at the University of Guelph called "The Royal City Homerock Eruption". I got a lot of tapes from a local cassette label, Sonic Bunny Records, and other kids that would drop off a tape in my mailbox that they made that day. So many tapes, so many songs, so many creative people making honest music. Maybe you can come over sometime and I'll play you some.

Things still seem to be happening these days but it's not as condensed and it's a little less innocent. Not that everybody's scrambling to get on the front cover of Now magazine, I don't think that was ever anybody's intention. Looking back, it was just friends making music for friends and realizing our own individual potential. Now there's only a handful of the same people making music with the intention of reaching more people outside of our community. I think we all feel pretty fortunate that we are able to take those past experiences and let them fuel our art now, and in the future.

note: Jim Guthrie is cancelled for June 25.

Jim Guthrie

THE MUDPUDDLES
WAVELENGTH #20 SUNDAY JUNE 25

The Mudpuddles engage in intriguing and hook-laden pop explorations. Wavelength correspondent Johnny Dovercourt threw some questions at them. They threw various answers back. This is the dirt.

1/ How did the Mudpuddles come into being?
We started out as a back-up band to support Evan's solo pieces. Somehow that just didn't feel right or something and it just morphed into a group effort with all new songs, well not all new, we still play a couple that Evan wrote but we changed them a bit.

2/ Where did the phrase "axiomatic mobius stripshow" arise from?
It's hard to say, but I think the answer lies in the question... it's definitely inspired by Noah the 23rd Elder, a kick-ass local MC.

3/ Why is Guelph such a cool place to live?
Here's an example from Guelph's finest newspaper, The Mercury:
"The Faith Calendar May 20, Harcourt Memorial United Church, 87 Dean Ave. will hold a labyrinth from 10am to 5pm. The labyrinth, which is based on the design at Chartres Cathedral in France, is an ancient tool that has a long history of being used for prayer and meditation. Participants should set aside at least 45 minutes to walk the labyrinth. Call: 824.4177

June 11, St. George's Anglican Church, 99 Woolwich St.,presents a Dramatic Celebration of Pentecost by the Covenant Players at 1pm. A congregational picnic and barbeque will follow; attended childcare. All are welcome.î

4/ Tell our readers about the joy that is stopping for donuts in the middle of the night after a show.
It's kinda like being on a family roadtrip. Like driving to Niagara Falls or something. You're like 2 hours down the road and some of us have to pee and some of us are hungry and we're all restless. Everybody's starting to get grumpy and whiney. We need gas and stuff. So we usually stop at this place called "Timmy's". It's not Tim Horton's, just Timmy's. It's like an oasis sort of.

5/ Temporary vs permanent tattoos: discuss.
Rebecca's the expert, she has 4 permanent. Temporary tattoos are for pussies and children.

6/Is that a real harpsichord on "Godel, Escher, Bach"? (My fave Mudpuddles song, incidentally) If so, will you drag it out on stage at your Wavelength gig?
No it's not real. We got the sound from the dx7, a synthesizer which is almost as ancient as a harpsichord. Expect lots of keyboards and synths and computers at the show. Maybe a robot, too.

7/Is there a substance (illicit or not) that aids in the Mudpuddles' songwriting process?
Sometimes Andrew drinks beer, but not enough to get drunk. Mike works at a bike store which also sells barbeques, working there's kinda like being on acid. Evan drinks lots of buzz water, which is caffeinated spring water. Rebecca's addicted to spicy Jamaican patties.