February 2002

Little Clever
The Craig Dunsmuir Faux-Afro=Twee Kanada 70 Guitarkestra
Wavelength 100: Friday's line-up
Wavelength 100: Saturday's line-up
Wavelength 100: Sunday's line-up
Wavelength 100: The Wavelength Trade Show
The Sick Lipstick
Resonant Frequency
Mocky
The World Provider
Music For One
DJs

LITTLE CLEVER
WAVELENGTH 99
SUNDAY FEBRUARY 3, 11PM
Purveyors of: Mississauga Afro-beat???!!!
web: www.littleclever.com

Craig Fraid was contacted by the Spirit of Fela Kuli for the purposes of this interview with Scott from Little Clever. Some communications problems presented themselves at the outset, but soon all became clear. Fraid quickly apologized: Sorry; sometimes when I summon the Spirit of Afro-Beat, His Greatness fails to consider that us North Americans lack fluency in His Yoruban dialect. Allow me to translate:

[Introductory 10-to-15-minute-long instrumental vamp]
Do-do do do-do do do do do-do do.

Uuuuuuuuuhhhhhhhhhhhhhhhhhwwwwwwwwwoooooooaaaaaa!? [Translation: Greetings, let us begin our discourse; any opening comments?]
Hi. Smile-smile in your ear. Liked you, defeated fear. But you said in my heart, explosions and fuses start. The things I said, each dread. I got through it, time. Inside the white car. These memories. Time. This is the time for everyone, not just you. You are sharing, everyone is carrying their lives like you.

Musician wey carry him band, him play for Union of Deaf and Dumb, o? [Translation: Are competent musicians playing in group situations below their abilities any longer respectable?]
Someone who is in a music group should have their reasons for being involved. Those are their reasons and their business. Although it is always good when it's about their heart's idea.

You no be gentlemen like that; you no be gentlemen at all, no? [Translation: Your ensemble is not one to conform to the standards of its time, is it?]
Is there really a present standard? We explore and experiment at our own pace.

Man, no dey do things the way you do; e no possible? [Translation: Wherein lies the uniqueness of your band's sound?]
Lately, all our sound has come from improvising. Individually, we each have ideas. Working on ideas together is where our music takes form. Fresh sounds seem to form in the newest of moments, the hard part is to remember. Generally we just do what we do, pure in heart = soul sound.

International Thief Thief, him go quench Little Clever? [Translation: How much pressure do negative external forces exert on Little Clever; has the group's integrity ever been endangered?]
Many times. Last week. High points and low points. We only want to play, but it is easy for things to get in the way. In March Little Clever will be reduced once again to a duo. This only means that we have to adapt, and usually adaptation results in some form of change. Member expansions.

One more time: confusion nah wait you? [Translation: Finally, does the future bring uncertainty for the band?]
Everything in the future is uncertain. All we want to do is music, but it is hard to make it work without help. If anyone wants to help? I think we'll still be around. Love.

Blessed, Him No Get Enemy

THE CRAIG DUNSMUIR FAUX-AFRO=TWEE KANADA 70 GUITARKESTRA
WAVELENGTH 99
SUNDAY FEBRUARY 3, 10PM
Purveyors of: No elimination chop-chop right time process music
email: craigfraid@hotmail.com

Craig Dunsmuir's long-running, long-monikered Guitarkestra project brings African-influenced melodies and time signatures into a Steve Reich-ian framework. Doc Pickles was sent to investigate this anomaly.

How are you going to fiddle this faddle live?
It was initially going to be with as many people as it took to perform live. At the maximum I think there are twelve parts going on at once but that was cheating, it was four part harmonics... (Craig generously describes these harmonics at great length -- Doc) But yeah, there are upwards of eight parts going on at once. Along with two guys I know with looping sampler pedals, Alex Durlak and Aaron Lumley, we decided to split it up three ways, but that too fell through because of the mechanical nature of performing in loops... (stirring description of phasing. Mental note: stop asking musicians so many questions about music -- Doc) So now it's just me. Or rather, so for now it's just me. I see.

Western and Eastern influences meet in that stuff you've just played for me. How does this relate to beer?
Although the stuff ends up sounding pretty plinky on tape, it really doesn't do it justice because I want it to be played viscerally loud so as not to bore people. And what goes better with loud music than beer?

When you play "Guitarkestra" backwards, you hear...
It's easy enough to do with my looping pedal because you just press a button and there it goes. It's one of the most effective gizmos on that pedal and I just might pull it out at the end of my show. Damn you, Doc, for spoiling the surprise!

What is pop?
I won't get into any sort of general definition but one of the tensions underlining this stuff that I've ended up writing is that they could be simultaneously referred to as "songs" and "pieces". The former would connote pop music, while that latter would kinda preciously connote something more artful. These are pop songs that just end up soundingÉ kind ofÉ like modern classical. Personally I like to do my bootie-shaking in odd meters whenever possible.

Where do pasta trees grow?
Not in my backyard!

Speaking of NIMBY, compare our perceptions of art in the first world and art in the third world.
The primary, almost clichŽ distinction that could be made between the two would be that in the third world art would be more seamlessly integrated with everyday life, removed of its loftier pretensions.

You have reached "maximum overdrive" when...
Y'ain't drivin' yr truck but yr truck's sure drivin' you; yr truck's still drivin' you, ah reckon.

What is the meaning of "I" in "I am Canadian"?
OM.

That's the right answer. What is the sound of one hand clapping?
(laughter)

Correct. When does the end begin?
Once you shut up, or once I shut off, whichever comes first.

Your most sunless day...
Most recently that would be last night because I haven't gone to sleep yet, so that was my day, but it was sunless in a wholly natural way. I finally finished The Autobiography of Malcolm X.

WAVELENGTH 100: Friday Feb. 8
SECOND ANNIVERSARY WEEKEND ROADTRIP
@ CLINTON'S, 693 BLOOR ST. W.

FULL WHITE DRAG
1am
web: www.fullwhitedrag.com
first played: WL83, Sept. 30, 2001

FWD have added a fourth soldier of rock, R. Mathew Fields... The band is still working out the details of the upcoming release -- The Independence... Recording at the (now famous?) House Of Miracles with Andy Magoffin... immediate plans see the band heading down the Eastern U.S. seaboard to scout out the enemy and return home to play with the enemy as much as possible. There is also a battle pending with the City of Los Angeles... the future is only one decision away.

SLUTARDED
12am
Wavelength newcomers
Purveyors of: Jeez, doesn't the name say it all?!
Pictured: Goni, H. Dorrie [a.k.a. Matt], J-Ho

This is your first interview as a band?
All: Yes!

Obviously you're going to be asked this question over and over butÉ people LOVE the name. Do you want to talk where it came from?
Goni: Nobody remembers, not clearly...
J-Ho: We decided to form a band, and we were trying to think of a name and Nancy said, "I don't know, something slutty, something retarded sounding..."
Goni: And thenÉ
J-Ho: I said "Slutarded"!
Goni: Oh right, this is the bone of contention.
J-Ho: Yeah!

Oh really? We're getting right into the good stuff. So, what's the contention here?
Goni: Well, Nancy, who is no longer with us, claimed the name, but it's alright, we're still friends and everything.

OK! I was wondering if you guys have heard all of the great rumours about yourselves. J-Ho: What rumours are there?
Goni: No, no one talks to us. Do you think they're scared?
J-Ho: We're pretty frighteningÉ
Goni: I'm quite mean when I'm drunk... well, I can be quite mean, period!
H. Dorrie: No rumours, just facts I've heard.
J-Ho: What have you heard about us?

Only good things. So, what are the nasty, bad secrets about Slutarded?
J-Ho: Oh my god!
H. Dorrie: (eagerly) Bad! Secrets!
J-Ho: What are our nasty secrets?
H. Dorrie: Your dark hiddenÉ
Goni: This has taken a turn I just don't feel comfortable with!
J-Ho: We're in our thirties nowÉ
Goni: We're the happiest band on earth!
H. Dorrie: Unless you call me the biggest slut of all.
Goni: Yeah, Matt's a big whore, that's important.

So, how did Matt end up in the band after Nancy left?
J-Ho: Well, there were actually four of us in the band. There was another woman, and then the two of them just kinda stopped showing up for practices. So Goni and I would still get together and wait for them. And Matt and I are roommates, so Matt kinda took to sitting on the couch with drumsticks in his handÉ
Goni & H. Dorrie: Waiting!
H. Dorrie: And I was trying to find a red curly wig tooÉ so I'd look like Nancy.
Goni: And a cardboard cutout of Sue.
J-Ho: So then we decided that Matt was no longer the replacement butÉ
Goni: The actual, in truth really the only drummer.
J-Ho: Yeah.

Well, that's sweet. (Matt hands me their photo.) A very lovely photo! Everyone's wearing matching colours. Very nice.
J-Ho: We believe outfits are very important.
H. Dorrie: It says that in our bio.
All: SLUTARDED LOVES PINK!

So is your music kind of pink, or what colour would you describe your music as? I get the impression pink is not the colour (I was thinking more along the lines of blue).
H. Dorrie: A full spectrum.
Goni: Full spectrum sound.
J-Ho: Various hues.

Moving away from colours, what would you say about your music? For someone who has never heard the band, does the name describe what they might expect to see or hear?
H. Dorrie: Party music!
Goni: I think it's a telling name. I think you can expect something slutarded, and that's what you get!
J-Ho: We try to help!
Goni: We're a charitable band! It's therapeutic, especially for us!

And the audience too, do you think?
H. Dorrie: Yes!
Goni: Oh yeah, our friend said she gave our CD away, to somebody who was very upset. She thought if they played it loud, it would assist them in their recovery.
J-Ho: Yeah, and I did have that couple come up and say how "angry" has helped them in their relationship.
Goni: I think "angry" has helped everybody in their relationship!

So is there a themeÉ?
H. Dorrie: Yeah, well, one song is called "Fuck You"É

What do you guys want to say to the world?
Goni: Start your own band! No waitÉ

Janet's thinking very deeply!
Goni: She might be doing math!
J-Ho: I have an itch. (pause) I really have nothing to say to the world.
Goni: That's why we made an album. We're not very good talkers.
H. Dorrie: I should say to the world, come and invite us to your placeÉ
J-Ho: House!
Goni: For dinner!
J-Ho: We're very good guests.
H. Dorrie: And we can play.
Goni: I would like to re-iterate that Matt has a penis.
J-Ho: Yes.
Goni: I think that's important.
H. Dorrie: Well, I am the only Member of the band.

-- interview by Gidget Adams

KEPLER
11pm
Purveyors of: Music for slow dancing minus the slow dancing
Pictured: Samir Khan, Jon Georgekish-Watt, Jeremy Gara, Mike Sheridan
web: www.cyberus.ca/~kepler
Wavelength newcomers

It used to be easy to peg Kepler as "slowcore", but now that label has become as overused and meaningless as all the other core-suffixed terms. The Kepler sound has mutated into something that doesn't quite fit as cozily into a quiet-loud dynamic. Something that swings, but still stays low to the ground. What else does one need to know? They hail from our Nation's Capitol. Samir and Jeremy also play in Weights & Measures and Snailhouse. Mike is also in Golden Famile. Jon, meanwhile, remains an enigma. Samir answered some email questions posed by Julia Muth, Corruptor of Youth.

Please, enlighten us all with a brief history of Johannes Kepler? Do you feel any special affinity to the ellipse?
Johannes Kepler was an astronomer who discovered, among other things, that planets orbited the sun in ellipses, not circular orbits. He was also blind in one eye, and had no depth perception. That's really what we had an affinity with.

In your opinion, how is music like mathematics? How is art like dreaming? And why is the number 6 pink?
Music is like math because someone is always failing you in it. Your "art is dreaming" question is leading and so I won't answer it. I've never thought of 6 as pink. I'm sorry.

With the recent closure of two of Toronto's favourite rock'n'roll clubs, we are able to more fully sympathize with our Ottawa kinfolk and the severe lack of live venues in your town. Any advice on how to pass the time?
In Ottawa we are very interested in what kind of spare change people leave lying around on the streets. This preoccupation eats up much of our social lives.

Is isolation an essential ingredient in the Kepler/Ottawa music recipe?
We're not that isolated, you know. There are 750,000 of us here and there is a small but loyal music and art community. Some people here do great things. I guess we are far away from any sort of music industry, and frankly, I am glad for that.

Compare and contrast these now defunct Ottawa/Toronto clubs: Zaphod's/El Mocambo, The Cave/Ted's Wrecking Yard, The Pit/The Lion.
Well, they are all similar in that they are all rooms where music has once/is still being played. They all have different dimensions, different acoustics and different managers. They all have kind of bad names. Zaphod's is open, Zaphod's 2 is not.

Late breaking news: Kepler will tour Europe in March with godspeed you black emperor!

I AM ROBOT AND PROUD
10pm
web: www.bloop.org/robot
first played: WL33, Sept. 24, 2000

I Am Robot And Proud is a combination of computer samples clicking, old keyboards droning, dusty electric pianos lilting, bass tones buzzing, cold winter wind and warm cups of tea. First record, The Catch, was released in 2001 by Catmobile Records, followed by a small tour of England. Future plans are a new record hopefully in summer 2002, followed by another small tour of Europe.

WAVELENGTH 100: Saturday Feb. 9
SECOND ANNIVERSARY WEEKEND ROADTRIP
@ Rancho Relaxo, 300 College

DRUMMER
1am
web: www.thebreath.com
first played: WL46, Jan. 14, 2001

Drummer's sound was once described as "the remnants of a guitar-playing donkey that was run over by Neil Young's tour bus, then pissed on by the members of Bon Jovi." Since their last Wavelength appearance, Drummer hosted the Mayflower Series at Queen Street's Art Bar from May to August, added bass player Dick Morello and recorded their second album. When asked about the future, they answered, "I guess that's just up to our devilishly good looks." Drummer's doing fine.

DETENTION
12am
first played: WL69, June 24, 2001

Since their last visit to Toronto, Detention (guitarist Sam Shalabi and drummer Alex MacSween) have been trying to find a good time to get together to practice, but it's hard because Montreal is a city too full of distractions. Sam and Alexander spent months working on their "Free to be Free" float for Montreal's Avant-Garde Music Pride Parade, only to have the event rained out. Anyone wishing to purchase a giant helium-filled effigy of Cecil Taylor is asked to get in touch. -- AM

BLACKEYES
11pm
web: www.deepdarkunited.com/krr.swf
first played: WL58, April 8, 2001

Blackeyes recorded the From a Blue Room album right around the time we played Wavelength. Kim and I lugged 50 copies to France and Italy and played in old town squares and medieval gardens, giving them away for a meal or a piece of good advice. We returned and enlisted Bob Wiseman, Mr. Fred, Jay Baird, Charles Spearin and Brian Cram into our family. We've been playing shows as an acoustic string band and a full-blown rock gang. Hopefully we'll be in a real studio in March or April to do an EP. -- Nick Taylor

MICHELLE McADOREY & ERIC CHENAUX
10pm
first played: WL16, May 28, 2000 & WL 5, Mar. 12, 2000

Since the last Wavelength, we (myself and Eric Chenaux) have been playing as a duo. Less friends on the stage, more friends in the audience. Thank-you Martin, Ryan, Doug and Kurt. We don't wonder alone. -- MM

\

WAVELENGTH 100: Sunday Feb. 10
SECOND ANNIVERSARY WEEKEND ROADTRIP
@ Lee's Palace

GESUNDHEIT
1:15am
web: webhome.idirect.com/~briancram/
first played: WL78, Aug. 26, 2001

Gesundheit tours the planet (Kensington): Thursdays, Feb. 28-March 21, two sets a night. Gesundheit Canadian distribution: Sonic Unyon, Hamilton. Gesundheit international distribution: Musea Records, Metz, France. Asinus ad Lyram carried by Soundscapes. Five individualist videos by director Rick Palidwor released for rental at Suspect Video. Hoping to tour European soil in late spring. Fred from Drummer has donated a new mask to the Gesundheit cause. See it revealed at the Wavelength show. Drummer Jimmy P. Lightning starts down-tuning Gesundheit guitars. Kram's hair gets messy... Jimmy P's taste for Scotch, completely acquired.

RAISING THE FAWN
12:30am
web: http://raisingthefawn.tripod.com
first played: WL45, Dec. 17, 2000
last played: WL93, Dec. 9, 2001

The newest of the news is that Raising the Fawn has a new drummer: Jon Drew (formerly of Secret Agent). In fact, Wavelength 100 will be his live debut with the band. We have started learning songs for the new CD and are planning to begin recording in late March. We all enjoy playing darts whilst drinking imported beers.

RESINATORS
11:45pm
web: www.resinators.com
first played: WL52, Feb. 25, 2001

Spark up the Dub! Draw deeply! Resinators is a high energy hybrid of dub and hard rock, with a twist... Toronto's original dub crew, five musicians creating a molten dubscape both transcendent and terrifying. The debut CD rated 5 out of 5 in Chart magazine; the band is hard at work on the follow-up release, due this summer. Check out the brand-new website www.resinators.com for complete info on the band, upcoming shows, plus cool downloads. LOVE-DUB-RESPECT.

SKYWAVE
11pm
Purveyors of: As-much-noise-as-humanly-possible-core
Locale: Fredericksburg, Virginia
web: www.killerrockandroll.com
email: skywave@killerrockandroll.com
Wavelength newcomers

When I saw you play in Toronto at the Losing Today Festival, the onstage volume was the next level after intense. How entirely on purpose is that? Do you have a game with yourselves about seeing how many people plug their ears at a show? Don't you know you're going to end up like William Shatner and Pete Townshend?
Oliver Ackermann: I think that a lot of people can't tell if what we are doing is intentional, but it is. We are unleashing raw energy. It is dangerous to mess with.
John Fedowitz: We don't wish any pain on anybody. I'm scared that I will have ear damage.
Paul Baker: The game is to see how many people are still in the room after we're finished. The music can't have that earth-trembling force without lots of volume.

The music Skywave plays is definitely reminiscent of music from a certain era (JAMC circa 1985, for instance, NYC circa 1985 as well)... at what point does homage turn into nostalgia and near-cover-band-ism, and how the fuck did y'all get such identifiable sounds yet totally avoid the latter?
John: You can't point your finger at one of our influences. You can say a date in time, but these are our feelings. We are not old enough to have experienced The Jesus and Mary Chain in 1985. I've heard their old live recordings and they don't sound like us. But their songs are just like any other great rock and roll song. Verse, chorus, verse, chorus, middle 8, end. I listen to them all the time, they're amazing. It's all up to the listener.
Paul: I think that a couple of the underground bands from the Ô80s, like My Bloody Valentine and Dinosaur Jr., had an intensity to them that is lacking in music today. Those bands were still shooting for something untouchable, but now bands don't really believe in what they are singing. Everyone makes a loop and thinks they are a genius. I should clarify that, because there are some awesome bands that use loops and samples.
Oliver: We are doing what we mean to do.

How important is the role of isolation in relation to the role of peers in making music?
Oliver: If we weren't in a band, we would be hiding out from the world. Since we have to do this, we show our faces every now and then. I really just like creating songs. A lot of the bands we perform with I am a huge fan of, but it seems like we are going off into uncharted territory. Mostly we just feed off ourselves.
John: It is hard to find similar bands, but there are lots of other things happening that are amazing.

What do you have to say to all those who can't abide by feedback (other than that they're wrong, and that you use a lot of it)?
Oliver: I like lots of stuff that doesn't have feedback in it. It's just a matter of what's appropriate.
Paul: Feedback is a very emotional guitar sound.
John: I can't live without feedback.

-- interview by Buddy of the Pines

THE CREEPING NOBODIES
10:15pm
first played: WL86, Oct. 21, 2001

The Creeping Nobodies record at the Junkshop. Play Wavelength 100. Record more. Set up tour. Play more. Write more. Record more. See them expand and shrink like a bloated breathing belly. 6 members. 5 members. 4 members. 5 members. 6 members. Even The Creeping Nobodies have lost track of who The Creeping Nobodies are. Perhaps the links below can help explain. www.thecreepingnobodies.com. Email: thecreepingnobodies@hotmail.com.

DJ THE BAND
9:30pm
first played: WL77, Aug. 19, 2001

Since their last Wavelength appearance, DJ The Band (Mike Gennaro on turntable, Jacob Fairley on electronics) played one other gig, which was a huge success. Individually, Jacob toured Europe in the fall, which was also a huge success and has recorded lots of soon-to-be-released material. Mike recorded a pop album, and did a couple of other gigs. They are very much looking forward to performing at the Wavelength anniversary weekend and hope to see you all there! MG

WAVELENGTH TRADE SHOW
PART OF WAVELENGTH 100
SNEAKY DEE'S, 431 COLLEGE ST.
SUNDAY FEB. 10, 2-5pm

As part of our second anniversary/100th show festivities, Wavelength gives "little guy" a break. The Wavelength Trade Show is an independent label fair that will feature indie music imprints from around the GTA displaying and selling their wares. That means: Records, records, records! (Plus stickers, T-shirts, mailing lists and all that other fun stuff.)

Participants include Aliengirl (It's Patrick, sadoceanspacebear), AntiAntenna (Gaffer, Cities To Drown In), Aporia (Mellonova, Isabel's Dream), Black Mountain Music (A Northern Chorus, Square Root of Margaret), Bobby Dazzler (Scott B. Sympathy, Tetrezene, Wayne Omaha), Die!Venom (Rockets Red Glare, Sympathy Girls), Grenadine (Music For Mapmakers, The Dears), High School Champion (Christiana, Kid Sniper, Currently In These United States), Kosher Rock (Deep Dark United, Blackeyes, Randwiches), Matlock (Holding Pattern, Weights & Measures, North of America), smallsingles club, Sonic Unyon (Tricky Woo, Sianspheric, Shallow North Dakota), Stripmaul (Logo Hoax), teenage USA (Mean Red Spiders, Elevator, The Exploders), Three Gut (The Constantines, Royal City, Jim Guthrie), Whiskey Sour (The Co-operators, Venus Cures All) and CIUT 89.5 FM.

Last but not least, the afternoon will close off with a live set by instrumental "trance-country" act The Magnetars. The band has expanded to a quartet since their Sept. 30 Wavelength set, with guitarists Sara and Jonny joined by bassist Sally Lee and drummer Alex Bozikovic.

THE SICK LIPSTICK
WAVELENGTH 101
SUNDAY FEBRUARY 17, 11PM
Purveyors of: Teenage robot no-wave
Pictured: Alex (guitar), Lindsey (vocals, guitar). Not Pictured: Aidan (keyboards), Mark (drums)
web: www.thesicklipstick.cjb.net

NamRecent punk/postpunk/hardcore etc. has retained a DIY aesthetic, while placing an ever increasing focus on the bands being "tight"... The Sick Lipstick, however, does not. Is that on purpose, or do you want to become tight like everyone else?
Sometimes tightness is a good thing, but with our band we are trying to be slighty tight while also being slighty loose and open to little changes in the song. Alex's guitar parts always have minor variations from show to show; the same goes for Lindsey's vocals. The only constants in the band are the drumming and keyboards -- they are always the same... except when we play really really sloppy, which happens sometimes... especially when booze comes into play.

Your lyrics seem to contain a certain political vocabulary, but at the same time a sense of absurdity and purpose... I was hoping you could say a thing or two about that.
Too many bands write lyrics that are way too direct. All of us like it when bands write lyrics that are abstract enough to create different ideas for each person who hears the song, yet cohesive enough that they make some type of sense. And lets face it -- everyone needs to hear more bands writing songs about skipping-rope gangs.

Where do y'all figure on just getting up and making noise, which some have claimed is the essence of rock'n'roll?
We just bang out our songs and try to keep everything in place as much as we can. If it embodies any rock'n'roll feel to the listener -- then it is all good with us.

Would you rather be seen as angry (later Black Flag) or desperate (early Black Flag)?
Angry, of course, although we are not angry people at all. Also, angry is better because that is the period when Black Flag recorded Family Man, probably one of the best spoken word bits ever.

And speaking of angry versus desperate, which do you see more of amongst young artists/musicians these days?
A little bit of both in the scenes (i.e. hardcore) that it relates to. Anger is good as long as it is not too over the top -- music should be fun above all... we think.

-- interview by Buddy of the Pines

RESONANT FREQUENCY
WAVELENGTH 101
SUNDAY FEBRUARY 17, 10PM
Purveyors of: Math-rock gone Bad (as in Michael Jackson)
email: mrpearson117@hotmail.com

ThDoc Pickles interviewed Resonant Frequency's Gregg Aluminum. Both of these dastardly rogues are employed at Medieval Times. Let the jousting begin!

When does music stop being fun and start being work?
Right now I don't see the fun in it ending, but having to pay for rehearsal space, and having to dish out forty bucks two or three times a week... but it comes out of our own energy, playing free shows at Sneaky Dee's all the time, and getting three drink tickets is fun.

Work equals payment in beer then?
Maybe if we were getting enough beers to get drunk.

You write the songs?
We all write the songs. Blake, Adam, Luke and myself, and all our styles are quite different.

What is Blake's style?
Blake's really creative, he likes to do a lot of heavy post-punk stuff, but it seems the older we get, the more things we learn, the more intricate things become.

That's a really math-rock answer. An equation: the older we get plus the more things we learn equals more intricate. What's Luke's style?
Luke likes really heavy Pantera stuff and Adam really funks, he doesn't go as fast as we would like to go sometimes, he slows us down, which is really nice.

Using a bad sports analogy, describe what Wavelength patrons can expect from Resonant Frequency?
It'll be like the Super Bowl without the corporate sponsorship. But if somebody does want to pay three million dollars for a thirty-second spot to advertise their upcoming product, then so be it. Maybe more like a game of snooker , because, like the game, the songs are long.

And there are lots of angles. But enough about angles. Let's talk about a freaky athlete. Ben Agajanian, the extra-point kicker for the Los Angeles Dons in the 1950s, had only one toe on his right foot. Do you think he was a living metaphor for toeing the line in the face of adversity or just a one-toed freak? Do you think he went through life known as the one-toed placekicker?
Maybe having one toe was an advantage because using his one toe he might be able to direct the ball in a more precise direction.

When did Resonant Frequency ever pull the goalie?
Well, at one of our first shows at Sneaky Dee's... (imagine a really exciting story about a kick drum rattling about and an uncooperative digital effects pedal here -- Doc)

What is the worst song you've ever heard and why?
"Achy Breaky Heart."

Why does it suck?
I think it's pretty self-explanatory.

Is Medieval Times a sport?
If you want to consider getting hit by bolas, spraining arms and legs, cutting your face jumping off horses and doing dive rolls and injuring oneself, all criteria of a sport, then yes it is.

Speaking from your experiences as Baldrick the magician's apprentice at that very same Medieval Times, what does it take?
Being able to lip-synch the words of the script of the show, very dramatic arm movements, and being able to lay down in sand which has been soiled with horse shit.

Kind of like Milli Vanilli.

MOCKY
WAVELENGTH 102
SUNDAY FEBRUARY 24, 11:45PM
Purveyor of: Esoteric digital funk
email: mockyrecordings@hotmail.com

Wavelength provided correspondent Paddy O'Donnell with the opportunity for an all-expenses paid round-trip email to the Netherlands, in anticipation of finding out more about Mocky. Here's what transpired. PO'D writes from the exotic locale of his living room...

You studied bass at Boston's Berklee Jazz College. How has that training translated to the type of music you make now?
It doesnt really have anything to do with it -- I just try to do my own thing like all my musical heroes jazz or other wize -- the best thing about Boston was working with hip-hoppers.

Your music has made its way onto Kitty-Yo, Cheap, Ninja Tune and Warp, to name a few. Now you also have your own imprint, Mocky Recordings. Would you prefer to be on a label or release your music yourself?
I will release music on many labels -- it's a working relationship -- but I'm in no rush. This year will see my music on many labels.

You are centred in the Netherlands now, but you have also lived in the USA and Canada. What advantages are there to making music in Europe as opposed to North America?
There's more openness to non-traditional types of hip-hop -- and a better touring circuit.

You are no stranger to Peaches and Gonzales. Please explain.
We started out together in a band called The Shit -- I've also been support for both of them on ther first records -- and they were on a track of mine called "Heavy Shit".

What are your feelings about being back in Toronto for the show?
I can't wait !

You have played as a sideman as well as being at the helm of your own projects. What has each experience had to offer for you? Is there a clear choice you would make, re: one role over the other, if you had to choose?
Yes I would choose to do my own thing, Ôcuz that's what I'm-a do Ôtil I die. I was a sideman for Talvin Singh, that taught me a lot. He was a sideman for one of my heroes -- Sun Ra -- but Talvin's not really that heavy.

What are your future plans?
Start my own department store called JD Slazenger's.

-- interview by Paddy O'Donnell

THE WORLD PROVIDER
WAVELENGTH 102
SUNDAY FEBRUARY 24, 11PM
Purveyor of: Michael Jackson for non-morons
email: malstace@ca.inter.net

Best known as a member of Peaches and Gonzales' posse, The World Provider is a master of both his Casio keyboard and numerous costume changes. His music is the missing link between Dueling Banjos and Del Tha Funkee Homosapien. Folktronica? Bah!

With only moxie and a keyboard, you have gotten to be as entertaining as the late great Can-Rock legend Moxy. Moxy II is a lot to live up to. Is The World Provider capable?
I met more challenges before breakfast today than some people do in a lifetime.

How far does this whole "taking over the world" thing go?
I can neither confirm nor deny any plans to launch a career in global politics. For now, I restrict my aim to special spots in motherfuckers' hearts and minds.

Do you practice your meticulous and subversive dance moves at home, or is it something that comes out naturally when you're on stage?
What's a "subversive dance move"? A magician should never reveal his tricks, particularly when it comes to that delicate line between spontaneity and showmanship, but I will say this: the moves arose naturally, and have since been refined according to extensive study of audience reactions; as for at-home rehearsals, they have become a necessity since the addition of costume changes to the act.

Why do rustic Americana metaphors make the best metaphors, regardless of how futuristic the music sounds?
I generally dislike metaphors, and come to think of it, one of the reasons I like old-timey music is because of the lack thereof. As far as the future-past contrast angle, to discuss it any further would imperil my mystique.

Would you rather fight Gary Numan or buy dinner for Gary Numan -- pick one or both and describe the events as they unfold.
If you're considering a career in music journalism, I would advise that rhetorical questions (particularly those requiring the interviewee to share the sense of humour, and match the wit, of the interviewer) are a risky proposition. Just come to the show, folks, it'll all make sense.

-- interview by Buddy of the Pines

MUSIC FOR ONE
WAVELENGTH 102
SUNDAY FEBRUARY 24, 9:45PM
Purveyor of: Spare and spacey guitarscapes
email: musicforone@hotmail.com

Sherry Ostapovitch is a former Vancouverite now living and playing music in Nottingham, U.K. (There's a T.O. connection as well: she's married to original Parts Unknown drummer Bill Goldring.) Music For One is just her, a guitar and some effects pedals. Sherry's flowing instrumental concoctions will please fans of Papa M or Do Make Say Think.

Who is this One? Is it you, or the listener?
I've always thought that the "one" is everything. So I s'pose that would include both me and the listener. But I like how it's an open ended thing that can be interpreted in different ways.

If it is indeed you, the name does indeed imply these songs are meant to be played this way. But would you ever want to arrange them for a full band?
I've never actually ever thought about it... I really enjoy the freedom that comes with working on my own. And being that another move is likely in the future, it means not having to be concerned about Ôthe band'. I really do enjoy working with other musicians, and when that opportunity arises, I like creating something completely different that would only come out of those particular musicians working together. I'm playing with a couple of guys here in a band called Laboratoire. We all do our own thing independently. Actually, one of them, Morgan Caney, has a record coming out on City Centre Offices; it's gorgeous stuff. So when we get together it's a complete free-for-all. We've never really discussed what we do., I think that would put certain limitations and boundaries on it. Back to your question, I guess if someone approached me about wanting to fill out the Music For One sound, I would be receptive to the idea. Would it still be Music For One at that point, I don't know.

You've recently relocated from Vancouver to Nottingham, U.K. How would you compare the respective towns' musical communities?
Because of its small size, less than 300,000 peeps, I thought that there wouldn't be much going on here, but thankfully I was proven wrong. There's a few people who work hard at bringing great touring bands through, there's a couple of decent-sized recording studios, it's a big university town, there's loads going on in the arts, there's a decent sized indie record store here, and generally I would say that quite a number of folks in England are really into music of all descriptions.
Vancouver, on the other hand, has quite a large population and some wonderful musical institutions (I mean that in the best sense, of course) like Zulu Records, the Sugar Refinery, CITR, and the Beans. But I would say the general attitude is somewhat apathetic. There are so many opportunities to start and do things but the city seems to be caught in some kind of paralysis. It also doesn't help that audiences in the local scene stick to rigid genres. Everything just seems so splintered...

How has working in a popular indie record store (Zulu Records in Van City) influenced your craft?
It's definitely influenced me in a positive way. But then a lot of things and people have influenced me over the course of my life. Getting back to Zulu, it was fantastic hearing so many great records and meeting so many wonderful people while I was there. But then you'd wonder... where are all these people when you go out to shows?

Tell us your life story in music, as told through the eyes of your favourite effects box.
(All of them speaking collectively) She certainly abuses us and forces all sorts of bizarre sounds through us and makes us do things we weren't designed to do, but, call us masochists, we're actually starting to enjoy it. At least she treats us better than she does one of her guitars...

And what would the epilogue be?
More pedals complaining of misuse?

-- interview by Jonny Dovercourt

THE WAVELENGTH SELECTORS

Feb. 3
DJ Logo Hoax
In the beginning, good always overpowered the evils of all man's sins. But in time, the nations grew weak and our cities fell to slums while evil stood strong. In the dusts of hell lurked the blackest of hates, for he whom you fear awaits you. Now many many lifetimes later, lay destroyed, beaten down, only corpses of rebels, ashes of dreams and blood-stained streets. It has been written that those who have the youth have the future, so come now children of the beast, be strong, and shout at the devil.

Wavelength 100:

Feb. 8 @ Clinton's
DJ Greg Chambers
I will be spinning some weird and wonderful Electronica from the 60-70s along with some bright pop tunes from all ages. Heavy on the eclectic and rare.

Feb. 9 @ Rancho Relaxo
DJ Creg Fraid
Get your geek on, get your geek on...

Feb. 10 @ Lee's Palace
DJ Greg Davis
Spinning music with soul, but not exclusively soul music. Soulful, you could say.

Feb. 17
DJ Recovering Alcoholic
DJ Recovering Alcoholic will spin tunes from his wild years that he may or may not remember ever having heard before. If all goes well, and he doesn't have a relapse, you are in for evening of aural delight. Otherwise, you can expect the 12 steps of Satan to be unleashed upon an unsuspecting Wavelength crowd.

Feb. 24
Anti DJ Syndicate
Brad Crowe? Step up. Sounds from Parkdale's finest, or something of the sort.