80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Colony Three/Brian Dickson

(c) Brian Dickson

I’ve had the enormous pleasure of being introduced to the delightful electronic music of Brian Dickson, a.k.a. Colony Three. I was asked to review a collection of 10 tracks titled ErgosphereWikipedia defines the word ergosphere as “…a region located outside a rotating black hole’s outer event horizon. Its name was proposed by Remo Ruffini and John Archibald Wheeler during the Les Houches lectures in 1971 and is derived from the Greek word ergon, which means ‘work.’”

This listening experience allowed me to take a remarkable journey that I look forward to revisiting time and time again; I know that I will hear more and experience different sensations with each opportunity.

The first five tracks lull us as listeners into a sense of peace and well-being—a journey that is both pleasant and without a hint of danger. Suddenly, with the opening strains of “Bad Gram,” the mood changes and we are thrust into a metropolis of sights and sounds that are both confusing and terrifying. As the music gathers steam, we are subjected to the aural awakening of the “fight or flight” instinct.

“Random Sparks” brings us back to a safe haven, giving us hope that there will be no other dangerous interludes until we reach the conclusion of our travels. But, just as suddenly as we feel that sense of calm, we are reminded by the dire melodies in “Collider” that the dangers we face are still all too real.

In the end, the pace of the excursion slows down, the dangers melt away, and again we begin to feel that perhaps this odyssey will have a positive completion after all. “Winds of Elysium Planitia” puts me in mind of The Man Who Fell To Earth when we are given glimpses of Thomas Jerome Newton’s suffering family back on his native planet. The final track, similar in scope by looking back on the previous tracks, evoke feelings of  both relief and sadness—relief that the trip is over and we are still breathing, and sadness, because of a nagging feeling that the world will somehow be forever different.

I am so pleased to have had a chance to interview Brian Dickson to provide some first-hand insight into the origins of this lush collection’s creation. I hope you will enjoy reading what I learned about this man and what he has to say about his exquisite music.

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MissParker: I can sit here and list all of the influences that I hear in this brilliant music—from Brian Eno to Gary Numan to Underworld to Jean-Michel Jarre…but my opinions would be irrelevant. Let’s hear it from you–who are your influences and why?
BD: I’d say my biggest influencers are Tangerine Dream and Jean-Michel Jarre. In the early 80s I lived in a very remote northern town so my exposure to music was mostly through the one local radio station that played top 40 pop and country music. One day, I was digging through my older brother’s stuff and came across a cassette of Force Majeure, and listening to it was a life-changing epiphany. I’d never had an emotional response to music until hearing this. It wasn’t the harsh “bleeps & bloops” synthesizers that I’d heard in so many b-movies and radio shows, but instead an incredible audio landscape that took me on a fantastical journey. I became obsessed with finding more music like this and pretty much anything that pushed boundaries.

Thanks to radio shows like CBC’s “Brave New Waves” with Brent Bambury and CFNY (under the tenure of David Marsden), a whole new world of musical influence was made possible. Listening to bootleg cassette copies of CFNY played a large part in me moving to Toronto.

MissParker: I’m terrified of flying, but I do it out of necessity. Listening to “Approach” made me smile because it actually reminds me of the airplane’s approach to the runway for a landing. What is the true meaning behind that song?
BD: First, I love hearing about how you interpreted this song as it was always a dream of mine to create something that sparks the listeners’ imagination.

Certain sounds or songs create a type of visualization for me.  When composing, I often start with a single sound and build on it, twisting and overlaying a few other sounds. At some point a scene forms in my mind and I often end up naming the track whatever was in this imaginary scene. In this case I had come up with the album name “Ergosphere” and thought it fitting that this song would be the approach into the Ergosphere and beyond.

MissParker: “Indifference Waves” has a lovely build-up to the brief spoken word segment. It puts me in mind of Gary Numan when he was

(c) Brian Dickson

experimenting with techno in the 90s and ended up keeping it as his signature sound. Then it takes off into a fabulous confluence of electronics and raw drumbeat. I love that combination. What inspired it?
BD: “Indifference Waves” was born of a sample from a 1964 episode of Danger Man in which John Drake (played by the outstanding Patrick McGoohan) finds himself in a surreal village called Colony Three. Many speculate that this episode was the precursor to the iconic science-fiction series The Prisoner which finds McGoohan imprisoned in a mysterious village where everyone is known only as a number.

“Indifference” describes my interpretation of The Prisoner, which is the importance of questioning the status quo. I’m finding that naming the songs is almost as much fun as making them!

MissParker: There seem to be very brief, if any, breaks between most of the tracks. Was this collection meant to flow like a single soundtrack, or are the songs meant to stand on their own?
BD: Some of Ergosphere was composed with no gaps between the tracks, but I’ve found that some streaming platforms or audio playback software inject small breaks between songs. Spotify seems to play the album “gapless” while others are hit and miss. I’ve noted that artists like Jean-Michel Jarre now release large single track “continuous play” version of their albums to avoid this issue. I personally love continuous play albums as they seem keep the listener’s imagination and mood flowing throughout.

MissParker: I played a lot of Jean-Michel Jarre in the late 90s early 00s when I was a corporate trainer. I used his music specifically to soothe my classes while they were testing on the stuff that I’d taught them. I hear some of his influence in “Flight to Tadoule.” What is your take on Jarre’s music? Did he inspire you to create your own version of electronica and how?
BD: Jean Michel-Jarre is influential on almost everything I produce. In my opinion, Jarre has found the precise balance of classical composure and technology. His bold approach to musical and performance experimentation is inspirational. I was fortunate enough to go to Jarre’s amazing 2017 performance in Toronto and it was better than I could’ve ever imagined.

Jarre inspired me to start simple and build on it. If I ever got the chance to speak with Jarre, I always imagine that his advice would be “There’s no wrong way to do it.” Sometimes when working on a track I will literally ask myself, “What would Jarre do at this point?” which always seems to get me past the block.

MissParker: “Clearwater” has a remarkable intro that flows seamlessly from the close of “Flight to Tadoule.” It reminds me of a DJ making the perfect segue between songs during a radio broadcast. Were the two songs created in tandem purposely?
BD: Unbeknownst to everyone (until now) “Clearwater” and “Flight to Tadoule” were composed in memory of my mother and father. My mother lived her final years in Clearwater, a scenic town in the interior of British Columbia, Canada. Her last years there were the happiest of her life and it was always a pleasure to see her so happy there. One of my fondest memories of my father was when he took me on a flight in a Cessna to a very remote northern community called Tadoule Lake. I felt it fitting to have these songs sound very different on their own but also be somewhat connected.

MissParker: Up until “Bad Gram,” the songs seem to have a laid back and dreamy quality to them. Then all of a sudden we’re thrown into a random foot chase with pursuers hot on our heels. The urgency carries over into “Influence,” although not as intense. What brings on this change of mood?
BD: I really enjoy your interpretation of “Bad Gram,” and I think I hit the mark on this one! As the song was being composed, I started imagining a scene from a Michael Mann movie, like some of the amazing instrumentals that Jan Hammer had done for Miami Vice. After the lulling jazz-bar sounds of “Daydream on Pacific Avenue” I wanted to create an unexpected spike of adrenaline for the listener to snap them back to the rest of the album.

MissParker: I mentioned in the introduction how some of this collection reminded me of David Bowie in “The Man Who Fell To Earth.” My only complaint about the film is that 45 years later, the soundtrack (which Bowie did NOT compose) presents as a bit “cheesy.” Your music on Ergosphere, however, is as timeless as space itself. That said, did you have a “movie” playing in your head when you created these tracks?
BD: That is another really big compliment on many levels! I didn’t set out with a movie in mind for the overall album, and I think the timeless aspect is a result of a personal preference I have for simplicity in both the composure and instruments being used. My good friend Rob Stuart (of SLAVE to the SQUAREwave) and I discuss this philosophy at length, that so many of the timeless classics were created using equipment that was greatly limited by today’s standards. I believe these limits are what ultimately demanded the most creativity and best performances from the artists at the time. I used to think that because I had a 16-track recorder, I needed to make use of them all. (Maybe to get my money’s worth?) Now, my studio has the ability to mix and record over 1,000 tracks, but I generally use 10 tracks for most songs, which encourages me to focus on melody and dynamics.

(c) Brian Dickson

MissParker: Is all of the writing and production solely yours, or do you have people that you collaborate with?
BD: For my first album, I made a conscious decision to go it alone as I ultimately wanted to own the outcome and find my own groove, so to speak. I did the writing and recording over the course of a few months. While the composing and recording was the fun and easy part, I was really struggling when it came time to master the album. Mastering is the final step in the process where the entire album is stitched-together and balanced for harmonics and volume levels. I’m thankful for being able to lean on Rob Stuart for advice during this journey as he has decades of experience in music composure and production. These great conversations turned have led to Rob and I collaborating on some new tracks.

It’s early days but we are both really excited about the outcomes and are looking forward to sharing them.

MissParker: Do you perform live? If so, where can people have the pleasure of being enveloped by your music in a live performance?
BD: I haven’t spent the time yet to research live performance in this genre…I’ve simply been having too much fun creating the music! I think my gateway into live performance would be through that previously mentioned collaboration. It would be the experience of a lifetime no matter what the venue.

Missparker: Where can people sample and ultimately purchase your music?
BD: For the latest information about Colony Three and to sample new music in the making, visit:

Instagram (@colony_three)
Facebook page (https://www.facebook.com/ColonyThree/ )

Colony Three music is available on all of the major streaming and download services including Amazon, Spotify, Apple Music, Google Play, and YouTube:

Missparker: Thank you so much for taking the time to share your music and your thoughts with us.
BD: Thank you for your support and for such a thought-provoking and fun interview experience!

I love your site and what you’re doing for all artists both new and established!

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80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Beverley Beirne

This is the epitome of stepping out of a comfort zone to do an interview about a genre of music of which I have nearly zero knowledge. But it is so worth it, I found, as I was sucked into a maze of woven sounds that seemed familiar, yet not quite….

(c) Stephanie De Leng

An interesting comment on my “About” page brought me to a website where I could listen to snippets of jazz-infused covers of 80s New Wave tunes. At once astounded by the prospect, as I thought about it further, I realized that there are very few “pure” music genres. Everything that we know to be a specific music style, e.g. Rock&Roll, New Wave, R&B, Hip Hop, Funk, Punk, Post-Punk, Industrial, Grunge, etc., has been built upon a foundation of musical DNA that has existed since the first cave man banged some rocks and sticks together.

There are many, many extraordinary artists out there who successfully infuse different sounds into their craft and the outcome is outstanding. Beverley Beirne is one who has taken quite a unique route by capturing a nearly pure jazz inflection and melding it flawlessly with styles inherent to the 80s, a very eclectic period to begin with.

Beverley has graciously indulged my wide-eyed interview questions about her style and her forthcoming collection titled “Jazz Just Wants To Have Fun” (or “JJWTHF” for short), scheduled for release on June 15. Please read on for an in-depth glimpse into a ground-shaking, axis-tilting artist’s craft.

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MissParker: What initially piqued your interest in Jazz?
Beverley Beirne: I was brought up with jazz in the house as my Dad was a huge jazz fan.  So it wasn’t unusual to hear Erroll Garner, Sarah Vaughn,or Ella Fitzgerald.  But my Mum was into Abba and 80s music, so I guess that explains this album a little!

MissParker: Who can you cite as your influences?
Beverley Beirne: All the beautiful singers I have ever heard I’m inspired by.  Coming from a classical background, I really appreciate the stamina of classical singers.  But, having said that, listening to Sarah Vaughn you hear that but with so much expression.  There are also so many amazing pop voices–Kate Bush, Kirsty McColl, Eddie Reader–these ladies have beautiful voices, but tell a real story too.

MissParker: Are you professionally trained, or does this beautiful gift come naturally?

(c) Stephanie De Leng


Beverley Beirne:  Yes, I trained classically when I was in my late teens and I did really love it.  It’s something I’ll always be grateful for this early time in my singing career, as I learned so much technically about the voice.  My only issue, for me personally, is that it’s really hard to be individual within the classical constraints, which is, in the end, what drew me into jazz and being able to really express my own individuality. Over the years, I’d say my voice has become more authentically me.

MissParker: You mentioned your mum was into 80s music. Is this why the 80s have a special meaning for you?
Beverley Beirne: This was the era when I was listening to Top of The Pops and heading into town to party at the clubs.  Definitely my party era! They were a lot of fun, these songs.  But you know when you really listen to them, there’s some great melodies and a lot of the lyrics are really fantastic. And, the singers back then–they were really great.

MissParker: What does your core audience look like?
Beverley Beirne: It’s mixed, depending on the venue.  Jazz does tend to attract an older audience, but saying that I get a lot of the younger generation turning up and this album especially is attracting a younger crowd.  It’s been a real education to me that kids in their teens and early 20s are really into this music–they actually know all these tracks really well!

MissParker: Who are your backing musicians?
Beverley Beirne: I’m incredibly fortunate to work with some fantastic musicians.  On this album, I have some of London’s leading dynamic young musicians; we have the hugely talented Sam Watts who is also my co-arranger on this project, Flo Moore on double bass, Ben Brown on drums and percussion, and Rob Hughes on sax, bari, and flute–all of whom I have the greatest respect for.

(c) Goat Noise Photography

MissParker: Are the interpretations collaborative with your musicians, or does someone take the lead and the rest follow?
Beverley Beirne: This album was in the making two years before I went to the studio.  I had a lot of fun choosing the tracks and trying to make them work. I then created lead sheets for them and figured out how I wanted to do them–I then went to London to work on the arrangements with pianist and co-arranger Sam Watts.  We both really felt we had something special after the first morning.  Sam then worked on the final parts/harmonies.  But saying that, even when we went into rehearsal prior to recording, we’re not a dictatorship, so we were both really open to what the band had to throw into the mix.

MissParker: Do you do original material, as well?
Beverley Beirne: This is something I do for my own pleasure, at the moment.  I’m working on developing my piano playing, which I’m really enjoying and this really helps with this.  I have a project I’m tinkering with and enjoying, but it won’t be out there for some time yet.

MissParker: How would you say that Jazz has influenced contemporary music (rock, new wave, post-punk, industrial, etc.)?
Beverley Beirne: Well, the blues influenced everything, especially jazz which started from the blues.  But it is really interesting to look at the flow of this into rock and pop and R&B. Contemporary jazz now is often a fusion of a variety of different styles, all informing each other, so it’s always great listening to the new vibes in London and in the North of England.  We’re really fortunate with so many creative jazz folks creating beautiful original music.

MissParker: Do you ever get any feedback from the original artists about your interpretation?
Beverley Beirne: I’ve been really lucky to have some feedback from Noddy Holder, Limahl, and Robin Scott from M, all of whom have been really supportive of the project. Noddy and Limahl have given me a couple of fantastic quotes to use, and Robin was really interested in how we managed to create his track, which is a real hip track on the album.  You have to remember that I’m a real fan of these guys–this is why I chose their songs, so to have their approval means the absolute world to me.

(c) Goat Noise Photography

MissParker: Do you have a favorite track on the forthcoming collection? What makes it so?
Beverley Beirne: This is like choosing your favourite child! I love Prince Charming ( I love the vibe with the hand claps); Bette Davis Eyes and the 5/4 vibe which is really great to sing against; Cruel Summer is a fantastic track and has always been a favourite; Waiting for a Man Like You, as I sing in a more gospel style voice I don’t always use; and I have to say Come On Feel The Noize, as this was the first interpretation that I did and had been singing at a Christmas Gig for four years. Because of the huge audience response to it, it was the seed that started me down creating a whole album of these pop interpretations.

There you have it—Beverley’s gift/my challenge to you: new musical territory to explore. Don’t miss this once-in-a-lifetime opportunity.

Visit: JJWTHF/Beverley Beirne website

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Jazz Just Wants To Have Fun – Teaser

Beverley Beirne – Cruel Summer

Beverley Beirne – Too Shy

80s Music (and sometimes 10s) Rules—Slave To The SQUAREwave Returns!

ASRR---CARAfter a long hiatus full of whispered rumors hinting at disbanding, retirement, everything Slave to the SQUAREwave fans absolutely did NOT want to hear, something very exciting has happened—a new album release and a hot party at the Hard Rock in Toronto on February 28, 2014 hosted by David Marsden. That sound you hear is the collective thud of gob-smacked jaws hitting the floor—hallelujah and praise the music gods!

The album—Asphalt, Sex and Rock ‘n’Roll—where to start? These Slave-starved ears were ecstatic with the long-awaited product of a flawless, long-standing, and highly successful collaboration between Rob Stuart and Colin Troy. If ever a duo were destined to create beautiful music together, this is it, folks. The result of long hours in the studio is a perfect, fun-filled collection of music that will both kick your ass and caress your soul.

What should you expect? Here’s my humble attempt to describe the pleasure trip this album delivers to its listeners. Strap yourself in, slide your headset on, and prepare to rumble—this is way better than the best road trip you’ve ever had in the mightiest muscle car.

If asked to describe the opening track Middle Finger in one word, “funkalicious” is the closest adjective that does it any justice.  It’s a combination of Max Headroom (without the stutter) meets the Funkateers that is the perfect warm-up for what’s in store along this welcome journey. Alive and Electric (Dedicated to Jodi) presents swelling synths and superb harmonies; it’s a truly pleasing blend of keys and strings that picks up speed and takes on a life of its own.S2TSW-Poster-01

Next up is Texan Thugs and Rock ‘n’ Roll, a play on words rife with fast cars, a thrumming beat, and tough-guy lyrics. Who could ask for anything more? Then, wafting through the headset is a slightly off-kilter intro to The Big South that lures the listener into a poetic bop-fest of beat-driven goodness.

Not for the faint of heart, Zombie charges off the starting line in a sheer frenzy. Anyone who can sit still while listening to the exceptional synths and snarling vocals of this party-in-your-ear track needs to check for a pulse because they just may well be a zombie. Then, when you think you have a handle on what’s feeding into your brain, the Dr. Who-esque intro of Poor Man’s Fight draws you smack-dab into the middle of the fray, while trippy, fun lyrics bind you up and hold you captive.

Who wouldn’t wish for a Seven Day Saturday Night? Here it is handed to you on a silver platter—the penultimate weekend escape, complete with kick-ass strings that transport you straight into the party-hearty environment that you crave. From there, the bass-heavy opening of Bump promises—and delivers—heart-stopping percussive goodness.

Early Stone Roses anyone? Montreal is another foray into trippy melodies, sexy organ, and seductive piano. After the shameless seduction has left you breathless, you are thrown in front of a revving engine like a beast out of control. Amazing Grace threatens to spin out wildly; miraculously, traction holds you firmly to the road and catapults you along the autobahn of life and love.

SLAVE-to-the-SQUAREwaveThe next track begs for Peace of Mind, but the direct and driven message is that it’s truly an elusive goal. To emphasize that point, Time is Running Out presents a frantic and breathless illustration that time for us is, indeed, running out. Perhaps we should stop and smell the roses?

Casino is a perfectly crafted analogy of love won and lost the hard way. Better luck the next time, baby. You see, everybody gets a little lucky sometimes. Destined to be a favorite, Alive and Electric (Rob’s Analog Electromix) would be ideally at home on any Ultravox collection. The vocals form a faultless partnership with synths that reach down into the soul and infuse a shot of divine life-sustaining energy.

Zombie (Sonix Mix) is a less-frenetic reprise of the un-dead anthem; a different spin on a great, rollicking song. Likewise, Texan Thugs and Rock ‘n’ Roll (Mad Flowers Mix) gives one last and different listen to what makes this collection a no-holds-barred masterpiece.

Slave to the SQUAREwave delivers raw, unbridled musical joy with each and every collaborative piece that they create. Don’t miss out on a chance to experience truly artistic genius at its very best, while Rob and Colin still have the passion to make it happen. And, if you are lucky enough to be in the greater Toronto area whenever the sun, moon and stars align in perfect combination, be sure to see the dynamic duo Rob Stuart and Colin Troy, along with supporting band members Doug Lea and Craig Moffitt, for a live performance.  It’s definitely on my bucket list.ASRR---Reel-to-Reel

A very limited supply of 200 Asphalt, Sex and Rock ‘n’Roll CDs will be available at the release gig at the Hard Rock Café (279 Yonge St, Toronto ON) gig on Feb 28, 2014. After that, an “Expanded Edition” will be added, which includes these outstanding bonus tracks: “India”, “Stereo Orthophonic High Fidelity Victrolis (SOHFV),” and “Alive & Electric (Kernel Chiptune Mix).” Also, for the first time, S2TSW are making The Money Shot (another absolute personal fave) available with all bonus tracks. Both albums are for sale starting Feb. 28, 2014 at the locations shown below.

Tunecore-Release-Availabili