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EESTI ELU reedel, 2. oktoobril 2020 — Friday, October 2, 2020
We’re Listening with EMW: The Crosslegs – Young Estonians facing off in the Noortebänd Competition Vincent Teetsov On the night of August 15th 2018, The Crosslegs were sitting in a circle sipping on beers. It was their usual postshow tradition; even sitting in complete silence if that’s what the moment called for. They were close to a pause in their journey as a band, or as singer and guitarist Alden Mayfield would tell you, as a family. The initial three members of this folk rock band – Alden, singer and pianist Villem Suits, and flautist Siim Sõmer – have long been a part of each other’s lives. At five years old, when Alden moved with his mother and sisters to Estonia from Toronto, Siim’s mother was their babysitter. Siim’s mother then introduced Alden and his family to many other families, one of which was Villem’s. These families had rich m usical traditions: Siim’s parents are guitar and piano teachers, for instance. Siim and Villem acquired an interest in Irish instrumental folk music from their respective parents, which was then passed onto Alden by Villem. Together, Alden explained to me, the trio represented “the next genera
tion” of musicians within their families. The band started to play to gether informally, stirred by Irish folk music’s intense, struc tured melodies that “pet the ear”, in the sense that they’re pleasant and easy on our senses. The use of this saying, which could be taken directly from “silitab kõrva” added to my curiosity about Alden’s identity as a musician in Estonia. Is he considered Canadian by his peers? While his place of birth and name warrant some in terest, he is Estonian through and through. He sings in English without an Estonian accent, but at the same time, he apologizes for his “rusty” English. Still, as a band that has been winning the hearts of young Estonians, there are plenty of outside influences in the music of The Crosslegs. The members of the band are unanimously appreciative of English singersongwriter and actor Johnny Flynn and the rowdy folk punk of The Pogues. As an actor and student at the Estonian Aca
How design and visual storytelling shape music media: a conference discussion from Tallinn Music Week For example, for The White Stripes, singer and guitarist From the perspective of some Jack White pushed for the duo music listeners, it would not to build their flavour of rock seem that the visual presenta and roll around the number tion of a musician or en three. Red, white, and black. semble is a crucial part of the Guitar, drums, and singing. listening experience. If music Tonic, subdominant, and domi is revealed to us in an audi nant chords. This all came from tory form, what could photos, White’s early work as an up video effects, fonts, colours, holsterer, where he started each and clothing have to do with job with three staples into the it? As music industry creative back of a piece of furniture. director Effi Summers We also can’t forget David demonstrated in her presenta Bowie, who divided his music tion at Tallinn Music Week into eras with distinct costumes 2020, visual storytelling and and personas; including Ziggy design is crucial for musicians Stardust, Halloween Jack, and to communicate with us as the Thin White Duke. In a 1987 l isteners. interview with Joe Smith, At this point, the mutual ex Bowie said “I never really felt clusivity of visual design and like a rock singer or a rock star. music is something long gone in many genres. The arrival of I always felt a little bit out of MTV in 1981 was a significant my element.” Drama and fashion step in the direction of visuals allowed him to create characters shaping the way listeners to write songs about, arguably consume music. For listeners, caricatures of his own perso visual design can associate nality traits. So the question over visual faces with music. Music has be come categorized and marketed design in music is whether it is with appearances guiding indi authentically representing what viduals’ selection of music. The a musician is about or not. emphasis on the visual compo That’s what makes it effective. nent of music began telling In her Tallinn Music Week artists’ stories in a more presentation, Summers spoke to thorough way to the public. viewers about the design that
Vincent Teetsov
The Crosslegs. Photo: Sille Riin Rand, used with permission from Alden Mayfield
demy of Music and Theatre, Alden was compelled at one point to make reference to a Chekhov play in one of their songs. Powerful literary ideas channel their way into their song lyrics. Either Villem or Alden will sing, but as soon as any band mate expresses themselves through lyrics on paper, it is left alone as something sacred. In this assembly of songs, there is great respect for the craft of every member of the band. They are equals. And while they are open about this pro cess, the band refrains from being too direct in their delivery of lyrics, as pop songwriters would do. They are true to the tradition of poetry. The origin of their band name is not derived from the dictionary or a single from their
went into popular artists like Billie Eilish, Madonna, Katy Perry, Sia, Taylor Swift, and The 1975. Design devices used include shifts from black and white to colour videos to denote new eras, wearing wigs to cover one’s face, and matching fabric patterns. To create an “online culture” as Summers described it, cohe siveness is a primary focus. Doing one thing well is a signal to listeners that they can rely on a musician for a particular experience. There are quite a few perti nent examples of this within Estonian music. For example, Mari Kalkun has cultivated her own folk style that draws on simple live show instrumenta tion and peaceful rural imagery that elicit life in Võrumaa. Vaiko Eplik showcases an appreciation for antique objects,
Photo: www.facebook.com/Kerli/
favourite band. While the stock of available band names con tinues to dwindle, “The Crosslegs” appeared in Villem’s head while riding on a bus one day in Tartu; saved up for the occasion in 2016 when he would ask his friends whether they wanted to take their infor mal teenage band to the next level. Following the choice of name, they would perform and pose for promotional photos with their legs crossed. When the band played what was supposed to be their final show just over two years ago, they were overwhelmed by immense feelings of awe and surprise. Given one last chance to “do something different” as Alden put it, they recruited bassist Vidrik Toom Tabas, playing to a cheering, packedsolid room at Tartu’s Genialis
The target range… (Continued from page 8)
few years ago. TEPP has taught countless Estonian guides and scouts in firearms safely and the demand ing sport of target shooting, which remains an Olympic sport. In addition, TEPP has hosted many fraternities, sorori ties and other Toronto Estonian organizations at its range. The TEPP club and its members have won numerous awards in the shooting sports, competing
kitsch imagery, illustrations, and humorous photos that factor into his visual storytelling. Kerli Kõiv is also an example, with her own “BubbleGoth” aesthetic philosophy which she says “takes light and dark and puts them together.” Design applies not only to physical album releases, but to concerts, day-to-day appearan ces, and the use of social me dia. Considering identity design as an appreciator of music is akin to finding out the secret behind a card trick: you wonder if you want it to remain a secret for the sake of your own enjoy ment. But if a musician is so in clined, design can expand their messages to us more clearly than songs alone.
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tide Klubi. Their rollicking songs and regular shows at venues like Naiiv had grown a devoted following in their hometown of Tartu. This was something that they knew they couldn’t ignore. When they returned as a band, Karl Valkna joined them on drums, rounding out their rhythm section. Now, The Crosslegs find themselves facing up to 12 other semi-finalists in the annual Noortebänd competition. It’s a time when all five musicians who make up the band are rotating through feelings of gratitude and nerves. Should they make it to the finals, pro ducers, festival and venue book ing agents, and record label executives will be there in the audience to take note of them. Regardless of what the result of the competition is, The Crosslegs plan to record and release an EP and potentially an album within the next year. Their ambition is to first reach out to new listeners throughout Estonia, then across Europe, and beyond. You can hear The Crosslegs’ latest tracks, “Chimera” and “Ticking Bomb”, on Sound Cloud (https://soundcloud.com/ user-464783315). For updates on their progress, follow them on Instagram and Facebook. Also follow the Noortebänd Facebook page to keep tabs on competition per formance videos and results. As EMW looks toward the next generation of musicians, we love to follow the journey of young bands like The Crosslegs.
in the Metro Toronto Pistol League and individual members have competed successfully at the provincial, national, interna tional and Olympic level. Even though the Estonian House range has been closed, it does not mean that the Toronto Eesti Püssi ja Püstoliklubi is no longer active. Far from it. TEPP continues its activities, leasing range time at the Toronto Revolver Club every Sunday evening (subject to current COVID-19 rules). The Toronto Revolver Club is located at Gower Ave, which is a mere 15 min away from the Estonian House. It is near the intersec tion of Victoria Park and St Clair Avenue. In addition, TEPP also anages an outdoor shooting m range at Seedrioru. Many of you will remember this lasketiir from your childhood. That range was closed down in the 1990’s but TEPP renovated and reopened it with regulatory approval in 2019, and now or ganizes range activities there from the spring until late fall. New members are always welcome and people interested in the shooting sports are invited to participate in all TEPP activi ties, whether at the Toronto Revolver Club or at Seedrioru. For more information, please contact TEPP at info@teppclub. ca
