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.
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| 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."
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| 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
