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Operator & owner of the Electric Voice Records imprint. Affiliating my personal life & my business does not seem prudent. I am first a musician and have been living on the Eastern coast of Canada playing in a variety of groups & working sub-par jobs in support of my label & travels since 2008. Within the origins of EV (Electric Voice) I was involved in a few different D-I-Y collectives between Halifax, Nova Scotia and Truro, Nova Scotia, Canada – whilst playing in punk/noise groups & completing a few low budget tours across Eastern and Central Canada. I would have considered myself a degenerate.
Quelles sont tes influences musicales ? What were your first musical influences?
I spent most of my childhood on a small island located off the Eastern shore of Canada called Newfoundland & Labrador. It has a strong folk music heritage based on the Irish, English and Scottish traditions that founded the island. The first documentation of connections from Europe came from the Viking people who marked their territory at the tip of the island as Vinland. Traditions were carried with « Sea Chanties » & the violent, enthusiastic ethic of these people. Also before colonization, an Aboriginal tribe that was exclusive to the island, called the Beothuk, occupied Newfoundland. The Beothuk were spiritual & collected group of people that were ultimately extinct with controversial speculation of Genocide committed by the European (Vikings). The colony of Newfoundland progressed, mainly based on the fishing industries though it often and faced economic depression with the rise and fall of the fishery trade. As an island is it segregated from the rest of Canada and in it’s isolation it holds a distinct & unique culture that is often looked down upon by the mainland provinces of Canada, cited as less civil, poor. It is a polarizing combination of pride & arrogance in the people of the island. The music of Newfoundland has similar influence of Celtic music, but often based on the « sea life » which resorted to depressive themes.
This is not directly in relevance to my first musical influences, but it is an interesting and somewhat estranging culture to develop a musical taste in. Having grew up in NFLD I was deterred from the tradition folk in my early teens, and explored all styles of contemporary rock, classic rock. Eventually started obsessing of the discographies of groups like Sonic Youth, Joy Divison/New Order, The Cure & Bauhaus that is more relevant to my current tastes. I also used to listen to a lot of early American hardcore bands like Black Flag, Flipper, Bad Brains & eventually Fugazi, & local punk bands like Genetic Angry & Be Bad. Also early in my teens I used to listen/create a lot of noise/industrial music â€“ honoring groups like Throbbing Gristle. I like music that is lush & ethereal but I also like music that is dark & abrasive.
It was a year ago I began exercising the fundamentals of operating a record label while creating an eccentric roster. It is an agency where I can convey the desire and ability to manipulate the production of sound & visual art in collaboration with admired musicians and artists. It was originally founded serving in vanity, documenting the limited production of all musical endeavors of my partner in collaboration at the time, Tyler Fleck & I. With disbanding I became more adamant about the idea of turning Electric Voice into an independent imprint, as opposed to a collective. In 2010 I began working with the Government of Nova Scotia in conjunction with the Emerging Business Music Program by receiving grants for EV projects. This provided me with a lot of motivation to increase the professionalism & quality of the presentation. This was my introduction to handling public relations & the process of radio & press campaigns. Currently I handle all the artist relations and oversee manufacturing/production, maintain the online presence (.com, Facebook, etc,) and creating press its (digital & mail) & small college radio-send out campaigns. PR for a few upcoming projects is being handled by Pigeon Row Public Relations. Heather Rappard creates the videos. In the past I have received a lot of support from friends’ whom I often stayed with, notably Craig Currie & Jared Russell. Craig Storm handles some design.
Pourquoi ce nom, Electric Voice Records ? Why this name, Electric Voice Records?
The name was given by the co-founder Tyler Fleck in honor of when we began experimenting with guitar pedals, vocoders, etc, to manipulate our vocals. I think as time & the label progressed, it started gaining a new meaning. While personifying technology, it is using a theme I find myself very fond of â€“ the idea of Trans-humanism and transcending emotive feelings & ideas through machine.
Pourquoi avoir choisi le format K7 ? Why are you choosing only the K7 formats?
It comes naturally with an amateur take on producing a release. Vinyl & cassette format has a physical aesthetic that CDs simply do not. Writing your music onto vinyl record or a magnetic cassette is much more tangible & appealing. That said, I am grateful of the ability to produce a Wav or MP3 files and transfer them using the Internet. My catalog is limited and I do not include download codes – I like the idea of each release being a rarity. CDs often are uploaded onto a computer or MP3 player and left to dust. These formats become a sacred possession that is genuine as well as economic. The only deter is that Canada Post is a drag & it is very expensive to mail vinyl records.
I began releasing albums submitted or shared with me personally by my piers, than which conceived the desire to produce the music onto physical format. Most of the time the initiation of the releases come together naturally, in discuss of the potential of the material. Iâ€™m currently not in the position to say what my preferred genres of music are, I am experiencing different sounds constantly in different ways.
There are no techinical – verbalized guidelines in which I try to abide by. I have a clear idea my tastes and I’m also aware they are constantly changing, broadening and narrowing. It is fun; it would be less enjoyable if there were a strict idea of how I wanted to present my releases. I like consistency in labels and seemingly as mine develops it will also gain an identity. Currently it is a selfish reflection of admired music that I feel passionate about, & as well as becoming a part of the production.
Monroeville Music Center, U.S. Girls et Transfixed sont parmi vos premiÃ¨res sorties. Tu peux m’en dire plus Ã leur propos ? Monroeville Music Center, U.S. Girls et Transfixed are in your first release. Can you tell me more about them…?
Monroeville Music Center is Craig Storm based out of Calgary, Alberta, Canada (my hometown). He creates atmospheric pieces using often self-modified synthesizers as well as an array of different instrumentation. It provokes unusual & familiar energies, often showcased in old sc-fi movies or video games. He has also done a fair amount of design work for EV (website related, album art, the logo).
U.S. Girls is the moniker of one lady named Meghan Remy. I was first introduced to her in Halifax, Nova Scotia as she was there to perform as part of the Obey Convention, 2010. Her performance was unbelievable – it was so beautiful. I am still amazed at what she created during that performance, which was a total trance. I felt slightly off for the following days trying to wrap my head around her show. It was so minimal yet transcended so many different ideas and emotions at once. I contacted her about 6 months later via email asking if she wanted to do a release w/ EV. She said yes but was having scheduling issues. I had a drink with her in Montreal after one of her shows (that I missed) and the plans were finalized after that.
Transfixed is my group with my friend Ian Phillips. It is a concept group, similar to the label title, on the progression of Trans-humanism and the idea of communicating all of our thoughts & themes through technology. Itâ€™s super loose & and we are not trying to achieve anything, which is what makes it fun.
These are a few releases over the last few months & upcoming in the New Year. They read EV017, EV020 & EV028 on my catalog.
No they are not- that album was compiled in honor of the Obey Convention III, which is a 3 day experimental-fringe festival held every year or two in Halifax, Nova Scotia by Darcy Spidle/Divorce Records. The album features 28 artists/groups all recorded in Nova Scotia from 2005-2010. A number of the groups were playing the festival that year (May, 2010) so it was my way of contributing to the festival. It is an interesting document that features a very wide variety of sounds from the province of Nova Scotia. I have since done releases for few of the bands featured on that compilation.
Jeff & Jane Hudson are a retired duo, who have been happily wed & creating music together for over 30 years. To my knowledge â€“ they were first involved in the punk community in Boston with their group The Rentals. In 1980 they re-located to NYC to pursue their new sound with synthesizers & drum machines as Jeff & Jane Hudson. They continued to open for groups like Suicide, Siouxie and the Banshees, Duran Duran, etc. After issuing a few singles, an EP and a full-length LP â€œFleshâ€ they returned to Massachusetts to continue careers in video teaching. They now run their own antique & deco store on the Mass MoCa campus. They are great, and super alive (listen to the new single). In early 2011 their first full length was re-issued by American labels Dark Entries Records/ Captured Tracks and in Facebook promotion I saw Jeff Hudsonâ€™s personal account, and subscribed. Within those months I was really obsessing over their catalog & when I saw in a post on Jeffâ€™s Facebook page they were creating new music, I was anxious to hear it. Upon inquiring, Jeff sent me some demos on CD and I was amazed by it. He began creating the music with digital software programming as opposed to original analog equipment, so the production is of higher quality â€“ but the movements were still so genuine and felt fresh from their time. Upon that I asked him if I could handle the release in any of their desired format, and a 12â€ single was agreed.
Quels types de relations y-a-t-il entre les groupes et le label ? What are the relations between the groups and the label?
It varies, depending on my relationship with the artist/s, sometimes they are as much of the experience as I. It makes it more enjoyable to work with my friends on how they want the project to go. Itâ€™s never the same that way and you end up learning more than what you would have taking on projects by yourself. A large portion of my communication with groups & artists is strictly based on the Internet. Itâ€™s a little impersonal that way, and more direct, business oriented which is also fine in celebration of the music.
I have known of the Beko website for some time, but many with desires to collaborate with many outlets & artists, I was/ am in no rush to complete anything. Itâ€™s too bad they decided to discontinue before we received the chance to do anything together/ I like the aesthetic and their work with the site but I am sure they can transpire their vision into physical productions. Reno mentioned they had a new label that they are launching in the New Year, and I look forward to what comes of it.
Quel est le futur proche d’Electric Voice Records ? What’s the near future of Electric Voice Records?
Aside from a few cassette titles coming in the new year, I am mainly focusing on the upcoming Electric Voice compilation & a 7″ EP for U.S Girls. The compilation will feature unreleased tracks from Gary War, Auto Melodi, Jeff & Jane Hudson, Soft Metals, Ariel Pink & R. Stevie Moore, Innergaze, D’eon, Chevalier Avant Garde, Jef Barbara, Femminielli, The KBV, Horrid Red and more… It will be released on a limited edition of 1000 12″ records & 500 cassettes. It will be available early March. I am working in conjunction with Pigeon Row Public Relations who are going to handle a campaign for the compilation. I am happy to be hosting this project as an interesting introspect of the current use of synthesizers & digital percussions that introduce a variety of different elements in pop music. I am going to be taking some time off after the release of the compilation to focus on recording. Scheduled releases for early 2012 will also still be valid â€“ U.S. Girls 7â€ single Rosemary b/w Sed Knfie & Cat Bagâ€™s Bunker Junker 12â€ LP.
Et tes espoirs les plus fous ? And your craziest hopes?
The idea of being able to sustain the label as well as balancing the ability to create music & practice a healthy lifestyle â€“ all through this business is ideal. As the economy stands and by measuring my work now, I suppose it is to seem crazy.
Que penses-tu de la culture blog ? What do you think of blog culture?
I think it’s great. I’m not completely on top of the entire all the current blogrolls though I think it plays a pretty prominent role in promoting & marketing any sort of release. I like the idea of websites, like Weird Canada, highlighting what they want to be heard, as opposed to featuring material they don’t like and want to explain why. The Internet is really important in communicating music in this age. Many other outlets still exist, and should be recognized â€“ but obviously they not as connected as the Internet. It is the most accessible form of media.
Quel est ton sentiment sur l’industrie musicale et internet ? How do you feel about the music industry and the internet?
I am happy with what is being produced. I donâ€™t believe in the idea of a revival â€“ I donâ€™t think anything has changed. All the same tools & mediums are available for creation. The only things changing are the social influences and the ability of technology. As I do find myself nostalgic, I am also very grateful to be part of this movement. â€œPost-Internetâ€. Most of my favorite records Iâ€™ve learnt from researching on the Internet, & then forth downloading or ordering the record online. Itâ€™s how I run my label. There is the argument of purity- it should be measured individually by sound & not how it is communicated.
Sans mentionner les groupes de ton label… quels sont les choses auxquelles tu es addict ? Without mentioning your labelâ€™s groups… What are the things you are addicted to?
Tracks 1-11are all featured/to be featured on EV and 12-17 are a few tracks from some of my friends. That said – a large portion of the EV roster are friends of mine (Passion Party, Rape Faction, Wicked Crafts). All tracks recorded in the last few years.
Traduction par Simone Apocalypse.
Logo par James Wing & photo par Heather Rappard.
EV comp artwork par Adam O’Reilly.
01. Rosemary â€“ U.S. Girls (Electric Voice Records 2012)
02. Canâ€™t Tell â€“ Chevalier Avant Garde (Electric Voice Records, Skrot Up 2011)
03. Last Rites for Maria Capovilla â€“ Monroeville Music Center (Electric Voice Records 2011)
04. Colored Lights Pt II â€“ Horrid Red (Electric Voice Records 2012)
05. General Purpose â€“ Transfixed (Electric Voice Records 2011)
06. The Passion Party â€“ Passion Party (Electric Voice Records 2011)
07. Games â€“ Rape Faction (Electric Voice Records, Skrot Up 2011)
08. Dutch Me â€“ Ariel Pink & R. Stevie Moore (Electric Voice Records 2012)
09. Flight 777 â€“ Jef Barbara (Electric Voice Records 2012)
10. In My Car â€“ Jeff & Jane Hudson (Electric Voice Records 2011)
11. Mid Windmill â€“ Cat Bag (Electric Voice Records 2012)
12. Transparency â€“ Dâ€™eon (Arbutus 2011)
13. Haircut â€“ Chevalier Avant Garde (Skrot Up 2011)
14. Estados Alterados â€“ Femminielli (Carte Blanch Aux Desirs 2011)
15. Morping Nature (excerpt) â€“ Hobo Cubes (dâ€™Artagan 2011)
16. Wicked Game (Chris Issac Cover) â€“ Wicked Crafts (Unreleased 2010)
17. Nunsploitation â€“ The Friendly Dimension (Unreleased 2009)
18. Double Vision Quest – Forgetter
01. U.S. Girls – Rosemary (Electric Voice Records 2012)
â€¨â€¨The only time I saw Meghan (U.S. Girls) perform was in 2010 at the Obey Convention in Halifax, NS. Really blew me away, it was only a matter of months until I was in touch w/ her about doing a release.
Last summer I was staying w/ my good pal Khalil (of Rape Faction) and we were brainstorming groups that Rape Faction would like to do a split with, and Chevalier Avant Garde were one of them .. I think Khalil sent a text to Dimitri (of CAD) and that was that. I first saw them when they were using the moniker Postcards at some loft in Montreal, QB but didnâ€™t start following them until they became Chevalier Avant Garde.
One man operation featuring Craig Storm – a father of 3 from Calgary, Alberta (my place of birth) who works in a synth museum! Mentioned earlier, he makes great music and has done a number of design works for EVR in the past.
04. Horrid Red – Colored Lights Pt II (Electric Voice Records 2012)
05. Transfixed – General Purpose (Electric Voice Records 2011)
I first met Chris Keys in 2010 when Rape Faction came to Halifax, NS to play the last show w/ my noise-punk group at the time â€“ PIG. Chris had just moved to MTL from the states. We hung out in Montreal a few times after that and I stayed w/ him for a couple weeks last summer, and had the Passion Party come down to Halifax last year. We played at a local vintage clothing boutique and in my very small, very packed basement apartment at the time. Keys is heading back to U.S we are planning a tour for the summer.
07. Rape Faction – Games (Electric Voice Records, Skrot Up 2011)
I met these dudes whilst touring through Montreal a couple summers ago. Our bands shared a bill at the very last show at the defunct Friendship Cove in MTL, and we instantly became friends that night. Khalil & I have some collaboration in the works and will continue in my time spent in Montreal this winter.
Love this duo. Started talked to Stevie via email in the summer and we have some releases in the works, for now I will feature this track on the upcoming Electric Voice Compilation. Also will see â€œKlu Klux Glamâ€ EP on Slow Boy.
09. Jef Barbara – Flight 777 (Electric Voice Records 2012)
Jef Barbara is going to be huge this year. This track will be featured on the EVR Compilation curiosity of Tricatel. He makes really great music and has great, flamboyant showmanship. I am not gay – but if I was it would be for Jef Barbara.
Love these guys. Great live, fusing many different elements I love about music. They are local to Halifax, NS, one of the only local bands to keep making an appearance on the label. Itâ€™s great that 75% of the EVR roster and close friends to me. As stated, it makes the process far more enjoyable and personal. I always have a great a time when-ever they play, then forth after partying.
When I first saw Dâ€™eon play in 2009 he was making atmospheric Middle-Eastern/Tibetan influenced music using tradition acoustic stringed instruments and electronic loops. It was great â€“ the next time I heard from him those origins had translated into an electronic R&B, soulful rendition. Which I also loved, Chris is super prolific and innovative â€“ I donâ€™t think he gets enough credit for what he does. I met him in Montreal in 2010 which was odd because we were both living in Halifax, NS at a point and shared a lot of close mutual friends. He was featured on the first EVR compilation with a synth trance jam from 2005, and Transparency pt III will see the upcoming EVR compilation in March.
Another prolific artist from Montreal, the man behind the Hobo Cult label Francesco Oulette (De Gallo). Started talking to him online a year or two ago, met him in Montreal last summer. Love his consistency and aesthetic, look forward to working more w/ him in the new year.
Troy Ritcher is behind the Friendly Dimension, though the line-up has seen many variations, including myself. I started playing w/ Troy in 2010 when I was living next door to him. Amazing writer. This track was recorded by our mutual pal Luke Corringan of the Ether, who also played w/ the FD.