Gothic Sanctuary: An Interview with Schoolcraft and Orphan Grinder

This is my full feature that I did for class, with the edited versions of the Schoolcraft and Orphan Grinder interviews. 

When I was a young, impressionable teenager, I learned about the glory of alternative music. With the help of the internet I listened to bands that never had, and most likely never would be played on the radio. Punk and Goth were my personal favourites, and in high school I discovered bands like Nine Inch Nails, Joy Division, and the Misfits. The internet was my major source, through social media and through music downloading I found what would one day be my favourite bands. This music shaped who I am today. 

                The world of music has changed so much since then. Music downloading seems to be more of a rule than an exception, and bands have to find new and creative ways to get noticed. According to some people, the internet has made this easier; anyone can upload their music and put themselves out there rather than having to be discovered. But that also brings the danger of too many voices crying out for attention. The Goth music scene has considered itself separate from this for a long time. It used to be that they were the ones getting by underground, through tape trading, shows in tiny clubs, and word of mouth. Now the internet has created a worldwide underground for every genre. It seems that today, even the weirdoes, with our black clothes, piercings, tattoos, strange hair, and even stranger music, don’t stand out the way we used to. 

                Just a week before Halloween, I returned to my roots to watch a show of up-and coming Goth bands. The Café Dekcuf bar in Ottawa was perfectly lit for the show, meaning it was nearly pitch black, and the stage was decorated with pumpkins. Every band sounded a little different. Goth can have the operatic vocals, soft piano, harp and strings of Schoolcraft, headed by Lindz Riot, the solo act of Goth/metal band Mary and the Black Lamb. Lindz is a beauty with long, flowing black hair. I know that’s a cliché, but there is seriously no other way to describe it. Her songs paint a picture of beauty in darkness, an angel in a graveyard, on an epic scale. 

                Outside the graveyard, there is the cyber-industrial, dystopian wasteland where Orphan Grinder lives. Started by Riley Eichler and Aaron Wallis, they recently welcomed members Myke Guerin and Ethan Moseley, formerly of Promonium Jesters and Adaptive Reaction. Orphan Grinder uses computers as well as guitars, drums, and even trash cans to create a unique industrial sound that’s perfect for tearing it up in the mosh pit. And I guarantee, there will be a mosh pit at one of their shows. 

Riley Eichler and Aaron Wallis of Orphan Grinder

                I talked to both of these bands, and got some of their opinions about the Goth scene today, the music industry, and how those things connect. What I got was two very different bands existing in the same world, doing things their own way. 

I started with touring. Both bands have traveled across provinces for their shows, but started in Ontario, with Schoolcraft from Oshawa and Orphan Grinder from St. Thomas. How does a band find venues to play at?  

“At first we had to book venues ourselves. Word travelled, and we started to get invited to play shows.” Said Orphan Grinder.  I asked them if they thought bigger, more mainstream bands had it better touring than they did, and they talked about the ups and downs. “Touring can be awesome, but it can also suck. You don’t get much sleep, and it can be expensive. We don’t have a road crew.” As for the more mainstream bands: “At least we don’t hate each other. We’re all still friends.”

For Schoolcraft, Lindz Riot had experience touring with a band as well as solo. I asked about the differences in size for a solo act like Schoolcraft, versus a band of four people like Orphan Grinder.  "Honestly when Mary and the Black Lamb toured last year it was quite the clusterfuck with three cars and everyone wanting to have their own schedule. It has been so much easier with just me and Scotty B. (Her drummer) We also have a lot more fun not having to worry about where everyone else is and if they are gonna show up on time. Soon we will have an additional string player, but that's about it. Still a small set up for the stage."

I asked them about their specific genres of music, not just the Goth genre but their own individual sound. What did they think of the Canadian Goth/alternative music community today? Orphan Grinder was sure of their identity in the world. “Our artistic vision is ‘fuck you.’ Everything out there sounds the same. Our sound is angry, crunchy. We don’t fit into labels.”

Schoolcraft has collaborated with some other bands for their first EP. "I think it’s a great group of people to work with. There are some select cult groups who aren't too social, but that's ok. I just admire their nice clothes from afar. It has dwindled down the last 5 years. I would like to see more Goth/alternative acts in the scene, but that will come with time if people decide it is a creative outlet for them again."

Then came the question of labels. Today the music community seems to be divided about their usefulness, and I got two different perspectives from Orphan Grinder and Schoolcraft. Both bands have EPs currently available, but Schoolcraft is signed to Arcane Records, while Orphan Grinder put theirs out independently. It was two very different processes I wanted to know more about.

For Orphan Grinder, “Our approach has been DIY since the beginning. The EP was a slow process; we recorded it ourselves, all in a home studio. New technology makes it easier, makes the equipment more affordable.  For bands today, an iPhone is easier than 16 thousand dollars of equipment at a recording studio.”

                While for Schoolcraft, "Mine took forever because I had 2 producers fall through. I started the project 2 years ago this month and only got recording in January of this year. We started with piano, then orchestral structuring and programming. That part was done completely over the internet because Daedalus (of Deadalean Complex) lives in Quebec City and driving nine hours is quite time consuming and expensive with gas. So Skype really helped on that process. Then we went onto harp tracking and then cello tracking with Kitty Thompson of Johnny Hollow, who is a treat to work with. Finally we did the vocals and all of the tracking was done at The Recording House in Scarborough with Sean Gregory. The hardest part was waiting on the mixing and mastering. Even though it took a month it felt like forever!"

I wanted to know their opinions about labels, how they can help or hinder a band. “Being signed to a label makes no difference to us. We don’t fit into labels. They hinder you more than they help. We like it better having no rules; we wouldn’t listen to what a label says.” Said Orphan Grinder. But would they ever sign to a label, if it was offered? After some deliberation among the band, they decided.  “We’d let a label help us with manufacturing and distribution, but we can record it ourselves.”

Schoolcraft, who is already signed to a label, gave me a different perspective. According to her, being with a label has helped. "In many, many ways. First starting off with saving my sanity. It's nice to have another head in the game on the same level as you. This way the work load is taken off my shoulders and because of it I have been able to focus more on my writing and image. This was hard to do in the past because I was also managing my projects."

Talking about labels and EPs, we turned to the topic of CDs versus downloading, and some of the questions plaguing the music industry today.  Are CD’s dying out? Orphan Grinder doesn’t think so right now, but maybe in the future. “CD’s are better for data storage than downloaded songs. For bands, they’re more of a networking tool. In terms of sales, CD’s are better than shows. But in the next 5 years, CDs will be gone.” 

And what about online piracy? Everyone has an opinion about it, but I wanted to see it from the point of view of a band. Schoolcraft says, "I am on the fence about it. If it helps me get my name out there for the first release then sure that helps. But once it’s my third or fourth release it would be nice to see some funds for touring and more releases down the road. The fans just can't expect me to reach them or get my music out faster if they aren't supporting the cause financially. I have found stems for torrents on the EP already with great tags in them. I also understand that in some countries it is impossible for some fans to order music online or even access visas or make pay pal accounts. I do not mind them getting my music for free. As long as they show up to my concert once I make it out there. That's more important to me."

                Orphan Grinder knew exactly how they felt about it. “Steal our music!” They talked about the internet, and how it’s helped them and other bands today. “The internet has made things easier, but it also means more competition. It’s helped us find like-minded people. Everyone can benefit from it, if they do it right. Record companies don’t see it that way; they just want to make a profit. People will pay eventually, if you put out a good product.”

                I asked Schoolcraft how she used the internet with her music. "I think it's because of the internet that I have gotten as far as I am. That being said, I have good friends who believe in me and have helped me out. Also you can't forget Facebook and Twitter! It's all about who you talk to and network with. I am a strong believer in writing good music because that is what will travel the farthest."

So, overall, how does Orphan Grinder feel about where they are? “Overall we’re happy, but it would be better if it paid more. (Laughs.) We have to have fun now; we’re too old to keep waiting.”

 

Schoolcraft talked about her plans for the future. "This Christmas holiday I will be entirely committed to writing and forming my second full length release for Schoolcraft. I am very excited about this and am itching to get started, but I first have to finish up with school and make sure the first EP still gets some decent press and exposure. I have a different vision for Schoolcraft now: a darker, heavier one. The first EP was some songs I needed to get out of my system that were mostly sad ballads. I had a rough year last year and have climbed over man hurdles and mountains emotionally and mentally. My next set of songs really do reflect my stories from that. There will be an addition of a new instrument which I think will complete my sound and set me apart. Wish me luck because it’s going to be an interesting whole new experience for me." 

EP Cover by Gogo Melone

What draws me to Goth as a genre is the variety within it, not just in sound but in attitude. I think Orphan Grinder and Schoolcraft show this perfectly, giving me two completely different perspectives on music today. When I began these interviews I had some of my own opinions, but learning from them has given me better informed opinions. And of course, I had a great time at the show. I thoroughly recommend either of these bands for anyone who loves music and loves a good performance. Goth music may live in the crypt, but the crypt could always use more bodies.

For more info about Schoolcraft, visit her Reverbnation, or Facebook

For more info about Orphan Grinder, visit their Reverbnation, or Facebook

December 6th and the White Ribbon Campaign

For a school assignment I was given a template for a newsletter and asked to write about a charity/NGO of my choice. I chose the White Ribbon Campaign, a Canadian started campaign to end violence against women. For my newsletter I was asked to provide information about the organization as well as write a number of articles about it.

Today is December 6th, the National Day of Remembrance for Violence Against Women. The White Ribbon Campaign begins on November 25th, and ends on this day. In Canada, this day is meant to commemorate the victims of the Montreal Massacre, which is the event that first sparked the campaign. This is usually the day the WRC and other charities have their campaigns set up, or hold demonstrations or memorial services. I first became involved with WRC in highschool, when my school would hold memorials. Ending violence against women is a very important cause to me. I think the WRC is a very important campaign because not only does it support women's programs and shelters, but it also educates men and gets them involved.

I wrote my newsletter for school as an assignment only, to learn how to use a template and to write about and for a charity/NGO. My newsletter is not endorsed by the White Ribbon Campaign.

 

 

 

 

If you click on the images, then right click "view image" you should be able to see them full size.

For more information about the White Ribbon Campaign please visit their website at http://www.whiteribbon.ca/

Schoolcraft Interview

For school I’ve been writing a feature where I’ve interviewed two up and coming Goth/Industrial bands, Schoolcraft and Orphan Grinder. Because the feature is more topic focused, I wasn’t able to include all the questions I asked them. But I didn’t want anyone to miss out on the great answers I got, so I’m going to post both of the full interviews with the bands as their own separate features. First up is my interview with Schoolcraft. Next week I’ll be posting the feature, and the week after that the interview with Orphan Grinder. 

Photo by Mary Byron

The weekend before Halloween, I went to a Goth/Industrial themed show at the Café Dekcuf in downtown Ottawa. The show featured three bands, including my friends Orphan Grinder and Schoolcraft, whom I had never seen before. Or at least, not in this form – Schoolcraft is the solo act of Lindz Riot, who is also the lead singer of Mary and the Black Lamb, a more metal tinged Goth band who I had seen play in London a few years before. 

The show was of course Halloween themed, there were pumpkins and fall leaves decorating the stage, but Schoolcraft were the only ones who showed up in costume. Lindz was dressed in the cutest, totally suitable Alice in Wonderland costume, and her only stage partner, drummer Scotty B was fittingly dressed as Animal from The Muppets. Her outfit combined with her long black hair made Lindz look like a gothic princess, and her music builds from that image.

Schoolcraft’s music is epic and operatic, the main focus being Lindz’ amazing vocals, but backed up with a variety of instruments. On stage, Lindz plays piano and harp, which totally blew me away. I’d never seen a harp on stage ever, let alone at a Goth show! On her EP, you hear strings as well as other layered sounds. Altogether, you get a symphonic sound you don’t hear nearly enough at the average show, which captures your attention and holds it through every emotional, nuanced song. 

I talked to Lindz Riot about her sound and how she gets it, as well as some of her opinions about the scene today and her plans for the future.

You were originally in Mary and the Black Lamb, an amazing band I was lucky enough to see in London, ON. What made you break from them to do a solo album?

Wow! You saw us in London? That's awesome! It was time to just do something bigger sounding in regards to symphonic parts. The band now wants to go into a different direction. With Mary and The Black Lamb they wanted to drop the Goth image, drop the symphonic parts to a basic keyboard synth and go more upbeat on the rock tunes. Which I am fine with and we are working on. The truth is I love dressing dark and making dark music. And since my main study in university is for orchestral conducting and composition it is something I still need to pursue and create.

What’s touring like for a band your size? Do you think its easier being just the two of you, or better if you had a big group?

Honestly when Mary and the Black Lamb toured last year it was a quite the clusterfuck with 3 cars and everyone wanting to have their own schedule. It has been so much easier with just me and Scotty B. We also have a lot more fun not having to worry about where everyone else is and if they are gonna show up on time. In time we will have an additional string player, but that's about it. Still a small set up for the stage.

You use some instruments on stage and in your songs we don’t normally get to hear in small Canadian groups, some of which you play yourself, like the harp. How do you get that big, symphonic sound? What collaborators do you work with, if any?

I had the chance to incorporate Daedalus of Canadian black metal band Daedalean Complex for additional orchestral composition and programming. He was a huge key in getting the sound I wanted. We didn't want to limit ourselves during the process and since Daedalus thinks so far outside of the box when we were adding in flutes and chimes it really brought out the true character in each song. I think the orchestra is something truly over looked in music today. A lot of bands and projects claim to be "symphonic", but then upon listening to them they only have a small string section programmed on the keyboards for their albums. Then you have bands like Nightwish, Within Temptation, and Epica who actually use the entire orchestra for a full big sound. They are my bigger influences for my vision with orchestral composition.

What sort of audience reaction do you get when you bring out that harp? Cause' I gotta say, I was sure excited when I saw it.

I don't think they know what to think! Haha. I have got a few cheers, but they are usually louder and more accepting after I play a song with it. I'm glad you enjoyed it though! I enjoy playing it more than any instrument I have encountered.

You’ve had the opportunity to work with some great Canadian bands, like Johnny Hollow and the Birthday Massacre. What do you think of the Canadian Goth/Alternative music community?

I think it’s a great group of people to work with. Recently I have had a chance to share the stage with The Rabid Whole and Days of Our Decay, both great acts with stand-up people as the driving force behind them. There are some select cult groups who aren't too social, but that's ok. I just admire their nice clothes from afar. It has dwindled down the last 5 years. I would like to see more Goth/alternative acts in the scene, but that will come with time if people decide it is a creative outlet for them again.

How has being with a label helped you?

In many, many ways. First starting off with saving my sanity. It's nice to have another head in the game on the same level as you. This way the work load is taken off my shoulders and because of it I have been able to focus more on my writing and image. This was hard to do in past projects because I was also managing my projects. Arcane Records is a newer, small label. I'm excited to see where it goes and what we can accomplish together.

Have you used the internet a lot to widen your audience? If so, what websites and services have helped the most, and how?

I think it's because of the internet that I have gotten as far as I am. That being said, I have good friends who believe in me and have helped me out. Since I come from the femme metal realm of the music world [I’ve had help from] such sites and zines as Sonic Cathedral, Eve's Apple, Femme Metal Webzine, Unleash The Furies, Seeker of The Winter Heart, just to name a few. Also you can't forget Facebook and Twitter! It's all about who you talk to and network with. I am a strong believer in writing good music because that is what will travel the farthest.

What’s the process for releasing an EP, or an album, from your experience?

Well mine took forever because I had 2 producers fall through. I started the project 2 years ago this month and only got recording in January of this year. We started with piano, then orchestral structuring and programming. That part was done completely over the internet because Daedalus lives in Quebec City and driving 9 hours is quite time consuming and expensive with gas. So Skype really helped on that process. Then we went onto harp tracking and then cello tracking with Kitty Thompson of Johnny Hollow. Who is a treat to work with. Finally we did the vocals and all of the tracking was done at The Recording House in Scarborough with Sean Gregory. The hardest part was waiting on the mixing and mastering. Even though it took a month it felt like forever!

Some people think that online piracy helps smaller up and coming bands, but some people disagree. What’s your opinion?

Honestly I can't control it so why try to fight it or be for it? I am on the fence about it. If it helps me get my name out there for the first release then sure that helps. But once it’s my 3rd or 4th release it would be nice to see some funds for touring and more releases down the road. The fans just can't expect me to reach them or get my music out faster if they aren't supporting the cause financially. I have sent out my press kit, which includes a free download of the EP in it, to many media contacts and personnel whom I would like opinions from or to work with in the future. I have also found stems for torrents on the EP already with great tags in them. I also understand that in some countries it is impossible for some fans to order music online or even access visas or make pay pal accounts. I do not mind them getting my music for free. As long as they show up to my concert once I make it out there. That's more important to me.

What are you working on for the future?

This Christmas holiday will be entirely committed to writing and forming my second full length release for Schoolcraft. I so far have 12 songs to work with and, who knows, maybe more will arise during the process like last time. I am very excited about this and am itching to get started, but I first have to finish up with school and make sure the first EP still gets some decent press and exposure. I have a different vision for Schoolcraft now: a darker, heavier one. The first EP was some songs I needed to get out of my system that were mostly sad ballads. I had a rough year last year and have climbed over man hurdles and mountains emotionally and mentally. My next set of songs really do reflect my stories from that. There will be an addition of a new instrument which I think will complete my sound and set me apart. Wish me luck because it’s going to be an interesting whole new experience for me. I also plan on traveling out to Dame Nation in Chicago and Metal Female Voices Festival in Belgium next year.

As fans of the genre know, the symphonic style Goth music is a beauty to listen to. For me, it conjures up images of cemeteries and cathedrals, all staple images of the Goth genre that still have a place in my heart. Performing this sort of stuff can be complicated and intimidating, especially for a vocalist. All of this is exactly what makes Schoolcraft so captivating on stage and to listen to. You can sample some of her music below, and you can check out her Facebook and Reverbnation to see where she’s going to play next.

Photo by Mary Byron

Mixtape: An Ode to Abandoned Buildings

I don’t know why, but to me there’s nothing more relaxing than looking at pictures of abandoned places. There’s something so beautiful about the stillness, the quiet, the dilapidated emptiness. Knowing that a place that was once crawling with people, busy and noisy is now only home to some plants and maybe an animal or two… that’s real peace. Pair that with a cup of tea, some soft music, and if possible, a gray, rainy sky, and you have my perfect Sunday morning. 

I come from a town with quite a few abandoned buildings. I don’t think we have many more than the average town, but since we’re so small the ones we do have stand out. So I grew up with empty places, and urban exploration was a part of my life since I was old enough to explore the city on my own. We have abandoned factories both old and new, stores, theatres, houses, train trestles; we even had a huge boarding school, all completely void of life. I never realised the effect they had on me until I started writing, when I started to notice that I tended to talk about abandoned places a lot, and set a lot of my stories in places like that. 

All this probably sounds a little negative, talking about emptiness and dilapidation and whatnot, but I really don’t mean it that way. I really do think places like that are beautiful, even if they’re a little creepy or sad. It’s always great to know that one of these places is going to get redeveloped into something useful again. And it’s always even sadder to hear when they get torn down, but good to know that where they used to be something better is going to be made. 

So, I made a mixtape of some of my favourite songs to listen to while I urban explore through my computer. Something I can listen to after a long hard working day, for a good night’s sleep, or in the morning before I dive into a pile of homework. You can listen to it here:

An Ode to Abandoned Buildings