Chron Goblin interview with Devin “Darty” Purdy, Richard Hepp, Josh Sandulak and Brett Whittingham
Fusing stoner metal with punkish psychedelia and an unending
tap of limitless energy, Chron Goblin are seering their way to the finish
line. For more than four years, Chron
Goblin have been serving up swirling stoner psych and there’s nowhere that’s
more evident than on last year’s Life For The Living, Chron Goblin’s second
full-length album. The song structures
are all air-tight, stoner psych imbued with the vigor and aggression of metal
and armed to the teeth with distortion, feedback, sweat and a genetic urge to
pay homage at the riff of the almighty riff!
A searing stew of heady distortion and fuzz mingles with menacing bass,
rumbling deep in your ear like the hammering of a demon’s hand on the flimsy
steal door that separates you from damnation and hell fire. Yeah, Life For The Living’s like that. It’s one of those rare metal albums that not
only manages to keep you completely off center and guessing what to expect
next, but where all the punches land where they should, effectively sweeping
the listener off their feet into Chron Goblin’s own land of delightful carnage
and charming havoc. When the darkness
does part and the band takes a breath from time to time, they exhale these
twisted psychedelic wheezes of air, providing a much needed break from the
utter destruction all around them.
Featured on the Pre-Rock Records compilation House Of Burners earlier
this year, I was quickly hypnotized by Chron Goblin’s devastating riffage,
shredding vocals and a rhythm section that could turn concrete to mud in about
ten seconds flat with their ridiculously super-powered Neolithic
hammerings. So, I decided to track them
down and in between tours, life and an insanely hectic schedule we managed to
put together the following interview, and it’s one helluva interview if I do
say so myself – enjoy!
have been around for like five years at this point from the fifth anniversary
shirts and prints I saw in your online store, since you all have been around
for a while have there been any changes to the lineup since you all
started? Who all is currently in Chron
Goblin and what do you all play?
band in early 2009 after knowing each other for four years, as we all lived in
the same residence building at the University of Calgary and shared a mutual
love for music, beer and fine herbs.
This gave us the ability to form solid friendships first and a band
second, which has resulted in us creating a Chron Goblin family. That being said, we’ve not had any lineup
in any other bands or do you have any side projects going on? I love being able to look at rock family
trees, but I have to admit my feelings aren’t hurt when I don’t have to do all
the research myself, ha-ha! Have you
released anything with anyone else in the past, if so can you tell us about
first band at the age of sixteen, a week after I picked up the guitar, and
formed a band called Four Past Midnight.
We played one live show! Brett
and I were also in a band called Electric Plauge in which Brett took up drums
for the first time. The two of us were
also in a metal band called Teitan for three years prior to forming Chron
Goblin, with Brett playing bass in that band.
We recorded a handful of songs with the band, but never formally
released anything. We had a blast
playing in the band, but always saw ourselves playing in a more “groove” based
band as opposed to thrash metal. Every
now and then, members of our band will fill in for friends’ bands for shows
when they’re down a member which is always a fun challenge. Josh and Hepp were heavily involved with the
music scene but haven’t played in any former bands.
and where are you originally from? What was the local scene like there when you
were younger? Did you see a lot of shows? Do you feel like that scene played an
important part in shaping your musical tastes or in the way that you perform at
raised in rural Manitoba until I moved to Calgary at the age of fourteen. As Manitoba was deprived of any all ages live
music, I immersed myself in the music scene once I moved to Calgary. Living in Calgary’s great, there are so many
talented bands and live shows as our scene’s always been thriving. My tastes started off with punk rock, moved
to heavy metal, and upon discovering Sabbath, Kyuss, and Orange Goblin I became
obsessed with what’s known as “stoner rock”.
I have constantly been going to live shows since I was thirteen years
old and still go see at least one or two a week.
raised in Red Deer, Alberta and there wasn’t really a strong scene for music
when I was growing up. The only shows we
really had access to, were all-ages punk shows at community centers, but then
those would get flooded by skin heads, so it wasn’t really that cool to be
around. Our town always had an edge to
it though. I always found myself
relating to the value system and ideals of politically motivated punk music,
such as Propoghandi, Crass and Fugazi. I
guess in terms of performance, I just always felt people work hard for their
money and they spend it on seeing you play.
You owe it to them to give everything up on stage.
twenty-eight and was born in Calgary, but did much of my growing up in London,
UK. I would say that growing up in
England did do a lot for my musical upbringing.
I was in a suburb outside of London that was quite well-off, and many of
my friends listened to pop music and garbage like that. At the start, I was really complacent about
the music around me and I didn’t care much.
Some of my friends that weren’t the most popular started sharing their
musical tastes with me and I loved it.
Ska and punk blew my mind. I fell
in love with it and saw my first live show at the London Astoria with those
same friends about two weeks after hearing it.
The band was called Capdown and was a London based ska band; unreal
show. I had a hell of a time convincing
my parents to let me go into London with my friends, as I was only fourteen.
household when you were a child? Were
either your parents of any of your relatives musicians or just extremely
involved/interested in music?
always playing in my household growing up.
My mother plays piano and my dad plays a mean “air bass”. Typical music playing in my house growing up
was The Allman Brothers, ZZ Top, Paul Simon, Bob Marley, The Offspring,
musical discoveries happened when I found my Dad’s records. But my family had always been into music in
some way, it was always playing in our house.
I had a great grandma that sang opera and a grandpa that played in a
liked a lot of the old Steve Winwood, Nazareth and Yes type stuff. I was okay with it, I sang my heart out in
the car, but it never made me want to be a musician or anything. I had to branch out a little and find my own
tastes, but it definitely helped me on my journey though.
consider to be your first real exposure to music?
enjoyed music at a really young age, but my first real exposure wasn’t until I
went to my first all-ages punk show at the age of thirteen featuring a band
called Chemikill. The live music
experience really opened my eyes and sparked an interest in playing live music
that will never burn out. It blew my
mind how much energy the band gave to the crowd, and how the crowd reciprocated
first real exposure to music was when I was fourteen, going to see Weezer in
Edmonton. I remember biking over to the
record shop and trading in my Kriss Kross tape for this new thing called a “CD”
when I was ten and that’s when I discovered Weezer; I dug the Blue. Anyway, having somebody’s parent drive us up,
and crowd surfing for my first time, and getting contact high… It was an epic experience.
first show in London, I started going to everything I got wind of. Mostly punk shows like No Use For a Name and
Strung Out. At the same time, some of my
close friends were in bands around the Guildford area where I lived, and still
continue to be active.
pick a single moment, a moment that seemed to change everything for you and
opened your eyes to the awesome possibilities of music, what would that moment
accomplished a great deal with Chron Goblin in the early years, but when we
were invited to play Desertfest in London, England in 2013 that really opened
my eyes to the possibilities of what this band could do. At that time we hadn’t toured the United
States yet, so for our first international show to be across the pond really
blew our minds.
milestone seems amazing when it happens.
I thought recording an album was a surreal experience. Then, I heard our music on the radio and
thought that was the coolest. Then, we
played the Underworld, a place I’d seen many of the bands I idolize play before
and that blew my mind. It just keeps
decide that you wanted to start writing and performing your own music? What brought that decision about for you?
came quite naturally to me the moment I picked up a guitar for the first
time. I’ve always really enjoyed
creating music, and the freedom and empowerment that comes with it. I was never really into playing cover songs
and always preferred to write original songs with other people. Covers are fun, but nothing beats the feeling
of finishing the creation of an original song that reflects your influences and
your dedication to your craft.
when that moment really happened. Music
and the arts kind of always seemed to be the only thing I had an easier time
with. Sciences and math, etcetera kicked
my ass, but music always seemed to make more sense to me. So I’ve always pursued it in some capacity
and then meeting these guys and developing a friendship and a mutual love for
music, it’s been a really organic thing.
first instrument? When and how did you
playing saxophone in grade 7 band, which is ironic as I can’t stand sax in
songs these days. I picked up guitar at
the age of sixteen and have been hooked ever since. I’m completely guitarded now with three half
stacks, a full stack, nine guitars, and too many pedals to count.
saxophone as well in grade 6. My grandpa
and great grandpa played, so I thought why the heck not? I love it in jazz, but yeah… That’s about it.
2004, as we lived in the same residence building attending the University of
Calgary. Josh, Hepp, and I even lived on
the same floor, while Brett was just few floors below. We sure partied our asses off in those days,
not that that’s changed much.
Goblin get started and when would that have been?
formed in early 2009 when Brett and I wanted to create a band more aligned to
our influences of Sabbath, Kyuss, QOTSA, and Orange Goblin. At the time, Josh was really interested in
singing in a band, so after a few drinks we convinced him to try out… And it turns out he had/has a fucking killer
voice! We then wrote a five song EP and
recruited Hepp, who was previously a guitar player, to jump on board for bass
duties a month before hitting the studio.
has this retro 50’s kind of feel to it to me.
Who came up with it and how did you all go about choosing the name? What does Chron Goblin mean or refer to?
work crew that was full of “herbal enthusiasts” with the exception of one
member who abstained. One day, he called
us a bunch of “Chron Goblins” and I immediately knew I would use that for a
band name someday. It didn’t take much
convincing for the guys to take on the name as it was funny, memorable, and
unique. You could say a Chron Goblin is
anyone who’s a fan of the herb.
of shared creed, code, ideal or mantra that the band shares or lives by?
play hard, party hard, and don’t take anything for granted.
Goblin at these days?
finished our first US tour which was an absolute blast. We got to perform with legendary acts like
Red Fang, Lord Dying, Black Pussy, Yob, and Ancient Warlocks. We have quite a few festival performances
this summer as well as studio time booked at the end of September to record
some demos to shop around for a different studio and a producer. We’re also in the talks of returning to the
UK for a tour and including dates in Europe this time. We also just released a music video for“Bloodflow” that you should check out.
music scene like where you’re at these days?
thriving music scene for all genres.
We’re very proud to call Calgary home, and proud to represent our City
as we tour in other countries. On any
day of the week, you can go catch some amazing acts. We have a lot of great venues that support
the scene and our town is fortunate enough to catch most larger touring acts,
which also gives the local talent an opportunity to open for those bands.
you’re very involved in the local scene?
Do you book or attend a lot of local shows?
combination of booking our own shows and being asked by promoters. If we book our own shows, we usually hand
pick who we would like to play with and the venue. You can find us at pretty much every hard
rock show in town as we love supporting our scene and listening to local
talent. We’ve also been involved with
participating in youth music programs, fundraising and charity events, and
assisting touring bands book shows and letting them crash at our place. It’s a great feeling to be able to give back
to our music scene.
in recording or releasing and local music at all? If so, can you tell is briefly about that?
recording and releasing our own material locally, we don’t have too much
involvement in local recording or releases.
We’ve all focused on the musicianship side of the things and don’t have
much experience on the engineering side.
However, we’ve recorded and released all of our own material
independently using locally and independently operated studios; Echo Base,
Slaughterhouse, and Castronuovo Studios.
We’d really like to put together and release a compilation of local
artists to showcase the great and diverse talent that Calgary has to offer.
the local scene’s played a large role in the history of Chron Goblin or do you
all feel like you could be doing what you’re doing and sound like you do
regardless of locations or surroundings.
scene has been intrinsic to our development as artists and there’s no way we
would have accomplished the things we have without its support. Venues like The Palomino, Broken City, The
Gateway, The Ship & Anchor, Vern’s, and Dickens Pub have given us the
opportunity to hone our live performance and establish ourselves in the local
scene. Our goal is to continue touring
and to establish ourselves on a national and international level, but Calgary
will always be our home and our beginning.
about the makeup of the band and your history but I’d like to talk a little bit
about your sound for a while. You all
have a bunch of cool sounds kicking around in your music and I’m curious who
you’d cite as your major musical influences?
What about influences on the band as a whole rather than just
ZZ Top and The Allman Brothers at home and really got into punk rock from the
ages of nine to twelve. I then picked up
Master of Reality at the age of thirteen at a local record store and became
obsessed with Sabbath; I still am, as you can tell by my giant Vol. 4 tattoo. From this point on my influences became Black
Sabbath, Kyuss, Orange Goblin, The Sword, Clutch, Danzig, Maiden, Karma to
Burn, Leaf Hound… I could go on
forever. I’m also majorly influenced by
some amazing Canadian acts including 3 Inches of Blood, Bison, Barn Burner
(RIP), Black Mastiff, Shooting Guns (Interview here), Black Thunder, and We
Hunt Buffalo. From a full band
perspective, we have such diverse tastes it can be difficult to agree on mutual
influences, but we certainly have some common ground which includes Black
Sabbath, Propagandhi, Pink Floyd, Orange Goblin, The Sword, Black Mastiff, We
Hunt Buffalo, etcetera.
myself I would say my biggest influences are the punk bands, at least in terms
of energy and that kind of thing. But
I’ve always listened to music from all genres.
I’ve always found the phrasing and patterns in hip-hop really
interesting and I’m a sucker for the soul hooks that you get in Curtis
Mayfield, etcetera. But my heart is in
Rock n’ roll. I’ve always thought Joe
Cocker was where it’s at when it came to rock vocalists.
songwriting process like with Chron Goblin?
Is there a lot of jamming that happens when you all get together than
you kind of distill and work out into a song or does someone maybe comes in
with a riff?
usually begins with Brett and myself jamming out some riffs to get some basic
structure going. Hepp is great at adding
some unique bass and working with Brett on the arrangements after the initial
foundation is laid. Josh writes all of
his lyrics and is always able to add his unique style and phrasing to any wild
ideas that we throw his way. We
definitely work very organically, pun intended, and never try to force or rush
new ideas, but rather massage all of our ideas until we’re satisfied with the
recording for Chron Goblin? I think that
most musicians can certainly appreciate the end result of all the hard work,
time and effort that goes into making an album.
But getting to that point, getting everything recorded and sounding the
way that you want it can really be a pain to say the least! What’s it like recording for Chron Goblin?
can be stressful, but we try to always stay positive and keep a very open and
supportive environment. We can honestly
say that the good times outweigh the negative ones, and we always have fun
everyone always really “shows up” for recording. The guys are always well rehearsed and have all
their parts planned. We really try and
pull the most out of the time we get, so everyone has to be on point and be
able to nail it in a few takes. I think
in the end, this just makes us a tighter band.
handle recording on your own DIY style or do you prefer to head into the studio
and let someone else handle that side of things so you can concentrate on
recording to the experts. We make sure
that we focus on the preproduction and have as much prepared as possible before
we go in the studio, and have a good idea of the direction and song
structure. We’ve always worked with a
predetermined amount of time/days in the studio which has always allowed us to
stay on track and time with releasing new albums. Ideally, it would be great to have as much
time as possible but having a definitive timeline allows us to move
preparation that goes into a recording session for Chron Goblin where you spend
a ton of time working out every part of a song?
Or do you all head into record with a good idea of what a song should
sound like but give it plenty of room to change and breathe during the
recording process? Is there a lot of
improvisation that’s involved when you all record or perform?
prepared for the recording of Life for the Living, which was a significant
increase compared to our previous recordings.
We had ninety-percent of the album mapped out in advance and knew
exactly what we wanted to achieve. It
makes the recording process much smoother.
That being said, we’re always open to new ideas and allow room for
improvisation and creative change.
little time and talk about your back catalog a little bit. Your first release that I know of is the
Chron Goblin self-titled CD EP from 2010.
Can you tell us about the recording of that first material? Was that a fun, pleasurable experience for
you all? When and where was that
recorded? Who recorded it? What kind of
equipment was used?
the EP in 2010 in our friend Marcello Castronuovo’s basement in Calgary. He recorded it for next to nothing and used
the mixing board from the 1988 Winter Olympics, which is pretty cool. All of the songs were written before we had a
bass player, which is pretty evident when I listen to the record now as it’s
very guitar heavy. I’m still super-proud
of that EP, as it gave us the platform to move forward from. It was a fun experience as we were younger,
with less stress in our lives, and were just focusing on having a good
Goblin EP originally released and distributed?
I assume that’s out of print at this point, but was it a limited release
and if so, do you know how many copies it was limited to?
releases have been very DIY, and our EP was exactly that. We produced 1000 copies ourselves by raising
funds performing and selling t-shirts.
We still have approximately 500 left.
We sold, and still sell, the EP at shows and through our webstore. The production on the EP’s not quite as good
as our full-lengths, but we’re damn proud of it!
2011 you followed up the EP with One Million from the Top which if I understand
correctly if getting ready to go out of print.
Was the recording of the material for One Million from the Top very
different than your earlier EP? Do you
feel like learned a lot from the recording of the previous EP? Who recorded the One Million from the Top
material? When was that recorded and
where was that? What kind of equipment
true! I think we have about five copies
of CDs of One Million from the Top left.
The recording process was a different experience with our first
full-length album. We recorded this
project at Echo Base Studios with Casey Lewis and he has a different approach
than Marcello Castronuovo. Casey has a
more established studio and more years of experience engineering and producing
under his belt. Recording the EP was
losing Chron Goblin’s studio virginity.
Recording One Million from the Top was our second time in the studio, so
we were still fairly studio-inexperienced and working with a new engineer was a
unique experience. Casey pushed us to do
our best and we did many takes of each part to make sure it was as solid as it
could be before Pro Tools was put to work.
didn’t release any albums in 2012 or anything it proved to be a pretty busy
year for you all none the less with several appearances on compilations that
year. There was an appearance on a live
radio compilation but you all contributed the track, “Give No More” to the
Palomino Smokehouse 12”. I did a little
bit of poking around but I couldn’t find out a whole lot about it. Did you all write or record “Give No More”
specifically for the Palomino Smokehouse release or was it something left over
from one of your earlier sessions? Was
that a limited release? If so, do you
know how many copies it limited to?
busy year with lots of great shows and touring.
We played shows in Brandon, Manitoba; Saskatoon, Saskatchewan;
Lethbridge, Aberta; as well as the Sled Island festival in our hometown. We also had the opportunity to open for Bison
and 3 Inches of Blood, both excellent Canadian metal bands that we’re
influenced by. We were approached by The
Palomino to submit an unreleased track for their 2012 compilation, so we
decided to work with Marcello Castronuovo again and we recorded the song “Give
No More” with him at Slaughterhouse Studios.
This track was one of the first songs we wrote after releasing One
Million from the Top and we felt it was a great track to submit for the
Palomino’s annual compilation album. I’m
not sure exactly how many copies of the 2012 Palomino Smokehouse Compilation
were released, but my guess would be between 200 and 300 vinyl records. This was also our first track released on
vinyl, so we were very excited about that at the time.
second full-length album last year (2013) Life For The Living. While I seriously dig your first album, Life
For The Living was a huge step forward in my opinion and the songs sound much
more like your own unique sound that I’ve seen displayed live. Did you all try anything new or radically
different when it came to the songwriting or recording of the material for Life
For The Living?
Life for the Living was a big step towards finding and developing our own
unique sound and style. I think the
songs are more cohesive, and stronger independently, than some of the tracks on
One Million from the Top. Playing most
of the tracks on Life for the Living live throughout 2012 and 2013 really
helped to make the studio performances stronger for all of us. In the studio, we didn’t branch too far from
the same approach we took with Casey on One Million from the Top, but this
being our fourth time in the studio, we had a much better understanding of the
process and what it takes to prepare and perform well. We recorded ten tracks in thirteen days,
which was a tight schedule, but it forced us to stay focused and productive and
ensured we were very prepared going into the sessions.
For The Living? When and where was that? What kind of equipment was used?
Million from the Top, Casey Lewis of Echo Base Studios recorded Life for the
Living. This session was in late
May-early June 2013, immediately after we returned from performing at
Desertfest in London.
have any music that we haven’t talked about, maybe an appearance on a comp or a
single that I might have missed?
of anything you’ve missed; you’ve done your homework!
of Life For The Living in 2013 does Chron Goblin have any releases in the works
or on the horizon at this point?
time booked for September 2014 to record three to five demos to shop around for
a producer and a studio. We’re really
excited about this, as we’ve never worked with a producer before and we’re
looking to record in a studio with some history, and possibly outside of Canada
for the first time. Once we’ve selected
a studio and producer we’ll continue to write the full album, so you can expect
a new release in early 2015.
completely insane international postage rate increases that don’t show any sign
of letting up, I try and provide our readers with as many possible options as I
can for picking up imports. Where’s the
best place for our US readers to pick up copies of your stuff?
distribution deal with Heavy Ripples. US
reader can grab our CDs and vinyl here.
international and overseas readers?
deal with Heavy Ripples, we sell our music overseas through Clear Spot
distribution. You can find music through
them here. We also sell our releases
through Ozium Records based out of Sweden.
You can find our stuff at their website here.
the best places for our readers to keep up on the latest news from Chron Goblin
like upcoming shows and album releases?
to keep all of our social media outlets up to date. You can find us in the following formats: our website, Facebook, Twitter: @chrongoblin and Instagram: @chrongoblin
keeping up with stuff, are there any major plans or goals that Chron Goblin is
looking to accomplish?
in the studio in September (2014) to record some demos of new material. We plan to be back in the studio for spring
2015 to record another full-length album and we’re hoping to use the demos from
the fall to secure an outstanding studio and producer. We also plan to return to the USA for more
touring, as well as make it back to the UK, and to Europe for the first time.
do you all have planned as far as touring goes for the rest of the year?
local shows coming up this summer, including performing at our hometown
festival Sled Island on June 21st (2014).
We’ll be playing at Beaverfest Aug 30th in Valleyview, Alberta. Aside from these few shows we don’t have much
booked at the moment, as we’re focusing on writing new material.
lot of time out on the road touring? Do
you enjoy touring? What’s life like on
the road for Chron Goblin?
much as we possibly can while having jobs back home. In the last year we’ve toured more than the
rest of our careers combined. We just
completed our first US tour which was a damn blast. We’ve had the opportunity to open for Vista
Chino, Red Fang, Orange Goblin, 3 Inches of Blood, Bison, and The Devin
Townsend Project which were all an absolute honor. Personally, I live for touring. I could do it for the rest of my life. Some days are tough, as in Canada you have to
drive a long distance to any new city, but playing to a new crowd makes it all
what the first song that Chron Goblin ever played live was? When and where would that have been?
that we ever wrote was called “Walk With Me”.
I can’t exactly recall if that was the first song we every played live… But it certainly could have been. Our first bar show was in early 2010 at a
small pub in Calgary, while we had played our five songs from the EP at various
house parties in late 2009. I do
remember our first house party show we only had the five songs… So we played all five twice and everyone at
the party was too drunk to realize we’d already played them before.
funny or interesting stories from live shows or performances that you’d like to
share with our readers?
favorite had to be the first time we played with Bison. Their drummer Matt lit a joint and put it in
my mouth during the intro to “Give No More”.
Security freaked out and came over to give us shit and then Matt grabbed
the doobie and put it out on the ground.
Had we not been in the bands playing, we definitely would have gotten
kicked out. Another funny memory that
comes to mind would be Hepp playing in Saskatoon with Shooting Guns. The beer lineup was crazy, so right before we
go on he decides to get a pitcher of beer with three shots of vodka in it. Hepp can drink like a tank so manages it
quite well, but it was hilarious to see people’s faces when they took a sip
from his pitcher. That night ended with
the band taking some “tussin” for a “quality” sleep.
lot of thought to the visual aspects that represent the band like flyers,
posters, shirts and other stuff? I
seriously dig the hell out of what I can only guess is your Rat Fink inspired
design! Is there any kind of message or
meaning that you’re trying to convey with your art? Do you usually turn to anyone in particular
during your times of need when it comes to that kind of thing, if so who is
that and how you originally get hooked up with them?
collaborating with artists to achieve a variety of visual representations of
our music. Logan Morrison has done a
fantastic job for the artwork of our last two releases, as well as a few shirt
designs. He’s from Calgary but lives in
Vancouver working as a tattoo artist at Tattoo Union. We met him through our pals in
Witchstone. Deano Robertson’s also done
a bunch of logos and designs for us, including the hilarious Rat Fink-inspired
shirt you mentioned. He’s a tattoo
artist currently working at Immaculate Conception. We got to know him as the legendary Stoner
Rock Guy; he’s a huge champion for music and is always attending and promoting
local shows and bands, as well as stoner rock music internationally. He’s well known in the community and an amazing
human all around. We’ve also worked with
Dominic Soho, a UK artist, and we’re currently working on a new design with
David Paul Seymour who’s done artwork for some of the best bands out there
right now including The Sword, Kadavar, Graveyard, Red Fang, Church of Misery,
Lordy Dying, Truckfighters, and Earthless.
We’re also working with Gabriel Shaffer on a new shirt design, lots of
new stuff on the way! We’re often
inspired by tattoo artists, as you can tell from our collaborations with Logan
Morrison and Deano Robertson. I think
we’re also attracted to art of a psychedelic nature, although we don’t
typically have a specific goal in mind when we work with an artist. We hope the artist interprets our music and
puts their style to use to create something unique, powerful and just generally
preferred medium of release for your own music?
What about when you’re listening to and or purchasing music? With all of the various mediums that are
available to musicians today I’m always curious why they choose and prefer the
methods of release that they do.
all agree that vinyl records are our favorite medium for music, both in terms
of our own releases as well what we purchase as music collectors. There’s more room for artwork and the whole
listening experience is much more tangible and interactive. We all download music, but if we don’t pay
for a digital download, we always make sure to buy a band’s merch or tickets to
music collection at all? If so, can you
tell us a little bit about it?
vinyl and are working on building our own collections. Some of my favourites that I own are Time
Traveling Blues by Orange Goblin, Prior to the Fire by Priestess, Hisingen
Blues by Graveyard, the Self-Titled and Abra Kadavar albums by Kadavar, Queens
Of The Stone Age’s Rarities & B-sides, The Action is Go by Fu Manchu, Dap
Dippin’ from Sharon Jones & The Dap Kings, Welcome to Sky Valley, And the
Circus Leaves Town, and Blues for the Red Sun by Kyuss. I also inherited a bunch of original Canadian
pressing Beatles 45’s from my grandmother as well as some Elvis and other
classic pop stuff from the late 50’s to early 60’s.
massive collection of vinyl that started with inheriting about two hundred
records from my old man. I then spent a
ton of time collecting heavy metal and stoner rock vinyl albums. If I had to pick my five favorite vinyl
albums they would be Orange Goblin’s Eulogy for the Fans, the Kyuss/Queens of
the Stone Age split, Red Fang’s Murder the Moutains Pizza Picture Disc,
Belzebong’s Sonics Scrapes & Weedy Grooves (Interview here), and the best
of all Black Sabbath, Live at Last. The
Sabbath live album is hilarious… Ozzy
singing all kinds of improvised lyrics, out of tune guitars, random space jazz
odyssey jams, and medleys of numerous Sabbath songs within one jam.
an enormous collection of vintage garage, psychedelia and blues, but beyond
that I was really encouraged to dig in and enjoy it from a young age. In fact I was encouraged to listen to just
about anything that floated my boat.
There was something about popping an album into the player, kicking back
with a pair of headphones, reading the liner notes, staring at the cover
artwork and letting the whole experience transport me off to another
place. There’s something about having a
physical object to hold in my hands and experience along with the music that
made for a more complete listening experience.
Do you have any such connection with physically released music?
agree with you more! That’s why vinyl’s
the best listening experience. Although,
even as a kid when I would buy a new CD or tape cassette, I would do the same
thing: headphones on, volume up, unfold the liner notes and explore all of the
lyrics and info about the band and that particular recording. That’s the sad part about so much music being
listened to in purely digital formats these days; you really don’t get as much
of an opportunity to connect the physical artwork with the music.
my music collection I would be lying if I didn’t say I love my digital music
collection as well. Being able to take
stuff on the go with me for the first time has really changed the way that I
listen to and enjoy my collection. But
taking stuff on the go is just the beginning, when you team it with the
internet that’s when digital music gets really interesting. Together they’ve exposed people to an entire
universe of music that they otherwise would never have heard of led a long had
the chance to listen to and interact with.
It’s eradicated a lot of the boundaries that being located in isolated
or strange surroundings created. It’s
not all peaches and cream though, illegal downloading is running absolutely
rampant right now, a lot of people feel like music is becoming this sort of
disposable experience to be used and then forgotten and it’s harder than ever
to get noticed in the chocked digital jungle out there. As an artist during the reign of the digital
era what’s your opinion on digital music and the internet?
and file sharing is definitely a double-edged sword. It’s allowed many bands, including us, to
expand their networks internationally and share their music with places they
may never get a chance to tour. We
recently had a person from Morocco message us on a Facebook asking where he
could buy our CD! We were so impressed
by his interest in our band that we mailed him one for free. Being able to share music, pictures and video
digitally has really helped us gain ground as a band and to connect with people
worldwide. As a growing band, the
internet and file sharing has definitely helped us rather than hindered
us. I’d rather someone downloads our
music for free than not listen to it.
Potentially that listener may share our album with a couple of people,
and they may end up coming to our show and buying merch and/or physical copies
of our music. That being said, if people
never purchase music or merch or buy concert tickets, then musicians simply
won’t have a future. We put thousands of
hours into learning our instruments, rehearsing as a band, writing songs,
recording songs, playing shows, going on touring, and managing the business end
of being a band. We put thousands of
dollars in to our craft to be able to play music, record our material, and
release it. All we ask, is that if
you’re interested in our music, come to a show and if you like what you hear,
buy a t-shirt or a record to help keep us doing what we love to do.
with as much good music as I possibly can but I swear there’s just not enough
time in the day to keep up with one percent of the amazing stuff out
there! Is there anyone from your local
scene or area that I should be listening to that I might not have heard of
of current great local and area music going on!
Here’s a list of some of my favourites: Witchstone, doom n’ roll,
Cowpuncher, western grunge, Temple, rock/metal, High Kicks, bass n’ drums party
rock, and Mallard who do rock n’ roll.
All from Calgary.
nationally and internationally?
national and international bands I’ve been digging: We Hunt Buffalo, fuzz rock
from Vancouver, Black Thunder, progressive stoner rock from Regina, Black
Mastiff, rock and roll, they’re from Edmonton and just recorded a new album
with John Garcia producing! There’s
Bison, metal from Vancouver, Shooting Guns, progressive instrumental psych rock
from Saskatoon (Interview here), Ancient Warlocks, riff rock from Seattle, and
Sandrider, riff rock also from Seattle.
Barn Burner (RIP), Buzzard and Black Wizard from Vancouver, and Daywalker from
doing this behemoth of an interview! It
was awesome learning so much about the band and I hope it was either fun or at
least entertaining looking back at everything you’ve managed to accomplish in
the last few years. Before we call it a
day and sig off though is there anything that I might have possibly missed or
that you’d just like to take this opportunity to talk to me or the readers
thank our friends, family, and fans who have supported us along our rock and
roll journey! We wouldn’t be here today
without your support! Cheers and beers!
Entertainment (Limited to 1000 copies)
– Chron Goblin Entertainment (Limited 1000 copies – less than 20 left)
Palomino Smokehouse Self-Released (Limited to ? copies. Chron Goblin contribute
the track: “Give No More”)
CJSW 90.9 FM // 2012 – 2xCD – CJSW (Chron Goblin Contribute the track: “One
Million From The Top”)
– Chron Goblin Entertainment (12” limited to 550 Vinyl, 500 CD’s)
Pre-Rock Records (Limited to 1000 copies. Chron Goblin contribute the track:
“Deserter” from Life For The Living)