The Deep Dark Woods | Interview, Film & Gig Alert

Juno-nominated, Canadian folk rockers Deep Dark Woods are currently in the UK as part of their first European tour, with two London dates which we would reoommend you to attend, one tonight 21st February at the Lexington, Islington and another tomorrow, south of the river at the Windmill, Brixton with good friends and fans of theirs, The Arlenes in support.

We caught up with them last October in Nashville at the Americana Music Conference and Festival on the night of their album  worldwide release date at 3rd & Lindsley and briefly interviewed lead singer Ryan Boldt, drummer Lucas Goetz and organist Geoff Hilhorst backstage before the show. As with New Country Rehab we had seen them play to a packed crowd at the Basement and been in their thrall along with the rest of the crowd.  Since we last saw them they have continued to gain more accolades, having been nominated for a Juno for Roots and Traditional Album of the Year 2012.

NfMP: How has your experience in Nashville been, have you enjoyed it? Is it your first time at the conference?

Ryan Boldt: Yes, it’s always great, from the BBQs to the live music.  We’ve been here about, say twice before? Something like that. We’ve always had fun, but this is the funnest of all the times, like right now.  We’re having a blast.

You’re here promoting your new album?

Ryan Boldt: Yes, it’s called ‘The Place I Left Behind’, it’s out on the Sugar Hill label, comes out tomorrow 18th October (2011) on worldwide release, it released in Canada about a month and a half ago.

What can you tell us about the album?

Lucas Goetz: It’s our fourth album, we recorded it in Halifax Nova Scotia on the East coast of Canada.  The album was self-produced and was the first time we’ve worked with Geoffrey here, who plays keyboards; the organ and the piano and Mellotron, electric pianos…

Geoff Hilhorst: And grand piano, on that record. It was such a great experience to produce it ourselves.  Yeah, we had a lot of fun.

Ryan Boldt:  It was the start of the hockey season

Geoff Hillhorst: The Leafs were doing good.

Ryan Boldt: And the Oilers won their first game.  It was really great! They lost pretty much every one after that though.

Geoff Hillhorst: So did the Leafs.  It was great, our teams were winning when we were recording the record which plays a role in the fantastic memories we have of that time.

Ryan Boldt: We stayed in a bed & breakfast, the people in the B&B were really nice to us, if a little crazy.

Geoff Hillhorst: In a fun way, not like ‘oh my god I’m afraid to go to sleep’

Lucas Goetz: We were there for about 2 weeks, and recorded the album, and that was that, we all flew back home.

So you self-produced your album?

Geoff Hillhorst:  Yeah all five of us.  We had a great recording engineer Darren Van Niekerk, the studio was called The Sonic Temple.  We happened upon the studio cause we were on the road and we had to record this song for the CBC Song Quest, and had to record it while we were on the road, so our bass player Chris Mason found this studio so we went in, it was such a fantastic room and Darren was just an awesome engineer, willing to go the extra mile in just about every aspect of the process.  So we went back there to record the full length record there because of that. He gave us some great input.

Lucas Goetz: He’s also good at interpreting our ways of describing our ideas, cause we don’t really know how to speak the engineers’ speak.

Geoff Hillhorst: Yeah, we’d just make motions and sounds, like: Woooongh wooongh, you know? Woooongh (laughs) and Darren would say ‘yeah I TOTALLY know what you mean, we’ll do that’.  And then he does it.

Ryan Boldt: It’s kind of like James Brown in the studio, he would do all sorts of things.

Geoff Hillhorst: Hand signals? Yeah, or like Bob Dylan.  He’d rehearse his band super hard and then the band’s all ready to go and then Bob Dylan will throw out a song they never ever played before.  It keeps them on their toes.  I don’t know where I’m going with that…

So who’s the primary song writer?

Lucas Goetz points to Ryan: This guy (Ryan shrugs), and Chris Mason writes some songs too, and our road manager and friend Evan Dunlop wrote a song as well that’s on the album.

How long had you been playing the songs live before you recorded them?

Ryan Boldt: We’d been playing three of them for about 2 years, then learnt three of them just before we went in, maybe played them once or twice on the road.

Geoff Hillhorst: I’m surprised we didn’t do more.  I like it that way though, it’s nice to learn them and then record them. It’s neat how certain songs will change and develop over time as well.  You learn a song in the rehearsal room and you record it and you think it’s good, we recorded a coupla the rehearsals when the songs were brand new from this record and the difference between them then and now is from playing live, rather than going over and over them in a rehearsal situation.  They kind of happen live and it’s pretty cool that way for sure…and then they change up even more in the studio.

Ryan Boldt: And now they’re changing even more on the road.  You always want to kinda change them a little, otherwise it gets too boring.

Your performances are particularly engaging, do you think that crosses over into your recordings?

Ryan Boldt: Recording and playing live, yeah, they’re completely different.  I love recording, cause sometimes, at certain live shows, you can’t sing with emotion cause there’s one person in the audience that just doesn’t care or something, whereas in the studio you can really, you know, sing it really hard if you get the mood right in the room.  It just depends on the live show, when there’s loads of people it’s wicked, awesome.  Like at the Basement the other night!

Geoff Hillhorst: When you have everyone’s attention in the room, when something like that happens, from the musical and the lyrical perspective, the lyrics that Ryan writes you really need to pay attention to the whole dynamic, and if we know that people are doing that and listening to what Ryan is singing about that becomes just as powerful for us as it would for anyone in the audience as well.

Check out our website to find out more about us.  There’s a free single on there from our record, it’s called West Side Street and we’ll be over in the UK in the Spring of 2012, so come see us.

Don’t miss Deep Dark Woods: there are two London dates to choose from so there should be no excuse.

After the 3rd & Lindsley show Ryan came outside, across the street and performed a solo version of Virgina for us from the album.

You can also watch this beautifully filmed version of Two Time Loser, recorded by The Neighbor’s Dog, a channel that lovingly records house gigs in Canada with beautiful production values.  Well worth checking out their channel.

Stay tuned as we’ve also got The Deep Dark Woods in for a special recorded studio session in Reservoir Studios which we’ll be putting up soon.

New Country Rehab | Film, Interview and London gig alert

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Hailing from Canada, each of them accomplished session musicians, New Country Rehab are ‘the guys everyone wants in their band, in a band’ (Tom Power | CBC).  They released their debut album last January 2011, carrying a mix of original material and imaginatively reworked covers of Hank Williams (Sr) and Bruce Springsteen.

I came across them in Nashville at the Americana Music Festival in October 2011.  I had missed their first show at the Basement, but the buzz they created on the back of that show meant I wasn’t going to miss the chance to see them play a few days later at the Rutledge.

Filming and interviewing a band on the hoof just before a show can often be a tense experience, finding a location, filming and conducting an interview with a very limited window.  Not with these guys.  Their dynamism and co-operativeness helped produce these films.  Set up outside the Rutledge on the street (with passing traffic thrown in the mix) the first film is a performance especially for us, along with an exclusive interview in the back of their tour bus and a film of their fantastic show-opener, a cover of Springsteen’s State Trooper.

They’re in the UK this week, in Glasgow for Celtic Connections opening for CW Stoneking today, 26th January 2012.  Then playing their first London gig at The Wilmington on Monday 3oth January, free entry.  Make sure you catch them while they’re here.

www.newcountryrehab.com
www.dollartone.com

Danny & The Champs Borderline Gig | Poster competition & Discounted tickets

This Wednesday 8th June, Danny & The Champions of the World are back in London for a headline show at the Borderline.

We’ve got 10 discounted tickets available for Notes for Mount Pleasant readers which gets you entry for 6 pounds (instead of 8), that means an extra beer at the bar.  First 10 to email us go on the NfMP discount list on the door.

We also have a signed screen print of their poster, designed by the fantastic Scarlett Rickard, from an original photo by Tommy Sheehan. Get your hands on one by answering the following question:

In Danny & the Champs new song “Every Beat of my Heart”, what animal is “always the one bopping around”.  Answers by email please with *Champs Poster* as the subject.  Good luck!

And here’s something to whet your appetite that we filmed in Cheltnam back in April on record store day.

We’ll see you at the gig!

Josh T Pearson | Live at the Union Chapel

If you’ve not yet stumbled upon Josh T Pearson’s new album, Last of the Country Gentlemen, then read this excellent review by Alaistair Mackay in Uncut and see if it sways you.

It won’t be to everyone’s taste.  It is at times uncomfortable listening.  You’re right in there with him, as he whispers and croons poetic but raw, unashamed and often cruel confessions of his unravelling relationship.  As someone at NfMP said after full submersion in the album: I feel like I know him more intimately than I know my closest friend. It’s not always pretty, but it’s always beautiful. After listening to the album on repeat for a week I took to self-medicating with Onda Vaga. Don’t get me wrong, it’s a pleasure to lose yourself in there, but nice to be able to bring yourself back.

Three weeks after playing to a sold out Slaughtered Lamb (~150 capacity), Josh was back in London playing to a sold out Union Chapel (~800).  Pianist and composer Dustin O’Halloran opened the show, delivering a note-perfect performance of cinematic arrangements. The ideal support for Pearson; creating a meditative and reflective space for what was to come.  Dustin toured with JTP’s previous band ‘Lift to Experience’ and later in the show Josh credited him as being one of his heroes.

JTP wandered onto the stage, deliberating with the audience: “Jacket on or off?”  Jacket off.  He’d requested little or no light on him during the sound check.  Once the sun had set he asked: “Can you see me? I wasn’t sure about the lights cause it was daytime when we set it up. S’alright? Cause I’m reaaally good looking” (said with a smile).  “It’s true!  I totally forgot to shave this morning”. Some more jokes followed, about how he’d planned to play from the pulpit and rise up from behind it just as Dustin finished his support.  He’s naturally funny and endearing, but you sense his sharpness, he’s no fool.

“The King is Dead” he bellowed and he passed his hand over his face saying, “serious face, serious chords” and with that silence fell, as he launched straight into ‘I Ain’t Your Saviour or Your Christ’, which lasted over twelve minutes and managed to make you feel like it’s just you and him in the chapel in the dark.  It felt almost dangerous.  There was total silence apart from the irritating click from photographers who buzzed around the front of the stage. Not appropriate on this occasion – even though they were doing “the Lord’s work”, as JTP said. Though they did get some good shots. Union Chapel staff said they have never seen an audience so entranced… and silent.

He played most of his set unaccompanied, but for a couple of songs (‘Country Dumb’ and ‘Woman When I’ve Raised Hell’) he was joined by strings (not his idea, but because someone thought it needed to be grander for the Union Chapel) and Dustin on piano. He admits, and it seems, they were slightly unrehearsed.

In between songs he told more jokes: “What do you call a musician that just split up with his girlfriend?  Homeless.”

“Mickey Mouse is on a charge for killing Minnie.  The judge says – ok Mickey, so after all these years of love and devotion, you’re telling me you killed Minnie cause she was crazy?  And Mickey says: I didn’t say she was crazy, I said she was f*cking Goofy!”                   And so on. Throughout the night he continues to pepper his dialogue with “the King is Dead“.

Here’s his second song: ‘Woman When I Raise Hell You’re Going to Know It’:

And third: ‘Sorry with a Song’, that has a distinctly Buckley-esque (Jeff) feel.  Though as another friend put it; he makes ‘Grace’ look like Justin Bieber.

By the end of his encore we were wrecked (but exhilarated)… and understandably, he was too – exhausted from touring these songs.  They’re not easy to listen to and, one imagines, even harder to perform.  He invited the crowd along to the after-show drinks at the Buffalo Bar.  “Password?” he says –  “The King is Dead”.

The password did actually work.

Josh T Pearson returns to London 26th November to play the Barbican.  We suggest you get your tickets now before they sell out.

New films from The Lantern Showcase

We’re in the process of uploading films from the Lantern Society Showcase from last Saturday 5th March.

Though the regular Lantern Society nights can be a bit hit and miss on the talent stakes as they work their way through the 30 or so acts that turn up to play in an evening, their showcases are always guaranteed to be pure talent and a real treat on the ears.

Following their last showcase in January which boasted a spellbinding acoustic headline set from Romeo and Angela from the Magic Numbers, this Saturday was equally rich in sounds with the hugely talented Hank Dogs making a welcome comeback.  The thinly-veiled tensions on stage between Andy and Piano left over from their years together were endearing and intriguing and added an intimacy to their performance as they aimed lyrics at each other with accusatory looks and entwined their always complimentary guitar and vocal styles around each other.  We filmed the majority of their set to share with you, so click through on the link below and check our YouTube site for other tracks from their set.  More will be coming in good time so check back and watch the full show.

There were also quality performances from Simon Stanley Ward,  Greg Harrisburg, Joe Wilkes and our recently featured Pete Greenwood, performing songs from his new album as well as some fantastic covers of Ryan Adams and Townes van Zandt, some of which we also caught on film and will follow shortly.

Headlining was Lantern co-organiser Benjamin Folke Thomas and his full band who put on a suitably energetic and rambunctious performance for a Saturday night.  The Oliver Reed of the London folk scene, Ben and his band punched out some of their classics to a more than willing audience, almost too much for some, as one audience member got sick and had to be assisted from the crowded basement.  We witnessed a similar reaction at a recent BFT band outing as someone developed a nosebleed as the band cranked it up.  Is this a sign of things to come? “Nosebleed country”?

We also caught most of the BFT Band’s show on film and have uploaded highlights for you to check out.

The Lantern Society continues to run as usual, 1st & 3rd Thursday of every month at the Betsey Trotwood. The next Lantern showcase which will be part of the Camden Crawl on the 30th April 2011.  More news here nearer the time or check their site for details.

There’s also a Lantern Radio feature coming up on the 12th April on Bob’s Folk Show featuring club favourites and regulars.  Keep an eye on our featured listing for more info.

Best heckle of the evening: A request for ’10th Avenue Freeze Out’ from sick-boy.  Got the thumbs up from us.  Judgement clearly not totally impaired by booze.

James Walbourne

Despite his punishing workload as one of the world’s most in-demand guitarists, the seemingly ubiquitous James Walbourne invited Notes from Mt Pleasant up to his house in North London’s hills for a chance to catch up with him and shoot some film.

As we settle down in his kitchen with twilight views of London he explains he’s been busy the past few days rehearsing with Edwyn Collins, preparing for a world tour in February & March.  This kicks off with a gig at the Shepherd’s Bush Empire on 16th February, followed by dates across Europe, Japan and the US.

In a few hours hours he’ll be making the most of some precious downtime by going to see his favourite football team, Arsenal play at Highbury and the following morning at 7:30am he leaves for Dallas to play with The Pretenders at the Super Bowl as part of CMT Crossroads, along with Faith Hill.

He arrives back in London on the 7th February, going straight into a UK tour with Heavenly label-mates Trevor Moss & Hannah Lou and Sea of Bees.

As if this doesn’t sound busy enough for one man to be, he also spent last year touring with the Pretenders playing a double headline tour of Australia and New Zealand with Blondie, recorded and released an album of his own with Jim Keltner, Ivan Neville, and members of the Pogues and still found time to tour with old friend Justin Townes Earle, finishing off on the 29th January with a sold out show at the Union Chapel.

When I mention our blog he says “I tried writing a blog myself but never managed to keep it up, and I gave up after just a few posts”.  Is it any wonder why?

We decide against an interview as neither of us feel like going through the rigmarole, besides, he hates being interviewed, especially, he says, by guitar magazines due to their tendency to fixate on technical and gear-related questions.  He’s never been too fussed about gear, he just loves playing.

He brings in a mandolin and a 12 string and we get set up to film.  I don’t need to tell you the rest. You can see for yourself above.  More films from this session will be loaded up in our video library soon so keep an eye on the site.  James played songs from his new album The Hill.  Cocaine Eyes being the only track really showing off his guitar skills. The rest highlight James as singer-songwriter.  Go listen, or better still, go see him.

James plays another sold out gig in London tonight, 9th February 2011 as part of the Heavenly Records tour at Bush Hall details here.

ahab

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Photos | Kate Brady   Words | Jane Parsons   Film | Kathy Magee

Our reaction the first time we saw ahab was ‘Where have they been hiding’? Their light, CSNY-style 4 part harmonies, blend of guitars and mandolin, recall the 1970s California singer/songwriter scene, not quite country or folk, but all the very best bits of each. Turns out they hadn’t been hiding at all, but blowing away the crowd at Cropredy 2010 and amassing a devoted London fan base with regular pop-up appearances at street markets all over town. We caught up (via email) with band member Dave Burn following their gig at the Lexington last week, which kicked off a string of dates running through to April.

By all reports, ahab went down a storm at Cropredy last year, how did that appearance come about, and for a band known for playing markets, how did it feel playing to 20,000 people?

Playing Cropredy last year was a really big break for us, we did a video of us busking on Brick Lane which fell into the hands of Fairport Convention and the Cropredy festival organiser Gareth Williams. He originally said we could busk around the festival site but he had a cancellation and took a punt on us to play the main stage which we will be forever thankful for, it must have taken a lot of guts to put on a band no one had ever heard of in front of all those people. We got there a day early and walked on stage to look out at the empty field, we kept thinking someone had bought us a “be a rock star for a weekend ” voucher or that we’d sneaked in the back door somehow. I’d be lying if I said we weren’t all crapping ourselves but by the time we took the stage on the Saturday we’d got so used to pretending we were in Guns and Roses that we all felt ready for it.

Just before we went on Rick Wakeman arrived with about 8 trucks worth of keyboards and the roadies were lugging our gear on stage which has never happened to us before, all very surreal. Playing in front of that many people for any musician is the reason you pick up an instrument in the first place and it was everything I’d dreamed it would be. Even if that’s as high as were ever gonna go, it’s a moment I’m sure the whole band will treasure forever.

Do you want to tell us the ‘story behind the story’ of how you all met? Lots of your fans would have read the Nashville bio, but did you know each other before that? Had any of you played in bands before?

The band got together through a string of very unusual and unlikely events, we never put any ads out or planned our sound we were just very lucky to have all met each other at the right time.

In brief Callum and I got offered a residency in Nashville on the strength of our first album a.h.a.b which we did as a duo. We hadn’t even played together for way over six months and the offer came from out of the blue. At the same time we got a publishing pay out from a song we had on a compilation and decided that rather than take the cash we’d get a band together and use the money to take them out with us, this is where Luke, Seebs and Grahame come in.

After three weeks of indulging in the kind of madness that would leave Micky Roth in tears (I fell in love with an actual witch!) we decided we’d bonded enough to make things a little more permanent. Luke and Seebs were songwriters in their own right so it made sense to have four singers instead of one, singers are notoriously difficult people so having four is a sure fire way to guarantee all the things that people love to watch (fighting, egos, Rolls Royces, swimming pools, cult activity) we promise you that you won’t get bored.