#ottawa musicians

[ladycharles]

This Friday my new song shall drop, presave here

And here's some of my older music if you haven't heard 💖

[thelensofyashunews]

LUBALIN ANNOUNCES "HAHA, NO WORRIES" ALBUM OUT DECEMBER 6- AND HER NEW SINGLE OUT TODAY

Today songwriter, producer, and long-time collaborator with 6-time JUNO winner Charlotte Cardin, Lubalin, shares his latest single, “bullet time”, a powerful blend of raw emotion, sharp lyricism, and unrestrained vocals.

After skyrocketing into TikTok fame at the end of 2020 with his “internet drama” parody videos and co-writing/co-producing much of Cardin’s JUNO Album of the Year winning 99 Nights record, Lubalin is coming into his own as a multi-talented solo artist.

Lubalin describes the track’s creative process, saying: “Charlotte Cardin, Jason Brando and I originally wrote this song while we were writing for Charlotte's album, 99 Nights. We actually wrestled with it quite a bit. We knew we had something, but we just couldn't get it to click, and in the end, it just didn't fit Charlotte's sound at the time, so we shelved it. Eventually, the sound started to emerge for this album. There's a lot of drum & bass inspiration, organic drum breaks, this sense of motion, chopped background vocals... it's very cool, but I also like things that are right on the edge of being cheesy. It's almost like ‘The Matrix’ soundtrack meets 2000s soft pop.”

On his forthcoming debut album haha, no worries, Lubalin blurs the line between child-like wonder and decidedly adult self-doubt. Mining an overlooked vein of experience, the everyday interactions and off-the-cuff communications we toss back and forth with little thought - presenting a series of emotionally raw but meticulously crafted observations with a wry sense of humour and a gleeful disregard for convention.

Blending pop-leaning drum & bass influences, 2000s-era electro-pop, indie, and alt. rock, the Montreal-based artist/producer juxtaposes urgent, often frenetic rhythms and vocal loops against deceptively laid-back vocals and instrumental tracks that rely heavily on the duality that informs his music and life.

[clickyourradio]

🇨🇦 Arielle Soucy - 🎶 Ottawa

Arielle Soucy is a trained singer, instrumentalist, author, and composer who has been active in Montreal since 2019. Soothing and benign, her music reveals a peculiar glance on soul and psychedelic folk, led by aerial vocal arrangements and minimalistic, yet impressive acoustic guitar playing.

Her bittersweet stance speaks for itself through Shame and Waterway and Unresolved Collection, both of her self-produced debut projects and is further explored on Il n'y a rien que je ne suis pas her first album on the independent label, Bonbonbon.

[augustjohnmusic]

August John - Branding Ideas - Part 1. I am trying to discover my self through my brand as August John. My drummer asked me "What sort of message, themes, imagery, and visual aesthetic do I want to bring as August John?" Here are the answers to these questions:

AUGUST JOHN'S BRAND

Message to the audience: "Despite all of the obstacles, you will always find yourself strong enough to climb the mountains of life. It's a beautiful view"

Themes: Strength through perseverance, dealing with isolation, dealing loneliness, lone wanderer, going where the wind takes you. Imagery : Sun set on an open sea, Boats, Clear skies on an open road, Mountains, Maps, Snow on a clear day, A cool winter, seagulls. Visual Aesthetic: Blue, White, Yellow, Metallic, Grey.

[mywifeleftme]

89: Boyhood // When I'm Hungry

When I'm Hungry Boyhood 2014, Bruised Tongue (Bandcamp)

One of the longest surviving projects from Ottawa’s bustling 2010s garage rock scene, Boyhood (AKA Caylie Runciman) has been at it for more than a decade, and I’m always pleased to see the name cross my radar when she plays a show up here. When I’m Hungry was her first album, originally released on Bandcamp and cassette way back in 2012 and then reissued by Bruised Tongue as a 12-track LP in 2014, with a few songs dropped in favour of new recordings (?) and selections from the 2011 Boyhood EP.

This is some very lo-fi shoegaze with hints of dream pop and the witchy noise rock practiced by Ottawa peers Roberta Bondar and The Yips. You’d be forgiven for tapping out after tuneless opening psych hairball “Fresh Meat” (the kind of song that makes you check your speaker wiring), and there are a few frequencies throughout that challenge the eardrums. But there are also gems for those who stick around. Despite being a true solo concern, with Runciman writing, playing, and producing everything, Boyhood present a passable facsimile of a full band on low slung groovers like “Tarzan” and the baggy/Sleigh Bells-ish “Thailand.” I don’t know if there’s any trick to it, but when she harmonizes with herself it often sounds like more than one voice (rather than one voice multiple times), and the groove between the instruments feels live.

“Where I’m Going” is the highlight of the LP, a woozy number that twinkles like Japanese lounge music (I think I hear vibraphone? toy piano?) as it shimmies around and through worlds of echo. It feels perfectly like dancing in a normal human fashion for a while, getting distracted as you realize the mushrooms have hit, dancing some more, getting distracted again, and so on and on.

89/365

[ourshadowstallerthanoursoul]

On this day... - April 14th

On this day Led Zeppelin performed:

+ 1970 : Ottawa Civic Centre in Ottawa, Canada

“In Montreal the night before last, a crowd of almost 18,000 – smashing the house record. And then last night, amidst exams and Ottawa’s traditionally small turnouts on weekdays about 8,000 crammed into the civic centre. Who was causing all the fuss? Who else but Led Zeppelin, steamrolling its way across North America on its fifth tour in 18 months. […] The Ottawa gig was not the best the group has ever done, but they were at considerable psychological disadvantage in playing a massive stark concrete arena such as the civic centre. It may be the ideal spot for a hockey game, but it was too artistically cold for a musical event such as this. Billed as an evening with Led Zeppelin, the concert was just that. There were no supporting acts, no intermission. Just two solid hours of smashing, splattering rock music. The sound ripped out of six massive speakers, infiltrating anything which stood, sat or lay in its way.” – ‘Not since the glorious, glamorous, heyday of the Beatles had there been anything like it’ by Ritchie Yorke (Ottawa Journal)

“The concert was an immeasurable success and attended by nearly 8,000 young people. The Zeppelin presented themselves not only as splendid musicians but as true showmen. Although the group arrived late, they performed a thrilling show.” – ‘Thousands Thrill to Rock Band’ by M. Sandford (Journal)

[thislovintime]

Photo 3 by Davy Jones, photo 4 by Paul Undersinger.

“[Peter’s] really a genius, a prolific musician — he plays about seven instruments.” - Micky Dolenz, Record Mirror, February 11, 1967

“[Peter is] an incredible musician. [..] And he's a genius, the man is a genius at music. As I said, Peter was — and is — a genius in music. And he got very frustrated because he wasn’t able to satisfy himself creatively. And Mike felt the same way. […] Peter is writing, he’s writing songs. He’s an incredible songwriter. And if you’re watching, dummy, get some publishing because you’re a great songwriter.” - Micky Dolenz, Tomorrow with Tom Snyder, 1977

“[N]o one of us really supported any of the others except that — that I like to think that I tried to support Micky in a way which, for some reason, he never did pick up on. I mean, I think that Micky has a certain kind of genius that he was never able to acknowledge in himself.” - Peter Tork, Headquarters radio, September 1989

“Peter is the best rock guitarist around today. He plays about ten instruments in all — just about everything with strings. Mike and I also play guitars, although we are not in Peter’s class.” - Davy Jones, Melody Maker, January 14, 1967

“Peter Tork has to be one of the best guitarists around — he can cut anybody on guitar. He plays about 10 instruments — banjo, uke, the lot.” - Davy Jones, The Ottawa Journal, January 20, 1967

“Hey listen, fair is fair. They laugh and joke about that [‘Lady’s Baby’]. OK, it cost as much to do I think as ‘Good Vibrations.’ They were laughing about Peter Tork, but that [song] is a true-to-life thing. He was living with a woman [Karen Harvey] at the time and she had a little baby [Justin Hammer] and that changed his life, you know? That gave him something to think about. He was being downtrodden by the studio in regard to his recording and his playing and his songs and everything else, but the guy was the salt of the earth. It wasn’t just Hare Krishna, waterbeds and brown rice. That guy was a very, very accomplished musician. He needed magic to be able to do get in and do ‘Lady’s Baby.’ It’s a nice song. It’s true. It’s got the warmth and everything of what he was living. ‘Lady’s Baby’ touches me, lets me know that I am free, whatever it is. I remember it so well. It’s a real tune, you know? I love it.” - Davy Jones, The Monkees: The Day-By-Day Story of the ‘60s TV Pop Sensation (2005)

“Well, Davy’s always been a man of great talent and heart and I had just been hoping to work with him some more. He had such talent. He was probably the most talented of us all. He certainly had the best pitch and the best time. He should probably have been the drummer or the bass player of something. He should have been in the rhythm section. It’s kind of amazing – the two guys with the best time in the band weren’t in the rhythm section [laughs]. That was a little weird, looking back. And he was so able – there was just nothing he couldn’t do. I remember once in the middle of a tour, we said, ‘Well, we want to do this song, and we want to do it this way. But we’re missing a bass player. Davy, here’s a bass. Put your fingers here and pluck this string there.’ Next thing you knew, he was playing bass on stage like that night or two nights later or something. It was nothing major – he wasn’t popping strings and doing runs and fills, but he was laying down a bass and it was solid – it was solid. And that kind of ability is, I think, what I’m going to miss … what I’m sorriest to see go.” - Peter Tork, LeHigh Valley Live, June 2012

“I have a great deal of respect for Mike as a musician and a songwriter. He’s very good. He could make it on his own easily. Also he’s one of the funniest people I’ve ever met.” - Peter Tork, Flip, August 1967

"Nesmith is an astounding artist, and he’s very funny." - Peter Tork, Monkees Convention Q&A, 1982

“I still have a lot of respect for Michael.” - Peter Tork, WDBB, February 2006

“There are two common and, to me, repugnant notions about the Monkees. Number one, that I was the only one who had any talent, which is patently absurd. It’s as unfair and as unkind as it is stupid. The other one is that I was the only musician. I wasn’t the only musician and I wasn’t much of a musician. Peter was a much more skillful player than I was by some orders of magnitude.” - Michael Nesmith, The Monkees Tale (1989)

"Everyone was accomplished – the notion I was the only musician is one of those rumors that got started and won't stop – but it was not true. Peter was a more accomplished player than I by an order of magnitude, Micky and Davy played and sang and danced and understood music." - Michael Nesmith, Rolling Stone, March 8, 2012

[mostlysignssomeportents]

This day in history

The paperback edition of The Lost Cause, my nationally bestselling, hopeful solarpunk novel is out this week!

#20yrago GPL court challenge in English https://www.oii.ox.ac.uk/wp-content/uploads/old-docs/OIIFB_GPL2_20040903.pdf

#15yrsago How the UK gov’t spun 136 survey respondants into 7m infringers https://web.archive.org/web/20090906090950/http://www.pcpro.co.uk/news/351331/how-uk-government-spun-136-people-into-7m-illegal-file-sharers

#15yrsago Canadian Copyright Consultation shows Canadians overwhelmingly support moderate, fair copyright https://web.archive.org/web/20090905160714/https://www.michaelgeist.ca/content/view/4355/125/

#15yrsago Special Pleading, the dirty rhetorical trick used to disqualify all open publishing successes https://web.archive.org/web/20090908002625/http://www.locusmag.com/Perspectives/2009/09/cory-doctorow-special-pleading.html

#15yrsago British musicians — Paul McCartney, Elton John et al — speak out against disconnecting accused infringers https://www.theguardian.com/technology/2009/sep/03/youtube-prs-deal-file-sharing

#15yrsago Damien Hirst installation owner charges teen art-rival with theft of £500,000 for removing box of pencils from installation https://www.independent.co.uk/arts-entertainment/art/news/damien-hirst-in-vicious-feud-with-teenage-artist-over-a-box-of-pencils-1781463.html

#10yrsago California’s incipient dustbowl: photos of a drought https://www.theatlantic.com/photo/2014/09/dramatic-photos-of-californias-historic-drought/100804/

#10yrsago W3C hosting a “Web We Want Magna Carta” drafting session at Internet Governance Forum https://www.w3.org/blog/2014/crowdsourcing-a-magna-carta-for-the-web-at-the-internet-governance-forum/

#10yrsago Net Neutrality video: don’t flush our rights away! https://www.youtube.com/watch?v=UNM8Z1lm9bM

#10yrsago More than 99% of FCC commenters support Net Neutrality https://sunlightfoundation.com/2014/09/02/what-can-we-learn-from-800000-public-comments-on-the-fccs-net-neutrality-plan/

#10yrsago Canadian PM steals site of memorial for political rival’s father https://ottawacitizen.com/news/local-news/ottawa-architect-says-government-stealing-site-for-communism-memorial

#5yrsago Why don’t more Chinese people oppose the Chinese government? https://web.archive.org/web/20190907072743/https://supchina.com/2019/07/22/why-do-chinese-people-like-their-government/

#5yrsago Critical essays (including mine) discuss Toronto’s plan to let Google build a surveillance-based “smart city” along its waterfront https://torontolife.com/city/a-smart-city-should-serve-its-users-not-mine-their-data/

#5yrsago Interview with Kim Kelly, Teen Vogue’s labor reporter https://therealnews.com/why-does-teen-vogue-need-a-labor-column

#5yrsago After unsuccessful legislative reform, German radicals defy the law to dumpster-dive at grocery stores https://www.spiegel.de/international/germany/germany-examines-legality-of-dumpster-diving-a-1284079.html

#5yrsago Beijing promises “no mercy” for the “backstage masterminds” of the Hong Kong uprising https://www.scmp.com/news/china/politics/article/3025578/beijing-calls-all-hong-kong-institutions-fight-violent

#5yrsago Dell Magazines have changed the Campbell Award to the Astounding Award, removing the name of fascist John W Campbell https://memex.craphound.com/2019/09/04/dell-magazines-have-changed-the-campbell-award-to-the-astounding-award-removing-the-name-of-fascist-john-w-campbell/

#5yrsago They told us DRM would give us more for less, but they lied https://locusmag.com/2019/09/cory-doctorow-drm-broke-its-promise/

#5yrsago Hong Kong protests level up in countermeasures, tactics, art and deadly seriousness https://memex.craphound.com/2019/09/04/hong-kong-protests-level-up-in-countermeasures-tactics-art-and-deadly-seriousness/

[waugh-bao]

So I was reading some concert reviews on IORR (I know) about the Ottawa 2005 concert. I'd read that Charlie left the stage during SFTD because of some technical troubles and wanted to know more about it. The reviews mentioned that both he and Keith left and Charlie seemed upset about his headphones. Then somebody mentioned that Charlie came in wrong on Brown Sugar and that Mick walked over and smiled at him and then Charlie got back on track. I think there might have been some technical issues for everyone because they also said guitars were cutting out so I assume Charlie was maybe having a bit of trouble hearing.

Anyway, two of the people who were there mentioned that at the end Keith, Mick, and Ronnie were trying to get Charlie to take a solo bow but he refused. One reviewer said they then "attacked him with kisses." And it made me think of how this was after his cancer and wondering if he could still play and keep up with the band and that they must have realized he felt down after the mistakes (whether or not they were his own or related to technical difficulties) and wanted to make him feel better and show him love. My heart!

Based on this:

Something definitely happened. I would hazard to guess there were issues with the sound engineering that were affecting both the instruments themselves and the monitor set-up (what the musicians are hearing in their headphones/ear buds).

What I hate about this, and what is so typical of IORR, is that all of these dipshits come out and act like they’re musicology professors at Yale when the extent of their musical training or ability is the 3 weeks they played guitar in college to try to pull girls.

Like the genius who wanted to inform us that the “click track on the drum machine must have failed” and that’s why Charlie didn’t enter right on “Brown Sugar”:

I have no clue what he means by drum machine, because the only time the Stones utilize drumming that isn’t Charlie himself playing in a live context are the pre-recorded bits of atypical drums for a few songs, like “Sympathy.” They never used any kind of drum machine before Hackney Diamonds. And they’ve very famously never used click tracks, which are a tool for drummers, not a component of a drum machine. Keith and Mick have both mentioned it multiple times, the only instance click tracks were used was one singular day in 1989:

Which all culminates in this pièce de résistance from the same reviewer:

Because somehow, while Keith’s fuck-ups are a charming example of how ‘raw and real’ he is and Mick’s are excusable, it’s all Charlie’s fault that the sound engineering equipment failed on him and the rest of the band.

That said, I absolutely love the descriptions of what happened after. How they tried to get him to take his own bow:

And, when he wouldn’t do that, the way they responded:

[ladycharles]

Cover art (as video with music sample) for Child of the Night. Coming September 29th, some background info below.

Hope you like it - it's a computer generated composite of all the promo photos Stef and I have made of me.

Child of the Night is, in the context of the play, the song where the younger character does their solo dance, free from their shitty family. In the context of my life it's about my late teens/early 20's as I came of age unsure of where I was going and who exactly I was. I used to explore Toronto by bike every night and the desolate city landscapes would fill me with a longing for something I couldn't quite put my finger on. Meaning? Purpose? Something to long for? In any case I felt a kinship with the character in the play at that moment and felt I needed to re-arrange the song to be a little more disco so they could use it in the play. If you sign up via email you can hear the shorter show version with an orchestral opening.

The instrumental verses of the song are my attempt at capturing that night city vibe, I think a lot of early Drake stuff produced by 40 captured something similar. I love those dark synthscapes that feel like distant buildings rising up over a purpley city sky.

I tried to do something similar but for Montreal in this track:

[thelensofyashunews]

Keshia Chanté Celebrates 20th Anniversary of Eponymous Debut Album

Celebrated artist and multi-talented star Keshia Chanté marks a significant milestone in her illustrious career with the 20th anniversary of her debut album, Keshia Chanté. Originally released on June 22, 2004 when she was just 15 years old, this iconic album will be re-released in a Deluxe Digital Edition by Sony Music Canada on Friday, August 9, 2024. This special edition is remastered from the original recordings and includes three exclusive remixes available for the first time on streaming platforms.

The self-titled debut album, which achieved Certified Gold status, catapulted Keshia into the spotlight. It features chart-topping singles that left an indelible mark on the music scene. “Unpredictable” climbed to No. 1 on both radio and video charts, including MuchMusic and YTV’s Hitlist. The singles "Bad Boy" and "Does He Love Me" also reached No. 1 on MuchMusic’s video charts, with "Does He Love Me" earning an Urban Music Video Award for Video of the Year. Keshia’s exceptional work on this album also garnered her a 2005 JUNO Award for R&B/Soul Recording of the Year.

Keshia’s influence extends beyond music. Her extensive career includes co-hosting BET’s #1 show 106 & Park, judging on CBS’s The World’s Best hosted by James Corden, and making guest appearances on shows such as Law & Order: Toronto, Chopped Canada, and Top Chef Canada. She has conducted interviews with Hollywood’s elite, including Michelle Obama, Robert De Niro, and Jennifer Lopez.

Keshia continues to inspire as she ventures into new projects, including her luxury hair care brand KHAIR, designed for women and girls with unique hair care needs. This initiative highlights her commitment to inclusivity and creativity.

[jamieroxxartist]

✔ Mark Your Calendars: Tues Aug 22 on 🎨#JamieRoxx’s Pop Roxx Radio 🎙️#TalkShow and 🎧#Podcast w/ Featured Guest:

Darren Michael Boyd; (#Rock) Darren Michael Boyd's Little Toads

☎ Lines will be open (347) 850.8598 Call in with your Questions and Comments Live on the Air.

● Click here to Set a Reminder: http://tobtr.com/12257892

Pop Art Painter Jamie #Roxx (www.JamieRoxx.us) welcomes #DarrenMichaelBoyd; (Rock) to the Show!

● WEB: www.darrenboyd.com ● IG: @darren.michael.boyd ● FB Group: @groups/darrenmichaelboyd ● FB: @darrenmichaelboydmusic ● YT: @THEwHORRORcanada ● SP: https://open.spotify.com/artist/13IYAOkMpkJvWrllsPS49p

​Darren Michael Boyd released 4 full-length albums and 18 music videos in 4 years. His sound has been dubbed “Spooky Surf” by fans and has been described as “Dick Dale meets Joe Satriani in a horror movie”. His solo career started as a form of therapy for the physical and psychological complications that followed a life-altering car accident. Previously, Darren has also toured/recorded with acts such as Creeping Beauty and Famous Underground, featuring Juno award- winning vocalist Nicholas Walsh (Slik Toxik).

Boyd just returned from Nashville as a nominee for the JMAs at The Grand Ole Opry House, and will return as a nominee in October of 2023. He also received multiple nominations by Holland’s 2023 Red Carpet Award Show for Best Instrumental Song, Most Appreciated Musician, and Best Music Video. Boyd recently signed with Europe’s Sliptrick Records and his first title on the label “The G-String Murders” was just released July 1/2023. His previous full-length album entitled “Thoughts & Scares” was released in October of 2022, with three music videos in support of the album, including Misty Mundae, Kickintheballs, and Slow Dancing with Death. In 2023, The Red Carpet Show in Holland nominated Boyd for Most Appreciated Musician, and Misty Mundae in two categories: Best Music Video and Instrumental Song. He previously won Best North American Music Video in the Toronto Independent Film Festival for the self-produced “Arachnochakra”. Boyd was Voted Best Guitar Teacher, in the Ottawa Valley/North Grenville Readers Choice Awards. While working on his first full-length solo album, Boyd simultaneously performed with The Mississippi Mudds Theatre Group in 2019 to play guitar for a sold out run of Queen’s We Will Rock You, and won the Ottawa Faces Magazine award for Favorite Theatre Group. ​ ● Media Inquiries: ​www.darrenboyd.com

[augustjohnmusic]

My new album is out, and it’s called Digital Enlightenment. It’s out on Spotify and Apple Music.

It contains bangers, bops, fun tunes and melancholic jams.

I recorded all of it in my home, and I played all the instruments on the songs, as well as vocals.

I am August John, in case you didn’t know :)

It would mean a lot to me if you guys checked it out!

Here’s the first song on the album, the rest of the songs are in that similar style.

[mywifeleftme]

345: Colin Stetson and Sarah Neufeld // Never Were the Way She Was

Never Were the Way She Was Colin Stetson and Sarah Neufeld 2015, Constellation (Bandcamp)

My prevailing memory of seeing Sarah Neufeld and Colin Stetson’s duo performance in a small room at the National Arts Centre in Ottawa was the way they spent much of the performance with their eyes locked on one another. When violinist Neufeld became lost in her own playing and arched backward, in the same motion Stetson would lean forward over his hulking, steampunk bass saxophone, his legs braced wide. It was as though the two of them were bound at the neck by a long, invisible leather strap. In the most intense passages, they would square off barely a foot apart, like two rams, the veins in Stetson’s sweaty neck and forehead standing out, Neufeld’s angled forearm a blur of precision cuts. Despite also seeing Stetson’s SORROW, an arrangement of Gorecki’s 3rd Symphony for a 12-piece band, during the same festival, it was the intimate physicality of the duo show with Neufeld that had the bigger impact on me.

While Stetson has frequently performed in larger combos (as has Neufeld with Arcade Fire, for that matter), in solo and duo performances his uniqueness as a player is more legible. On Never Were the Way She Was, he uses his uncanny circular breathing technique to create ogrish drones (“With the Dark Hug of Time”), loop-like melodic phrases (“The Sun Roars Into View”), and even to emulate broken techno beats (“The Rest of Us”). Stetson is a pretty physically jacked guy, and when you see him do this stuff in person it’s a bit like watching a blacksmith going at his forge—on record it can be easy for an inattentive listener to miss the exertions required to produce these sounds. But when you start tuning in to the fact all of this groaning cacophony is produced by one man’s laboured lungs, its rawness and minor imprecisions become captivating.

Neufeld takes centre stage on the more somber, post-rocky tunes like the title track, her violin weeping rust as she overlooks a grey bay, Stetson contributing various fog horns and stomach upset. Now and again she wordlessly sings, but it’s always recorded distantly, like a memory of some ever-present sorrow you refuse to allow to surface. On “In the Vespers,” she sketches out a tricky rhythm that Stetson eventually echoes on a tenor sax, the pair running through an odd-time workout that would sound like prog were in not for the chilly clarity of her phrasing, the way the energy decays once again into remorse.

The pair’s previous collaboration was a 2013 film score (Blue Caprice), and the record is of a piece with the influential work Stetson has subsequently done as a soundtrack composer (notably Ari Aster’s Hereditary). As with fellow Aster collaborator the Haxan Cloak, Stetson’s work has helped to define the sound of contemporary unease. If you’ve watched a recent horror movie or psychological thriller, the palette of Never Were the Way She Was will already be familiar—but here the pieces aren’t tied to any preconceived scenario, and the interplay between the two musicians gives it a dynamism and complete-in-itself mood all its own.

345/365

[donttrustryan]

Don’t Trust Ryan (Toronto/Ottawa) is a musician, DJ, and artist.

Genre: electronic.

Bookings⠀Contact⠀Instagram⠀Twitter⠀Facebook

[thislovintime]

On set, 1967.

“I went to Peter’s home for dinner and we spent the evening talking about music. I found him to be a very talented guitarist. People say they’re not musicians, but I think Peter’s a brilliant guitar player. A lot of people don’t realize they’ve been around for years — working and roughing it.” - Dave Clark, Tiger Beat, September 1967

"Peter is the best rock guitarist around today. He plays about ten instruments in all — just about everything with strings. Mike and I also play guitars, although we are not in Peter’s class." - Davy Jones, Melody Maker, January 14, 1967

“Peter Tork has to be one of the best guitarists around — he can cut anybody on guitar. He plays about 10 instruments — banjo, uke, the lot.” - Davy Jones, The Ottawa Journal, January 20, 1967

"I adore Peter Tork. He really is one of the most super people I’ve ever met. The day we said ‘Hello’ he seemed to play his guitar and sing to me for hours — talk about romantic! Peter is very talented; intelligent, too. We spent a long time talking about such things as classical music and reincarnation. We have similar views about life and death: he believes there will always be a Peter Tork, and I believe there will always be a Jennifer Moss. Peter talked to me a lot. He put me right on a lot of things." - Jennifer Moss, NME, November 25, 1967 (x)

“Peter Tork is well known for his ability to play anywhere, anytime. He does not have to be on stage or even have a chair to sit on, as many people have found out at parties and clubs. If anyone hands him a Guitar or Banjo he just plonks himself right down, crossed-legged [sic] on the floor, and treats every one to a fantastic performance.” - Monkees Monthly, September 1967