Q&A: Bruce Peninsula (Wavelength 500)
Bruce Peninsula had a fantastic year in 2009. In addition to releasing their excelleng debut album, A Mountain Is A Mouth, and touring extensively across Canada in support of it, the Toronto group closed off the year by appearing on several critics’ year-end lists, and deservedly so. Not only was the record one of the highlights of the year, but it was also one of the strongest local releases in a year filled with great ones.
The band and its numerous members are no strangers to the Wavelength series, and they will be kicking off the first night of the Wavelength 500 festival tonight at The Music Gallery. We spoke with band leader Matt Cully about their thoughts on the longstanding concert series, as well as Bruce Peninsula’s second LP, which is already in the works.
What does Wavelength mean to you?
Matt Cully: It is no secret that we love Wavelength and all those involved. They should all be given the order of Canada. And Jonny Dovercourt should be made Lt. Governor. If all that doesn’t pan out, we’re still excited to see the new ways that Wavelength will manifest itself, with special shows and truly unique events. For a lot of us, Wavelength was an entry point into the downtown music scene and we all still have friends that we met during those Sunday night booze fests. From Fiction were the first local band I really got to know well, so it’s really great that they’re playing this festival as well as all the other reunited or longstanding heroes like Deep Dark United, Rockets Red Glare and the Constantines.
Have you guys played a Wavelength night before?
Yes. This will be our third Wavelength show. Individually, a few of our members have also had their own wavelength stints. They’re always amazing experiences.
Last year seemed to be your year, with the release of your debut record, as well as a spot on quite a few year-end lists, including ours. How do you feel about the last year in retrospect, since the release of A Mountain Is A Mouth?
We feel so lucky that our little record got the attention that it did. We didn’t have a label to help with promotion so any success that the album saw we could legitimately attribute to our own hard work and a genuine interest from listeners. We were surprised by some of the hyperbole that circulated online when the album first came out, but we’re glad that a year later people still seem to like the record and are interested in what we’re going to do next. The Polaris nomination was really the capper. That felt good.
How do you feel about the record, given its long gestation period as well as the last year of touring behind it?
Well we all still stand behind it, but of course there are always things you’d want to change if you could go back. For most of us it was our first big studio experience and we’ve learned so much since then. It’s been amazing to see the songs play out in various contexts, in venues across Canada, in discussions with fans, in person and online, and we’re really excited about releasing a busload of new material for people to hear.
I read that you are planning to play the entire record live at some point this year. Is that going to be the final show before you bury yourself into the writing process?
I’m not sure where you read that, but it’s not something we’re really keen on doing. We like to play around with set lists and create medleys and segues between disparate songs. However, we have been working on an epic 15 minute song that we will eventually play in it’s entirety whenever we get around to polishing and releasing it. We’re currently deep into writing the next record and have already incorporated a lot of new material into the set. We’ve blocked off time to record in May with Leon Taheny and are pushing for an October 2010 release.
What are the new songs sounding like?
We’ve learned a lot about what it takes to make an album and we feel like we can bring a lot of that to the recording process this time around. I think the songs in general are more concise and subtler in mood, and we’re excited about experimenting in the studio to give each track a unique sound. The choir is still involved but in most cases the arranging is more intricate and diverse. We’re trying to dial back the bombastic element without losing the essential energy that gives our songs life.
What is the writing process like, given the amount of members in the band?
Well the writing process is still the same. There are five of us that are involved in the writing, and a few of the new songs we wrote collaborating very closely over a long stretch of time. That has its advantages and drawbacks as you might expect. Most of the time one or two people present the kernel of a song to the other five and then we elaborate together during rehearsals. Then plenty of demo work and preparation goes on behind the scenes to make sure that by the next rehearsal that song has a few clear directions to pursue. The last step always seems to be the lead and group vocal arrangements and the lyrics. Oh God, the lyrics. That seems to be the hardest part.
Are you guys planning to release the record on vinyl?
Yes. We hope to release both the 2nd record on wax along with a reissued version of AMIAM. This all depends on our financial situation and if we get label support this time around.
What is the story behind AMIAM getting an Australian release?
Our friend Ghita recommended Steve from Sensory Projects, which is a label based out of Melbourne. After some discussion he decided that they would put out our record and see what happens. The ultimate goal there is to get enough attention to warrant a tour. The only difference about that release is that the cover features a koala bear wearing sunglasses surfing on a shark.
Toronto has a fairly diverse array of bands, yet you guys still stand out a bit. What do you make of Toronto’s independent music scene in regards to your band? Have you found it difficult to fit in, or have crowds/other bands been inviting/accomodating for you?
We are very proud of having developed a close relationship with a lot of other bands from Toronto. I think in many ways it was going to see live local music that pushed us to write our own songs and begin performing in the first place. I feel like we are truly a product of our environment and we owe a lot to being exposed to the wide spectrum of art that thrives in this city. As for the crowds, everyone knows that hometown shows are the best. This is where our first fans live and where our first shows were made possible.
You guys are playing your first US shows soon. Is touring a frequent activity for the band? Is it becoming more and more frequent? If not, why?
Our trip to SXSW will mark our first shows in the U.S. and we plan to return regularlyn as early as May. We are excited, and just a little intimidated, by the prospect of playing to crowds in new places, repping Toronto all the while, of course. Once we release our new record, we will definitely be returning to tour and support the release.
Do you feel the band comes across better or worse in a live setting as opposed to on record, or are they mutually exclusive experiences?
We tend to treat each sphere separately. When we go into the studio we are thinking of ways of different ways to surprise the listener and explore the full range of sonic possibilities that a studio allows. Playing live we are happy to rock out a bit more and play off the electricity of the room and work up the crowd a bit. Juggling both is what we love most about being in a band. It’s what keeps us ticking.
