Archive for the ‘Profiles’ Category

Having played North By North East and Canadian Music Week, Windsor’s The Blue Stones are expanding their already impressive resume with their sophomore album How’s That Sound?

Recorded with Brett Humber at Sound Foundry Studios in Kingsville, drummer Justin Tessier and guitarist/vocalist Tarek Jafar are trying to send a message to radio stations. After the release of their first self-titled EP they mailed copies to every college radio station in the country, and did not exactly love the responses.

“We don’t really try to focus on genre specifics when we’re making music,” says Tessier, “we submitted [the first] CD to a lot of college stations, and we got a lot of response back saying that they didn’t necessarily want to have such poppy music.”

This was not a problem, apparently, for submission shows like NXNE and CMW, as these guys earned themselves slots in both festivals. Doing so may not have been everything they dreamed, though.

“If you are gonna play CMW or NXNE because you wanna start exploding in Toronto or on the Canadian music scene, I don’t think that’s the proper way to go about it,” said Tessier, “It’s a good, what Tarek and I like to call a resume show. It’s good to be able to tell people in the industry, like booking agents or record labels, if you’re into that sort of thing, that you’ve played these shows. And that means a lot to them because it’s a submission show. It’s like, we were good enough to get in.”

Tessier and Jafar will admit that there are merits to doing these sorts of shows, but they will put a caveat on that. To other bands hoping to play festivals like this, look at it as a networking opportunity, rather than the chance to make your career.

But even with the success of being chosen for submission shows, The Blue Stones were still looking to improve. The replies to their music from college stations had stuck with them.

“We understand that we’re not in any way an out-there radical band,” Tessier continued, “But we didn’t like the pop responses. Some stations that are playing some of our favourite bands weren’t playing us, and that was kind of bugging us.”

So back into the studio they went, this time to Sound Foundry out in Kingsville.

“It was an awesome process. Oh my god, it was so much fun going out there,” gushes Tessier, “It’s just so cool that he’s got this studio out in the county where you can just relax, you know. You do a couple takes and then you get a little worn out, you go outside, and it’s just beautiful. Summer in the county, and there’s birds everywhere, and just, you know, green as far as you can see.”

This was a huge difference from the back of an off-hours metal shop in Toronto, where the first album was recorded.  The tracking environment can be considered a big influence on this new disc, one that could possibly help Jafar and Tessier get the response they are after.

“So this next album, it’s called How’s That Sound,” explains Tessier, “It’s almost a response to these stations that said ‘you guys are too poppy’. So we went and we made an edgier sound. We used a lot of analogue stuff, we didn’t do any digital processing with the guitars or anything, which we did on the first album, and now it’s going to be a response. We’re gonna send it back and say how’s that sound?”

Check out The Blue Stones when they release How’s That Sound along with Menos Mal and The Tyres on Saturday, Novemeber 3rd at FM Lounge (156 Chatham St. W, main level). The show begins at 10 pm, 19+ are welcome, and admission is $5 at the door.

Advertisements

TWZ Musician Of The Month: Andrew Jordan

Posted: October 3, 2012 by Windsor Zene in Band/Artist, Profiles

   Name: Andrew Jordan

Age: 17

Instrument: Guitar

Band: Seven Thrones

     Featured musician for the month of September is up and coming metal guitarist Andrew Jordan. Andrew is a young, amazing talent and shreds like no one his age should. He has just finalized the line up for his band Seven Thrones after a few line up changes and it is going to be very exciting to see where this band goes from here. This is the future of the  Windsor metal scene. Please take the time to support Andrew and Seven Thrones by clicking on the link below.

Seven Thrones

     Thank you for supporting local music and local musicians. This is the fourth installment of TWZ Musician Of The Month and we will feature a different musician each month. If you would like to nominate anyone for this honor please contact us with all the necessary information. Above all the candidate must contribute to the originality of the music scene and promote and support others in the scene. Let’s give credit to the people who make our scene stronger!

Ash Richtig,
The Windsor Zene

                                                                                                    

Names: Chris Wilbur and Dean George

Instruments: C.W.- Guitar/Vocals (A.T.A.D.), Bass (E.V.L.), Bass/Guitar/Keyboards (Descending Affirmation), Bass (Final Stage).

                                  D.G.– Guitar/Vocals (A.T.A.D.), Guitar/Vocals (E.V.L.), Everything (Laughing Casket)

Bands: Awake To A Dream, E.V.L. (Chris & Dean), Descending Affirmation (Chris), Laughing Casket (Dean)

Featured musicians for  the months of July and August are team mates Chris Wilbur and Dean George.  This dynamic duo not only rock out together in one band but two,  Awake To A Dream (Prog Rock) and E.V.L. (Strong Rock). These guys are two of the most laid back guys on the scene except of course when it comes time to rock! Very entertaining and supportive of fellow artists. Please take the time to support Chris and Dean‘s projects by clicking on the links below.

Awake To A Dream

E.V.L.

Descending Affirmation

Laughing Casket

Final Stage

Thank you for supporting local music and local musicians. This is the third installment of TWZ Musician Of The Month and we will feature a different musician each month. If you would like to nominate anyone for this honor please contact us with all the necessary information. Above all the candidate must contribute to the originality of the music scene and promote and support others in the scene. Let’s give credit to the people who make our scene stronger!

Ash Richtig,
The Windsor Zene

Name: Paul Jacobs

Age: 22

Instruments: Drums, Guitar, Vocals.

Bands: Get Bent, Raised By Weeds

Featured musician for the month of June is multi-instrumentalist and artist Paul Jacobs. Paul is a true DIYer and very passionate artist. He not only shows his skills as drummer of the hardcore punk outfit Get Bent but also shows his calmer side as guitarist and lead vocalist for surf rockers (for lack of a better term) Raised By Weeds. On top of all that he also has a very unique style for his original artwork which is featured on merch for both bands. Please take the time to show your support of Paul’s projects by clicking on the links below.

Get Bent

Raised By Weeds

Paul Jacobs Art

Thank you for supporting local music and local musicians. This is the second installment of TWZ Musician Of The Month and we will feature a different musician each month. If you would like to nominate anyone for this honor please contact us with all the necessary information. Above all the candidate must contribute to the originality of the music scene and promote and support others in the scene. Let’s give credit to the people who make our scene stronger!

Ash Richtig,
The Windsor Zene

GUN – Windsor’s Newest Noise Rock

Posted: May 8, 2012 by Windsor Zene in Band/Artist, Profiles

There is a new name floating around the social media sites, one that has had me very interested since I first started noticing it.

Being as curious about these things as I am, I used TWZ as a front to get some answers regarding the project, and figured I might as well share them with all you lovely folks as well. If you aren’t interested already, perhaps you will be after this.

Adam Craig is a name not unknown to Windsor music aficionados, after time spent in a number of popular acts. Now, he’s started up a new solo endeavour to  let out his “feelings” in a way that doesn’t fit into any of his other projects.

Every so often you’ll find a link to a new song posted on Soundcloud, and very shortly there will be another one up there.

This Song is Called Anderson Lunau Even Though It Has Nothing To Do With Him is an aptly titled, brooding track that is what I imagine Trent Reznor on a terrible terrible shroom trip might come up with. Equal parts Massive Attack, Ministry, and Dysleksick  this is a song that entices feelings of boreboding, constantly making me look over my shoulder for the serial killer surely lurking behind the curtains.

Now, not all GUN tracks are quite so…Frightening… But they are all most definitely strange, so be prepared for that going into it.

So with that, let’s get right into Adam’s own words on the project.

-Let’s start off with your musical background, as an introduction.

The two things that people might remember are the band Measured in Angles where I was playing drums and Poughboy where I sang. Measured has been done for a long time, and Poughboy exists in limbo at the moment since we haven’t really played since we released our last album.

More recently I was involved in the This is War album and live show, and that was the first time I had played drums on stage in something like four or five years. That led to me playing drums and writing with a band we’re calling ‘ends.’ We’ve been looking for a singer for many months now and we may have found someone. It should be cool when it’s ready. Sex rock. Groovy.

The other thing that’s going on right now is BALLS, which is an AC/DC cover band that I’ve been doing with the guys from FiftyWatt Head. I can not overstate the amount of fun that doing this has been. Of course, two years ago I would have laughed at the idea of playing in a cover band, but this is great.

I’m incredibly lucky right now. Being able to play music three or four nights a week has been a real treat. Being in bands with great guys and playing great music, whether that is music that I was a part of writing or AC/DC covers… It doesn’t matter, it’s been an amazing couple of months.

And on top of all this, having the time to make stuff on my own too…Which I’ll wager is why you contacted me in the first place.

-Why “Gun”?

GUN was actually supposed to be the name for a band that i was going to put together with a couple of other guys from around Windsor. Those guys are too busy for me to want to push them into doing something else and frankly, I don’t believe the interest level was all that high in the first place. I just thought that the name GUN was too good to let go.

I started recording things on my not long ago and thought it would be stupid to call it “The Adam Craig project” or some such thing, and I think that hearing that word has certain connotations.  Whether the music matches what you would expect to hear from something called GUN I suppose is up to you. I just like the sound of the word. Go ahead, say it to yourself: “GUN”. Now say it slowly and with a deep voice: “GUN”.

– From reading your Facebook posts, I gather that time is of the essence with this project, everything done as fast as possible. Why is this? 

I don’t see the point in wasting too much time on one thing. The whole reason I make any music at all is because I’m a ravenous consumer of music, and the handful of groups that I actually enjoy don’t put things out fast enough. So I have to make things for myself to listen to.

I don’t expect anyone to enjoy a single thing I’ve been a part of. It would be nice, but I don’t expect it. The only thing that really matters is that I’m happy. And thus far I haven’t needed to spend any more than a night or two on any one GUN track to be pleased with the results.

And besides all that if I fall in the tub and break my neck tomorrow an album’s worth of unfinished tracks won’t be any good for anyone.

-You’ve collaborated with Scott Warren on a few tracks, including the one posted above, why him, will this continue, and do you plan on bringing in anyone else?

I’ve known Scott for a long time and really enjoyed playing on his This Is War album. He and I couldn’t be more opposite in terms of the way we write music. For instance, he is a musician who knows about things like notes and keys and things, and I more or less slap a bunch of sounds together and call it music. I thought it would be kind of neat to throw some things at him that might have been outside of what he is used to doing, and the results were very cool. I’d like to make more music with Scott, maybe more of a ‘collaboration’ thing I guess, instead of just him singing over something I cooked up at home.

There is a list longer than my arm of people who I would like to make music with. Most of those people are too busy and quite honestly, I wouldn’t expect anyone to actually want to be a part of making this kind of music. I’d love to try locking a bunch of guys in a room for an evening to write and record as much of this as possible, but I realize that this is unlikely.

-Where do you take inspiration from for these songs?

If you’re asking what I’m listening to, I think you’d be hard pressed to find someone who cared about what’s on my iPod.

If you’re asking where the music is ‘coming from’ it’s more or less dumb luck. I might be playing around with a synthesizer or drum loop and hear something that has appeals to me and then try to create a song around that. I’ve really enjoyed trying to push the machinery a little harder than it’s supposed to go. The equipment that I’m using is meant to create goofy dance music not generate the kind of noise that I’d like to hear. I haven’t gotten to what I have in mind just yet, but it’ll get there.

Like I alluded to earlier, I’m really not much of a musician, so it all really just sort of happens by chance. And then I try to slap something that resembles singing on top of it. I guess in a roundabout way the inspiration comes from recognizing my own limitations and trying to work inside of those.

And most of the words come from my utter contempt for everything and everyone around me.

(that’s a joke (mostly))

Oddly enough, and despite the haphazard way that this music is put together, there seems to be a pleasant consistency to it. It’s definitely the noisiest, most atonal and possibly the darkest music I’ve been a part of making. My wife would only describe the last track as ‘depressing’. Which I guess is a fitting term for this stuff.

-Currently, you’re releasing tracks one at a time via Youtube and Soundcloud, do you plan on a compilation at some point?

No. I’d rather just keep putting out a song or two at a time and leave it at that. Everything is and will be available for free through soundcloud, so I encourage you to download stuff as I write and record it and then make your own playlists. If there was to be an album or a compilation, that would be a little too close to me taking this seriously.

Hey kids, music is a hobby at best and the more you take it seriously in the ‘career’ sense, the more you’re going to look like a pathetic sucker when you get old like me.

Like I mentioned earlier, I started doing this to have something to listen to in my car on the way to work. I decided to start posting things online because I thought there may be a handful of people in my Facebook friends list who might enjoy it. It won’t go any further than that, and for those handful of people this is my gift to them. Above and beyond that is the realm of the stupid man, and the realm of the naive man.

The idea of doing an album, trying to get financial support from somewhere for touring, trying to build a fan base and all that is laughable to me. What people seem to fail to realize is that living comfortably and supporting yourself making original and interesting music is done; the market is dead. And you’re a shortsighted fool if you think otherwise.

Once you give up on the dream of doing something musically interesting for a living, the process becomes exponentially more rewarding. When you’re doing this for the sake of doing this and not ‘trying’ anymore, it feels better, more relaxed and somehow more honest. Basically, I recommend giving up. Not quitting, but giving up on the ‘dream’

-Is this a project that is meant to go live, eventually?

No. To do this live and be faithful would be me with a laptop and a microphone. And that’s called karaoke.

That being said, it would be kind of neat to take some of these ideas and translate them from synthesizer to extremely loud guitar. I’ve wanted to put together a big band for some time to play material like this but again, people are busy and I’m done with asking for or expecting anything from anyone. I’ve learned that playing in bands with people can be extremely rewarding, but also extremely disappointing.  Finding people who are on the same page can be difficult, but finding people who want to get the same sort of experience, or who have the same kind of desire to make music for music’s sake can be even more difficult. The higher you set your expectations of people (and I’m not just talking about music here), the more likely you are to be disappointed. This can be particularly problematic when you play with friends.

That’s the beauty of writing and recording at home, without the band environment; I have no one to be disappointed in but myself. I don’t have to schedule practices, or worry about having to cancel practices for things. Don’t get me wrong, I would take a bullet for any of the guys I play with now, and luckily the group situations that I’m involved in are extremely low maintenance, but that’s not always the way it works out with bands.

-Closing remarks?

I recommend listening to these tracks either on headphones or on a decent sound system. I’ve tried hard during the mixing to play around with creating a ‘sonic environment’, i.e. your tiny computer speakers are not going to cut it if you want the full effect. In fact, without the right equipment, this is going to sound like garbage.

Thanks for being interested. And thanks to the twenty or so people who have been listening to GUN.

TWZ Musician Of The Month: Danny Barker

Posted: May 7, 2012 by Windsor Zene in Band/Artist, Profiles
Name: Danny Barker
Age: 24
Instrument: Drums
Bands: Nepenthe, Aeron’s Wake, Harbinger, The Infidels, PHD.
Featured musician for the month of May is drummer of multiple local bands Danny Barker. Danny has shown more heart and determination than most musicians of his young age. Even with the restraints of Cerebral Palsy he has proven his place in Windsor’s metal scene among any of the heavy hitters out there today. Please take the time to show your support of Danny’s projects by clicking on the links below.
—————————————————————————————————————————————————-
Thank you for supporting local music and local musicians. This is the first installment of TWZ Musician Of The Month and we will feature a different musician each month. If you would like to nominate anyone for this honor please contact us with all the necessary information. Above all the candidate must contribute to the originality of the music scene and promote and support others in the scene. Let’s give credit to the people who make our scene stronger!
Ash Richtig,
The Windsor Zene

Windsor Salt (Revisited)

Posted: March 22, 2012 by Windsor Zene in Band/Artist, Profiles

After a record-breaking-warm winter it’s pretty hard to tell where the winter is ending and the spring is beginning. Salt of the Chief Cornerstone has recently returned to Rose City from the City of Angels and they seem to have brought the golden Californian Sun back home with them. This season starts now. This spring warmly welcomes the band Salt of the Chief Cornerstone back to Windsor.

            Salt of the Chief Cornerstone is a well-balanced experimental two-man progressive rock powerhouse band, with no vocals and no bass guitar, but more sound than a band of ten men, five times the size of the two of them. Hearing the technical guitar riffs and intricate drumbeats is like listening to your favorite song on your iPod at full volume, while experiencing turbulence during a flight landing at LAX, in a seat between a crying baby-holding mother and a man who’s cell phone won’t stop ringing, and the pilot has decided to air every radio station between Detroit and L.A. at the same time over the intercom. Only somehow they orchestrate this cacophony into a fine-tuned symphonic composition. If I had to describe the sound in one word: Loud.

The bands two members, Brandon (guitar) and Iven (drums), met in New York City, at Times Square on New Years Eve, 2002-2003, although coincidentally they both had their roots planted in Windsor, Ontario. And little did they know it at the time but this little happenstance at such a memorable time and place was to mark the start of a hard and sobering journey together to the center of all young aspiring musicians dreams.

Rewind back to my first year of high school when I initially met Iven in ninth grade music class. Although it might as well have been math class because even at that time this thirteen-year-old Middle Eastern percussionist prodigy was already timing beats to his music mathematically. Music was his language; his mother tongue. He spoke in beats. His rhythms were carefully calculated equations that none of the other kids could add up, and it would be a matter of time before he would meet any other musicians that could. People with such talent are almost as rare as cowardly lions, and for that reason, I imagine, Salt Chief has chosen to remain a duo. This pair is so tight with each other that it’s easy to forget, or fail to notice, that there are no bass or vocals. When Brandon straps on his guitar and Iven sits down behind his drum kit the sheer volume of the sonic boom alone is enough to blast the skin off of the back of any unsuspecting lion, coward or not. It might as well be rifles these guys are holding, and anything within earshot had better best beware.

I last saw them locally in December 2008 at the Coach & Horses, a going away bash so to speak, a bon voyage, and the dream was so vivid you could feel it. I remember sitting with Iven at the bar getting drunk on cheap beer and bad air while he described all my own hopes and dreams right back to me from a barstool. I had heard it all before. Hollywood. The Big Show. As a musician it was what I always wanted; what I thought everybody always wanted, only Iven was actually making this dream his reality. Freshly graduated from the University of Windsor, this young man was finally ready to set off in the direction of his life aspirations; to put his best foot forward over the line of the unknown, and cross over into the land of uncertainty. Brandon had already established contacts in the City of Angels in the past and those connections alone were all that they needed to drop everything and follow their dreams to sunny Southern California – the entertainment capital of the world.

They had followed their dreams all the way to what seemed like the end of the yellow brick road but turned out to be just another milestone. After all, now that they were where they wanted to be they still had an awfully high ladder to climb to the top of the mainstream music industry food chain. One after another they conquered club after club on the sunset strip, starting with Key Club and Cat Club before moving on to headline shows at the Viper Room, where River Phoenix passed on, and the Whisky a Go-Go, where such bands as Led Zeppelin and the Doors were discovered. Keep in mind that these two ordinary fellows I’m talking about are from Windsor. Two guys who have had such people as Glenn Danzig, Billy Corgan and Dave Lombardo in the audience… watching them! From little old, lonely old Windsor. The city of broken hopes and shattered dreams.

Now fast forward to September 2011, when Salt of the Chief Cornerstone returned back to Canada after their two year stint in Tinsel Town, and played their first homecoming show at FM Lounge, making them the only band that I have ever seen on all three levels of the old Fish Market Complex. Two years had gone by since I had last seen them, but this show felt as if it were the very next day. You would imagine that after returning from the Emerald City these men would be changed, perhaps unrecognizable even, but I was relieved to see these two comfortable guys, average men, unchanged. Salt Chief is not about image or gimmicks. No major theatrics or pyrotechnics. Aside from the illuminated drum kit Iven must have picked up in California, visually speaking, there’s not much worth mentioning. They are the kind of band that is just as good to watch with your eyes closed. They are about the music, about the sound. They don’t have to look like a typical rock band. They’re beyond that. They don’t dress-up, they have no tricks up their sleeves. They don’t have long hair or tattoos and are definitely more likely to be found shopping at Old Navy than hot topic. They still have no singer, and it’s still almost unnoticeable. Lyrics are unnecessary when the music speaks for itself. And these two boys, who claim to be influenced by silence, happen to have a hell of a lot to say. A single song alone speaks thousands more words than an average picture, and if measured in decibels than these guys are easily the wonderful wizards of Windsor.

I don’t know too many Windsorites, or any at all, who can say that they’ve ever stepped foot inside such legendary venues as the Viper Room or Whisky’s, or even been to Hollywood for that matter, let alone to actually have been the headlining act on stage at any one of these places. These are two of the most ambition driven musicians I’ve ever been lucky enough to come in contact with. They’ve worked hard. They’ve put in their time and their dues have been paid. But no matter how far we go to chase our dreams we can’t escape the grim truth: there’s no place like home. And so after two years of living by the ocean, Salt of the Chief Cornerstone set their minds on a new mission: clicking their heels together and returning back to Canada with newfound courage, passion and wisdom to “…redevelop the face of [their] business and write a new and exciting chapter in [their] legacy. Taking the time to restructure and engineer a whole new stage performance, as well as, develop new sounds while having [their] team of experts customize new and improved signature series instruments.”

The Chief Cornerstone has come back home and just in time for spring. ‘Tis the season to salt your senses. So if your plan is to go see Salt of the Chief Cornerstone in their hometown then you’ll have to catch them before 2013, when they plan to kick off a European tour. And if you do end up catching them remember to pack yourself a pair of earplugs and a bulletproof vest, and best to leave the elderly, pregnant, hearing sensitive, and those with heart conditions at home.

Spring is here,
The sun is out,
The time is right,
Just add salt.

-James Westfall

Originally published in Salt by the U of W EUSA’s, ISSN: 1911-6446

In a music scene that is already quite diverse, it’s great when someone can bring a unique game to the table. Tony Coates is an artist who has done just that.

He started off making his rounds of the open mic nights less than two years ago, and although he still visits those quite often, he has begun booking gigs of his own as well.

Tony’s style of acoustic guitar based hip-hop and soul helps him transcend genre barriers and find fans from every niche in the city’s scene.

From his first demo release in January 2011 it has been clear that right here is a guy with some talent for writing songs. His newest release, a demo version of his Soulful Noise EP is a collection of some of the things he was written, showcasing his ability to put his strong emotions into words, and to make you feel as he does through his songs.

Songs that always get your feet moving, the conglomeration of rap, blues, and indie rock makes for an appealing mixture when coupled with Tony’s rich, dynamic, and passionate voice. Particularly recommended are Breathe You In and The Truth.

In addition to his collections of originals, Tony frequently posts videos of himself covering artists liek LMFAO, Lil Wayne, and Carly Rae Jepsen.

Tony has a number of shows coming up, including March 16th at Milk Coffee Bar (68 University Ave. W.), and he has just been added as the opener for the This Is War album release show at FM Lounge (156 Chatham St. W., main level) on March 3rd.

Download the latest Tony Coates music from his Bandcamp Page, and follow him on Facebook.

Worth His Weight In Gold

Posted: December 23, 2011 by Windsor Zene in Band/Artist, News, Profiles

1980-2011

In Memory of David Gold

By Al “Yeti Bones” Petrovich

When I woke up this morning, I did my usual routine, like all of us. When I looked at my phone and saw texts upon texts I just ignored them. I checked my facebook and saw the most devastating news ever. A dear friend of mine had passed on to the other side. It feels like a sick and horrible joke, but I knew it had to be real.

Dave Gold was the single hardest working musician in Canada bar none. I couldn’t even begin to compete with this guy. Right before Woods of Ypres officially began, Dave was our drummer in Mister Bones. This is going back to 2001. He left Mister Bones to begin a black metal band called Woods Of Ypres. At the time, none of us had any idea how big it would be. Dave did.

I remember being on tour and Dave saying to me in a little diner in London Ontario, at 3am, “I think we should take Bones into another direction. Not kill off the stoner rock aspect but bring in a new aspect! We could be the first band to do stoner music with blast beats and a bit of black metal here and there, in bursts!”  Now I thought he was crazy, and I just couldn’t understand what he was saying to me. It sounded crazy right? His ideas were not being met in Bones, and we parted ways when we got home to Windsor. Within that year, Dave began Woods Of Ypres.

Fast forward 7 years later, I had this idea to do a heavy metal outfit that included all of my influences and inspirations throughout the years which included many bands that had been doing what Dave had been talking about previously with Bones. I knew that it would take some time to develop this band, and find the right members to do this. So I called Dave, and asked him to meet me in a rehearsal space back down in Windsor. He drove from Toronto that weekend, and we ripped through a 45 minute cassette of riffs and ideas. We traded riffs back and forth and just looked at each other and said, “Holy fuck, this is going to be pure evil!” That band I was forming, was The Georgian Skull.

We used to sit on the phone at night once in awhile, and I mean, like once every 8 months to a year and get drunk and talk about music for hours, talked about a certain side project we were planning on putting together with Morgan Lander from Kittie included in there. It was going to be an amazingly super heavy album simply called WINTERBEARD.  Now it breaks my heart that I will never see my friend again, and be able to get closure with him musically. He did an interview with someone from Germany a few years ago, and they asked him, “What was it like to work with Al the Yeti Bones?” And he replied, “Al is like me, and two people that are that similar shouldn’t work together.” The interviewer went on to say, “People have been quoted as calling The Yeti a Nazi or a dictator in his bands.” Dave agreed with him and simply said, “It takes one to know one.” Of course they both meant it in jest. The same magazine interviewed me again, later the following year (and previously to this encounter I had spoken to Dave and he told me all about his interview with the guy and that he had an idea.) He said we should openly bash each other in interviews so that when we release WINTERBEARD the world can fall on their ass and say, “What the fuck? I thought these guys hated each other?”   If anyone knows my history in the music scene and if they knew how much I loved controversy and stirring up shit, they would know that I thought this was just brilliant.
He used to always say, “Why don’t you just go back to being Mister Bones?  You’ve branded yourself as that for so many years that people will get confused if you keep changing band names.” I would tell him, “Dave, I’m the Yeti, I’m not Mister Bones. Like Woods, Bones had a million band members and I felt as though with each wave of Mister Bones, I was losing a bit of myself.” I needed to do it my way, as Frank Sinatra said. But with Dave, as members came and then went, it was like Woods Of Ypres was shedding skin, and becoming new all over again. It was just another chapter in the life and times of David Gold.

I remember Dave saying that he bought the Georgian Skull album when it came out on Entertainment ONE, and wanted to congratulate me on how “awesomely crushing it was!” He said it reminded him of a raw underground Pantera, and he loved it. I didn’t have the balls to tell him how honored I was to hear him say that, because of all the successes he had been receiving worldwide with Woods at the time.

Dave had a vision that he polarized through his music, and slowly I became aware of the deep and emotional connection he had to this earth, to the people on it, and his ideas of penning them down on paper, and eventually on an album.

"Dave had a clear-cut vision of what he wanted. Most people have no idea what they want, but he did. And he knew how to get it."

I understood Dave pretty well, I think. If anyone knows the stories behind him and I working together in music, they know we were extremely similar. Deep down, we both knew it too. We couldn’t be in the same band, because we were both visionaries and had two very different visions in mind. We’ve known each other for a long time, and I’ve gone through a lot of the same shit he has. What I can say is this, Dave had a clear-cut vision of what he wanted. Most people have no idea what they want, but he did. And he knew how to get it. Always had. When the vision starts to shift or differ slightly it was up to Dave to bring it back on track. No one else. This onus had always been on him. I related to that very much. It was Dave’s vision being seen through, as it should be. (Please forgive me, as I’m writing this, I’m finding it terribly hard to write my opinions and thoughts in past tense.) Afterall, it was the vision that had been seen from the beginning, and it was OBVIOUSLY working.
Dave had a lot of success backing him, and no doubt in my mind Woods Of Ypres was going to blow up soon. Just this past year he had been signed to Earache Records, and on January 31st they will release his latest masterpiece, and ultimately the final installment of Woods Of Ypres.

The thing that many people don’t understand about touring is that to be out there for us was normal. It is normal to me, and it was normal to Dave. What wasn’t normal was being back at home, waking up at 6am, going to work at a job you hated, and living the same life everyone else was. Why? Because to a musician, everyday life was standing between us and our goals and that’s not living. It’s dying, slowly. Most bands don’t get to do what we do, because they have locked themselves inside the death chamber of life, which unravels a very slow death. Dave was living his life. He was taken too soon, and this was a brother, not just of mine, but of every musician and person he came in contact with. I owe Dave a lot. Like, I owe the guy so much. Big time.

"He will be missed, and his music, I'm PROUD to say, will live on forever."

No words could ever describe how sorry I am for his family and how sorry I am for anyone that had the pleasure of knowing him. I am deeply sorry to his past and present band mates, including one of my dearest friends Aaron Palmer who was the bassist for Woods of Ypres during its conception. This is very surreal for me, and I’d be lying if I said I wasn’t in tears as I write this. The world has lost an extremely talented individual that was wise beyond his years. The man may have been living in a 31-year-old body, but I believe he has died of old age. He was far more wise than his age portrayed him. Life will be different without him. As the year of the “apocalypse” approaches I suppose it’s fitting that God takes away one of the greats. Too sudden. Man, way too fucking sudden. All life really is, is a chance for us to do amazing things while we’re here. Dave Gold can honestly without a doubt stand at the gates of Heaven and say to St. Peter, “I fucking did amazing things in life, now let me in.” Life is just a portal from birth to death, and Dave was taken before he got to see what his labour of love achieved in this life. He will be missed, and his music, I’m PROUD to say, will live on forever.

Cheers.  This drink is on me my friend.  I love you, and will miss you.
AL THE YETI BONES
(a.k.a Alex Petrovich)

 

She may be known internationally as the in-demand electronic DJ who answers simply to Heidi, but this globe-trotting vinyl spinning superstar is Windsor’s very own Heidi Vanden Amstel.

Heidi is still remembered by many in the local music scene as one of the Loop’s best bartenders from “back in the day” but today she is known for just about anything but.

Always a music fan, a year long sabbatical to England back in 1997 exposed her to a whole new electronic underground, expanding the love created by so many of her friends back home in Windsor. A permanent relocation in 2000 only cemented her new musical passion and started a ride that is still going on to this day.

In 2003, she was part of the team that opened the critically acclaimed vinyl music shop Phonica Records in London, England and soon she would not only be selling vinyl to some of the world’s greatest DJs but would be spinning alongside them. A meeting with German duo M.A.N.D.Y. (Patrick Bodmer and Phillip Jung) lead to some gigs in Berlin and since then, she hasn’t looked back.

A residency at perhaps the world’s most well known DJ hotspot, Ibiza, not to mention countless regular gigs in Berlin (The Panorama Bar and The Watergate Club), Frankfurt (The Monza Club) and London (Fabric), as well as countless more shows across the United States, France, Spain, Italy, Australia and even here in Windsor at The Boom Boom Room. If there’s a club that needs a groove in this world, Heidi’s probably been there or is booked to do so. A member of the German-based electronic stable Get Physical, she released her first single, “Vejer” with partner Riton, in 2006, as well as the DJ Mix CD, Monza Club Ibiza Vol. 1, also on the Get Physical label. She re-teamed with Riton for another single in 2009 for Get Physical’s Five Year Anniversary compilation, a track entitled “To The Gum”.

Spinning in Miami

Another feather in her cap and indeed one we can all be proud of – in 2009 she joined the hosting team for BBC Radio 1’s electronic DJ show, In New DJs We Trust, heard each Friday in the UK and on-line around the world. The show has a rotating cast of hosts, with Heidi doing the fourth Friday of each month. The entire show is overseen by legendary DJ Pete Tong. In October of 2010, she helped launch the trans-European Jackathon parties, that linked simultaneous dance parties occurring in London, Manchester, Berlin, Paris and Amsterdam, that have proven to be a hit with the European club goers, some of the world’s most fickle electronic fans. She also recently moved back to the UK after a stint living in Berlin. Coinciding with the success of the Jackathon parties, she’ll recently released a compilation mix CD entitled Heidi presents the Jackathon, that also featured new or unreleased tracks from such heavyweights as Soul Clap, Juan MacLean, Deetron, Derrick Carter, Jamie Jones and more.

On Tuesday September 6, Heidi returns home as part of the Coming Home Music Festival, a massive homecoming dance party in downtown Windsor set up by the University of Windsor and St. Clair College, joining a line-up headlined by internationally revered Windsor electronic icon Richie Hawtin  (aka Plastikman) and Grammy-award winning DJ Benny Benassi, as well as opening sets by Italy’s Rivaz and Toronto’s Manzone & Strong. It all takes place down by the river at the new Riverfront Plaza Amphitheatre, running from 4pm until 11pm. The event is free for students from the University of Windsor or St. Clair College with a valid Student Card, or just $5 for the general public.

This once again shows the diversity of Windsor’s reach into the world of music – we’re not just limited to indie rock or heavy metal or folk music. Music is a universal language with many shapes and sizes (or chords and beeps) and Windsor is making an impact everywhere.

Coming Home Festival featuring Benny Benassi, Richie Hawtin, Heidi, Rivaz and Manzone & Strong, Riverfront Plaza Amphitheatre, Tuesday September 6, 4pm to 11pm, All-Ages, FREE to Students of the University of Windsor and St. Clair College, $5 to non-students.