Upcoming Music Highlights
Silence Presents: Monicker
June 17, 2:30 PM – 4:30 PM
Doors at 2 PM
Concert at 2:30 PM
Tickets $15 at the door
Monicker (Arthur Bull, Scott Thomson, Roger Turner) to tour Eastern Canada, June 2018
The international, intergenerational, improvising trio, Monicker, will play seven concerts in four Canadian provinces, 16-23 June.
Drummer Roger Turner (London, UK) is a legend in the field of creative improvised music, having played far and wide since the early 1970s with incredible collaborators including, notably, Cecil Taylor, Derek Bailey, Evan Parker, Annette Peacock, and Min Tanaka. He first played with guitarist Arthur Bull (Digby Neck, NS) in 2002 at a workshop at the Guelph Jazz Festival, and the two have reconvened to play duo concerts periodically ever since. In 2017, they invited trombonist Scott Thomson (Montreal), a key figure from a younger generation of Canadian creative musicians, to form a trio during a Halifax residency. From there Monicker’s fully improvised music forged its distinct artistic signature: Propulsive, dynamic, challenging, full of forward momentum, and obliquely tuneful as it artfully side-steps the pitfall clichés of generic free jazz. This Eastern Canadian tour will represent both a consolidation and the further development of this music, to the benefit of listeners in the locales along the way.
16 June, 8pm –– Hamilton ON, Something Else! Festival, https://zulapresents.org
17 June, 2:30pm –– Guelph ON, Silence, http://www.silencesounds.ca
18 June, 9pm –– Montreal QC, Suoni per il Popolo Festival, https://suoniperilpopolo.org
20 June, 8pm –– Ottawa ON, General Assembly (presented by IMOO) http://www.improvisedmoo.com
21 June, 8pm –– Québec QC, Librarie St-Jean-Baptiste (presented by Musique pas d’air)
22 June, 8pm –– Fredericton NB, Venue TBA
23 June, 8pm –– Halifax NS, 1313 Hollis, presented by suddenlyListen, http://www.suddenlylisten.com
Roger Turner, drums
Roger Turner has been working as an improvising percussionist since the early 1970s, collaborating in numerous established and ad hoc configurations. He has focused on solo work, work with electro-acoustic ensembles, open-form song, as well as extensive work with dance and visual artists. Specific jazz-based ensembles have led to collaborations with the most interesting European and international musicians and performers including Annette Peacock, Phil Minton, Cecil Taylor, Masahiko Satoh, Charles Gayle, Lol Coxhill, Derek Bailey, Otomo Yoshihide, Alan Silva, Keith Rowe, Josef Nadj, Min Tanaka, Toshinori Kondo, and Axel Dorner. He has toured and played concerts worldwide from Sydney to the Arctic, Tokyo to Belfast, New York to Beirut.
Arthur Bull, guitar
Arthur Bull is a veteran musician of the improvising music scene. Formerly the guitarist with The Bill Smith Ensemble, Bull has also played extensively with Paul Dutton, David Prentice, Michael Snow, John Oswald and John Heward, and he has performed in concert with Derek Bailey, Roscoe Mitchell and Roger Turner. He is also a poet, with three books published, and a translator from the Chinese. Originally from Ontario, Bull now lives in Sandy Cove, Nova Scotia, with his artist and musician wife, Ruth Bull.
Scott Thomson, trombone
Scott Thomson is an improvising trombonist and composer. He works extensively with singer and dance artist, Susanna Hood, and writes songs for her based on published authors’ texts to be played in many contexts, from duo to octet and sometimes including Susanna’s choreography. Scott co-founded the Association of Improvising Musicians Toronto (AIMToronto) in 2004 and served as a director until 2009, and co-directed the AIMToronto Orchestra, formed for a project with Anthony Braxton in 2007. In 2016, he convened the Montreal-Toronto Art Orchestra to play Roscoe Mitchell’s music. He founded Somewhere There, a Toronto creative music venue that hosted 850 concerts during his tenure, 2007-10. Scott has composed a series of site-specific works, ‘cartographic compositions’ for mobile musicians and audiences in unconventional performance contexts including, notably, the National Gallery of Canada; the Art Gallery of Ontario; and Montréal’s Vieux Port and Parc La Fontaine. He programs the Guelph Jazz Festival.
Silence Presents: Sick Boss w/Lisen Rylander Löve
June 18, 8:00 PM – 11:00 PM
“SICK BOSS consistently delves deep beyondmusical boundaries, blurring borders between genres, and scenes.”– DiscorderMagazine
Drawing from creative improvisation, folk,and Hendrix, guitarist Cole Schmidt, bassist James Meger and drummerDan Gaucher, travel from Vancouver with an unafraid collage of big bold ideasthat’ll carry listeners to unexpected places. For this performance they will bemeeting again with Lisen Rylander Löve from Gothenburg, Sweden.
Cole Schmidt: guitar + fx
James Meger: bass + fx
Dan Gaucher: drums+ fx,
Peggy Lee: cello
JP Carter: trumpet + fx
Tyson Naylor: synthesizer, organ+ piano+ accordion+ fx
Jeremy Page: clarinet
In its sinuous melodies and complex rhythms, SICK BOSS immediately calls to mind composer Cole Schmidt’s work in Juno-award winning outfit Pugs and Crows. Yet, the frenetic swirl of creative improvisation, rock, folk and modern jazz hints at the many voices propelling the material.
The songbook grew from weekly residencies in a pair of Vancouver bars, where guest artists were invited to sit in with core members Schmidt, bassist James Meger and drummer Daniel Gaucher, who also contribute compositions to the project. Sometimes, this process was incredibly spontaneous, involving musicians who hadn’t played together before improvising for an entire evening. At other times, the trio collaborated with their guests to prepare entire programs of original music. The debut record features great playing by a sextet of key voices from the West Coast creative music scene, alongside aching vocal spots by Debra-Jean Creelman and Molly Guldemond, popularly known for their work with Mother Mother.
The initial material for the debut, self-titled album by SICK BOSS was recorded nearly two years ago in a whirlwind session at Vancouver’s Warehouse Studios. What followed was at least 50 hours of overdubs, creating a massive bank of composed and improvised material that was treated to a year of analogue and digital editing and experimentation before the finalized arrangements were passed to Toronto’s Sandro Perri for mixing. The big, bold music that emerged from this process never stops moving, creating a rugged collage of ideas and references that evokes Captain Beefheart’s relentless experimentalism. Yet, the unruly freak-outs and driving melodies frequently give way to moments of exquisite fragility, recalling both the complicated melancholy of Elliot Smith and the woven compositions of Radiohead. The record broadcasts conceptual urgency, decisively pulling the ear through lush chamber landscapes to unrepentant psych-rock. It’s in these frequent moments of radical juxtaposition that SICK BOSS reveals its true edge: though two years of refinement have given the work a lot of polish, this is a band that will always agitate for creative upheaval.
Lisen Rylander Löve
Lisen Rylander Löve is an internationally acclaimed Swedish musician and composer who inhabits a unique territory between jazz, electronic music, and improvisation. Her singular sound melds saxophone and voice with live electronics to create compelling soundscapes.
Silence Presents: Audio Book with Charles Spearin & Tamara Williamson
June 28, 8:00 PM – 11:00 PM
Tickets $20 at Eventbrite
Charles Spearin is a multi-instrumentalist who has been an active and influential member of Canada’s independent music community since the mid 1990’s. He is primarily known as a founding member of the instrumental post-rock ensemble Do Make Say Think and an original member of the indie-rock collective Broken Social Scene. Spearin’s most recent work – his first solo album – innocently titled “The Happiness Project” centers around recorded conversations with his downtown neighbours and plays with the cadence of their voices as though they were songs.
The inspiration behind this new project comes partly from his love of music and fascination with sound and partly from his experience and education in Buddhism. Charles was raised with a blind, Buddhist father and, before the birth of his own two children and subsequent familial responsibilities, dedicated much of his time to studying Buddhist philosophy and practicing meditation (including annual retreats in meditation centers, monasteries and solitary cabin-retreats).
Buddhist practice puts emphasis on analyzing the nature of one’s own awareness and experience through study, contemplation and meditation, and often includes long periods of silence and reflection. Returning home to ordinary life and ordinary conversation after extended periods of quiet is what brought Spearin’s attention to what would be the focus of this new album: The natural, unselfconscious, music of speech. By replicating the rising and falling of the recorded voices on different instruments Spearin, in true Buddhist form, attempts to illuminate some of the beauty of ordinary life.
Spearin has performed snippets of his new project while on tour with Broken Social Scene and Do Make Say Think and is now preparing a live version the Happiness Project for a few select performances this spring.
Tamara Williamson has been a mainstay in the Toronto music scene since the early 90’s. She released 3 albums with her band Mrs. Torrance on the major label BMG. Mrs. Torrance toured extensively in Canada opening for such acts as Oasis, The Beautiful South, Talk Talk, and Jewel. They toured with bands such as The Crash Test Dummies, The Pursuit of Happiness, The Waltons, The Rheostatics, Hayden and King Cobb Steelie. Mrs. Torrance were pushed to radio with their single “Porn” and were on Much Music rotation.
In 2000 Mrs. Torrance disbanded and Tamara started a solo career. Her music is ethereal and sensitive. Using many effects and layers she was one of the first artists to start live looping and was known for her experimentation using both vocal effects and looping. Tamara was featured in The New Music Show in 2000 and her first independent single went into rotation on MUCH Music. Her first recording “Nightmare on Queen Street” was very well received and Tamara played at many folk festivals such as Hillside, The Regina Folk Festival, and NXNE. She also went down the West Coast touring with Bob Wiseman and Matt Nathensen.
In 2003 Tamara was voted fourth best concert of the year by NOW magazine ahead of Green Day, and behind Bjork.
Tamara is the only voice until this year to be recorded on a Do Make Say Think album. She also fronted the trip hop band Microbunny, which won the CBC new band search in 2002.
In 2006 Tamara signed to a French label and toured France extensively as part of “Le Femme S’en Mêlent” tour. She played alongside Feist and Shannon Wright. She was interviewed and recorded live to French National Radio. She also played shows in Spain and Italy.
From 2007 until 2016 Tamara has released four albums and toured in Canada and France. In 2015 Tamara started focusing on playing smaller more intimate festivals and venues such as house concerts.
Tamara was recently featured in the Globe and Mail Broadsheet, an end of year collection of songs written about 2014. Tamara’s song “The Next One” is about women coming forward to speak out about their experiences of sexual harassment and violence and was recorded with the band Absolutely Free. This song was released on a compilation put out by the label Arts and Crafts. Her latest album “Sister Mother Daughter Wife” pays homage to women survivors from around the world.
Tamara is a member of the Canadian Alternative Cover band AVRO, and recently started a ukelele duo project, CROW, with the amazing songwriter Patty Ewaschuk.
Tamara lives in Uxbridge with her son Angus where she has a business creating music for dressage horses. She also paints and has recently commissioned her paintings to The True North Records/Gallery.
“In Toronto in the late 1990’s there was an intelligent, unassuming, earnest musical force that cut right to my heart. Tamara Williamson was no small influence on me and I am thrilled and relieved that she’s making music again.”
– Charles Spearin, Broken Social Scene.
“Someone who can take a room and transpose it onto another plane, a voice without restrictions.”
– Martin Tielli (Rheostatics)
“I’ve admired Tamara for years; she cut a certain path of determination for me by having musical conviction long before I understood those stakes for myself.” – Feist Charles Spearin
PipeDown! Presents: RubēHill wsg Deanna Petcoff & Mount Mural
June 30, 8:00 PM – 11:00 PM
Doors at 7:30 PM
Event at 8:00 PM
Tickets $10 at the door
What Alex Stavropoulos-Laurie ultimately set out to attain when he embarked upon his upcoming project was to seize the freedom to write and produce music on terms dictated by no one but himself.
He’s calling this solo act of defiance RubēHill (pronounced Ru-bee-hill), a name taken from the main character of Flannery O’Connor’s short story “A Stroke of Good Fortune”. There was something in the internal and contemplative nature of O’Connor’s prose and the title character’s continuous fixation on anxieties that resonated deeply with him.
Explorations of human behaviour and the darker nature of the mind were concepts Alex sought to infuse into to his own songs.
Upon an initial listen of RubēHill’s second single, titled Apartment, you get the sense that he’s tapped into a special class of alternative music. By alternative I don’t mean the genre as a whole— more-so in the innovative divergence from the norm that he’s taken in the song’s unconventional structure and bold changes in tempo.
His lyrics carry a sense of entrapment with an unfulfilled need to break free:
“If I leave this room it means I’ve made it out of a tar pit / roll me up in a carpet / please, someone get me out of this apartment…”
Alex bellows out in the sinister and epic outro.
There’s an overtone of ambiguity in his words that leaves you longing for an album of songs just like it, or at the very least another verse of Apartment.
Among the luminaries for Alex’s desire to create something different are Frank Ocean’s “Blond”, A Tribe Called Quest’s “We Got It From Here… Thank You For Your Service” and the Gorillaz “Demon Days” , records he says are:
“all stunning examples of creative freedom in the world of contemporary music”.
The eclectic blend of genres within each of these records helped define the genesis of RubēHill, but it isn’t just the sonic eccentricities that have inspired the project; he also sees great value in the collaborative approach that these artists have adhered to-the process of a range of artists from different backgrounds working towards a greater common goal.
It’s a philosophy that Alex continues to implement in his inner circle of Toronto-based friends: a group of tightly-knit and exceedingly talented musicians seeking to nourish the collective approach.
Alex speaks in earnest of the faith he has in the intelligence of his audience and rejects the notion that people will only be interested if the music adheres to certain set of rules and limitations.
If the versatility of “Apartment” is any indication of what lies ahead, Rubēhill has seemingly given birth to a rare form of being: a sound that’s singularly his own.
The word that jumps to mind when hearing Deanna Petcoff’s music for the first time is “yearning”.
Although yearning is a verb, not an adjective, it is the closest thing that can describe the hold her music takes on the listener.
The warmth and texture of her sweeping vocals intertwined with the almost playful blueness of her lyrics fills the listener with a sense of intense longing, and reveals to us a worldview that is full of pain at the loss of love, and full of hope for something more beautiful.
Petcoff grew up worshipping the music of David Bowie, Joan Jett, Lou Reed, and Patti Smith. These musicians, among many others, inspired her to first pick up a guitar and start to play.
This fire grew and was fostered by the women at Girl’s Rock Camp Toronto, which she first attended in 2011. It was there she began her musical career, being paired with many mentors and starting her first band, Pins & Needles, a four-piece based in Toronto.
She continued to play with them for 5 years across Canada, and co-wrote two albums with the group.
For Petcoff, this band spanned her high school years and was a chance to grow, play, and experiment, finding her voice among others in the city.
In January 2018, Pins & Needles disbanded, leading to the beginning of Petcoff’s solo career, and the creation of her first single.
The track, Terribly True, starts softly, almost as if Petcoff is telling us about her day, through a simple hook and sunny guitar. Right when we are pulled in by the story (a woman in love, puzzled by her own mind), the unexpected happens:
the heavy hit of the crash bursts into the melancholy cry of Petcoff’s melody.
Petcoff doesn’t shy away from the heartbreak that inspired this record. Her lyrics are about her own tumultuous relationships and those of the people closest to her. Petcoff’s lyrical prowess comes not from the stories she tells, but from the characters she creates.
Women who are “the manifestation of trust issues”, or are “hardwired to feel like [they’re] boring,” and men who want to be superstars, firefighters, but seem to not hold on long enough to love her.
While the sorrow of these people, caught in this endless yearning, can seem almost tragic, Petcoff manages to do it all with a sense of refreshing self-awareness:
a beachy guitar, a chugging tempo, and a sly smile.
Weaving these characters into the juxtaposing musical tones tells the stories of broken people frantically searching for hope again.
This is what makes Petcoff’s music, as well as her performances, so compelling.
With introspection and creative transmutation being the group’s modus operandi, Mount Mural takes the time to look within themselves to better evoke each individual member’s complex amalgam of idiosyncrasies- elements paramount to the manifesting of their inner workings and fantastic dreams into soundscapes.
Mount Mural’s musical space (first started in a small, northern Ontario cottage home) is created by far cries of distant acoustic guitar reverb with embellishing delays, tastefully laced together over intricate, nonpareil drumming styles.
The atmosphere created by Mount Mural subsumes the listener, drawing them out of physical reality for an entrancing ride through sound.
Within the small Ontario cottage walls, in it’s final stages of production- the band’s newest song, titled“There is a Better Place” will be wrapped up and released June 2018.
Silence Presents: Mapstone wsg/Jsun
July 5, 8:00 PM – 11:00 PM
Doors at 7:30 PM
Show at 8:00 PM
Tickets $15 at Eventbrite
Mapstone have quickly emerged onto the roots music scenes in Australia, Canada and Bali. Their positive blend of conscious roots music, reggae, folk and world tones has already seen them share the stage with Nahkoand medicine for the people, Dustin Thomas, the Beautiful Girls, Murray Kyle and old friends Buckman Coe.
The band’s dynamic repertoire and intriguing blend of voice, didgeridoo, percussion, guitars and harmonies gives them a unique ability to elevate and inspire any crowd. Big stage Festivals, busy pubs, yoga centres, theatres, and dance floors. Wherever and whenever it is, the spirit and the energy are strong.
Mapstone have recently played prestigious festivals such as Woodford folk festival, Bali spirit festival, Island vibe festival, Byron Bay Spirit Festival, Island Elements Festival, Blessed Coast Festival, Cranfest, Falls Festival, and Byron Bay Surf Festival. In support of their 2 albums, EP, and singles, Mapstone have toured Australia, Canada, Bali, England and Sri Lanka, and will be on the road again in 2018.
Their most recent releases “Spirit Songs” album and new singles “Change” and “Tribal Nation” have all been praised and acknowledged as heartfelt and uplifting works. Working with sought after producers OJ Newcomb, Paulie B and Murray Kyle, Mapstoneʼs music continues to grow and inspire. The early months of 2018 have seen Mapstone complete their “Honouring Our Elders” tour which travelled across Canada, Australia and Bali. The summer months of the Northern hemisphere will see the band on the road to promote their new “singles” as part of their “Protectors Of The Sacred” tour.
“Mapstoneʼs conscious rootʼs music is infectious to the soul, uplifting andleaves you calling for more. Full of joy, depth, inspiration and spirit, this isa band on a mission with enough heart to see it through. Do yourself afavour and experience this musical medicine.”
-Phat Magazine Byron Bay
With every shift comes the ripple, and when jSun’s Reggae-and-Folk-infused soulful vibe washes over you, you can feel a call for change in the musical tide. Now when you think of a Changemaker, you might not be expecting the gently-smiling soft-spoken J, you might be expecting a militant firebrand. However, he has found his own way of making waves.
Just as every shift causes ripples, with every ripple comes the shift, and J, also known as jSun has taken time to learn the turning of the world according to these tides. When he emerged from the Toronto scene, he was more of the militant firebrand you would have expected – he still has an appreciation and a place for his ‘Songs of Past’ that shaped his early shift away from the superficial glitz and glamour of a blossoming modeling and acting career. The songs focused on “real talk and raw honesty about social and cultural injustice,” says Jsun. “…..ultimately, they were messages of unity…..”
Through exploring nature within and around, like the mystics of old, realizations manifested through journeying with the shifts and ripples of nature’s rhythm. The collection of songs entitled ‘Outback’ chronicles travels through South Africa, Barbados, Indonesia, Australia, South America and Hawaii. Jsun became internationally influenced, and educated to the experiences of aboriginals the world over. The ripples of world travel causing another shift. This time towards a reconnection to nature through music and meditation “Our nature’s song is medicine for the mind” says J. “When I’m connecting with this energy, it feels like that’s what I’m here to do. It guides the flow of everything else“. The music became influenced by his encounters with the luminosity and divine beauty of the natural world.
The waves eventually brought him to the South-Western Ontario where he settled into a new rhythm and began connecting with community musically, socially, and spiritually. Having had the opportunity to perform with the likes of Sam Gilly from Burning Spear and the legendary Errol Blackwood, as well being a part of Xavier Rudd’s album ‘Spirit Bird’, jSun’s sense of himself as an artist and as a messenger of reconciliation with nature grew. Thus emerged the ‘J’ album; a mixture of both solo and collaborative flows that typify his intuitive approach to the art. He then connected with other local musicians as to create the five-song EP, ‘Irie’ that was released in 2013. Lately jSun has ventured into an analogue studio to record some solo/duo mellow vibes. The result of these sessions is a 10 song CD called ‘Mellow Moods’ available spring 2016.
The firebrand had transformed into the Changemaker – all of the ripples, all of the shifts are now a part of a natural frequency that J captures effortlessly and passionately in his music – his entire journey reflected in his rhythm and verse. We are invited to tune into nature’s channel collectively; synchronizing with the luminosity and beauty of the natural world. It is his hope that we will all rise up in harmony, as individuals and as a collective, in a way that promotes inner and outer peace, stability and balance. “As we nourish our nature, our nature nourishes us,” says jSun. “May we continue to inspire each other. May we rise each day simply knowing and being our purpose; each day is a gift, live it fully and feel it lift.”
Pipedown! presents: Ostrich Bouquet w Oddsfische & Dru Jacey
June 6, 8:00 PM – 11:00 PM
“Ostrich Bouquet is a psychedelic post-rock melange from Montreal.
Their debut EP, “On Time, as Usual”, was released in November 2017. The seven-track EP is as smooth a listen as you can get, mixing elements of jazz, ambient, and experimental music.
If you enjoy the worlds of Tame Impala, Radiohead, and The Beatles, dip into these tunes and space out for a little.
The first track and title track is a creative preface to the EP. Containing a speech given by former Mayor of Montreal Jean Drapeau in which he mentions the title of the album, it makes for a cool title-drop moment. From there, the grooves begin with the second song “Empty Streets.” With this song you get your first taste of vocals in the style of Kevin Parker (Tame Impala). With some warm tones and smooth jazz grooves, the track is a super comfortable and relaxing listen. It ends by melting away seamlessly into the next song.
These seamless transitions really help the album flow and carry you through.
If you are a fan of the prolific King Gizzard and the Lizard Wizard, a must-listen for any psychedelic trippers and a band that has really mastered this type of smooth transition (see their album I’m In Your Mind Fuzz as a wicked example), then Ostrich Bouquet will most likely be something you will like as well.
The Ostrich Bouquet trip continues ever so delicately throughout the entire EP with songs like “November 3” and “Could Never Do.”
The quality of this recording is crisp and well mixed, leaving you with an end product that has an effect similar to ASMR. These polished sounds are the work of Davide Ventulieri on bass and vocals, Jeremy Bozzo on guitars, Kyle Podwalski on synths and guitars, and Michael Tomizzi on drums.
The quartet delivers an impressive debut effort with this EP. With some ideas heavily rooted in their musical influences, it will be interesting to see the group branch out and develop their sound over time. If it is approached and executed with the finesse and vision of this first release, their next release is sure to be tasty and tight…”
In the summer of 2016, the inception of OddsFiche commenced with the release of “Ninth Eyelid Atelier”, followed by “Soundtracks for Cemeteries”-conceptual albums full of: Space Rock, Kosmische, Krautrock and Progressive elements.
The real beginning was back in 2007 with the release of “Chateau d’Hiver” under a different name, “Wulfila”, with an album that stretched musical composition and imagination to great lengths and influences from the German rock scene of the late sixties, early seventies.
The sound went silent for several years until the summer of 2016. In late 2016, OddsFiche released “Cut Myself Shaving” and two EPs of outtakes and remixes from previous records.
A series of ten shows in 2016 on the “Subtle Grenade Spiral Tour” saw OddsFiche as a solo artist debuting the offbeat stylings and sounds that have not been absorbed by an audience before and resulting in a mixed review of people liking it and people not sure of it because it went outside the box, against the grain and delved deep into unconventional use of recognizable instruments.
A short mini tour in 2017, “The Toaster Cabbage Tour” saw OddsFiche venture in to the heart of Toronto to play to a more strict audience of listeners who again had not heard the style of OddsFiche before.
With the release of, “Cone of Shame”, “Seafood Bubblegum” and “Clothes Pins for Rich People” saw the sound grow more improvisational and conceptual along with some heavier pieces in the realm of progressive sound. Seems the psychedelic sounds of the London and Berlin underground of the late 60’s had been somewhat forgotten as the bands that revolutionized that sound had moved on to more commercial successes and people clung to those more popular records leaving behind what OddsFiche was bringing back to the foreground, those deep rooted sounds of psychedelia.
2017 also saw the growth of the band in to a trio and the furtherexpansion of sound with a drummer and bassist completing the lineup. A brief interlude with the attempt to acquire a keyboardist, the band abandoned the idea in favour for the trio of sound they had created
Working on developing the new sound and style the band focused on developing a strong design for the conceptual piece whilst remaining true to the psychedelic sound of the late 60’s. Sound expansion and theatre of the mind are two key components to the OddsFiche
signature. By late summer, new songs were emerging and older pieces were getting a new lease on life with a revamping of their sound and design- while maintaining identity.
Early March 2018 saw the release of “Can’t Autograph a Snowball”, the first full length album as the new OddsFiche band. The album contained only one song from the old guard that had been revamped and was more powerful than ever along with four
April saw the start of the “Points on a Circle Tour”with their debut live performance at the Amsterdam Bicycle Club in Toronto, Ontario. Currently, the band is working on new material again as well as improving some older pieces.
All of OddsFiche’s music can be found on their BandCamp site:
YouTube Channel: Progbeawr831