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Hamilton Music Notes
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by
Ric Taylor
September 9 - 15, 2010 |
Sectorseven’s The Hunt Club
Grimsby’s Sectorseven had a wealth of press back in 2002 when they signed to Sonic Unyon and began a national touring schedule that developed their name across the country. But eight years later and the band has all been dormant – that is, until this weekend when Jon Gauthier (vocals, guitar), Lee Williamson (guitar), Mike Burke (drums) and Brad Parent (bass) return with a brand new CD, The Hunt Club, that harkens back to the band’s teen origins.
Those origins of Sectorseven began back in 1992 when five Grimsby High School students came together with a love of Southern California type punk. Membership would be change and the sound would be refined over the next five years with their debut CD, Comfort Zone, released in 1997. A year later they’d offer the follow up, Along the Way, and enlist fellow Grimsby native Walt Biljan to film some videos that not only garnered some MuchMusic exposure but also get nominated for Best Independent Video at the 2000 MMVAs.
Touring became a mainstay and the band would hook up with Sonic Unyon to re–release their first two recordings and then their eponymous new disc with a wealth of media attention. But it was after that release that things kind of just petered out. While the band never officially broke up playing the odd show when they felt like it, Sectorseven has been relatively dormant focusing on life’s demands outside the band.
“It was for the most part personal stuff like houses and careers that got in the way,” explains Burke. “You can’t tour as easily when you do that stuff. If I had a choice, all I would do would be to play in this band and never stop touring and golf but that’s just not feasible. I didn’t want to move back in with my parents and work brief part time jobs, only to quit them to go on tour again. Quitting the band made no sense to us though, we still want to play and we still hang out with each other every weekend, so what were we quitting really?
“We’ve always gotten together to jam out, write new tunes, and all that,” interjects Williamson. “Without a record though, it was kind of weird to just play for the fuck of it. We played a few shows here and there because they sounded like a good time. For me, I like to play the guitar so I jammed with various other bands in the meantime.”
Williamson worked with Ginger St. James, Sarah Blackwood and Gianni Illuminati among others as a guitarist for hire while S7 worked out of the spotlight.
But back in June 2009, a reconnection with the producer of their last CD, the stars seemed aligned to bring the mighty S7 ship back out to sea. S7 decided not only to go back in the studio but also sign with Siegfried Meier’s Bright Side Records.
With a sly nod to a former local haunt (Grimsby’s ill fated strip club of the same name), The Hunt Club finds Sectorseven as angry and visceral as ever, blurring the lines between the So–Cal punk and metal they grew up on.
With their hometown CD release this week, and a tour in the planning
stages for the new year, Sectorseven could be simply picking up where they left off eight years ago – although they, and more importantly their fans, have seriously grown up in the interim.
“We don’t appeal to hipsters,” admits Burke. “We don’t appeal to fashionable punks. Our music goes well with beer, fist pumps and a few head bangs.”
“I think with the type of music we play, you either love it or hate it,” adds Williamson. “If you liked us eight years ago – I think the new album will appeal to someone who listened to the old stuff. I think we have all gotten better at our respective instruments and that will come across live for sure.
“We grew up here, in any other venue, we blister the wallpaper – in Hamilton, we’re going to blow the roof off,” laughs Burke. “It’s a great record and we’re excited about it. We’re excited to be playing shows again. It feels just like it did when we were 18.”
Sectorseven play this Friday September 10 at The Casbah with The
Legendary Klopeks, All the Trendy Kids, and Dog Tooth Violet. Doors for the licensed/all ages gig open at 9pm and $10 gets you in. Click on sectorvii.com.
Matthew Barber’s True Believer
Matthew Barber’s two years in Hamilton were quite influential on the budding singer/songwriter. He had tried his hand while studying at Queen’s University in Kingston but when he came to Hamilton, everything changed for the Port Credit native. The local club scene offered Barber (and his sister Jill) the means to further their ends of making music their careers.
Eight years later and Matthew Barber’s on the other side of a major label deal that saw him introduced to the Canadian pop music industry machine and its trappings but with his sixth collection of songs – and his second CD for the more indie Outside Music. True Believer shows Barber making music that’s inspired and inspiring for real fans of real music.
“I don’t think I’m trying anything radically different but I would like to think that overall lyrically things are progressing in the right way in trying to create interesting stories and interesting moods and not being too obvious,” ruminates Barber on his latest disc, “although there are stiff a few kind of pop songs that are more based on melody and hooks than lyrics but I always have a couple of those on each record just to try and hook the people in.
“I’m always trying to make music that is not necessarily of any particular time or trend or movement in popular music,” he adds. “I like to write songs that hopefully can be appreciated by multiple generations, the old and young. I feel like I’ve had a lot of turnover in my fan base over the last seven or eight years but at the same time there are still the diehard core of people that have been with me right since Means and Ends so, of course, I really appreciate those people.”
Means and Ends, written mostly in Hamilton, introduced Barber officially to Canada – and then was picked up by the influential label Paper Bag Records. The resultant buzz around Barber saw him move quickly to the majors.
“It was an interesting experience with Warner Music,” notes Barber. “It got me established to a certain extent in the industry in a way that has allowed me to be a professional musician and to continue doing music as a living. Ultimately, I don’t think it was the best fit for me. I think I’ve always remained an indie–minded artist.
“My last two records have been through Outside Music and it’s a great
place to be,” he adds. “I’ve sold more of my last two records than I did with my ones on Warner with a fraction of the budget. I’m still glad I did it. I have no regrets. It was just a chapter in my career. I’m really happy with where I am now.”
While it’s been eight years since he’s lived in Hamilton, Barber’s chops and perhaps some of his musical ideals were galvanized in the steel city.
“I had a great time in Hamilton – it was really where I kind of got my start,” smiles Barber on his time earning his Masters in Philosophy at McMaster University and immersing himself in our local scene. “I had played music a little bit when I went to school at Queen’s in Kingston but really that was just playing campus bars and stuff and I didn’t know what I was doing in terms of gigging. I definitely think Hamilton was a great place to be particularly at that time. I was there the same length of time that the Raven was there and I still haven’t found a place that has been that great of a home base for a music scene. I really credit that whole time with getting me going in the music business.”
With a growing catalogue over the last decade in the industry (Barber has plans to potentially release an all new album in 2011 as well as the ‘Hank Williams–esque soundtrack he wrote for the play, Haunted Hillbilly), Barber tends to be able to visit Hamilton annually for each new release and it tends to conjure up old times.
For the live show, Barber enlists Toronto’s Steve Zfirai on bass and Hamilton’s Jesse O’Brien on keyboards and Joel Stouffer on drums but his return this weekend to play on September 11th brings to mind a particularly poignant gig that happened at that ill–fated Raven club where a few dozen people and myself rallied around Barber and the Buttless Chaps for a gig to find solace on the evening of 9/11.Thinking of and the True Believer CD makes one wonder if Barber still believes in rock and roll still having the ability to save your soul.
“It’s funny because this show is an anniversary of sorts but one I don’t want to draw much attention to because it’s not exactly a happy subject,” says Barber. “But that show I did that night in Hamilton was one of the weirdest shows I did and I’ll never forget it. I believe music can give you a reason to live, I don’t know about saving your soul. I know what it felt like when I discovered Led Zeppelin at summer camp in grade eight. I remember that feeling; it’s tough to hold on to that feeling of discovering new stuff and falling in love with music but I remember that feeling and I know how important it is and it’s stuck with me my whole life. It made me become a professional musician. It’s good to have a passion in life.”
Matthew Barber plays this Saturday September 11 as part of the Locke Street Festival with Steve Strongman, Tomi Swick, Gord Lewis, Jesse O’Brien and John Mays, The Pine Street Connection and Alfie Smith. Admission is free. Click on lockestreetfestival.com
BA Johnston’s Thank You For Being A Friend
BA Johnston is a consummate performer and a formidable songwriter, although his style is not conventional. He’s known to utilize keyboards, guitars, and even video game sounds to make his quirky indie rock but developed a legion of diehard fans across the country for it by constant touring. With his latest album, Johnston’s refined his style and perhaps gotten mature – or at least as mature as he can get.
“I guess if you consider headlining shows at fish and chip restaurants
is basically the top level of the hill I’ve managed to climb, it sums it up well,” quips Johnston.
“I don’t know about serious or mature when there are still songs about 7–11 hot dogs and NBA Jam on it,” muses Johnston on his latest release. “But maybe all the minivan songs lend an air of age to it, well, soccer mom age anyway. I have also been listening to tons of Jerry Reid albums and trying to steal as much as I can. The music is still good times, it’s still forget–your–troubles–because–mine–are–worse kind of music.”
Whatever fear or emptiness he feels, Johnston is able to channel that into observations that include reference to his current obsessions (usually revolving around food, video games, television, movies, pirates, his touring van or the city of Hamilton). However sad Johnston might be in song, he’s able to inject some bittersweet humour or a certain irony that can make you smile – particularly when he uses pop culture icons like Loni Anderson or Steve Guttenburg.
“I have no idea where the Steve Guttenberg stuff came from,” notes Johnston. “I think someone had sent me a photo of him in Police Academy. He seemed young and really cool. I think a lot about what happens to people when they get old. It seems unfair that young people decide what’s hip; as they are clearly have no idea. I guess I drive a lot and think about a ton of weird crap. I also watch a ton of TV and have a VHS collection that would break the back of an elephant.
“I am trying to be pretty devoid of irony or what my understanding of
irony is,” he adds. “I think one of the reasons I have any limited success is that I am earnest and I believe about what I am singing about. I own four Sega Genesises. I watch a ton of “WKRP.” I cried during Short Circuit. These things all happened; it’s the grain of truth that makes the jokes funny.”
Touring is how Johnston spreads the word and this new album is his small way of showing his gratitude to the fans – underscored by the album title.
“While I do love parts of touring, it’s done because I desperately need money,” confides Johnston. “It’s also a good way to go on a huge bender and get you picture taken with a never–ending stream of strangers.
“The album title really has a dual purpose; the most obvious one is to pay homage to “the Golden Girls, “which is an all around awesome show, and the second it’s to let the fans know that I appreciate all that they do for me,” he adds. “The album title is pretty much me saying thanks to all the people that come to shows, buy merch, let me sleep on their floors because without them I’d probably be working at Jumbo Video.”
Produced by Paul Linklater of Brent Randall And His Pinecones and released on the Just Friends Records label, BA Johnston has moments of brilliance although possibly his first effort without at least one ode to his hometown. Regardless, Hamilton remains one of Johnston’s major obsessions and for the hometown release of his latest effort; he contends his show will be one not to miss.
“Obviously, I still love Hamilton,” assures Johnston. “This Hamilton show is going to rule in ways you can’t even understand,” he adds. “Plus I am giving away an Atari Flashback 2 for free! You will never again have a chance to see loafers so white move so fast. I’d like to say I’m practicing a ton but the only thing I’ve been practicing lately is Joust on my Atari 7800. The show will be some old hits; some new stuff and an awesome new look for me. The openers are rad and the times will be, too.” V
BA Johnston plays this Saturday September 11 at This Ain’t Hollywood with Wax Mannequin and Slow Hand Motem. Doors open at 9:30 and $8 gets
you in.
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