Like it says in the title, incomplete, but still a pretty exhaustive list of the bands I was in. Sang in all of ‘em which proves you don’t have to be good as something to be able to do it.
I’m not going to list all my collaborators because there are so many but I feel like I should mention the people I worked with most often. They are: Allen Forrister, Matthew Lyons, Katherine Dube, Josh Stevenson, Dan Colussi, Michael Doerksen, Paul Malcolm, Steven Balogh, Luc Paradis, Ryan Clarke, and Jason Solyom.
I’m also leaving out a few interesting bands, mostly because I don’t have access to any of the recordings and/or the band didn’t play live. The former is the reason you won’t be hearing much about BatEater, my Hawkwind cover band that only played “Silver Machine”. Enjoy revisiting myspace, everybody!
3 releases. 1 EP and two full-lengths. First two were self-released, third was released post-posthumously by La-Ti-Da. Opened for almost every single band that came to Vancouver from 2001-2005, much to Vancouver’s chagrin. When I moved to Montreal in 2007 someone on a message board wrote “good, he’ll need that fucking scarf there” (I had a penchant for wearing a scarf - not Steven Tyler style, winter style- onstage). Toured Canada and the west-coast of the States.
Zulu Records fun time supergroup. That means if you ever worked at Zulu and were willing you had an open invite to be a part of the group. Opened for Wolf Parade, The Walkmen (a day or two after Addie, my daughter, was born) and Mudhoney (Mark Arm thought we were hilarious and told me “you guys aren’t countless, there are 11 of you).
One 7” single, one 6 song demo. Besides the 7”, nothing else ever was officially released. Briefly investigated by two labels (Warp and I forget the other one but it was cool) based on the strength of “Stockholm” and “Deal Downtown”. I know this for sure because the guy from Warp came to our space to see us play and afterwards said “do you have any other songs like “Stockholm”?
Written and recorded in about 10 minutes before a Christa Min practice. Created for Warren Hill from Backroom/Mississippi Records for his “$2 Comes w/ a Mix Tape” zine. for which I had written a history of this fake 80s band. It actually fooled Warren, who then asked if me contribute one of their songs to the tape comp that came with the zine. My good friend and frequent music collaborator, Josh Stevenson, (who played on and recorded the track), was disappointed when I told him that I let Warren in on the secret.
Ridiculous band but fun. This was my attempt to keep The Christa Min going when I moved to Montreal as Paul Malcolm and I were the two songwriters in that band (we changed the name to ESP Snake after a few shows as The Min) . He put together a crack band (including members of Sunset Rubdown and AIDS Wolf) and rehearsed with them before I arrived (he had moved to Montreal a few months before I did). I literally got off the plane, dropped off my bags at my friend’s apartment and went to our first practice. We opened for Sunset Rubdown a week or so later at Pop Montreal and people HATED us and I could understand why. We had three guitarists and were so unbelievably loud and obnoxious. Like I said, fun while it lasted.
One album (for me) on the Constellation label. Sam Shalabi asked me to write lyrics and sing a song for the Against the Day album, so I did. I didn’t read the Thomas Pynchon book that the album was referencing and instead wrote the lyrics by starting on the books’ wikipedia page and following random links, grabbing lyric ideas on each page.
Venuses original incarnation are no more (I’ve toyed with using the name again), but I really loved the stuff we were writing and working on. Basically, I wanted (and still want) and band that sounded like Velvet Underground’s third LP and Dylan’s Basement Tapes. I considered it a compliment when, after our set opening for The War on Drugs and Destroyer, the singer from the WoD said, before they began their first song, “man, thanks to Venuses. Every song sounded like “Some Kinda Love”. We love that song”.
Near the corner of the intersection, in front of the synagogue, the boys watched the pigeon flap around, staccato blue-grey blurs and thin, hollow slaps on the street.
Girls across the street gathered in a bunch and held each other’s hand or their own mouths while the watched. The bird stopped for second, neck twisted, chest inflated -, and one boy stepped from the curb to nudge it with his foot.
The bird convulsed again and the boy leapt back and into the arms of his comrades. The girls screeched in small chorus.