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.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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 you 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!

Advertisements

80s Music Rules ~ Criminally Underrated Artists/Bands ~ SLAVE to the SQUAREwave (interview with Colin Troy McPhail)

About 10 years ago, I was a novice listener of David Marsden’s live broadcast over the internet from a station out of Oshawa, ON Canada. His style and selection of music (mostly alternative 80s and current off-the-beaten-track tunes) had grabbed me from the first show I tuned into (thanks to a recommendation from fellow music blogger RalphD). One night, I distinctly remember being stopped dead in my tracks when a song came up that I had never heard before. I quickly shot off an email to Ralph asking, “WHO is that?” Ralph’s answer came back with an oddly-named group—SLAVE to the SQUAREwave—and a brief history of who, what, when…

The song at the time was “Sinners of Saint Avenue,” and from that moment on, I became a die-hard “Squarehead.” The melody, the lyrics, the singing…up until that point I had firmly believed that there wasn’t a singer out there that even came close to my longtime idol David Bowie. Well, holy cow, was I wrong! Here was Colin Troy McPhail, backed by the incredible musical talent of Rob Stuart, delivering the range, the pitch, the drop-dead gorgeous passion of Bowie, but with his own distinctive and personal flair. Thank goodness for me that RalphD was himself a huge “Squarehead” and happily pointed me in the direction of finding out more about S2TSW.

Since then, I’ve had the pleasure and good fortune to feature SLAVE to the SQUAREwave (Colin and Rob Stuart) several times here on Rave and Roll blog. Rob even interviewed me last March for his “The Mixtape Show” DJ slot on NYTheSpirit.com. This, however, is my first opportunity to interview Colin, the angelic and passionate vocal genius of S2TSW. If you’ve never had the privilege of listening to SLAVE, please give yourself that treat. They release their new album Jigsaw on November 10, 2017. It will be available worldwide on all streaming and music websites with an album release party in the works.

Maybe, just maybe, you’ll fall under their indomitable spell and become a Squarehead, too.

(NOTE: At the end of this interview, Colin and Rob have provided a free download of the ambient remix of “Starrs,” a beautiful and moving track. This particular mix is not available on the album Jigsaw that releases on November 10, 2017).

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Missparker: SLAVE to the SQUAREwave’s core musicians are you and Rob Stuart. How did you guys meet up and how long have you been making music together?

Colin: Rob and I met nearly 20 years ago at a rave in Oakville Ontario. He was playing his EDF (Electronic Dream Factory) music, and I was performing a project called Smokin Jehovah. We got talking and discovered that we lived close by to one another. We met up and jammed out some of our own music ideas and began a lifelong friendship through music.

Missparker: As someone who can’t hold a tune in a bucket (me), but is blessed with good ears, I am in awe of your tremendous gift of singing. I’ve mentioned to anyone who’ll listen that you remind me so much of David Bowie in style, range, and expression. Do you consider him an influence? Is there anyone else who has inspired you vocally?

Colin: Of course, Bowie is God (laughs). He is by far the greatest artist that has lived. But musically I’ve been influenced by what I call the Davids—Bowie, Byrne, Gahan, Sylvian, and Lee Roth—all my Davids have been musical influences lyrically, musically, and of course, showmanship.

Missparker: I have to say, after viewing a number of SLAVE videos on YouTube, I feel like I’ve missed out big time on your live performances. You seem to morph into all kinds of different and interesting personas. Are they inner characters that you allow to escape onstage? Do they have names?

Colin: (laughs) HAHA, good question…hmmm…The Characters are mostly influenced by the songs themselves. So performing live, the characters just add to the ability to make the songs visual, as well as lyrical. Live, it’s so much fun—hmmm…I’ve never thought of names—maybe I should (laughs)!

Missparker: I have to say I’ve thoroughly enjoyed my preview of Jigsaw. I’m full of questions, but I’ll try to contain myself and keep it to a bearable number! First, where did the name Jigsaw come from? And the delightfully fun intro “Debauchery”—does it have a particular significance?

Colin: This past year and a half has been a personal nightmare—from losing a job and getting transferred to a different job, which has been frustrating—to having my car stolen—to losing a great relationship (at least I thought was)—to losing my dear sister to cancer this past summer. Jigsaw is about the pieces I’ve lost and trying to put some kind of puzzle back in order.

Debauchery is an ode to musical theatre like Cabaret or Chicago. Just a fun sexy, sassy little number to introduce your ears with.

Missparker: No pun intended, but “The Coldest Night of the Year,” along with “Starrs,” absolutely give me chills. They are gorgeous: instrumentally, lyrically, and stylistically thanks in large part to your poignant delivery. What can you share about the source of the emotion behind the lyrics?

Colin: “The Coldest Night” was written around New Year’s Eve of this past year.  I was in a long distance relationship and because of the lack of physical intimacy, I just was overwhelmed with feelings of loneliness. Eventually we ended it a few months later.

“Starrs” is about my dear sister who died of cancer in August. Her middle name was Starr. We knew she was beginning to fade and her time was coming soon. Rob came up with this beautiful track—I was floored by its musicality—probably the toughest song lyrics to write. We finished the song before she passed away. It’s about seeing her again beyond death’s door. I never played it to her. She never got to hear that song. It was too painful for me to have her hear what I wrote—because it was about the inevitable.

Missparker: I’m so sorry for your loss. The pain that you went through is so evident in the music and lyrics. David Marsden has been playing “Starrs” as a teaser of sorts over the past few weeks. I remember thinking, “If the rest of the album is half as good as this, it’s going to be brilliant.” Well…it’s MUCH more than half as good, so “brilliant” is an understatement. Do you have a favorite track, and what makes it that?

Colin:  “Here Comes My Man.” It’s a hilarious true story of a grindr hookup gone bad.

Missparker: “Honest” has an earnest rhythm driving it from behind, almost reminiscent of island music. It’s not the first time I’ve heard this influence in S2TSW’s music. Is there a specific source that it comes from?

Colin: I love drop beats. Both Rob and I love ska music. Rob had a much more musical influence on that track. I had the acoustic melodies and rhythm, but he brought in the drop beats. It’s his genius not mine (laughs).

Missparker:  My ears perked up at the opening seconds of “Something That I Said.” Did I catch a sample of the sample (twice removed) from Eno and Byrne’s “Mea Culpa?” What’s the story behind this song?

Colin: I think you did. My God, good set of ears, my dear! The song is about offending and being offended by people’s stupidity (laughs). It’s such a simple Talking Heads-like rhythm. Gonna be so much fun to perform live!

Missparker:  And speaking of funk, “Something I Said” is one of several funk-laden songs on this (“Fink Fank Fonk,” “White Kids on Funkk,” etc.) that sound like you and Rob had a blast composing. Are there any musicians/bands that you can point to as funk-influential?

Colin: To me FUNK is the best music. It always lifts me up, and great to dance to. I think Nile Rogers is an absolute genius.  It’s about James Brown, George Clinton, Prince…I don’t know where to start. Funk is the biggest musical influence of my life.

Missparker: “Ascension” is a powerful song. It hints at a deep hurt and a request for a prayer that is both haunting and scary…almost as if you’re asking for help to avoid doing something you’ll regret. It’s well-known that music is a creative way to tame the demons plaguing one’s inner self. Personally, writing and photography are my avenues of sorting out what I can’t adequately express. David Bowie once said that his music was his way of avoiding madness. Do you find a similar comfort writing and singing lyrics—a catharsis of sorts?

Colin: Oh wow. You hit the nail on the head. It’s about knowing you’re about to do something wrong, but do it anyway—kind of masochistic.  If you listen specifically to one lyric it’s very, very masochistic. Music has been and always will be my therapist. I think every writer has demons and the best way to deal with is through writing about it.

Missparker: “Get Out Of My House” is a fun, beat-driven, chair-dancing tune. It’s another teaser that David Marsden has been sticking in our ears over the past few months. I love the whimsical video Rob put together for it. The story goes that you guys created this song from opposite ends of Canada, which is phenomenal. How important a part does technology play in music-making these days, and how has it changed the landscape of creating and producing music over the years?

Colin: Actually, 3 or 4 songs were written while I was in Vancouver with a now ex-partner. Rob and I bounced a whack of musical ideas from Toronto to Vancouver at the time. We share the same software, so I would record and send him the track. He would make his adjustments and inputs and return them to me. Back and forth.

Technology is amazing these days. It allows a lot of freedom, if you use it properly (laughs). It has totally changed music production, both in a good way and a bad way. Good in the sense that it doesn’t have to cost a mortgage to record anymore. Bad in the sense that today’s music sounds thin to me, at times. There is a lack of warmth in today’s sound because of over compression. But, that may be because my ears are getting old!

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

As a special gift to all listeners, Rob and Colin have provided a free download of the full ambient mix version of “Starrs.” This version is not available on the album that will release on November 10. Press the graphic below to download your copy. 

Many thanks to Colin for his candid and heartfelt answers. To learn more about SLAVE to the SQUAREwave and listen to the fabulous music described here, be sure to check out the following sites:

Get Out Of My House (Video edit)–SLAVE to the SQUAREwave

David Marsden/NYTheSpirit.com Interview with Colin and Rob

Big Change (extended mix 2017)–SLAVE to the SQUAREwave

Sinners of Saint Avenue–SLAVE to the SQUAREwave

Hopeless Believers–SLAVE to the SQUAREwave

London Baby–SLAVE to the SQUAREwave

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Glamatron (Rude van Steenes and Kurt LaPorte)

Timeless music doesn’t fade away. Fueled by the passion of its creators, sometimes it rises from the ashes to feed ears that are tired of listless, formulaic tunes and hungry for solid, genuine, and soul-thumping Music-with-a-capital-M.

Glamatron! was originally formed in 1981 by Canadian musicians Rude van Steenes and Kurt LaPorte.  Together they produced one Glamatron! album called Only the Heart Beats … Inside the Silence. There was one other album to follow that never, unfortunately, saw the light of day: Chrome Horizons. After Glamatron! was dissolved, van Steenes and LaPorte then formed Vis-A-Vis in 1984, which was nominated for two awards and won the 1987 CASBY Award for Best Independent Artist.

Prior to Glamatron!, Rude van Steenes was the front man for Canadian punk band ARSON, formed with guitarist Marcel La Fleur and highly visible in the Canadian and American punk scenes during the late 70s and into the 80s. Fast forward to 2013 when Van Steenes and guitarist Marcel La Fleur resurrected ARSON and released a blistering, well-received album called not always about you.

Now, it’s time for van Steenes and LaPorte to reintroduce Glamatron!. And what makes the reemergence of this album doubly exciting is, well, that it’s a double album. Not only is Only the Heart Beats … Inside the Silence back, the previously unreleased Chrome Horizons is now available as part of the package.  Add to this the influences that its creators point to: Bowie, Roxy Music, Lou Reed, Marc Bolan & T-Rex, as well as early Ultravox, Wire, and Magazine, and you’ve got a collection of music that will absolutely wow fans of early New Wave. DJ David Marsden has been giving solid airplay to various tracks from Glamatron! on his Internet streaming radio station NYTheSpirit.com, and they have been met with keen interest.

Rude has graciously agreed to be interviewed, and I am proud and pleased to re-introduce you to this wildly gifted musician and his music. I have enjoyed…and will continue to enjoy…Glamatron!’s recently reissued Only the Heart Beats and Chrome Horizons. I know New Wave/post punk fans will, too.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Missparker: Thanks so much for taking the time to talk with us about Glamatron!. I think an obvious first question is, what inspired you to reissue Only the Heart Beats … Inside the Silence and Chrome Horizons? And, who were your partners in crime (other band members)?

Rude van Steenes: Thank you for the opportunity and for all the great work you’ve done in supporting and bringing new life to one of the most creative eras in music! It truly is a pleasure to see this music thriving so many years later while continuing to garner new interest through the great articles you’ve written on the bands and artists and your ongoing support.

So, the question was, ‘What inspired me to reissue these albums and who else was involved?’ Well, the reissue was something I had been dabbling with in my mind for some time. I always thought the initial recording, Inside The Silence, was a diamond in the rough in that it was recorded on an 8 track reel-to-reel deck in a basement studio with little-to -none of the studio enhancements available today. The songs were roughly fleshed out by Kurt (Laporte) on guitar and myself on synthesizers and drums; then, Rick (Krausminc) came in on additional keyboards.

We worked with several players including Max Hutchison on drums and Marky Haughton on bass. Although Max and Marky played together on the same tracks, both left together before the recording was complete. This led to Kurt playing both guitars and bass, Rick on keyboards, and myself on vocals, synthesizers, and percussion while Max played drums on 3 tracks, Ben Elfassey on one, and I played on 2 tracks for the finished product. I think we recorded it over two weekends, mixed it, and borrowed the money for a pressing of 950 copies and that was it!

The cover was designed by Anne Marie Carlson and the striking woman featured is a portrait of her mother. The layout was bold for the time; most akin to the European releases of that era which had appealed to us.

Although critically acclaimed, North American labels in general were not interested as it lacked, in their opinion, “commercial appeal” and was considered “ahead of its time” for their audiences. Remember, the Canadian industry was tethered to their American parent companies and, at the time of release, the popular markets played Eye of The Tiger by Survivor, Physical by Olivia Newton John and Ebony and Ivory by McCartney and Jackson, as well as artists John Cougar, Chicago, Foreigner, and Toto topping the charts in North America, so no one here could or would do anything for us. Although the European scene was much more in tune with our sound, we lacked the management and resources to market ourselves over there.

And that brings us to Chrome Horizons, the previously unreleased, three-quarters completed, follow-up to Inside The Silence. At this time, Kurt, Rick, and I were working on some ideas and were joined by Scott Matthews on bass and Rob Greenway (a.k.a. Brilliant Fish) on drums. At some point, Kurt dropped out, leaving the project guitar-less. This was, of course, a challenge I wasn’t anticipating, and it took a while to adjust ,too as Kurt, for the most part, was my song-writing partner; however, as I had the bulk of the lyrics and part of the music written, it was then up to all of us to complete the pieces in the studio.

We took on the song Call written by Rob and, after a few runs, it started taking shape. Scott’s fluid bass lines combined with the keyboard melodies and stylized vocals, gave the finished song its character. The rest (Intrigue, Photographs, Death In September, Art of Seduction, And We Who Dare) followed suit; however, this was another self-produced indie project and we were again in a financial crunch unable to continue. In fact, one track didn’t make it on the studio version (And We Who Dare), as it wasn’t ready. It is, however, included on the live version of the CD and Bandcamp download. What was salvaged from those sessions remained on master cassette tapes for better than 30 years before being re-mastered by Scott in his studio this year.

Finally, what brought this all to light this year was a message I received from my friend Jacek who has a label called Artoffact/Storming The Base. He was interested in Glamatron! and asked if he could do a re-issue of the original first record. I then told him about the unreleased 2nd album and live tracks and a deal was struck to put the whole package together. They did a wonderful job, packaged the vinyl in optional pink along with a great poster, and the CD has a beautiful little booklet and bonus live tracks, as does the download. Really impressive—their label also has an incredible roster of artists that I’m proud to be amongst—such great influences and talents. (Please see the links at the bottom of this article for more information).

Missparker: To me, it’s quite a shift from ARSON’s pure punk to Glamatron!’s New Wave. What was the reason for switching genres, and did you find it to be a natural progression?

Rude van Steenes: Well, for starters, I think musician, author, publisher Jaimie Vernon probably nailed it best in his description of ARSON:

“Though ARSON was shuffled into the First Generation Toronto Punk deck of cards, one listen to tunes like “Love On A Leash,” “Art School Fool,” “Social Eyes,” “Not Always About You,” and “Motor City Suicide” and 20/20 hindsight reveals that ARSON were/are actually a true-blue American Rock ‘n Roll band owing nothing to The Ramones and everything to Iggy & The Stooges, The MC5, and The New York Dolls” –  Jaimie Vernon, Musician, author, publisher (Canadian Pop Music Encyclopedia Vol 1 & 2, etc.).

So, ARSON was always kind of on the outskirts of the scene. For example, our third show was opening for The Dead Boys at the height of their initial popularity and that pissed off a lot of local bands who had wanted to do that show; however, it was the promoters’ decision, and although it worked out well for us, the resentment from other bands was never completely resolved.

Our shows were also more rock ’n’ roll than punk; being fairly agile performers, we would utilize stage lights, fog machines and experiment with different outfits and even characters. I took on every show as an adventure; however, towards the end of 1979, while playing some dates in New York City including Max’s Kansas City, I began to feel restless—restless to do something more creative, a different trip that would incorporate more diverse influences and, I think, we all saw that coming. Things were becoming strained between all of us, the road had taken its toll, the original scene was dying, and we were still broke and in debt. I needed to move on; ‘transition, transmission’ was my state of mind.

We came back home, recorded The Animals’ We Gotta Get Out Of This Place for the No Pedestrians compilation album, and all went our separate ways. Marcel and I were obligated to play a couple of gigs in 1980, so we picked up a few former players for those shows, and after two years of working closely together, we took a break for some 30 years!

At first, I began experimenting with different ideas under the ARSON banner. I found a guitarist I had known, recruited a bassist from another band, advertised for a keyboard/synth player and a drummer and put it all together. We did some of the old material, but focused on new songs and ideas; and at first, things went well. We played a few shows and started recording some demos. I brought guitarist Kurt Laporte into the band, but tensions began regarding direction and I began to sense potential problems that I didn’t want to deal with. So, I walked away from my creation, Kurt followed, and the remains went on to become Boys Brigade.

Immediately after, I started writing new material with Kurt and I came up with the name GLAMATRON!, which was the complete antithesis of ARSON. We wrote all new material and never once referenced the recent past. We were going to be new and different using our musical influences inspired by the UK and European music scenes. Transformation came quite easily, as I had already introduced characters into the previous band; however, this time everything changed dramatically from the music to the staging to the overall presentation. It was going to be more ‘theatrical,’ if you will, more along the lines of a hybrid Roxy/Bowie/Reed/’77 Ultravox-come-Stranglers affair. I wanted to change back from the stripped-down punky stage setting to creating a more engaging environment that rocked; and, the transition was so complete, that only close friends knew what was happening.

Having always written lyrics and vocals driven by a rhythmic feel from my drumming days and being influenced by a wide variety of jazz, blues, rock, and soul pioneers like Muddy Waters and John Lee Hooker, Elvis Presley, Frank Sinatra, Johnny Cash, Wilson Pickett, Otis Redding, the Walker Brothers, not forgetting  Bob Dylan, Van Morrison,  Joe Cocker, Jim Morrison & The Doors, Todd Rundgren, Peter Murphy, David Bowie, Iggy Pop, etc., etc., at the time, I felt the limitations of the genre that ARSON had become was somehow preventing me from exploring other areas. As much as I loved doing what I did, I wanted to do more.

Writing was always important to me; it was an outlet to express myself whilst defining the moments of my interactions with life and all of its trappings. I grew up with books; I’m still an avid reader with a couple of books-in-progress left throughout the house. Great writers and poets have always fascinated me, particularly when their stories have the power to hold you as if a spell had been cast and you can’t leave until that spell is broken or the story ends.

Writers such as Thomas Pynchon, Edgar Allen Poe, Philip K. Dick, Kurt Vonnegut, Harlan Ellison, Anthony Burgess, Christopher Isherwood, Rod Serling, and Martin Amis, amongst others, could transport you right into their scenes with such vivid descriptors that if you closed your eyes, you could almost feel your senses open to the experience you just read about. So many other wonderful writers—each one has its influences while the best ones leave their mark.

When I came into the music scene, the last of the Beat poets were rolling up their influences in the old coffee houses of Montreal. Allen Ginsberg, Tuli Kupferberg and The Fugs, Jack Kerouac, Lou Reed and The Velvets, etc., had all drifted through and left their mark. It was all good and hung over with hints of old-world/Beat romanticism lingering in the air, giving it a sense of creative freedom. Switching genres was not really difficult, but more of a natural progression.

Missparker: You mention some fabulous influences in the release notes. Can you expand a bit on the elements of some of these artists that gave helped life to Glamatron!? Was it appearance, musical style, a bit of both?

Rude van Steenes: Well, I’ve been musically inclined for as long as I’ve known; my first instrument was drums and I was self-taught. Within two years of practicing, I was playing high schools, parties, and special events. Life at home wasn’t great, and in 1967, I left home and went to the west coast, finding myself in San Francisco for part of the summer of love. That experience opened up so many different avenues in music, poetry, art, and film that it easily became the creative extension of the Beat generation.

While many of my then contemporary influences included The Beach Boys, Jan & Dean, Dylan, and Frank Zappa to Paul Butterfield to John Coltrane, the Velvet Underground to Motown to Miles Davis and on the British side, John Mayall, the Stones, Animals, Who, Troggs, Them, etc., they were now joined by The Doors, Hendrix, Janis Joplin, Pink Floyd, Traffic, Small Faces, Moody Blues, Cream, etc., and styles from American garage to psychedelia to glam incorporating Bowie, Bolan, Roxy, Todd Rundgren, et al. All of these influences impacted throughout the seventies and into the eighties, constantly regenerating and further exploiting the boundaries of creativity, which at that point, showed no limits. Rock and Punk had bred New Wave, Goth, Hair Metal, Nu-Metal, Industrial, and Grunge—all variations on a theme!

My personal tastes have always leaned more to the other side of the pond with exceptions, of course; but in general, there appears to be a greater appreciation for music and the varieties and styles seem to co-habit in more of a non-competitive environment in comparison to the North American artists. I’d love to go over there and play some dates—we’ll have to look into that!

So as a direct answer to “was it appearance, musical style, or a bit of both?” The answer would have to be a lot of both!

Missparker: I have to say, when I put the CD in my player, you had me at Passport. I love the marriage of guitar and synths. What made you include an instrumental, and particularly as the opening track? Were you making a statement?

Rude van Steenes: Passport represented a number of things to us as it starts the adventure. First, the sound—a joyous, up-tempo instrumental that signals a new direction. It starts with the synth drone and church bell that opens into a bass sequence before the guitar and drums kick in. The song evolves around Kurt’s guitar lead and builds with momentum as it progresses; timbales kick in, the tempo remains strong, focused as the guitar counter plays against itself until the final stanza when the drums double up to punch out the last notes followed by the synth drone from the opening coming back and leading into Facial Saviour. Second, as the title implies, this is your ‘passport’ to the rest of the record. And, you’ll notice that just as in the beginning of Passport, the pealing bell is repeated at the end of the closing track Porcelain Doll, after the shattering sound of the doll breaking, to signify the end of your adventure.

The record was planned that way in my mind, albeit subconsciously. It emulates the cycle of birth, life, death, and reincarnation while incorporating all the trials and tribulations, joys and sorrows that we encounter on our journey. In the end, we’re reborn; hopefully wiser, stronger, and better individuals as a result of our experiences and encounters. A passport is always a beginning to something, it never ends.

Missparker: Even though “a little birdie” had given me a heads up that Glamatron! was coming to David Marsden’s live stream, I sat straight up in my chair when I first heard Porcelain Doll on his show. My initial reaction was, “Wow—who’s this?” Is this the reaction that you were hoping for from other New Wave fans?

Rude van Steenes: Of course, but it always comes as a surprise that the song still has that kind of impact. Porcelain Doll was a song that was very carefully arranged from the opening strains of the toy piano to the ‘Gregorian-style’ chorus and the off-kilter guitar that drunkenly wanders throughout the song right down to the child’s voice in the song’s midst. The fact that we were able to incorporate all these tracks with multiple bounces and not lose too much clarity on an 8-track reel-to-reel deck was a bit of a miracle onto itself! As it was also the last track we recorded, there were glitches to overcome. For example, we were going to have a drummer for the session, but he cancelled at the last minute. So, I ended up playing drums. Time was also tight, so we had to scramble to lay down all the tracks and, of course, things never go as planned when you’re jammed. We had to level the toy piano samples as they recorded too “hot,” the guitar parts had tracking issues, finding the right “shattering” sound for the ending, etc., etc.; but, in the final hour, it came together. The first time I heard it 35 years ago, it took my breath away and I hoped it would do that for everyone who heard it.

Missparker: Death in September has such wonderful overtones of Bowie’s Berlin Trilogy days. Is that era of his music something that you found valuable to your own work? The reason I ask is because he took a trouncing in the press for his music during that period, but Glamatron! seems to embrace it fearlessly, without regard for critical backlash.

Rude van Steenes: Well, in all honesty, I’ve never written to appease critics and I’ve always admired and respected artistic individuality and integrity as part of the creative process. Lyrics, poetry, prose etc., are an extension of your soul, a diary, if you will, of experiences, encounters, and interpretations that you have witnessed and composed creatively into words. Every artist has their own ‘vision’ and license to explore and interpret in their own way, as to how they perceive the intricacies of life.

David, as we know, was a master of that process not only during the Berlin trilogy but before and long after as well. His poetry and lyrics from early on and throughout his career are, for the most part, shining examples of life experiences woven into a variety of musical fabrics representing every era, so many of which he himself helped create.

The song Death In September was originally titled The Word from the first record and yes, the dark influence was definitely intoned throughout that first album; however, I felt the original version could be improved upon, so we re-recorded it focusing on contrasting the lyrics with a pronounced dance rhythm and a heavier synthesizer track and it pumps so much better now!

Missparker: Personally, I’m drawn to the 80s for the very style that Glamatron! emotes. I think it’s safe to say this collection is very appealing to that generation of listeners. Do you think you have a market with the current generation of music consumers?

Rude van Steenes: I’ve always believed that markets are created and not necessarily by the talent alone, but by a number of factors that include radio airplay, video play, label support, a strong promotional team, and motivated management. With those initiatives in place, I firmly believe that audiences can be created for any genre of music.

Unfortunately, the North American industry has always been “trend” focused in that they would hold back and follow trends rather than set them. Once a trend was established, everything else was put on hold and that’s where the indie labels had some clout. With savvy marketing campaigns, smaller labels could pick up acts, record and distribute them accordingly, and achieve success.

Of course, the majors didn’t like that and started buying out a lot of the smaller labels and either taking them over or gutting them depending on the individual success of each. This totally backfired as the smaller labels had a better understanding of their unique artists and often had chosen talent over profit, something the majors couldn’t understand.

In the early nineties, the industry began suffering major setbacks affecting artists, labels, and consumers and their markets continued to shrink throughout the next two decades. Once upon a time, there was a thriving industry that was able to invest and nurture and grow talent and although it wasn’t perfect, it certainly helped a lot of artists throughout the sixties, seventies, and eighties. Money for investing and promoting, recording and support for musicians was available, and it was, for some, a great community to be a part of.

By the mid-2000s, we saw the decline of the rock star and the rise of the reality TV star, which implies it is basically only about the image. Music took a back seat. When people don’t buy music anymore, the record industry responds by promoting stars with a marketable image. That created image has to then fulfill an objective with commercial potential, thereby stripping out any artistic quality for the sake of sales revenue. In essence, many of today’s songs are not reflective of the artist, but rather carefully written lyrics and hooks assembled by multiple writers with the subject matter designed to appeal to the reality show culture. In other words, today’s pop hits are usually manufactured.

The industry today is almost non-existent, and why bother? With shows like American Idol, hundreds of people can “sing” and they all want to be stars. Why would an industry develop an artist when they have access to clones of today’s stars for nothing?

Do I think that there’s a market for the 80s sound with the current generation of music consumers?  Yes, because good music withstands the test of time and because audiences still seek out good dance music and the 80s had that in droves! We just have to have a solid fan base that can help sustain us in order to continue producing and recording our music.

Missparker: I love, love, love (did I say, “love?”) Call and Art of Seduction from the Chrome Horizons collection. The fretless Mick Karn-ish bass riffs and the Sylvian-esque off-kilter singing absolutely slay me. Was that a nod to the group Japan, or just a coincidental and fabulous collision of incredible sounds?

Rude van Steenes: Well, I would have to say both in this case! We’re all fans of Japan and I would be remiss in denying that there was some influence; however, Call was written by Rob (Greenway) and when we were laying out the track before recording it. Scott (Matthews) was experimenting with his fretless bass while Rob and I experimented with vocal stylings as a progression of the overall “GLAMATRON! sound.” The rest fell into place and we recorded it.

When it came to Art of Seduction, this was a little trickier as the song flowed around the vocal, which had actually started out as a poem I was writing influenced by a series of books I had been reading by Christopher Isherwood called “The Berlin Diaries.” Once we started playing around with some ideas, the lyric developed a flow. Scott again incorporated the fretless bass and the nucleus started taking form. I wanted to keep the background somewhat dark to contrast the bass and vocals and that’s where the notorious Prophet 5 synthesizer came in. I was able to layer several ghostly ‘creeper’ tracks that wove in, out, and between the vocal, bass, and percussion layers. There were other pads that I wanted to add to flesh it out a bit more, but time was a factor.

Missparker: There seems to be a distinct difference in sound between Heart and Chrome. The tracks on Heart are a bit more upbeat, where those on Chrome are a bit darker (and actually appeal to the Goth tendencies in me). What type of evolution had the band gone through to bring about that difference in style? Did that have something to do with not releasing Chrome when it was first made?

Rude van Steenes: Yes, there definitely is a distinct difference in sound between the two which was brought about by a number of mitigating factors. Following the recording and release of Heart, Scott came on board and we did our first live show at a place called The Domino Klub. It was a well promoted showcase; however, nobody, save a few close friends, knew who we were. There were no clues to the past (i.e. ARSON, etc.), and we decided that the less we say, the more intrigue got to play and it worked! The ‘intrigue’ portion played out on national television as a segment of The New Music show where reporters were filmed chasing the band to the dressing room without getting an interview—all in good fun!

It was shortly after that show, when drummer/percussionist Rob came into the picture joining Kurt, Rick, Scott, and I and we started thinking about recording a follow-up record. In addition, we were offered a television taping for a future broadcast. Once the taping was done, it was time to get back to writing.

I think that one of the primary differences in our evolution was that with the first album, Kurt and I wrote the songs and parts and the guitar was always there. Now, with two new fulltime members also contributing, somewhere in the process, Kurt seemed to sense a directional change that he may not have been comfortable with and took a break from the project. As some of the tracks had been written with Kurt’s parts, we had to change those with alternate parts and that was tricky at times. Everything was revamped and all told, Rick, Scott, and Rob did an incredible job breathing new life into the songs.

Other factors include the variety of influences we were affected by in the process of developing the GLAMATRON! sound. As an avid reader and observer, I’m always armed with pens and paper and usually end up with all sorts of scraps of paper with partial lyrics, ideas, etc., in my pockets. At home, I have at least 5 scratch books in different rooms for the same purpose. Scott, Rob and Rick would also gather ideas and throw them on the table; some worked and some didn’t, all parts of the puzzle.

As for not releasing Chrome sooner, there were still tracks to be recorded and mixed, final touches that we weren’t able to finish and like most indie bands, the money is always an issue. Although we were in a slightly better studio with a bit more money, it really wasn’t nearly enough to finish the album. As such, the project was shelved for almost 35 years. What you’re hearing was culled from cassette masters and carefully re-mastered by Scott in his studio.

Of note, one of the incomplete tracks, And We Who Dare was never fully finished although there is a live version on the CD and Bandcamp versions.

Missparker: Only the Heart Beats … Inside the Silence and Chrome Horizons is such a nostalgic trip for me. I just want to put on my dancing shoes, spray my hair up high, and go clubbing. Will there be more—in other words, would you be open to creating more music in the traditional New Wave style?

Rude van Steenes: Well, with the support I’ve been getting from fans, old and new, and of course from David Marsden and his nythespirit.com radio programs, as well as opportunities such as this wonderful interview with you, I’m encouraged and delighted that after all these years, the music and the sounds of that era are still very much alive.

Personally, I’ve never really stopped writing and I do have at least two albums worth of lyrics that easily would fit into that, shall we say, timeless style. Also, let’s not forget, GLAMATRON!’s “successor,” thrice nominated CASBY Award nominees and 1986 winners for Best Independent Artist, Vis-A-Vis!

Vis-A-Vis was actually the continuation of where GLAMATRON!’s founding members, Kurt LaPorte and I, were reunited. Bolstered by our mutual friend and current nythespirit.com host Rob Stuart on synths, along with Gene Burda on keyboards, Gord Baker on drums and Gene D’Onofrio on bass, you had the first version of that band! More on that for another occasion as there may be a CD release in the future.

So, back to your original question, I would have to say yes, there is material there and I’m working on it as well as scripting a video for Porcelain Doll. The hard part is finding like-minded people to collaborate with as many people involved with these projects have moved on and had families, careers, and other projects and pursuits. For example, on my end, I got together with Marcel and some old friends and reignited the band that preceded GLAMATRON!, ARSON. I’ve known these guys since the late 70s and we decided to have some fun and get together, do some shows, and release a CD.

Former GLAMATRON! bassist Scott Matthews works in theatre now in Stratford while former drummer Rob Greenway records under the name Brilliant Fish and plays in various bands. As for Kurt LaPorte, I understand that he gave up playing professionally years ago to focus on career and family. Rob Stuart went on to create EDF following Vis-A-Vis and I was quite honored to be part of his band as a vocalist and percussionist and a contributing writer to tracks on their first CD. Rick Krausminc survived both versions of GLAMATRON! and was a significant contributor to the GLAMATRON! sound. A very talented piano and keyboard player with a great sense of humour, Rick could easily defuse any tense moments. When GLAMATRON! left the room with Elvis, Rick went back to his DJing at clubs and built a successful career.

I should also like to thank Greg Baker, who in the beginning stages of the band, was there and really believed in the project and helped out with all the managing chores and contributed his energy and experience. Also a special thanks to Brian Masters for his contributions to the second album, Chrome Horizons. Playing with all these amazing musicians has been a privilege and something I would love to do again, as so much good has come out of those collaborations, so many creative ideas spilling over and birthing other ideas that flow like paint on blank canvases breathing life into a cascade of colorful notes and leaving something that spurs memories and good times, tears and laughter, love and loss, but always a time that sparks would fly and live dangerously in love with the creative muse.

Be sure to check out Glamatron!’s music and legacy music on the following sites:
https://www.facebook.com/Glamatron/
https://www.facebook.com/VisAVismusic/
http://www.facebook.com/arson.music
https://twitter.com/ARSONBAND
http://www.reverbnation.com/arsonmusic

80s Music Rules ~ Criminally Underrated Artists/ Bands ~ Rob Stuart is Back with Electronic Dream Factory (EDF)

Excellent music never dies; sometimes it just goes away for a while. And, like a treasured loved one, its return evokes strong emotions of joy, relief, and a reconnection with the universe. That’s what’s happening here, folks. And, I am delighted to be the bearer of the fantastic news.

Rob Stuart first graced Rave and Roll’s pages exclusively as a featured artist back in November 2009. Earlier that year, I had published an article about his Toronto-based band SLAVE to the SQUAREwave, followed by a review of their then-latest smashing release, The Money Shot. Earlier this year (Feb. 2014, to be exact), I was privileged to announce Slave’s return with a jaw-dropping, in-your-face collection of tunes called Asphalt, Sex & Rock ‘N’ Roll. Now, I am thrilled to deliver the trifecta: Rob Stuart’s long-awaited re-emergence featuring an entire catalog of synthesizer-driven musical goodness from his band, Electronic Dream Factory (E.D.F).

Rob agreed to be interviewed so that I can share with you all a little bit about the beginnings of E.D.F., its evolution, the inspiration for the music, and the reason for the decision to re-release the catalog.

When did E.D.F. make its debut in the world?

EDF studios circa 1983

EDF studios circa 1983

Originally E.D.F was and still is the name of my home recording studio. I stole the name from a small British synthesizer company called Electronic Dream Plant which built a very cool monophonic synthesizer called “The Wasp.” My earliest recollection of my first home studio was back in 1981. I decided very early on in my “music career” that rather than pay other people to record in their studios, that I would just build my own and teach myself how to record, engineer and mix.

I was only sixteen back then and gear was incredibly expensive, so my first studio was nothing fancy. I would work three summer jobs to save up enough money to buy studio gear. I still remember purchasing the first real synth I ever owned, a Korg MS-20 for $595.00 at Steve’s Music Store in Toronto. I was so proud walking home with that synth tucked under my arm that day. It was once I started writing original music when I decided Electronic Dream Factory would also serve as a good band name.

Who were the original band members?

Greg Fraser, Rob Stuart, Rob Tennant (1992)

Greg Fraser, Rob Stuart, Rob Tennant (1992)

There have been many incarnations of the “band”version of E.D.F. Version 1.0 is me alone as a solo artist . Long time friend/musician/ artist, Greg Fraser was the first person to become an official member. Our first full-length self-titled album was just Greg and myself. Version 2.0 included Rob Tennant, who was the live drummer.

We soon added Maxx on guitar. Version 3.0 included Emerich Donath on stick bass and Rude Van Steenes on electronic percussion and vocals. I knew Rude back from the Vis-A-Vis days as I was an original member of that band .

EDF Version 3.0

EDF Version 3.0

Why synthesizers and electronica vs. guitars and…?

I’ve always been a synthesizer nut. Ever since I first heard early synth-based music like Tangerine Dream, Kraftwerk, Pink Floyd, Jean Michel Jarre, Vangelis, Throbbing Gristle, David Bowie, Brian Eno, Gary Numan, John Foxx, and early Human League, I knew I wanted to get into synthesizers.

First of all, they looked so cool and they could make sounds that you’d never heard before. That was really the appeal to me. I would spend hours messing around with my MS-20, plugging in cables, twiddling all the knobs, to come up with unique and different sounds. I’ve never been a person who is comfortable jamming in a rehearsal studio or in a band situation, which is why I don’t really consider myself a musician. I still don’t play that well, but writing, recording, and producing came fairly naturally to me. Writing music always was and still is a personal journey for me, so when MIDI came along it allowed me to create all parts of the music by myself, which I thrived on.

Having said that, I’ve always been a guitar fan, so when I couldn’t fake a guitar part by myself or find the right guitar sample I’d have to bring in a guitar player. Of course nothing can replace the thundering sound and look of a live guitar player on stage. That’s where Maxx came in. He was a cool-looking dude with a great head of hair and a killer guitar sound which added to the live element and gave the studio recordings a little extra grit.

Was E.D.F. mainly a studio band, stage band, or both?

I’ve always been a studio guy, but you have no choice but to play live if you want to promote your product seriously. It’s a great feeling playing your own music live with 3 or 4 other people on stage with the lights, smoke, and (hopefully) crowds of people in the audience grooving to your tunes; however, I also derive immense pleasure spending hours in my studio just writing or playing music by myself.

That’s were the “other” side of E.D.F comes from, as I also record and release ambient, chill out, new age music which I never intend to play live. Our finest moment was playing at Pine Knob in Detroit, Michigan in front of 10, 000 people for a big end-of-summer music festival.

What or who inspired the music?

The “who” is endless. See all the bands named earlier. Inspiration can come from anything, really. It could be a unique industrial sample, synth patch, drum and bass groove or simply a nice chord progression. It’s piecing all of those elements together that makes it fun and challenging.

Did E.D.F. originally get the airplay it deserved, and if so, by whom?

The first E.D.F release was actually a cassette-only; but, believe it or not, we used to get airplay on the radio. CFNY 102.1 in Toronto was the first station to play our music. That station was a huge supporter of local independent music, led of course by the one and only David Marsden who still plays my music to this day on his new station http://www.nythespirit.com. With open-minded people like David and the good folk at CFNY, the song “So, What of Tomorrow” ended up being a winner on a CFNY talent search contest and was released on a compilation CD, which to us at the time was unbelievable.

Other places that would play our music would be University radio stations like CIUT (University of Toronto), CKMS-FM in Waterloo, and CKLN (Ryerson University) who were always great supporters of ours. Local DJs like Ronno Box and Craig Beesack would play us at clubs like Catch 22 and local promoter Billy X was also an early supporter of E.D.F

What’s it like to translate a concept in your head into music that you share with the rest of the world?

It’s fun at first, but it can quickly become frustrating when the business aspect kicks in. I won’t even talk about the music business these days as no one has a clue what’s going on; but back in the early 90s there were still labels you could shop your product around to. For our first album we had some interest from TVT Records which had just signed Nine Inch Nails. For the second album, “Drama Dream” we signed a deal with a label in Montreal, which went bad. For the album “Number 3” I had a distribution deal with Toronto’s The Record Peddler. Financially that was probably the most success I had with an EDF album as they managed to get distribution deals in quite a few different territories worldwide.

What made you decide to resurrect EDF?

One word: “Tunecore.”

Tunecore is a great service that distributes your music around the world to digital music stores and streaming stations. It’s really cheap and allows you to keep 100% of the earnings. They really do get the music out all over the world! E.D.F had a pretty strong following in its heyday, especially in Europe.

As I mentioned above, the album “Number 3” was released and distributed internationally by The Record Peddler. I used to get royalty cheques from airplay I received from places like Germany, Belgium, Sweden, Norway and many other countries. Over the past few years I decided to post some old E.D.F videos on YouTube and found that people were actually looking for the old releases. It seemed like a perfect opportunity to re-master and re-release the whole collection in a new package.

Hence “Industrial Catalogue:” All four E.D.F albums in one, 64 songs in total, reasonably priced at $8.99. I did the same with my ambient/chillout/down-tempo E.D.F music, as well. Four albums in one package under the title ˜Noise Control” with 60 Songs in total.

Are there plans for live shows, and if so, where?

At this point, definitely not. SLAVE to the SQUAREwave takes up all of my spare time with live performances and recording. The last time E.D.F played live was at a rave in the middle of a farmer’s field in Oakville, a suburb of Toronto. This was actually where I met Colin Troy from S2TSW, as we were both playing at the rave that night. I was performing my more “techno” E.D.F material while Colin was doing his Smokin’ Jehovah project, which was a mix of middle eastern music and house. Really cool stuff. We chatted through the night about our love for Bowie, Roxy Music, and electronic dance music. We became instant friends and SLAVE to the SQUAREwave was born.

Do you have any examples of E.D.F. music online that people can preview?

Here’s some of my ambient/chill-out music taken from “Noise Control”:

Will the entire catalog be available for purchase? Where?

“Industrial Catalogue” is available via Amazonmp3.

Picture-#-4.-EDF-Industrial

 

 

 

 

 

“Noise Control (Vols 1 to 4)” is available via Amazonmp3.

Picture-#-5.-EDF-Noise-Cont

 

 

 

 

 

Both albums are also on Spotify, Rdio, Shazam, iTunes, Google play, Wimp, Deezer, beats music and many, many more on-line stores.

Can folks buy single tracks?

Yup! Single tracks are the standard 99 cents.

Will this inspire you to go back into the studio and create new E.D.F. tracks?

E.D.F has never really stopped. It’s just come in many different shapes and forms over the past 32 years and will continue to evolve. I’m getting more and more into the chill-out/ambient stuff as I get older, so you can most likely expect some more music in that vein.

What’s next?

I’m considering releasing some music by a duo group I was in back in the mid 80s called “silent GREEN.” It was an ambient project where the music was ad-libbed and recorded live. I played synthesizer while Bruce Bentley played “ambient” guitar. Bruce and I also had a synthpop band called “Ear Candy,” which was another CFNY-supported band. Tragically, Bruce passed away last year, so I’m thinking of releasing it in his memory. Some of that music is pretty magical.

Thanks so much!

Thanks for your support. I love what you do. You don’t know how important things like this are to a band/artist. You’re really doing a great thing here and it is most appreciated. XOXO

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

The Secret Life of Numanoids ~ Part One

(Notice: You are not allowed to republish an entire article/blog post on your website even if attribution is made. You may not use this work for commercial purposes unless given pre-authorization from me. Only excerpts of less than 200 words from each article will be allowed to be published on other websites. A link back to the specific article permalink must be included.)

In case you’ve been under a rock for the past thirty years, or simply have never come across the term, Numanoids are Gary Numan fans. A rare and close-knit group, they are loyal, honest, caring, and kind, brought together from all over the world to support and honor a musician who has accomplished much during his more than 30 years in the business.

As a relatively new Gary Numan fan, I have been extremely fortunate to be embraced by his hard-core circle of fans, making contact through the blogosphere, YouTube, FaceBook, MySpace, and other online sources. Most Numanoids have been with him since the very beginning, the Tubeway Army days. Others, like me, have made the connection with Numan because of his dark wave/Gothic/industrial genre of music that he began to embrace in the early 90’s, connecting fully with the release of 1994’s Sacrifice album.

Rob Stuart (Canada)

Rob Stuart shares that he has been a Numanoid since 1978 (age 13). Musically, he had never heard anything like Gary Numan before. He says, “I remember hearing ‘Are “Friends” Electric?’ for the first time on my little AM radio during the top 20 count-down in England on a Sunday afternoon and being totally transfixed by the voice, the music! I knew I had to save my pennies and immediately buy the album. Once I saw the cover art I was completely hooked. Who was this alien, androgynous looking man?”

When asked what Gary Numan’s music means to him, Rob recalls, “It meant so much to me at that age that I started a band as soon as I immigrated to Canada (age 14). We called ourselves ‘The Plastic Omniums’ and played our first gig at a high school battle of the bands contest. All the other bands played Zeppelin and Rush covers while we got up there with our synths, a reel to reel tape deck, and a drum machine and played three songs: Opening with ‘Airlane’ from The Pleasure Principle album, then a cover of ‘Are “Friends” Electric?’ and closing with an original number called ‘Red Shift Expanse.’ I distinctly remember two-thirds of the kids in the audience booing while the others cheered. The cool kids got it! I still have a recording of that show.”

Rob cites Replicas as his favorite Gary Numan album, with the first self titled album Tubeway Army not far behind. He feels that Replicas is a modern-day masterpiece from start to finish. As for his favorite songs, the list is pretty extensive: “My Brother’s Time,” “The Machman,” “M.E.,” “Pure,” “You Are In My Vision,” “A Question Of Faith,” “The Iceman Comes,” “Fadeout 1930,” “Every Day I Die,” “Are ‘Friend’s’ Electric?,” “A Subway Called ‘You,’” “The Aircrash Bureau,” “Bombers,” “My Shadow In Vain,” “Crazier,” and many more.

Rob’s most exciting Gary Numan moment was very recently when he met Numan in Toronto in October 2010. He tells us, “We had a fairly lengthy discussion about doing a remix contest of his music. He told me he didn’t see the point in it. I told him that many of his fans are musicians and would love a chance to remix his work, and that it was a great way to promote his music, especially on social networks. Lo and behold, a couple of months later, he has the ‘Back to the Phuture’ remix contest for ‘Scanners.’ I was happy that he took my suggestion. You can hear my remix here: http://soundcloud.com/rob-stuart

Rob continues, “I was also very proud to be on the same CD as Gary Numan once in Future Music Magazine Issue 101, Aug 2000. GN was on the cover being interviewed about the release of “Pure” and (my group) SLAVE to the SQUAREwave had the song ‘Heavy Bones’ featured on the free CD that came with the magazine.”

Asked what his favorite way to express his love for Gary Numan is, Rob states, “Doing cover versions of his music either live or recorded. Here is a cover I did of ‘Films’ back in 1995.”

Electronic Dream Factory – “Films”
via YouTube user Akito01:

He also shares, “Like all of my musical heroes (Bowie, Eno, Kraftwerk, Underworld, Tangerine Dream), Numan is an innovator, an original. And like all super-talented artists he is humble and down to earth. He’s not afraid to try something new and hang them out there. Sometimes it doesn’t work, but when it does, it’s life-changing and timeless.”

Meemz (Belgium)

Meemz has been a fan of Gary Numan’s for as long as he has been active in the music scene – since 1979. What initially attracted her to him, as she recalls, was Numan’s voice, music, and appearance, being “different.” And, as for his music, Meemz states, “His music touches my heart and soul any time, good or bad.”

Meemz lists the following albums as her favorites: Jagged, The Pleasure Principle, Telekon, Replicas, Sacrifice, Exile, and Pure. Her favorite songs include, “Jagged,” “Haunted,” “Rip,” “Metal,” “Seed of a Lie,” “Crazier,” “Crawl,” and, in her own words, “so many others.”

The most exciting Gary Numan moment for Meemz was the first time she met him at a concert in Bristol in 2009. An accomplished artist, she not only had the thrill of meeting Gary Numan up close and personal, she also presented him with a portrait that she had painted.

In addition to painting numerous portraits featuring Gary Numan, Meemz also does some very clever photo edits. Along with these creative endeavors, Meemz professes the best way to show her love for Gary Numan is “being and staying a Numanoid for as long as I live and far beyond.”

Finally, Meemz states, “I like his old and new stuff, and hope he’ll be making music as long as he can. When I talk to people about Numan in my country (Belgium), I can’t explain what it really is, the feelings us Numanoids have about him. It’s not only his music and all, but just the person that he is. He’s really one of a kind and we love him for it.”

Vikki (UK)

Vikki has been a fan for 32 years, the entire duration of Gary Numan’s career. When she was only 10 years old, she first saw Numan on the British music show Top of the Pops. Her initial reaction was to fall in love with the song he was singing, “Are ‘Friends’ Electric,” all the while thinking, “Ewwwwwww, he’s weird!” Needless to say, that first impression eventually yielded to a more mature, long-term, and undying love.

When describing the impact of his music, Vikki says, “His music means a lot of things to me. Because I’ve been a fan for such a long time each album reminds me of a different time in my life. Pure is my divorce album!” She also lists Jagged as a favorite. When pressed to list her favorite Numan tracks, Vikki’s reaction is, “Too many to mention. But off the top of my head: ‘Sleep by Windows,’ ‘Haunted,’ ‘Jagged,’ ‘Observer,’ ‘The God Film,’ and ‘My Breathing.’”

Recalling her most exciting Numan moment, Vikki observes, “Has to be the first time I saw him live, October 1983. He was ill, so I didn’t get to meet him. I was gutted!”

Vikki expresses her love for Gary by shouting/writing NUMMMAAAAANNNNNNNNNNNNNNNN! wherever and whenever possible. She adds, “Plus, wearing Gary Numan t-shirts – you cannot wear a Gary Numan t-shirt without someone making a comment or singing ‘Cars!’”

In closing, Vikki shares these anecdotes:

“I once lost my mum whilst out shopping. A record stall was playing “Are ‘Friends’ Electric?” and I just had to stop to listen to it. Of course my mother carried on walking and I lost her.”

“And, one thing I must add; Gary Numan fans are the nicest people you could ever meet. I took my friend to see him back in 2009 and she was gobsmacked at how nice people were. I’ve never been to a Numan gig where I haven’t got chatting to someone and shared some great moments. I once spent an evening with the band drinking before they went on stage. All my friends kept coming up to me saying ‘why are you sitting with the band?’ A roadie called Gary (who was miffed because he was called ‘Gray’ in the tour programme) fancied me so I got in with the crowd.

“I also came very close to sharing the tour bus with Gary Numan. His support band Hohokam invited us back to the hotel (nothing smutty!) but some security guy said we could walk as the hotel was only down the street. I still hate that man! Oh, and once my mum had a go at Beryl and his security guard which was very embarrassing!”

Kristin Harris (USA)

Kristin Harris, graphic and video designer, has been a full-blown Numanoid since late 2006.

When asked, “What drew you to Gary Numan?” her reply: “His newer music captured me first. I’ve never heard anyone like him. I was drawn to his beautiful voice and loved how atmospheric his music was. I eventually ventured on to YouTube and once I saw him in action, I was completely hooked. His looks don’t hurt either.”

Kristin goes on to explain that Gary Numan’s music is her escape and it has inspired her in her creative work. It’s difficult to pick just one of Numan’s albums when citing a favorite. When pinned down, Kristin chooses Jagged (closely followed by Pure, Exile, and Hybrid). Her favorite singles are “Haunted,” “The Fall,” “Crazier,” “Jagged,” “Pure,” “Replicas,” “Films,” and the song “Slide Away” from Ade Fenton’s album, as well.

Kristin recalls her most exciting Gary Numan moment: “Meeting him for the very first time in July 2007. He is so lovely and down to earth. Also, getting to work for him on the t-shirts. That was a huge honor.” She finds that the best way for her to express her love for Gary Numan is through her music videos and graphics. She also promotes his music using her favorite films and TV shows.

View Kristin’s videos here: http://www.youtube.com/user/knightvision1228

View her graphic designs here: http://www.kristinharrisproductions.com/musiciangraphics.htm

Paula Raven (Fallen Angel) (UK):

Paula is another lifelong Numanoid who has been a fan since 1979-80. His “distinctive style and amazing electro sounds” are what first drew Paula to Numan and his music. She goes on to say, “I had never heard anything like it before. He wasn’t like other bands of that time; he stood out from everyone else. I was looking for someone to blow me away with a unique style and sound, and found just that in Gary Numan. I remember thinking, ‘this man has come along in the music world, years before his time.’”

Paula continues, “Gary once said, ‘I am just an arranger of noises.’ I say to that, ‘Yes, Gary, you show us just how music is meant to sound.’ The machines rocked in 1979, and continue to do so to this very day.”

When asked what Gary Numan’s music means to her, Paula is very direct in her response: “His music is everything that makes my world tick. He has an album for every mood I’m in, and his music makes me smile, laugh, and cry. You can’t help but connect with his music and lyrics in some form or another.”

Paula pushed back a bit when asked about her favorite album. Stating that it was impossible to narrow the choice down to just one, she settles on her favorite top three: first, Telekon, “a masterpiece in its own right,” Exile, and Pure. She also settled on her top three singles: “The Fall,” “Every Day I Die,” and “My Shadow In Vain.”

Paula shares that her most exciting Gary Numan moment was meeting him in 2009, at Bristol, after waiting over 20 years for just that moment. She had met him back in the 80’s at one of his airshows, but that was only a very brief “Hello Gary” moment. “In Bristol I had a whole 10 minutes with him. I was so excited, we waited for over an hour for him to appear. He was so kind and sweet, and I asked him if he would sign my photo of him. It was an old photo of Gary when he was very young; a fan club photo. I said, ‘You look so young in that photo, Gary.’ He laughed and said, ‘I know (with a grin on his face). My wife keeps finding old photos of me, just to remind me of how old I’m getting.’ And we both laughed. He then put his arm round me so I could have a photo taken with him. It was an amazing moment in my life, and one I won’t forget.

Paula has chosen to put together her own Gary Numan website, “Pure Numan,” (http://www.pure-numan.com/) in order to pay him homage. It is her way of showing the love and respect that she has for the man who not only changed the music world, but has given his fans the best music and live stage shows possible.

Paula shares, “I have been a big fan since the very beginning, and feel like I’m growing old with him. But to put it in a nutshell, I couldn’t think of anything better than being a true fan. I’ve met along the way some fantastic people, and I wouldn’t change any of it for all the money in the world.”

Richard Cubbon (Canada)

Richard is another lifelong Numanoid, following Gary Numan since around 1978-79. Of that time, he recalls, “I was just getting into Kraftwerk and Jean Michel Jarre and heard “Bombers” from a friend of mine. I loved the use of the early synths in a way that no other bands were using them, like on the first Tubeway Army album. I was playing bass at the time and loved the hollow sound of the Moogs and that sort of swayed my intrumental choice towards synths. I got my first synth around the time that Replicas came out over here, and that led me towards more synths and learning how to produce the hollow sounds with that thick Nuclear Reactor sound.

Explaining what Gary Numan meant to him, Richard says, “Gary Numan’s music and the lyrics always meant something special to me. I never fit in with any group growing up, and the songs took on a special meaning to me.”

Asked which album is his favorite, Richard explains that it’s a tie between The Pleasure Principle and Telekon. The same goes for naming a favorite single: Richard finds that it’s a tie once again, this time between “Sleep by Windows” and “Airlane.” But when it comes to his most exciting Gary Numan moment, the answer is direct and without hesitation. It was seeing the Telekon tour back in 1982.

Richard adds, “I always tell everyone who likes any type of music that involves synths, electronics or processors, there are three bands that had the most impact on music we listen to today: Gary Numan, Kraftwerk, and Jean Michel Jarre. To me, it’s in that order of importance, too.”

Richard expresses his love of Gary Numan by writing and playing music that is heavily Numan-influenced, and insists will always remain inside of him.

JaggedHaloUK (UK)

JaggedHaloUK has been a Numanoid since 1986. What started this decades-spanning love was a friend playing “I Can’t Stop.” JH UK was instantly hooked on the sound and image that the song and Numan portrayed.

When asked what Numan’s music means to him, JaggedHaloUK replies, “Everything, It’s very inspirational.” He cites these albums as his favorites: Telekon and Jagged, especially the track “In a Dark Place” from the latter.

As with many Numanoids, it’s very difficult for JaggedHaloUK to narrow down a list of favorite songs to one. He provides the following list, instead: “When the Sky Bleeds,” “Jagged,” “Haunted,” “I Dream of Wires,” and insists that “there’s so many more I could list.”

By far, JaggedHaloUK’s favorite moment as a Numanoid was meeting and chatting to Gary after a gig. He was also invited into one of the after-show parties at the hotel where Gary was staying during a tour, and also had a photoshoot with Gary’s official photographer, Ed Fielding.

When asked how he expresses his love for Gary Numan, JaggedHaloUK responds, “Recording my own cover versions of his songs and going to his shows. Also, searching for Numan clothing to wear at gigs.”

In addition, JaggedHaloUK states, “Being a Numanoid is a way of life almost; it changes the way you see things and how you react to the world. If it wasn’t for Gary Numan, I would never have gotten into music and that in itself has led to many happy memories of playing in bands and doing live gigs. I gained live music experience with a band I played synths in called the “hottest state” and have since worked with the fantastic Replicas, a Gary Numan tribute band, and I’m also busy in my studio recording more cover tracks for them. I’m also involved in the running of a Gary Numan fan site called “Pure Numan” (http://www.pure-numan.com) and I’ve been doing some music for the site.”

As if that wasn’t enough, JaggedHaloUK also has his own Gary Numan tribute website: http://www.jaggedhalo-uk.com. The pictures of him on his website were all taken by Ed Fielding, official photographer to Gary Numan.

Karl Lyndon Donald (Ireland)

Karl is a die-hard Numan fan, and man of few words, that I met on YouTube several years ago. He left some comments on several Gary Numan fan-video montages that I had done (and have since removed when Eagle records got on their legal high horse). Karl and I have kept in touch through FaceBook, and he has introduced me to countless other Numanoids. I am very grateful for that.

Karl reports that he has been a Numanoid since the beginning, around 1979. His first recollection was seeing Gary Numan on Top of the Pops and thinking he was really unique.

When asked what Gary Numan’s music means to him, Karl replies, “His music helped me through painful teenage years.” He cites The Pleasure Principle as his favorite Gary Numan album.

Karl’s favorite single is “Remind Me To Smile.” His most exciting Gary Numan moment was, in his own words, “Speaking to him for over an hour at Derry Airshow.” Karl’s favorite way to express his love for Gary Numan was to copy his hair color and style at the time.

I also happen to know that Karl has another very special way of expressing his feelings for Gary Numan. He has a huge tattoo on his back that is the well-known Numan facial graphic from The Tubeway Army LP. Any description of Karl as a loyal Numanoid would not be complete without a picture of this amazing tattoo.

David Marsden Birthday Cotillion ~ 3-14-2010

In honor of the annual David Marsden Birthday Cotillion held at Andy Poolhall in Toronto ON, Canada Sunday March 14, 2010, today’s feature is a video montage of the event.

Sistahmar, Roving Ambassador and founder of the Marsbar Theatre Chat Room, outdid herself with this festive occasion. Not only did most of the members of the chat room attend, so did alumni from the infamous CFNY radio station and also from 94.9 The Rock, where David currently broadcasts each Saturday and Sunday night from 7 pm until midnight.

Many sincere thanks to Dan Hurley, Felix029 (Bruce), and Warrlock (Randy) for sharing your photos to make this production possible. Also, a huge thank you to Rob Stuart and Slave to the SQUAREwave for so graciously allowing me to use their fantastic music again this year as a backdrop for the montage. And, Andy Poolhall, Toronto, ON once again was kind enough to open their doors on a usual day off to provide a gathering place for the party. Hats off to you, too.

“David Marsden Birthday Cotillion ~ 3-14-2010” via YouTube user MissParker0106:

View video footage and interviews from the party by clicking here: http://www.torontonews24.com/video/viewvideo/97/behind-the-scene-at-toronto-news-24/marsbars