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

My Letter to the Editor got Published!

So for a school assignment I was required to write a letter to the editor and send it in. I really didn't think anything would come of it, but the National Post actually published it online! I've never been professionally published like this before, so this is very exciting. It's also about an issue (breast cancer) that's very important to my family and friends, and I've received a lot of support from them on this, which is really the best thing ever. I couldn't ask for more.

The original article I was responding to was featured online, and it was about a woman who had suffered from depression following a double mastectomy. A lot of it came from body image issues and some ill-treatment from society following her operation. That combined with some of the breast cancer campaigns I'd seen around my school and at home, and in the past working with my mom in campaigns myself, inspired me to write this.

You can read the original article I was responding to here.
You can read my featured letter here.

But in case that link expires, here's my letter. It's been edited by Paul Russel, the Comment editor at the National Post. Since this is a letter to the editor, it's got a lot of opinions in it. As always, I am open to discussion in the comments section!

Reading Thandi Fletcher’s heartbreaking article about the psychological effects of mastectomies got me thinking about the way breast cancer treatment is viewed in Canada, and especially about the way it’s supported. Having worked at breast cancer support charities myself, I’ve seen quite a variety of ways charities are handled. And while I’m sure every single one of these charities, fundraisers and events has good intentions, there’s a very dangerous problem with putting all the focus on a woman’s breasts, and their value.
I’ve seen far too many of these fundraisers advertised with phrases like, “Save the boobs” or “Support for boobies!” etc. The problem with that is, we’re not trying to save the boobs — we’re trying to save a woman. Mastectomies are a reality some women undergoing breast cancer treatment have to face, and when we put the emphasis on her breasts rather than on her character, we contribute to the poisonous society that sees a woman’s body as something belonging to society rather than to her, and to the psychological scars women face. Women who bear the scars of breast cancer should feel triumphant about beating a disease and living another day, instead of ashamed of the battles they’ve faced.
Leah Powell, Ottawa

So, I want to extend a big thank you to everyone who read it, and everyone who's supported me. But more importantly I want to extend an even bigger thank you to all the women among my family and friends who inspired me to write it. They are the some of the strongest women I know.

And I just handed it in a little while ago, so I hope I get good marks on this assignment!