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NEW RELEASE: Amos the Transparent reveals the weird and the tame on new LP

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

MORE TRANSPARENT (READ: WEIRDER, TAMER)
It was sometime in 2008 when we were bumming around the studio, that Jonathan Chandler, front guy for Ottawa sextet Amos the Transparent, summarized his philosophy for the band’s second album that he was working on at the time.

“I want to make the weirder songs weirder, and the tamer songs tamer.”

It is a simple — and quippable — MO that offers some insight into what makes the band appealing enough to score primo opening spots (they toured with Patrick Watson), attract the attention of heavy-hitting collaborators (Amy Millan and Evan Cranley of Stars) and to cement a rising national profile (they’ll play live on Q on CBC Radio on Friday morning).

Amos the Transparent, from left: Mark Hyne, Jonathan Chandler, Kate Sargent, Chris Wilson, Dan Hay, and James Nicol. Photo by Jamie Kronick

While the weird-tame dynamic started with their 2007 debut full-length Everything I’ve Forgotten to Forget, it became apparent on their 2009 EP My What Big Teeth You Have, and comes together on the new LP, Goodnight My Dear, I’m Falling Apart, which was released this week on Valentine’s Day.

By meshing those polarities, Amos the Transparent churns up a funky-ass musical sound.

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SOUND SEEKERS: The Glass Chain plays Ritual, plus Local Ivan, Erin Saoirse, and more

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

The Glass Chain. Photo by Bassam Daoud

DIGITAL BREEDS DYNAMISM
FOR THE GLASS CHAIN
The younger generation of digital natives has always been spoiled for choice, musically. The rabbit holes of the Internet — with its pockets and alleyways of information — provide endless answers to questions and curiosities.

So, if you were too young to have experienced New Wave, you can explore its rise and demise through a timeline on Wikipedia. From there, you might go offline to get wise to the Beatles through your parents’ vinyl collection, then log on again and stream playlists on Grooveshark.

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NEW RELEASE: The Johnnies tap into rock history with good vibes and local shout-outs

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

The Johnnies, L-R: Mel Sturk (Johnny Jump-Up), Sarah Wotherspoon (Johnny Tonic), Christine Majid (Johnny Mental), and Devin Cook (Johnny Money). Photo by Steve Taylor

HERE’S … THE JOHNNIES!

Johnny Ramone was a hard-ass. Johnny Lydon reminded us all that “anger is an energy,” while Johnny Marr, during The Smiths’ heyday, was known for his boundless enthusiasm. The lore of Johnny Cash, meanwhile, is firmly entrenched in his Man in Black moniker.

Thinking about the Johnnies of rock history— and there are many — conjures up images of Brylcreem and bad boys, of simple chord structures, and getting soused.

Tapping into that arcana is Ottawa four-piece The Johnnies. They formed in 2009 and play three-chord rock tunes about drinking, fighting, and making out. The songs are set in Ottawa locales and play up all the good vibes of group dynamics. Centretown Porch Sit is a feel-good, yay-for-summer tune that incorporates the names of their friends in each verse.

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SOUND SEEKERS: Jack Pine & the Fire CD release

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

Gareth Auden-Hole, aka Jack Pine. Photo by Matthew Gomes

JACK PINE TAKES ROOT
Heartache, adventure, a sense of home — these were all starting places for the songs on the self-titled debut disc from Ottawa’s Jack Pine & the Fire, but it’s not a self-pitying release. The bustin’, bluegrassy album is technically slick, but leaves enough room for the rising vocal idiosyncrasies of the frontman to shine through.

Front man Jack Pine is the nom de tune of Gareth Auden-Hole, 31, formerly of the Slackjaw Sinners. He liked the symbolism of the tree: its ability to re-seed burnt ground after a forest fire gives it a sense of purpose and legacy. There’s also the ability to coattail on the iconic Tom Thompson painting of the same name and all its implied Canadiana — another element in the nine songs on the album.

A stream of mandolin, guitars, dobro, pedal steel, and fiddle give the album an haute-campfire vibe, made resonant by Auden-Hole’s vocal edges. His stories play on average themes, but are made bold and new by a robust telling and smart unravelling.

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SOUND SEEKERS: The wonder and the journey of Orienteers, plus funk and punk and Timekode

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

Orienteers. From left: Tom Thompson, Ben Wilson, Brennan Pilkington, Laura Greenberg. Photo by Tom Thompson.

SPACE-FOLK HITS THE ATRIUM
Flitting and fleeting, wander-lusting and wondering — and wanting it all. The push and pull of contrary and complementary sentiments is where Ben Wilson is drawing from musically and lyrically. He is the pen behind the band Orienteers.

The four-piece released a self-titled hand-sewn EP in the fall and plays a live-to-air show Thursday night at Carleton University with CKCU hosts Charles Anthony and Aiden Mackean. The show takes place in the wide-open space of the university centre atrium. Here’s where we find another delicious contrast:  the music, which the band describes as space-folk, was recorded in a tight space to create a sense of inwardness.

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SOUND SEEKERS: Spool Cool and other throwbacks

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

Ookpikk tape front. Photo by Adam Saikaley.

SPOOL COOL AND OTHER THROWBACKS
There is a place for throwbacks in the digital age. You see a lot of it lately, where the newly hip pay homage to concepts and technologies that seem to be fading.

The cool kids that are part of the collective called Antique Skate here in Ottawa throw paperback parties at bars. You bring your favourite novel and leave with someone else’s favourite novel, all the while exchanging ideas and sideways glances.

Upon entry to the bar, you peel off one of those Hello My Name Is stickers, and affix it to your popped collar. Instead of putting your name in the blank spot, attendees list their favourite book. It sets a tone for the night. Books are the focus of the evening, so people aren’t dorking on their phones so often.

Events like these are sweetly nostalgic, but verge on the point of fetish. I mean, call me old, but I still have paperbacks and feel no need to throw a party for them, but I guess that’s what people are referring to when they use the term “middle-class porn” (or perhaps I’m just having a first-world problem? I don’t know for certain as I am a little behind of my net-neologisms).

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NEW RELEASE: Brock Zeman brings hometown characters to life on Me Then You

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

Brock Zeman. Photo by Jamie Kronick.

BROCK ZEMAN’S SHOW-DON’T-TELL APPROACH

Brock Zeman likes his Lanark County locals nice and yokelish. Those are the people in the neighbourhood that the roots-rocking songwriter is most drawn to when looking for character sketches.

He sees a certain hardscrabble depth that’s absent with urban folk and their pretenses. Or maybe it’s the spotty cell service in Hopetown, where Zeman lives. People have time to speak to one another instead of dorking around on their smartphones.

Zeman has been working his way through the population of characters from around Carleton Place over eight albums in as many years. Album number nine, called Me Then You, continues along that terrain in tunes like “Light in the Attic” or the companion tracks that close the album: “Rain on the Roof #1″ and “Rain on the Roof #2″, both lengthy slow builders with a sly swagger to them.

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END OF THE YEAR PARTY SCHED.: Boxing Day bashes and a couple of smokin’ New Year’s Eve bar gigs

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

Photo: Joe Juarez by Sasha Leclair

Mad Platters: DJ and Chef Joe Juarez Fixes Good Eats and Hot Beats

The name Joe Juarez — aka Joe Velvet — is mapped to an era.

The centre-hub of Ottawa clubland in the mid-‘90s was Atomic (where Ritual stands now), and Juarez, along with DJs Martin Villeneuve and Max Graham, crafted the soundtrack to late nights for hundreds of regulars. House music was hot and Juarez brought those big-city sounds to the capital. He became known for getting people onto the dance floor for hours and for having the velvet touch, hence the nickname. Their regular night, called Escape, lasted for three years.

During that time, Juarez, like most musicians, had his hands in multiple professions. He was on the garde-manger line at the old Mill, being mentored by senior chefs. “I learned to cook the French way,” Juarez says.

As the kitchen life kicked up, the club life wound down. Being up ‘til 7 a.m. four nights a week was getting hard on the system — plus, Juarez was finding success not just with back beats, but with back burners. His former Hull-sector restaurant, Auténtika Bistro, was given an eight out of 10 rating by Le Droit’s Pierre Jury, and being praised for a menu that was fresh, seasonal, and clever.

Construction on rue Montcalm led to a decline in business. Juarez closed the restaurant and found a new home at Canvas on Holland Avenue as its co-executive chef. Both DJing and cooking share a similar physicality: there is what’s known as the triangle in the kitchen, i.e. a work zone between cooking, prep, and plating areas. A similar set-up works for the DJ booth as well.

There are other parallels. “It’s about serving the platters that matter,” Juarez says. “I like to see people’s expressions when they take the first bite. To me, that’s the reward. As a DJ, that’s my big reward as well — having a room full of people smiling, laughing, and enjoying your beats.”

Juarez steps away from the kitchen for a Boxing Day bash with his former co-DJ Martin Villeneuve, who continues to produce tracks regularly (find them at Beatport) while pursuing a law degree. The show, which will be the first time Juarez and Villeneuve have played together in a decade, is a kind of reunion for Atomic regulars looking to remember their salad days.

BONUS: The rich visual links between chopping beats and making eats proved irresistible and so Sound Seekers author and Ottawa Magazine contributing editor Fateema Sayani teamed up with Partus Films’ Craig Allen Conoley to present this video feature on Joe Juarez and his platters.

Joe Juarez, Martin Villeneuve, Ryan Labelle. Monday, Dec. 26. 10 p.m. $7. Buddha Bar, 104 Clarence St.

BEST BET
Rap and rock merge in Zoo Legacy —but not in that Limp Bizkit way. Nooooo. The Ottawa trio avoids the gutters of either genre, deftly mashing indie style tunes and linguistic prowess. They open for USS and Fire & Neon at Ritual Nightclub (137 Besserer St.) on Boxing Day. 8 p.m., $22 adv.

NEW YEAR’S EVE HIGHLIGHTS
Members of the Ottawa rock scene cover the best of the Rolling Stones as The Ya-Yas at the Elmdale Tavern (1084 Wellington St., W.). $20 adv.

Alt-folk Ottawa act Dry River Caravan fills the room with big ballads. The band is at Irene’s Pub (885 Bank St.) to ring in 2012. $20 adv.

SOUND SEEKERS: Instrumental largesse, a little burlesque, and some pop and punk to keep your feet moving

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

Local band Dave Norris & Local Ivan has a new album out: (left to right) Adam Di Penta, Dave Norris, Graham Boyle, Tim Watson, Luke Donovan. Photo by Jodie McNamara

LOVE ME TENDER
Lyrically wry, but tender in its musical arrangement, Alma Mater offers some interesting dynamics. It’s the third disc from the Ottawa five-piece known as Dave Norris & Local Ivan. The band unleashes seriously swooshy instrumental largesse over eight tunes that cover off consumerism in the record industry (“Song for an Ad”), music as healer of mental ailing (“Woe Is Me”) and celeb obsession (“Courtney L.”).

“I’ve always had a fascination with popular culture,” Norris, an AV tech, says. “All of us have to create a filter on popular culture because we’re being bombarded with it all the time. We have to try to understand what celebrity means and how it relates to our lives.”

That effort — to square the interesting, appealing aspects of the culture, with its crassness — was a starting point for the album.

With one eyebrow arched toward the horizon, Norris offers some candid, but common future-fears. “No one cares anymore,” and “maybe that’s all there is” are sentiments amplified by reverb pedals for that otherworldly vibe. Norris has a nice lamenter’s timbre, saved from being overly maudlin by some great nah-nah top notes. It’s seriously affecting stuff — like Coldplay without the commercial sheen or shire-cultivated accents.

The songs are pure pop created by lively minds. You can enjoy them for their hooks, for their lyrical digs, or for the buoyant swirl of the two. Dave Norris & Local Ivan with opener Andre Bluteau, Saturday, Dec. 17, Club SAW, 67 Nicholas St., 9 p.m., $10.

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SOUND SEEKERS: Musicians unite in Centretown Recording Alliance holiday concert

Sound Seekers by Fateema Sayani is published weekly at OttawaMagazine.com. Read Fateema Sayani’s culture column in Ottawa Magazine and follow her on Twitter @fateemasayani

Shanker and Romps are part of the Centretown Recording Alliance.

ROCKIN’ AROUND CENTRETOWN
A gaggle of musicians that resides within the boundaries of Elgin Street and Bronson Avenue, to the east and west, and between Somerset and Arlington, to the north and south, find commonalities between their ‘hood, their desires, and their outlook.

They become band mates in The Allrights, The Centretown Cripplers, The Johnnies, Garaga and Thunderuncle. As they progress in music, they become friends and mutual boosters and coagulate under a loosely formed collective called the Centretown Recording Alliance. Not just a banner under which to gather for another night at the pub, the Centretown Recording Alliance exists to ignite a creative fire under the behinds of a collection of punks and rockers. (Incidentally, it gives a more rocker-centric background to the initials CRA, in this government town).

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