FREE issue
3
THE music issue featuring
charles bradley nuela charles ben disaster and more
CONTENTS 04 Intro
06 Insert Joke Here - How I Learned to be Less Professional and Love Music Again
09 The Locals Ben Disaster
Labradoodle Nuela Charles Mitchmatic Souljah Fyah
16 Artist Profile - Andrew Benson
22 Charles Bradley - Soul of a Man
26 Edmonton Hardcore
Cover illustration by Onice Mejia (theheadlessbird.ca)
16
INTRO Edmonton may not be on everyone’s’ radar when it comes to music scenes. The big-time music blogs haven’t dubbed us the next Seattle, or Montreal or [insert city here], but who cares quite frankly. Walk down Whyte or Jasper any given day of the week and you’ll most likely be able to find a show at any one of our many venues. Our city is a place where local bands and promoters can come together in both conventional (Wunderbar, The Empress) and unconventional (Barber Ha) settings, and plan a festival within a matter hours, as evidenced by Shred Island; a series of benefit shows held immediately following the devastating floods in Calgary. A feat like that can only happen if there is a sincere level of respect within a community, something not many cities can’t say they have. This issue is dedicated to all those that continue to support and/or contribute to our music scene; one that’s as diverse as it is full of major talent.
Brnesh Berhe Founder
Art & Editorial Director / Publisher Brnesh Berhe Copy Editor Jessica Bateman Writers Caleb Caswell, Andrew Elter, Rebecca Hagan-Egyir Photographers, Designers and Illustrators Larissa Mejia, Onice Mejia (the headlessbird), Vic Mittal (VSM Photo), Shirley Tse (GIRL NAMED SHIRL Photography)
Special thanks Kris Burwash (Listen Records), Abeil Measho, Kathy Morin (Edmonton Folk Music Festival), Cheata Nao, Terry Sept (Smokehouse BBQ)
info@markermagazine.com /markermagazine | @markermagazine Insta
10729 - 104 Ave | happyharborcomics.com
GRAPHIC DESIGN
ILLUSTRATION
MEJIA.LARISSA@GMAIL.COM 780 237 3235
06
By Caleb Caswell | Design and Illustration by Larissa Mejia
I was five years old when I started taking piano lessons. It was important that I learn to play in time, sit up straight, learn scales, and bow when I finished a song. I had to wear button-up shirts and not fall asleep during other kids’ recitals. Eventually I took up drums and studied music in college. I learned how to be a gigging musician. That meant getting paid and writing contracts. It meant showing up on time, reading charts, and most importantly, presenting myself professionally. I’m thinking about all of this while standing in DV8 waiting to go on stage. I’m wearing a
Japanese headband, aviator sunglasses, and wooden sandals that make me walk like my legs are steam-powered. My pockets are filled with fake Indonesian-looking currency with my face printed on it. Instead of tuning an instrument, I stretch, because the only thing I’ll be performing tonight is high-kicks. That’s my role in the joke band, Sabretooth Blackwidow. I was taught in college that there are three reasons you take a gig: you’re getting paid, you’re making contacts and it’s fun. I knew we weren’t getting paid. I also knew that any contacts we made before the show would likely be lost after we finished throwing bologna and sandwich fixings at them. And I wouldn’t know how fun the gig would be until the bar made
us clean up the mess of ketchup, glitter, and tear-away pants we would leave behind. One fan described Sabretooth as if “LMFAO and Gwar had a lovechild and something went wrong with the pregnancy”. We wear costumes that include cowboy hats, fairy wings and sequin banana hammocks. We throw foodstuffs at the audience — if it stains, all the better. We’ve broken acoustic guitars over our heads, ripped open a stuffed cat filled with Alphaghetti and eaten it mid-show, cracked ribs falling on monitors, and nearly triggered fatal allergic reactions in our audience. And amidst our performances, we often have trouble playing in time. My band mates and I worked together at a local instrument shop. We joked about the kind of band we’d like to see, one that was more about the show than the pomposity of trying to make it big. One that had ridiculous characters and skits and didn’t care about becoming popular. Haha, wouldn’t that be hilarious. A week later, the guitar player came to work with four songs already written. Six character biographies, five shows, three drummers and a couple cans of silly string later, the band has become a complete mockery to everything that contemporary bands try to become. We felt it was time for something Monty Python in Edmonton – something completely different. I can say we’ve achieved that much. Of course there was the issue of professionalism. I’d like to be taken seriously as a musician and make the scene better for other people in the business, raising the overall bar of Edmonton however I can. On top of that, I grew up with a professional musician for a father, and over time I found these other bands — the rock acts, the worldmusic groups, the bands made of guys that enjoyed performing despite not being the greatest performers — grew to be a waste of time. Fun was what came with contacts and money.
Sit up straight. Play with the metronome. I grew up reading music, learning charts, memorizing songs, and performing them — looking for perfection and playing the best music I could. I want to be synonymous with ability, and to do that you have to present yourself a certain way. You have to practice, you have to know the songs inside out because if you don’t, by God someone in the audience is going to notice. They’ll tell their friends that you messed up that transition and didn’t know what you were doing, and then all the contacts, money and fun were for naught because you’ll never be playing for anyone ever again. Button up your shirt. It’s rude to fall asleep while other people are playing. I don’t get to fake a Japanese accent into a mic for forty people at my “career” gigs. I don’t get to do tae-bo on stage and slip on ranch salad dressing. And I’ve never had the opportunity to fire a glitter-filled panty cannon at them either. Of all the bands I’ve ever played in, Sabretooth is the only one where I’ve been recognized in another city (Toronto, even). Isn’t it stuff like this that made me want to be a musician in the first place? I don’t want anyone to think this is an argument for my wanting to get paid to do high-kicks on stage. I hope no one gets paid for the things I do with Sabretooth Blackwidow. It’s payment enough to be someone else for a night — to pretend that I could actually be this person. To dance and clap off time and kick things over and be… well, an asshole for once. As I continue my career and build a reputation, I’d like for the suit I wear to these professional gigs to be something I’ll always be able to slip out of. Especially when presented with a ball pit. Covered in glitter. Smelling of bologna.
the locals. Ben Disaster | Labradoodle | Nuela Charles | Mitchmatic | Souljah Fyah
By Becky Hagan Egyir | Photos by VSM Photo
ben disaster Ben Disaster and band mates Lane Cherkewick (bass), Drew Lefebvre (guitar and vocals), and Robert Burkosky (drums) bring high energy and enthusiasm to the stage when they perform, which makes their music sound natural every time. They use this talent whether they’re playing with alternativecountry musicians or with their own punk rock sessions. You can hear the influence of folk and a touch of country in their sets, and you never know what will surprise you or what you’ll connect with as you listen to them play.
How do you describe your music style? I don’t describe my musical style — I can’t. I wish I could but it doesn’t sound like one thing. I listen to a lot of different music and feel a lot of different things. Everything in life, including a new pair of shoes, affects the music I make for people and the music in my head that no one hears. Do you remember the first album you listened to that made you think, “I want to be a musician”? The first album I really got into was Insomniac by Green Day. I first heard it, Nirvana and Beastie Boys on the school bus. An older girl made me a tape of Green Day and I got into music early because of it, but it’s not what made me want to be a musician. Going to local hall shows, getting caught in the circle pit and being tossed around… that’s what excited me. Seeing bands break strings and impale themselves on instruments. Kids chanting to songs and sticking around instead of leaving to get drunk in the field. That’s what made me first want to play music. What bands/musicians do you like to listen to today? It’s hard to say what I listen to, but when I’m trying to write new music I like to take in heavy doses of the Equals, Giorgio Moroder, Daniel Romano, The Buzzcocks, and maybe my all-time home hitter, Ray Price.
Live off the Lawn
2013
10
What does Edmonton have to offer musicians compared to bigger Canadian cities? Edmonton is known for its tight families in the music community. Though we may not go see each other play every time, if there’s ever a problem with a venue, a band getting robbed or jam space burning down, everyone bands together and helps each other out. The biggest thing it has to offer is that it forces you to keep in check and not be a dick head. Where’s your favorite spot to unwind in this city? I have a few places I like to go when things get a little nutty. I love watching storms role in at the NAIT parkade. Seeing Edmonton from all directions is great, but going for a drive and seeing my surroundings, getting lost in fields and strange woods is just as important [to me]. What’s your next big project? Projects always seem to pop up. I have a 7 inch that Ben Disaster recorded in the summer and it’s being put out on the Edmonton-based CRUDE CITY RECORDS. It’s a label dedicated to new and old Edmonton bands. I’ve been working on a new LP for what seems like forever now. It’s been like the song One Piece at a Time by Johnny Cash. I paid for it out of my pocket and any chance I got I’d work at it and work at it, then pick it apart and look at it some more. I’m finally very happy with it and I would say is my best work yet. Beyond that, I play the Wunderbar solo with Jessica Jalbert and a new country band called the Okay Corral in September. I’m also flying to Maritimes to do a string of shows.
labradoodle Adam Prins (drums), Brent Underschultz (guitar), and Daryl Freson (bass and vocals) of Labradoodle don’t just produce a mixture of rock genres in their music. They’re an experimental band playing with the scales of rock music ranging from relaxed to powerful. With one album released and now preparing for their second, there’s more room for them to give listeners a range of sounds to connect with. This is part of their plan to help give Edmonton a cultural scene where anything goes for all those involved.
Interview with Adam Prins
How do you describe your music style? I guess we would have to call our music stoner rock, but we’ve also been referred to as dad rock — father friendly tunes! Do you remember the first album you listened to that made you think, “I want to be a musician”? Personally, Eagles of Death Metal’s Peace Love and Death Metal was the album for me. The drumming was a great hybrid of dance and rock that, for a first time drummer, seemed plausible. Today, what bands/musicians do you like to listen to? As a group we can all get behind Priestess, Black Mastiff, Indian Handcrafts, Witchcraft, The Sword, Danava, Black Sabbath, Black Mountain, Black Thunder, Bel Riose, Deep Purple, The Doors, Sound Garden and many others.
LABRADOODLE
2013
12
What does Edmonton have to offer musicians compared to bigger Canadian cities? Edmonton is great because we have such a desire to build our own culture that showgoers are almost always open to new music and are very supportive of the bands we’ve come to love. Competition is never an issue, at least in the community of musicians we find ourselves in. Where’s your favourite spot to unwind in this city? My favourite spot is any backyard fire during the summer. Edmonton has the best summers with the best people. Plus, we’re all too socially inept to go to public places — just kidding! What’s your next big project? We’re playing at the up+dt festival the weekend of October 12-13, then preparing for Bands as Bands at the Starlight Room this Halloween. We’re also in the slow roasting process of writing our second album.
nuela charles Nuela Charles conquers many different styles of music with her voice. From rock to soul to alternative roots, all genres fit the tone of her voice and make her the expressive artist she is. She’s one who can make you feel emotion through the tones in her voice. As Nuela continues developing her smooth and soulfully alternative music, she’s taking her sound outside of Edmonton and sharing her gift with audiences throughout Canada and worldwide at different music festivals. Who knows what the future will bring for Nuela, but it seems safe to say that at this moment, the only way for her to go is up as she draws-in fans with the sincerity of her music.
How do you describe your music style? I call it alternative soul. I’m heavily influenced by alternative rock, and that definitely makes its way into my music with the electric guitar and electronic elements.
What does Edmonton have to offer musicians compared to bigger Canadian cities? I think Edmonton has a great community of musicians. I also think it allows you to find your niche and to flourish within it.
Do you remember the first album you listened to that made you think, “I want to be a musician”? I grew up singing along to Mariah Carey’s Emotions album and Whitney Houston, but when I heard Alanis Morissette’s Jagged Little Pill, I wanted to have a band!
Where’s your favourite spot to unwind in this city? I enjoy Transcend and ROAST, but my favourite thing to do is chill at home and listen to music.
What bands/musicians do you like to listen to today? I listen to a lot of everything. What’s been on repeat lately are: Lianna La Havas, The Neighbourhood, Local Natives, Selah Sue, Kimbra and Justin Timberlake.
AWARE
2012
What’s your next big project? I have two major showcases coming up, CMJ in New York City and Halifax Pop Explosion in October. Then I’m heading to Switzerland for a small acoustic tour. I’ve been starting to write for the new project, but no dates have been solidified yet. I’m definitely going to take my time with the next one.
mitchmatic Mitchmatic once said that he “fell into music” when he moved from Clearwater, B.C. to Edmonton, Alta. back in 2007. Since then, he’s been climbing the ranks of the local music scene, playing shows and DJing the Art Gallery of Alberta’s refinery parties and Sunday night sessions at On the Rocks. In between, he claims awards from the annual Edmonton Music Awards and the Western Canada Music Awards. While many in Edmonton know him as an emcee, you can hear swing and jazz influences in his music. Taking inspiration from the past and making it new and vibrant is only one example of how Mitchmatic makes his music stand out.
How do you describe your music style? Well, concerning the music I’ve already released, I could only really say samplebased, introspective hip-hop. I’m working on some less-definable stuff these days though. Do you remember the first album you listened to that made you think, “I want to be a musician”? I’m not sure a single album made it happen for me. I feel I accidentally became a musician, or at least accidentally realized I was one. I was doing shows for years before I dreamed of associating what I did with the bands and artists I grew up on. What bands and musicians do you like to listen to today? The last band I got excited about was Caravan Palace, but I’m late on that train. I think Kendrick Lamar is great even though I’m not always with him on the content. He’s a hook machine! I wish it weren’t so rare for me to really love artists these days. I’m sure I’m missing out on a ton of good stuff — I just haven’t been following the right access points. What does Edmonton have to offer musicians compared to bigger Canadian cities? In my experience it’s been a very open scene. You may have to search for it if you’re new to the city, but once discovered it’s fairly easy to jump inside. I feel if you put in your time here you’ll at least gain recognition on a local level. I’m not sure this applies for bigger cities where luck is a greater factor. Where’s your favourite spot to unwind in this city? The Old Strathcona/Garneau area has been home for me for the past four and a half years, so whenever I’m around that neighbourhood I feel pretty relaxed (with exception of weekend nights in the middle of Whyte — that’s a jungle). As for particular spots, Wunderbar is always a favourite for sure!
It’s Probably Raining
2013
14
What’s your next big project? I’ve got a few EPs trudging along, but the one that will see the light of day first is probably going to be a project with DJ Weezl. He gets on my case just enough to make it happen. I’m slowly compiling some new gear to accommodate a bigger switchup, but that may be further into the winter.
souljah fyah After four albums and many award nominations (including a Juno!), for their work, Souljah Fyah (Waymatea Ellis, “Sista J”, on bass, keys and lead vocals; Stormin’ Norm Frizzell on keys; Dorant Ricketts, “Saint”, on drums and lead vocals; and Paul Joosse, “Dr. Paul”, on bass, keyboards and backing vocalist) continues to deliver strong messages about positivity and equality through their reggaebased music. They say in their song Abundance, “…No matter the hand you’re dealt with in this life, you’ve got to remember to try….” Life seems good for the band and it’s partially because of how they give back to Edmonton. They see every chance they’ve been given in the city as an opportunity to grow as musicians.
Interview with Sista J
How do you describe your music style? Our music style is reggae, ranging from conscious roots reggae to dancehall. It’s lyrically conscious, thoughtful, musically provocative, love-based music. Do you remember the first album you listened to that made you think, “I want to be a musician”? I’ve been a musician since I was born [laughs]. I played piano and other instruments in bands since before I have memory. All of us in the band have a life-long participation, love and respect for music.
I WISH
2010
What bands/musicians do you like to listen to today? Right now I am listening to indie dance music, and before that it was some ambient dub step. Everything from Marley to Mumford and Sons to Mozart... I love music. What does Edmonton have to offer musicians compared to bigger Canadian cities? Edmonton has been very good to us and is a good place to grow a music career. The biggest benefit to a budding band here is that most of us who have been around for a while (we have been together over 11 years) want to share our stories, our tips, our contacts. It is a city of collaboration and community, and I love that. The city’s media is beyond supportive, and the radio stations are willing to play your music. Take your pick of festivals - Hip Hop for Hunger, Folk Fest, Cariwest... the list goes on for opportunity. The booking agents for live venues operate with integrity, and many people, including students and professionals, support the industry... All we need to do is keep believing in the live scene in this city and it will continue to grow.
My advice to a new band: hit the pavement. Get out from behind the computer screen and go meet people. Walk down the street and hand out your flyers. Get to know other musicians. Collaborate. Work together! The most important thing is face-to-face interaction, and that has waned with the advent of “imagined interaction” on social networks. Where’s your favorite spot to unwind in this city? Favourite spot to unwind… this time of year it’s the most beautiful in our River Valley. I won’t give away my most treasured spots [laughs]... let’s just say that one of them made up the artwork of our third album. What’s your next big project? Right now we’re writing new music and have begun recording some new tracks at Edmontone. We keep growing, we keep expanding. We love to play music and think of it as a lifestyle. We have all undergone personal growth and transition in the last year, and I think it’s reflected in the new music coming forward.
artist profile
Andrew Benson Interview by Brnesh Berhe Malcom X and MLK Armwrestling as Observed by C. Delores Tucker, Tupac Shakur, Fred Hampton, and Marcus Garvey. 12” x 12”. Acrylic on canvas. 2012.
18
What made you want to pursue a creative career path? I was originally planning on going to school to be a chef, but then I started looking at the hours and was like, “Ugh, I don’t really want to work until 2 a.m. every Friday.” I went to the Grant MacEwan Open House and thought the Digital Arts and Media program looked like fun. And then there were the naive promises of a great career and lots of money. I thought, yeah, alright, cool, and then I realized it was a hoax – which was okay [laughs]. I did a lot of
lot about separations and how colours interact with each other and screening on fabrics. So how do you approach a project when it comes to you? Do you just think “Okay, I’m going to do pencil for this one” or do you have a process? It kind of depends on the delivery. If I’m going to do something like a record cover, I’ll likely get it printed digitally, and then I won’t worry so much about the actual process of illustrating. I won’t worry about colours or about mak-
The stuff I enjoy has to be kind of fucked uP. t-shirts and posters for punk bands when I was a teenager, so it seemed like a natural thing to do. How did you start doing work for the local hardcore scene. I’ve been going to shows since I was 15 and I basically grew up in community halls. I knew enough people, so if I ever saw someone post something on a message board asking for help making t-shirts, I would quickly put something together in Photoshop that was terribly awful, but they seemed to be okay with it. I ended up meeting a promoter in Edmonton who sent me show posters — probably because I did them for free — but they were all bad. Like stolen comic book images and Impact type. I eventually learned how to screen-print. So would you say that’s mainly how your style has evolved? From cutting and pasting to screen-printing? Yeah, in probably the last three or four years I’ve gotten really into screen-printing. It’s really changed the way I think about how [the design] is set up. I never used a stock advertising site until I started working in advertising. I always relied on being able to steal images and cut them up and tweak them enough to make them my own so I don’t get in trouble for it [laughs]. Screenprinting was my first job out of college; I made crappy t-shirts, but it was fun, and I learned a
ing sure the steps are setup properly… I can go a bit crazier. A lot of times when I know I’m going digital or offset I’ll go more collage-style because I can’t screen-print it. And if I know I’m going to be producing myself, I’ll usually do screen-printing or linocut. When I worked at Elite Sportswear as a production designer and when I started at FREE as a production designer, I would always think, “Where is it going?” before anything else. Some designers try to figure out the design and worry less about where it’s going, but I’m always more worried about the delivery method and how that will affect the actual piece in the end. Who or what are some of your creative influences? Well I grew up listening to punk rock, so I’ve always loved the shitty esthetic of punk. I love the idea that there are so many limitations based on that artwork, like “It has to be black and white and photocopied because that’s all we can afford”. I like that Xerox esthetic, so old punk records have always been huge for me. One of my influences has been Raymond Pettibon who used to do all the Black Flag artwork. He’s insane and I just love how weird his style is… you just can’t imitate it. I never grew up reading comic books; I have zero comic knowledge or any frame of refer-
ence for it, but I love that really gross style like what’s in the old Cracked or Mad Magazines. And I love Travis Millard’s work — he designed Fudge Factory comics and did stuff for Ghetto Kids. Everything he did was so gross. I love it. I also really love Josh Holinaty’s stuff where everything looks like it’s melting. Locally, him, Genevieve Simms and Jill Stanton are my favorites. They’re all so amazing and really cool people, and their styles are so unique. I also like a lot of the work that comes up on meathouse.com because it’s all just gross, sketchy stuff… I just like when stuff looks gross [laughs]. So, there have to be design trends that annoy you. And not necessarily anything stereotypically bad, like starbursts… I really don’t like the whole geometric vector graphics where the head is a circle and the face is a triangle… I do it sometimes because it’s so easy to produce quickly. It’s not that it’s bad, but it’s so easy to do that everyone is doing it. I just find it played out. It’s become the “budget” illustration style. I work in an ad agency and, as someone who does illustration, it pains me to use Shutterstock for stock illustration, but I get it. I just really don’t like that geometric, super flat style of illustration because it doesn’t have a lot of personality. At the same time, I don’t like illustration that looks perfect either. The stuff I enjoy has to be kind of fucked up. Where would you like to see your work take you? I’d like to do more illustration for things that aren’t just personal projects [laughs]. I did an illustration for the cover of Occupational Health and Safety, which is a former client of FREE, and we won an illustration award with Applied Arts. It was really exciting because, with some help from other designers, it was my first art direction project and I did a lot of the illustration for it. It made me realize how much I want to do more editorial illustration. I also want to do a mural, it seems like so much fun. Jill Stanton did those hands for The Works; they were so cool because they were so big, gnarly and super detailed. I’d love to do stuff like that. What would you say to people who say we don’t have much of an arts scene? People from the “outside” tend to think of places like Montreal as artistic hubs and don’t think Edmonton has much going on? We have a really great art scene in every sense. We have crazy filmmakers, like that guy who had his short in huge film festivals all over the world. I don’t know, maybe it’s because we’re all so bored in the winter that we just sit around and draw weird shit and make music. I think Edmonton has a great scene, and not that it’s not getting recognition, it’s just not getting the right spotlight, if that makes sense. I feel like Edmonton doesn’t always spotlight its art the way it should, like it’s scared of being too progressive. Like every time Edmonton starts feeling like a cool place to be, we put the brakes on it. But it really is a cool place. I love this city. I loved growing up here, and I love being here. That’s why I haven’t left, despite it probably being easier for me to do what I want to do in other towns.
To see more of Andrew Benson’s work, check out drwbnsn.ca Andrew also had a few things to say about Edmonton’s local hardcore scene on page 26.
Charles Bradley Soul of a Man By Brnesh Berhe | Photos by VSM Photo
When Charles Bradley walks onto a stage, he is a solid throwback to the great singers of the ‘60s and ‘70s. Raw. Gut wrenching. Unapologetic. It’s hard to believe that he’s only been performing professionally for two years, starting his career at the tender age of 62. That’s part of the intrigue that surrounds Mr. Bradley’s rise to fame: a story as complex and heartbreaking as the songs on his critically acclaimed records. What do you think makes soul music such a timeless thing? Soul music is the root of my life, my coming-up and everything that I’ve been through. You’ve got to be raw and you’ve got to reach deep down into yourself to bring it up. That’s my definition of soul music. If you look back to the olden days, people couldn’t say what they wanted to say. If they did, they would think they were going to lose what they had and that the master was going to punish them. So instead, they would sing what they felt. They would go to church and they’d moan and they’d groan and they’d talk to God in their own spiritual ways… and that was nothing but soul. Letting all that steam and all that hurt out of you. That’s where soul music was really born. 22
Adversity is something Bradley knows all too well. Born in Gainesville, Fla., he jumped from coast to coast, finally settling in the projects of Brooklyn, N.Y. He found himself homeless at the age of 14 after an altercation with his mother, and slept in subways in the winter to keep warm. Things didn’t get easier after that. Bradley nearly died from an allergic reaction to penicillin and witnessed the murder of his older brother. The terrible hands he’s been dealt are enough to break anyone, but his perseverance is truly remarkable. How do you react when you see people who reach for that easy fame and try to jump all the hard work? You’ve been through so much that it must be a bit frustrating to see. I can only speak for myself. I want to be recognized as an artist and I want people to also know who I am as an individual. All I can say to these young kids that are coming up in the world now is that you’ve got to go through some pains. If you’ve gone through some rough times and you keep your heart clean and your mind right, then you’ve got something to say to the world. Like my mama always says, when Jesus carried a cross he had to be hurting, so who are we as human beings not to suffer? We’re going to carry our crosses too, so when you carry yours, carry it wisely and righteously. So was it your spirituality that motivated you to push through your adversities? That’s what kept me strong. If I didn’t have spiritual guidance I don’t know where I’d be right now. I’ve been through so many things that deeply hurt me, and sometimes I don’t know how to deal with it, so I remember the rugged cross and it brings me back to myself. That’s what helps me keep going. Now I’m into music and showing love all over the world, but even now those quiet moments with myself still hurt. It takes time and patience for some of those things to be erased, but I do my best to [replace the bad] with something good.
In 1962, Bradley’s sister took him to see James Brown perform at the legendary Apollo Theatre in Harlem. The showmanship he witnessed planted a seed in him, and while he may not have known it at the time, he was soon going to follow in his idol’s footsteps. He mimicked Brown’s moves at home as a child, but it was only when he was in the Job Corps that someone dared him to sing in front of a group of people. Hesitantly, he did it, and realized at that moment that this was something he could do for the rest of his life. That’s when he started performing in small clubs around New York as Black Velvet, a James Brown impersonator. He nailed everything from the hair to the jumpsuits, the music to the theatrics, and Bradley felt right at home doing it.
24
I know you were heavily influenced by James Brown. James Brown has helped me tremendously because I lived on the street; I’ve been on my own since I was 14 years old and his songs were so powerful. I Don’t Want Nobody to Give Me Nothing, Lost Someone, Please Please Please, Man’s World, so many of them. He came from the aura, well, I should say I came from the same aura that he came from; he’s older than I am so I’ve gotta give respect
where it’s due. James Brown came from a rough childhood and [so did I], but I didn’t turn out to be hateful or full of animosity. I just took my cross and kept walking. I guess that’s why he’s transcended generations. With that, as much as you put your heart into your music, you’re always looking really sharp with those jumpsuits and flashy shirts. How important is style to you as a performer? [Laughs] If you love what you’re doing, give the people something besides just the vocals. Give them something to look at. Give them a feeling of your soul and dress according to what it tells you to do. That’s what I do.
songwriter, as it marked the first time he’d let anyone see and hear him as himself and not his alter ego. The film is a deeply moving personal portrait that completely exposes the singer’s pains in a raw and honest way. You are so open with your fans. How hard was it for you to allow cameras into your life? Obviously there had to be some trust with the director and his crew. I still haven’t gotten over that. I had to go to a screening on 59th street in Manhattan, and I had to walk out. There are some things in that documentary that I wasn’t aware of. Like when they went down to Florida to meet me uncle, my mother’s brother, and
“ I don’t care how much money I make.
Money don’t make me, I make money. ”
Besides James Brown, ware there any other artists you’ve enjoyed over the years? Otis Redding, Diana Ross, Aretha, Streisand, Sam Cook, Whitney Houston, Barry White. These are the people who were really singing from their hearts. They let their rawness show through. Sometimes they didn’t even care how the words came out, but you can feel beyond it. I feel in this day and age there’s huge importance put on perfection; you have to sound as perfect as you do on your record every time you perform. With an old R.L. Burnside record, you can hear him miss a couple notes on his guitar sometimes, but it doesn’t matter because it’s just how he’s feeling it at the moment. Sometimes the biggest mistake can be the best thing you ever did. You can try to be perfect and hit those notes just right, but sometimes that raw note is something the world has never heard before, so just let yourself be humble and free.
In the documentary, Charles Bradley: Soul of America, the audience witnesses Bradley’s journey from living in the projects and taking care of his elderly mother, to recording his debut album with the Menahan Street Band and getting signed to Daptone Records. This documentary was his evolution as a performer, singer, and
there were some things that were said that I couldn’t take; I had to leave. I wouldn’t let my mom see it because the truth is painful. Some of the things my uncle said about my mom hurt, but it was all the truth. One of these days when I’m ready to grieve in my own way, I’m going allow myself to watch it, but I haven’t gotten there yet. It’s a very deep movie. That’s why it’s resonated with so many people. I know there are a lot of people out there who are going through some trials and tribulations, and that’s why I don’t play with people. I don’t play on their intelligence. I know how it feels, so why inflict it on someone else? I don’t care how much money I make. Money don’t make me, I make money. So when people think they have all the wealth and control, all they’re doing is putting themselves on their own cross.
While he may only be two years into his professional career, Charles Bradley has already carved out a legacy for himself that will forever keep him in the company of his idols, and will continue to inspire those who come across his music and his incredible story.
Photos were taken at this year’s Edmonton Folk Music Festival
EDMONTON HARDCORE
By Andrew Elter | Photos by GIRL NAMED SHIRL Photography
The punk rock scenes worldwide are notorious for housing the outcasts and “weirdoes” that find comfort in alternative lifestyles and a community where being different is embraced and being yourself is welcomed. Edmonton hardcore/punk is no exception and, with that, takes on a lot of the same struggles that many other cities find themselves facing. Edmonton has a constant desire for bigger turnouts in the face of some of the most talented, hard working, committed bands in Canada. Despite the quality of the entertainment, this problem persists. Edmonton has lost a lot of venues due to careless and inconsiderate show-goers, and it can be a real challenge convincing touring bands to venture so far north. There are, however, a number of dedicated and entrepreneurial young folks taking big risks and accomplishing a lot with selfless goals of strengthening the community, supporting bands and creating something to be proud of. In a modern era of internet-based promotion, there are still those that look for something physical and tangible. Whether it’s a warm summer day where the patios are full and the streets are well trafficked, or a frigid night where the snow won’t stop falling, if there’s a show to be promoted, you’ll find hard working people pacing the streets with posters and flyers trying to put some money in bands’ pockets. A fleet of promoters in the city, though sovereign in their endeavours, work together to get the word out, and it’s only getting better. Mattie Cuvilier of Clean Up Your Act Productions and John Kennedy of Back From The Underground are two of the better known go-to-guys if you’re looking for a show. Along with these two, there are a lot of other heavily involved, passionate people making things happen, and the scene is slowly building momentum as a result. Andrew Benson, another local promoter, hosts an annual festival called Ghost Throats. The fest consists of two days of overdriven amps and venom-spitting vocalists, merging several genres and spotlighting some of the area’s best bands. The festival has spread to Calgary for a bonus day of gritty, distorted tunes, opening doors for bands from all over North America. These guys aren’t the wealthy elite; the vast majority of promoters in Edmonton have to balance a budget to bring these events to life. Needless to say, that can be stressful. When asked why he does it, especially with all the obstacles in the way, Benson responded, “It’s easier to do it myself rather than wait for someone else to and then be mad because they didn’t do it right.” His response serves as another example of how driven the community is and the commitment it has to the quality of the shows. Though it’s true that without promoters the music scene would surely suffer, there is no short list of bands that deserve much of the credit for making Edmonton punk rock what it is. High Jinks are often regarded as one of the best hardcore/punk bands to have existed in the city. As a fast but heavy take on ‘90s era East coast youth-crew, they have a lot to say. They changed the landscape and forced the rest of the locals to look inward and work harder. Their song Violins targeted the violent behaviour and bullying that had become a point of contention in the punk rock scene, and the song’s lyrics had a profound impact on the
community. Don’t look twice, don’t make the wrong move, because me and my friends we like to beat up kids like you. If that’s the message that we send, then I’m afraid for the shows because if everyone’s afraid then nobody goes. Since High Jinks called it quits, a series of awesome bands have absorbed members or sprouted from the ashes, including MAUS, No Problem, Tempest (Vancouver) and one of Edmonton’s best combinations of punk roots meets classy rock and roll, Stepmothers. Todos Caerán, a melodic emo band drawing influence from bands found on Level Plane (a retired record label out of New York), is taking the world by storm. They have done splits with bands from the United States, Tasmania, Scotland, Ukraine and Spain, toured most of Europe and Canada, and released a full28
length record with another one coming this winter. They’ve also released a compilation dedicated to covering songs by a well-respected band called Orchid (also found on the aforementioned label), featuring bands from around the world. Todos has accomplished all of this with a lot of hard work and a tireless commitment to writing new, interesting music. And they’re only getting started. You can find Secret Rivals, a band born of members of The Smalls, E-Town Beatdown, Savannah and Ten Second Epic, playing most weekends in Edmonton. There are a number of other locals with a lot of character that you can likely find gigging in and around the city if they aren’t on the road. Exits, Ringleader, Contention, Mahria, Rude Geeks and Spaewife are all worth mentioning, but
if you’re a fan of heavy, aggressive, passionately loud music, Edmonton has a lot of bands for you.
so far, there’s always room for more help, more bands and more people at shows. If you’re wondering how you can get involved, take a peek at the posters on Whyte Avenue or Jasper Avenue. The do-it-yourself ethic is strong in the city, and that ethic shows Most shows won’t cost you more than ten dollars and, considering in the way the bands, labels and promoters conduct themselves. what the community has to offer, that’s a lot of bang for your buck. Labels rarely get involved, and when they do they’re relatively If your weekend is looking dull, make your way down to the punk small and it’s usually a very symbiotic relationship. Bands usu- show — you may never look back. ally pay for recordings, record pressings, merchandise and tours out-of-pocket, and the labels do what they can to help the bands book tours, spread material and distribute merchandise. Promot- It’s in the way that you cannot sit still / Chewing on words but spiters put a lot of their own time and money into the shows without ting out actions / Fire the fire that burns so deep inside / The fire the promise of it yielding a profit. Occasionally it does, and that that keeps hardcore alive usually results in the bands taking a little more home or the paying the next out-of-towners for their gas. Though this has worked Bane, Every Effort Made. From the album Holding This Moment.
Internet. We’re on it!
m o c . e n i z a g a m r
e k r ma
advertise with info@markermagazine.com
VSMPHOTO product, fashion, and creative photography new service:
video production YESS is a relentlessly dedicated not-for-profit organization that shapes the future of Edmonton by supporting youth facing difficult realities. YESS offers distinctive and invaluable services through a variety of channels that range from immediate emergency shelter to ongoing support programs and individual guidance.
yess.org
/YESSorg
Vic Mittal me@vsmphoto.com | 780.908.5263 vsmphoto.com
15TH•BI-ANNUAL the
ROYAL
BiSON CRAFT & ART
FAIR FRI 5-9 • SAT 10-5 • SUN 11-5
NOV29+30+DEC1 2013 $2 • KIDS GET IN FREE! EDMONTON
•
CANADA
ROYALBISON.CA