Broken Social Scene
Broken Social Scene is a Canadian indie rock band, a musical collective including as few as six and as many as nineteen members, formed by Kevin Drew and Brendan Canning. Most of its members play in various other groups and solo projects in the city of Toronto; these associated acts include Metric, Stars, Apostle of Hustle, Do Make Say Think, KC Accidental, Emily Haines & The Soft Skeleton, Amy Millan, Jason Collett. The group's sound combines elements of all of its members' respective musical projects, is considered baroque pop, it includes grand orchestrations featuring guitars, horns and violins, unusual song structures, an experimental, sometimes chaotic production style from David Newfeld, who produced the second and third albums. Stuart Berman's This Book Is Broken. In 2010, Bruce McDonald made This Movie Is Broken, a movie about the band's Harbourfront show during the 2009 Toronto strike; the band was formed in 1999 by core members Kevin Brendan Canning. This duo recorded and released the band's ambient debut album, Feel Good Lost, on Noise Factory Records in 2001, with contributions by Justin Peroff, Charles Spearin, Bill Priddle, Leslie Feist, Jessica Moss and Stars' Evan Cranley.
Drew and Canning's material at the time was entirely instrumental, so they brought together musicians from the Toronto indie scene, the album contributors as well as Andrew Whiteman, Jason Collett, Metric's Emily Haines, to flesh out their live show with lyrics and vocals. Over time, the band came to include contributions from James Shaw, Justin Peroff, John Crossingham, Stars member Amy Millan. All of the musicians from the live show joined Drew, Canning and Spearin to record the band's second album, You Forgot It in People; the album was produced by David Newfeld and released on Paper Bag Records in October 2002 and won the Alternative Album of the Year Juno Award in 2003. The album included musical contributions by Priddle, Jessica Moss, Brodie West, Susannah Brady and Ohad Benchetrit, but these were credited as supporting musicians rather than band members. On the supporting tour, the core band consisted of Drew, Peroff and Jason Collett, along whichever band members were available on each show date.
In 2003, the B-sides and remix collection Bee Hives was released. Broken Social Scene's song "Lover's Spit" from 2002's You Forgot It in People has been featured in director Clément Virgo's movie Lie with Me, Paul McGuigan's Wicker Park, Bruce McDonald's The Love Crimes of Gillian Guess, Showtime's Queer as Folk and the penultimate episode of the Canadian series Terminal City; the version of "Lover's Spit" found on 2004's Bee Hives record was featured in an episode of the third season of the FX series Nip/Tuck. Showtime's television program The L Word featured "Pacific Theme" and "Looks Just Like the Sun", both from You Forgot It in People, in the show's first season. "Lover's Spit" is referenced in the 2013 Lorde song, "Ribs". "Looks Just Like the Sun" was featured in the 2006 film Swedish Auto. "Stars and Sons" from You Forgot It in People appeared in the movie The Invisible. Music from the band's albums was used to score the 2006 film Half Nelson. Broken Social Scene released their third full-length album, Broken Social Scene produced by Newfeld, in October 2005, with new contributors including k-os, Jason Tait and Murray Lightburn.
New band members were Torquil Campbell, who were members of the band Stars. A limited edition EP, EP to Be You and Me was printed along with the album. Broken Social Scene performed "7/4" on Late Night with Conan O'Brien on January 31, 2006, that year they performed "Ibi Dreams of Pavement" at the 2006 Juno Awards, at which their self-titled album won the Alternative Album of the Year award. In August the band went on a European tour. Returning in September, they were last-minute replacement performers at North America's first Virgin Festival, at Toronto Islands Park after headliners Massive Attack cancelled due to problems involving obtaining US visas; the band assembled to play a one-hour closing performance on the main stage, following The Strokes and The Raconteurs. Through the performance the band was joined by Feist, Amy Millan of Stars, k-os, Emily Haines of Metric; this was the last show featuring the entire 15 member lineup of the band until 2009. After a US tour in November, the band went on hiatus.
In late 2006, several members of the band appeared as special guests on The Stars and Suns Sessions, the second album from Mexican indie band Chikita Violenta. The album was produced by Dave Newfeld. In May 2008, the band contributed a T-shirt design for the Yellow Bird Project to raise money and awareness for the Lake Ontario Waterkeeper; the shirt was designed by their drummer, Justin Peroff, bears the slogan "Hope for Truth". Members of Broken Social Scene composed and recorded an original score for director Marc Evans's film Snow Cake, as well as scored his 2007 film adaptation of Maureen Medved's novel, The Tracey Fragments. In 2009, Bruce McDonald directed a short documentary episode of IFC's The Rawside Of... that focused on the making of Brendan Canning's solo album Something for All of Us. In June 2007, BSS founder Kevin Drew began recording an album which featured many members of Broken Social Scene; the album was produced by Ohad Benchetrit and Charles Spearin and was titled Broken Social Scene presents..
Spirit If.... The album was recorded throughout 2004 and 2006 in Ohad Benchetrit's house while the band was not on tour. Although billed as a solo project, most Broken Social Scene members make cameo appearances; the sound itself is Broke
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Charles Spearin is a Canadian musician from Toronto, Ontario. He is a founding member of Do Make Say Think, KC Accidental and Broken Social Scene and contributes to Valley of the Giants. Spearin performs in a broad range of musical genres, his solo album The Happiness Project is a concept album and was released on February 14, 2009, on the Arts & Crafts Label. This album includes contributions from Do Make Say Think alumni Julie Penner, Kevin Drew, Ohad Benchetrit and Broken Social Scene alumni Leon Kingstone and Evan Cranley; the concept for the Happiness Project is influenced by his early life with a blind father and his own Buddhist studies. On April 17, 2010, Spearin won a Juno Award for the Best Contemporary Jazz Album for The Happiness Project, he lives with his wife and two small children in the Toronto neighbourhood of Seaton Village, the inspiration for The Happiness Project. The Happiness Project The Happiness Project official website 2009 Charles Spearin Interview at Bandega.com Everything Rock article Spearin interview Torontoist article
Kevin Drew is a Canadian musician and songwriter who, together with Brendan Canning, founded the expansive Toronto baroque-pop collective Broken Social Scene. He was part of the lesser-known KC Accidental, which consisted of Drew and Charles Spearin, another current member of Broken Social Scene. Drew has shared in the direction of Broken Social Scene videos under the name Experimental Parachute Movement. In 2008 he wrote and directed a short film called "The Water," inspired by and starring his bandmate and former girlfriend Leslie Feist. In 2009, Drew contributed to the AIDS benefit album Dark Was the Night produced by the Red Hot Organization. Drew grew up in west Toronto and attended the Etobicoke School of the Arts, along with Metric's Emily Haines, Stars' Amy Millan and novelist Ibi Kaslik, where he, Amy and Emily studied drama, he was married to Jo-ann Goldsmith, a social worker and an occasional trumpet player in BSS. Drew's second solo album, was released on 18 March 2014. On January 15, 2013, Drew announced in an interview that he had begun working on a new album with The Archies songwriter Andy Kim.
The album, It's Decided, was released in 2015. Drew and Dave Hamelin coproduced The Tragically Hip's album Man Machine Poem, Gord Downie's subsequent solo album Secret Path. Drew produced Downie's final album Introduce Yerself. Spirit If... Darlings Feel Good Lost You Forgot It in People Bee Hives Broken Social Scene Forgiveness Rock Record Hug of Thunder Captured Anthems for an Empty Bathtub - Anthems for the Could've Bin Pills - Apostle of Hustle Cheap Like Sebastian Broken Social Scene Ibi Dreams of Pavement Almost Crimes Cause=Time Fire Eye'd Boy Constantines Our Age 2009 Stars Your Ex-Lover is Dead Bitches in Tokyo Still Life Still Pastel The Most Serene Republic Content Was Always My Favourite Colour The Water Starring Cillian Murphy, David Fox & Feist Official Site Interview with Kevin Drew on kevchino.com with Kevin Drew at Prefix Interview with Kevin Drew on AOL Music Canada
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt