Last night, to celebrate the release of their new album, David Comes T o Life, Toronto hardcore rockers Fucked Up turned the Clint Roenisch gallery on Queen St. into a record store/party space, with members of the band selling LPs, 7″s, T-Shirts and other apparel, as well as giving away beer, chips, and lightbulbs. It was really, really cool and everyone there looked really cool. Among the crowd familiar faces included Pitchfork/The Grid/This Book Is Broken writer/online editor/author Stuart Berman, and Toronto lo-fi indie-rockers Little Girls frontman, Josh McIntyre. Here are some pics taken in hipstamatic on my iPhone cuz I’m pro like that.
People chilling outside (cuz it was ridiculously crowded inside)
On the right you can see members of Fucked Up working as the ‘employees’ of the record stores. Frontman Damian Abraham is conspicuously absent.
The film-like promo posters for David Comes To Life
I found out about The Soft Province, the new project of Jace Lasek and Michael Gardiner (both co-founders of The Besnard Lakes) about a year ago while reading my friend Chris Budd‘s blog Indie Music Filter. The band had already announced that the record was coming out…eventually. They had a Myspace with a legit playlist of songs already. Damnit, when the hell was I going to hear this album! Finally, a couple weeks ago the album dropped and it is amazing, probably as good as any Besnard Lakes album. I immediately reached out to Three Ring Records to see if I could grab an interview with the band. I managed to snag a phone interview with Michael Gardiner in which we talk about his leaving The Besnard Lakes, writing lyrics, and rewiring ghetto blasters to record on them.
GS: How did The Soft Province begin?
M: Jaceand I had been working towards getting something together for a couple years but because of his schedule with The Besnard Lakes years just went by and then all of a sudden we had a window and we just jumped on it. It was great.
GS: You were a founding member of The Besnard Lakes – is that correct?
M: Yes, we started The Besnard Lakes together – it was Jace, Olga [Goreas] and myself.
GS: And how did that band begin?
M: Well, that was kind of a strange situation. We moved to Montreal and it was kind of a democratic band situation. We all wrote songs, worked on a huge amount of songs and recorded them many different times on a number of different recording formats. We were doing songs on [everything from] two-track mastering machines to 16-track ¼-inch machines, and then we finally got the Pro Tools going. It was a constant project, [beginning] even from home or four-track recordings going back a long time. I always had recording based projects.
GS: How do you know Jace and Olga?
M: Well, Jace is my best friend, we grew up together and he married Olga when he was going to art school in Vancouver and then Olga just became part of the project. She’s an outstanding musician.
GS: How did you meet him initially?
M: Oh, that was so long ago. We were playing on a baseball team, went to elementary school together, grew up through high school, got interested in instruments and the recording process – at the time the most affordable thing you could by was a four-track. Before that we were screwing around with ghetto blasters, rewiring them so that we could overdub stuff. Just got the ball rolling and one day we got a board and this and that.
GS: And when you guys started The Besnard Lakes, was there any concept in place or did it grow as an extension of what you were both already doing?
M: Well, we’d always had our songs that we were kind of saving for a special project. We were playing lots of shows and doing records but it wasn’t quite where we wanted to go. Actually a lot of the Soft Province material kind of came out of that and that atmosphere of “this isn’t the right setting to do this.” I guess The Besnard Lakes came out of that [also].
GS: And why was it that you left The Besnard Lakes?
M: I walked away from the Besnard Lakes in 2000, 2001 maybe. Basically just to pursue what idea of music I had at the time, because The Besnard Lakes were going in a certain direction…I don’t know, it was a weird situation. At the time I was and still am very heavy into my visual art practice so I was pursuing that moreso than music, it was what I felt I needed to do at the time.
GS: And what was the goal with The Soft Province record?
M: There was no real gameplan to make it sound a certain way, it just was. It was a natural way of us working together and making decisions along the way. Yeah, no, it’s a mystery.
GS: Well, the record does sound pretty unified, it sounds like you guys really found your own sound.
M: The songs were compiled from a number of songs, we were looking for an album of songs that worked together. It just felt right, it was like, yeah, some are going to work, some are more upbeat, some are more downtempo – it just came together quite naturally actually.
GS: I know Jace likes to write about spies and stuff, were there any lyrical themes that you pursued on the album?
M: Well, there was one song that I originally sang vocal on, the song “In A Some See No One Club”, but Jace took over the vocals on that. I don’t really know if it has a lot to do with the rest of the songs but it was kind of like, “This is a theme I want to go with,” in terms of lyrics. Jace just always has a great backlog of poetry to draw from. My take is always like some kind of abstract way of going at lyrics. Where Jace comes from it’s definitely a very reflective type of poetry, it’s very minimal.
GS: What was the divide on the albums in terms of the roles you each played? Like who played, wrote, sang, etc. what?
M: On every song that’s on the record I played everything. What happens when we came to the overdub stage was I just relied on Jace’s skills as a producer to tell me what was right and where to go from there. He threw a couple wicked guitar solos in there and I got a couple of friends around the studio to help out, but for the most part I played pretty much everything on the record, but didn’t do all the vocals.
GS: And what’s going to happen now with the album? What are the plans for the future of The Soft Province?
M: That’s all in the works. The plans for the next Soft Province also rely on the schedule of The Besnard Lakes. We have plans to tour next September across Canada with The Besnard Lakes, which I’m very excited about.
GS: Are you making music of your own asides from The Soft Province?
M: Yeah, I play on a number of things, I’ve done a bit of production work, I used to run Breakglass Studios with Jace and our partner Dave [Smith] a long time ago when I was in the Besnard Lakes – then I just decided to focus on digital art, I couldn’t get it out of my head. But I work with local bands, work on local records, I keep a project studio going so it’s easy to write songs and record them, it’s how I work. But I don’t really write songs, I just record them.
GS: Do you release them?
M: No, they’re all just waiting to find out whether or not they’re going to apply to The Soft Province.
Prairie Cat is the colourful, sophisticated indie-pop project of Cary Pratt, a Vancouver-based multi-instrumentalist singer/songwriter. Guest writer Paula JP managed to grab a phone interview with him a couple weeks ago to talk about making music videos, the songwriting process and the Vancouver music scene.
P: I’ve seen you on quite a few instruments by now. Give me the full list of what you play and the musical training you have had.
C: I started my formal music training on drums but always had a piano in the house growing up. I managed to fail piano and singing a couple of times in college on the way to an education degree.
P: How did you ensure your passion for music wasn’t killed by school?
C: With music in a formal setting, it’s always hard to keep it real. I guess that’s why I gravitated towards piano at the end of school as I didn’t know how to play it at all and could approach the instrument with a musical ear rather than a technical angle. Having no skill on an instrument is a blessing and shouldn’t be taken for granted. Sound is what we are trying to make, not science.
P: I have to ask, what’s up with that octopus-armed video? Weren’t you frightened you might come off as a little creepy to first time viewers?
C: The video was a concept by a great filmmaker named Jared Sales. He came up with the idea and pitched the video on the two days I had off on my first tour in Ontario. He directed and shot the video at a house on Bathurst street in one afternoon. At one point during the shoot the next door neighbors interrupted to let us know that they ‘liked the song’. It was pretty funny as for some people I am sure hearing me on repeat would be a bit trying.
P: Songs like “Paying the Rent” and “Better friends than lovers” are so simple and relatable. Are they based on the everyday, or rather an anthem to go along with our everyday lives?
C: A lot of my writing is done in transit or walking to or from work. It can be quite literal. Anything that is personal in the music is more buried or cryptic. It may be the actual pronunciation rather than the words themselves that will be the hard part for me to sing without getting emotional.
P: What stimulates your musical process?
C: I don’t always approach each song with a set idea of what it is about. I write a lyric or two and let the song develop around that theme. Only after will someone say “Is this about so and so or about such and such?”, and I’ll say, “Exactly!”
P: I really feel that Prairie Cat is a band you need to see live to truly appreciate (especially with all the full band funk break downs). Can you describe your band’s live show and what people can expect of it?
C: I really think that a lot of bands can alienate their audiences by being too “true” to their vision. For some people it works. For myself, I like to play to the crowd and venue. If it is intimate like a gallery I may just do the show with horns and strings. It depends on who is on the bill too. Opening for Laura Barrett is going to be different than opening for Hey Ocean. People can expect as few as one or as many as ten.
P: You work at the Vogue. Tell me about how that keeps you immersed and connected to the arts.
C: The Vogue (a Vancouver music venue) is very dear to me. This month alone I have been at sound checks with Motorhead, Godspeed You! Black Emperor, and last night an all-vocal acapella group. I feel in touch yet removed from music while in the environment. For the most part it is inspiring though. I like seeing how different bands run their sound checks.
P: While touring is there something you found significant about the music scene in your own home town compared to other places/ provinces you have travelled?
C: Vancouver needs a few more venues to really build pockets of “scene”. A lot of different bands frequent the same venues so it’s hard to identify with other musicians based on common ground. It breeds cross-pollination between styles, but there are hardly ‘Vancouver-centric’ labels or even a style of music that is “West Coast” right now. Maybe it’s a blessing.
Also Vancouver is still off the beaten path for touring. The next closest city is four hours away. We don’t really do that suburb thing that Toronto does with the Guelphs and the Hamiltons and what not. We can’t go south… there’s a border. East is the mountains and North… well North is a Godless country.
P: You have many conversation ‘breakdowns’ in your music. Tell me about those.
C: Prairie Cat primarily is a recording project. Anything I get to do in the studio that is fun or can make some sort of soundscape with, I will try. I like taking the listener “out of the music” while still being in a recording. It’s a fun idea to play with. Layers and other special references that give you the sense that you are somewhere else based on sound is a neat trick to play on your senses.
P: When are you coming to Toronto?
C: I would like to come out socially this summer. Musically, it will have to wait until the new record comes out.
P: Since you play with a backing ensemble, how much do you let other people/bandmates influence your material?
C: The writing in Prairie Cat is purely an exercise in recording and what I can do as an individual. I play in other groups in which writing is communal but [Prairie Cat] is a soul searching endeavor. I know better piano players, better bass players, singers, drummers etc. but as an exercise I try to explore what I can do within the framework I have set before hand. Usually directly proportionate to what instruments I can get to the studio, how much time I have, and money. I shape the rest out of everything I have ever heard in my life.
On Friday March 11th, Rhode Island roots-rockers Deer Tick, California’s Dawes, andthe ‘supergroup’ with members of both (+Delta Spirit) Middle Brother will be playing rockin’ the rattlesnakes out of Wrongbar as part of CMW. Courtesy of Embrace Presents, Gold Soundz will be giving away two tickets to the show.
Want to win them? Here’s how: Tweet this post and tag @embracepresents. My arbitrarily-chosen favourite entry will win!
And if you don’t win, you should still check out the show (cuz it’s gonna be awesome), the full details of which you can find on the Facebook event page.
Ok. I like Burial as much as the next guy, and the stuff James Blake is doing is pretty cool, but otherwise, I just totally don’t get dubstep. And the fact that everyone who seems to like dubstep is either sketch or a bro-tard doesn’t encourage me to try to figure it out either. Also our downstairs neighbour is always blasting dubstep till 4 am and my roommate and I are about ready to bring a jihad down on his ass. So here’s a little bit of revenge on him, this little quiz we wrote, which is hopefully going to rack up a million hits.
1. What aspect of music do you consider most important:
a) Melody
b) Rhythm
c) Lyrics
d) Wub wub wub wub wub wub
2. What is your ideal live music experience?
a) Moshing in a pit with a bunch of other amped up dudes
b) Dancing at the club with hot chicks
c) Chillin’ at the bar and watching the band
d) Who cares as long as there are plenty of trendy, designer drugs around?
3. How would you rate your hearing ability?
a) I can hear just fine
b) What?
c) Did you say something?
d) “Beeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee”
4. What kind of words would you use to describe the music you like?
a) Tight, solid, phat
b) Wicked, awesome
c) Groovy, trippy
d) Dirty, filthy, disgusting, SHIT ON MY FACE
5. What is your favourite dance move?
a) Fist pump
b) Um…actual dancing?
c) Macarena
d) Whatever the fuck this chick is doing (see below)
If you’ve never heard of Big City Nights (though you should have, because Gold Soundzposted a song of theirs a while ago…and that’s all it should take…harrumph…), they’re this cool lo-fi band from a Toronto suburb (or something) called Brampton. Gold Soundz guest contributor Paula JP interviewed singer/guitarist Danny Lindsay, see below.
Years ago, Dan was my contact when I went to audition for one of the bands he was in. After I nervously sang scales all day warming up my voice, I met him only to learn he was kicked out of the band the night before. So instead of me auditioning, we spent the day jamming and talking about music. Since then, Dan has given me every new release he makes.
When I walked into Dan’s room to conduct this interview, I saw a poster of guitar chords, a futon, CDs scattered everywhere, instruments resting against his computer, and lyrics scribbled on the walls’ chipping paint.
“[Sometimes] I’m out of paper and I don’t want to forget a line,” he explained.
P: You’ve made 8 albums now with so many different songs: which is your favourite so far?
D: My favourite would be a tie between “Ever Say Ever” and “Beach Music”. If I had to pick I’d take “Beach Music”. It’s just such a happy song.
P: What initially drew you to play guitar and how long have you been playing?
D: I started playing in grade 7. I was a Kurt Cobain kid. I had a different Nirvana T-shirt for each day of the week. I wanted to learn every Nirvana song. All the guys on my street had guitars and I begged my parents to get me one but they refused because they thought I wouldn’t play it. It took months to convince them that I was serious, but finally my Mom got me a $100 Harmony (piece of shit) because I had a Penny Saver route that paid $5 a week. She probably realized I was never going to get a guitar getting paid that kind of money.
P: You’ve hit the road many times, hitchhiked across Canada; has the road been an influence on your writing?
D: The hitchhiking didn’t influence the songs in any huge way, but travelling and songwriting/recording both feel like methods of escape for me. Both get me out of my worried thoughts for a while.
P: You busk for the joy of taking your music outside…and when you find yourself in
a bind and need to eat. How generous are people and what is the best/worst response you’ve gotten to your music?
D: Some people are remarkably generous. On Commercial Drive in Vancouver in 2007 a woman gave me five cheese sandwiches (I was busking to get money for food so the sandwiches were perfect). The best response I’ve gotten was some guy screaming “I LOVE that song!” after I played a song, worst response was some woman walking by who yelled “That’s just TERRIBLE!”
P: Your lyrics are often convoluted (“Lost Polaroids”: “Said give me sweater September isbetter”) but you have straight forward song names (“Leave your man”). Are you leaving breadcrumb trail messages for people to decode something of personal significance?
D: Not deliberately, no. I do spend a fair amount of time on the words because it’s hard to write about the usual stuff like life and love without singing clichés.
P: What inspires you most at a live show (as an audience member and as the one in the lime light)
D: As an audience member, I love seeing the band enjoy themselves. I get really offended if a band acts entitled to your attention. Even good bands have to earn it, every single time they are on stage. I love it when bands love to play. On stage I love looking over at the other guys and seeing them really into it. It makes me feel like I’m part of a single organism.
P: “Make Up Your Mind” or “Feel It”, these minute(-ish) songs sound like you goofing off with your buddies, any reason you chose to include them on the album?
D: I always wanted this band to be a song dump for every idea I have, for better or worse. I like going back and seeing what kind of songs I was writing at a given time and what I was singing about. Admittedly this can result in some quality control issues (“Make Up Your Mind” is really fucking annoying and “Feel It” is even worse) but I don’t have enough fans to worry about alienating them or anything.
P: If you could have a private music lesson with any musician who would it be, on what instrument and why?
D: I would take a singing lesson from Robert Pollard of Guided By Voices. He sings like a more optimistic John Lennon and he always sounds like there’s nothing else he’d rather be doing.
P: You told me you had writers block not too long ago, and then you came out with some pretty sweet songs. So how did ‘Stella get her groove back?’
D: I discovered a few bands I hadn’t heard like The Fresh and Onlys and New Radiant Storm King. Hearing stuff I haven’t heard before always helps me write better songs because it gets me excited.
P: Plan to dabble on any more foreign instruments?
D: I want to get better at drums and then relearn trombone (I played it in Grades 7 and 8). That’s about it for now. Definitely no sitar. I fucking hate the sound of that instrument.
P: Quite simply, what is your musical goal?
D: To be able to make a living playing music. Waking up on a Monday morning at 8 am, making coffee and then sitting down with a guitar to write songs sounds like heaven on earth to me.
P: What can we expect in your future recordings?
D: I’m trying to get away from using typical chords and song structures. I’m trying to use jazzier, uglier chords and still make things sound pretty. More major keys too. I’m working on a new Big City Nights record at the moment and there are some pretty weird songs on it. I’m excited.
Big City Nights‘ entire discography is available for free off their bandcamp. They’ll be playing Tiger Bar Groove in Toronto on Feb 24th with Persian Rugs, New Teeth, Sleepy Mean, and Gnar Tooth Shotgun Habit.
A little while ago I posted a track by Montreal experimental disco-pop artist Jef Barbara, off his full-length debut Contamination, out now on AMDISCS. Since then, I’ve kept coming back to the album, each time becoming more and more engrossed in its sound, style, and the strange, sexy character that is Jef Barara. A while ago I managed to interview him over the phone and talk about what the French lyrics mean, singing gay manifestos, and George Michael‘s Faith.
M: So, I don’t speak French, so I don’t know what some of the songs are about, but I’d like to. What is “Charlotte Et La Piano” about?
J: It translates to “Charlotte and the Piano”. Charlotte was basically part of this short-lived band that I had a few years ago called Jef And The Holograms. We only ever released an EP, back in 2009, and I wrote the song as a tribute to her. She was playing keyboards in the band and the piano is her main instrument so I figured I’d just write this song about her.
M: How about “Larmes De Crocodile”? What does that mean?
J: “Crocodile Tears”. It’s actually the only song I didn’t write the lyrics to on the album, they were written by Dominique Vanchesteing, who helped me a lot with the album, he also produced it. I see it as a kiss-off to a lover who has cheated on you but it’s jibberish, it’s a silly pop song. The lyrics translate to “Dry your silly crocodile tears/there will be more guys, don’t you fear.” Somebody actually posted a comment on YouTube under the video that said, “Don’t you worry little f*g, somebody out there will love you because guys are easy.” I thought that was a pretty accurate summary of what I sing about.
M: Listening to the album, I felt some of the songs had this interesting kind of crossbreeding between French cabaret and disco – are those influences of yours? Do I even know what I’m talking about?
J: I mean, I’m a Francophone – though I live in both languages – and my parents used to listen to a lot of what they call chansonnier, stuff like Jacques Brel and Serge Gainsbourg, so of course, it’s part of my cultural DNA. I don’t know in regards to French cabaret specifically – I see the French songs [on my album] as just pop songs, so whether they’re in French or in English, for me it doesn’t really make any difference.
I find there’s a wide span of sounds and influences on the record. I like to compare my album to pop albums from the 80’s on which you had a huge span of different styles that were adapted in a coherent pop context. I’d say it ranges anywhere from soft rock to synth disco; on “Flight 777” there’s more of a sort of krautrock kind of feel to it. I like to tackle many genres, it doesn’t limit itself to disco or French cabaret, it’s all in the mix. The objective of the album was to make a coherent whole with many genres, like those albums from the 80s. George Michael’s Faith for instance, on which you’d have a dance-ier song, which would lead up to the next, which would be jazzy cabaret, etc.
M: Your songs depict an interesting French underground alternative-culture world – was this also a goal of the album, to give listeners a glimpse of that world?
J: The whole point of ‘Jef Barbara’ is that I have this really eccentric audio-visual universe that I try to convey on the album. It’s a fantasy world. The songs come from me and I wouldn’t have written them if I didn’t experience what I sing about to some extent, though not necessarily always in the first degree. But ‘Jef Barbara’ is a concept, that’s what it is. It’s definitely a world that I like to fantasize about – it’s something that I’m still creating. Even in the videos where I’m all glammed up, it’s something that I’ll do once in a while to go out, dressing up as such or talking about the stuff that I talk about, but it’s not something that I do on a day to day basis. For me, it’s all about fantasy; it’s all about creating a vision similar to that of the glitter rock androgynous pop stars of the 70s and 80s.
M: What was it about those artists that you found intriguing?
J: It’s hard to tell why those things hit you. In the end, and as I said in regards to French music earlier, you have a certain set of influences that usually come from past experiences you have in your life. Some of your relatives might have listened to that type of music and [because you’d hear it a lot when you were around them] it just naturally becomes a part of you. Growing up and seeing Prince, Grace Jones, Donna Summer and Bowie definitely shaped my artistic identity.
M: Homosexuality seems to be a big part of the ‘Jef Barbara’ package. Is that something you intended or is that something that just came about naturally?
J: I recognize that there’s something almost subversive about singing gay manifestos like “Les Homosexuals” and “Wild Boys” and it’s also very much a part of me. I could have said integrity but what does it mean? It’s just a part of me. I create a fantasy world but the experiences that are recounted on the album are not entirely fictitious. I take what I have and what I grew up with and blow it up to very artistic, theatrical proportions. But yeah, I am a complete homosexual.
M: What are your plans for the future?
J: Well, I finished recording the album a few months ago and I just went into the studio to record a Stevie Moore song, so we did a power-pop meets Berlin-era Bowie cover that I’m pretty excited about, and that’s probably going to come out as a single. And I’m also thinking my next album – Alex, from Dirty Beaches, sent over a couple tracks that he’s willing to collaborate on with me.
Or were you thinking more like, bigger picture? Not specific projects?
M: Is there a bigger picture plan?
J: Like, of course I’d like my records and videos to reach out to the largest number of people. I’m just doing what I do and so far I’m happy. The people that have responded are sincere and I know it’s not a result of a build-up corporate hype – the people who are interested are genuinely interested. So if my songs can get to even more people, I’d be thankful for that.
So, as we all know, today one of the greatest bands of contemporary memory broke up: The White Stripes. Danny and I eulogize the tri-coloured faux brother-sister punk-blues-garage-revivalist duo, who were without a doubt one of the key bands of our musical lives.
Danny’s Eulogy: It fucking sucks that they broke up. I mean, they’ve been around a while, they’ve done their thing, it doesn’t seem premature or anything but I never got the chance to see them live, and I’ve seen videos of them live in which they looked amazing so it sucks that I’ll never get the chance to experience that. I mean, it seems like they were always just ‘there’, considering I grew up with them, they’re kind of one of the first bands that you could really say were of our generation. Their music was great, Jack White had balls. He had the balls to release Get Behind Me Satan, which was great. They don’t even have set lists, he just gets onstage and rocks out, and he clearly loves what he does. And without Meg, you don’t have the drive of the band.
Marc’s Eulogy: I feel like this is legitimately the end of an era. Maybe we don’t feel quite as horrorstruck as people did when The Beatles announced their breakup way back when, but this is definitely the announcement that comes closest for me.
The White Stripes were the band of my adolescence. I remember watching the 2001 MTV Movie Awards and just being confounded by all these people dancing around onstage in red and white – and what was the band called? I remember downloading “Fell In Love With A Girl” off Napster. “Seven Nation Army” was the first rock song I ever performed in public.
Jack White was and is my hero – he’s smart, good looking, passionate, creative, business-savvy, individualistic, etc. He can be in three awesome bands at the same time and release killer albums with each of them, whereas most people have trouble putting out anything good. And unlike The White Stripes‘ co-garage-revivalist heroes The Strokes, The White Stripes only seemed to get better and/or more interesting with every release, and I think they could still have kept making amazing albums if they’d stayed together. But Jack White is also a brilliant rock historian, and he probably thinks this is the perfect time to call it quits, considering it’s widely recognized that he was the most important (or at least impactful) rock artist of the last decade. And he might be right. But fuck, I can’t help feeling like that next album would’ve been even better than anything that came before. And I don’t think anything he’ll release with The Dead Weather or The Raconteurs (or solo) will ever quite measure up to what he did with Meg these last 13 years.
So, here at Gold Soundz we’ve got a team of awesome individuals who each contribute something to the magic that is us. One of these individuals is Danny aka The Burger King, who is the coolest, most awesomest guy. He’s a killer singer, a badass door guy, a snappy dresser, and you’d be hard pressed to find anyone who doesn’t like him.
Anyways, Danny is also a pretty hilarious guy with some interesting opinions on a lot of things, including music, so we’re going to start featuring him in an online series called Danny’s Version, which you can watch on this blog or on YouTube.
In this first, brief episode, Danny talks a bit about The Strokes and how a friend of his enjoys listening to them on coke. We filmed about 3 minutes of this last night at around 1 am, but the footage cuts off just before the first minute mark because my iPhone was running out of power. Also the sound doesn’t sync up at all. We used the 8mm video camera iphone app, which is otherwise a cool app. Not sure if the sound not syncing up is supposed to happen or not.
2010 was a great year. A lot of great albums came out, I saw a lot of great bands, I met a lot of great people, and my friends and I put together this blog/company Gold Soundz and launched it with a fucking sick show aka Wintergaze Festival.
2011 is gonna be an even better year, and we’re already planning some kick-ass shows. I know there’ll be difficulties and set-backs along the way, but there will also be victories and accomplishments, so I’m looking forward to it.
Recently we recruited some new people to the Gold Soundz team, so I’d like to welcome Michael Kanitsch and Zach Zanardo to the crew. I encourage everyone to head over to the Contact page to find out a little bit about these cool guys that you (yes, you reading this) might be working with in the future.
Anyways, stay tuned and check in with us here at goldsoundzblog.com every couple days to find out what’s cool and what shows we’ll be putting on. 2011 WOOT WOOT!
