Winhara

Tom Thomson's famous painting The Jack Pine. Oil on canvas. 1916.

It’s the stuff of Canadian legend.  Artist and avid outdoorsman, Tom Thomson, paddles out into Canoe Lake just as he has done countless times before.  This time he disappears.  After days of searching, his body – bloated and bruised – surfaces.  It doesn’t make any sense.

More on the extraordinary story after these extras we’ve put together for you.

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Additional Blog:

After researching the painter’s mysterious death I had to see the locations for myself.  Click here to read about my solo trip on Canoe Lake along with pictures of Tom Thomson’s Algonquin park (including the cairn and totem pole that are now standing at his favourite camping spot).

Behind the scenes video:

Acoustic version:

Lyrics:

While the official coroner’s report claims that Thomson’s death was accidental there are many conspiracy theories – and for good reason.  Tom was a strong swimmer and experienced outdoorsman, he even had a license to guide in Algonquin.  It seems quite unlikely that he just fell out of his canoe and drowned on a clear day.  In addition he had a bruise on his temple and there was a piece of fishing line wrapped around his ankle no less than seventeen times!  There also wasn’t any water in his lungs, an indication that he died before he drowned.  These facts, and many others, have raised questions surrounding his death.

Tom was just entering his prime as a painter and was starting to get recognition for his work.  He grew up in Owen Sound but had moved to Toronto to pursue his career.  He spent his summers in Algonquin park doing small oil sketches that he would transfer into larger works at his studio in the section of Toronto now known as Rosedale.

The best site I found for research is Death On A Painted Lake if you’d like to do some of your own digging.  For a more entertaining read you can check out ‘Canoe Lake‘ by Roy MacGregor.

Go to winhara.com

I feel as though being a stunt double or a special effects man for movies would take much of the “ooh and awww” out seeing a movie – simply because you know what is happening to really create the moment where a helicopter is ninja kicked in half by the hero.

Unfortunately I have the same feeling with music now. As a youngster (i.e. 16) I was living at concert venues and summer festivals. I just loved being surrounded by the music and being “this close” at the front of the stage to people doing what I only dreamed of. Everything seemed larger than life. But as time passed and I became more aware of things happening on and off stage in the music industry I was less and less impressed. That and a lot of music started to suck…

Anyway, what I am getting at is that there are very few bands that I get excited about when I hear an album is coming out or that they are going on tour. One such band is Brooklyn based White Rabbits. Although I don’t know everything and anything about this band, I do know that from what I have heard and seen (thanks YouTube) I love everything they do. Needless to say I was ecstatic when I realized they would be playing Toronto on October 24. And then I realized the bad news…WE were playing on October 24. What made it even more painful was that they were playing a venue on the same street as us…two doors down.

As the date grew closer I was joking with many people that I was simply going to run next door, watch the concert and sneak back in to our show before anyone was the wiser – which was totally undoable of course. Then this led to joking about both bands loading their gear in at the same because the venues were so close together and getting a chance to bump into them that way. It was all so LOL.

All these thoughts had for the most part left my mind by the day of the show, as I was more focused on our own show that evening. However, as we were beginning to unload our gear into the venue, what should come around the corner but a big white cargo van with a trailer that proceeded to stop two doors down. After our gear was unloaded (and much teasing from the other guys) I finally worked up the courage to go talk to them. Now, I have met my fair share of famous hockey players and musicians in my time and for the most part have kept things cool – but for some reason – mostly my unbridled love for the band, I was more like a 12 year old girl meeting the Jonas Brothers on this day. I came around the corner of the venue, saw the guys all standing around the van having a smoke and just started rambling at mach speed…

”Ummm yeah. Hi, my name is Stephen.” – extends for hand shake.

(Steve from the WR introduces himself as ‘also Steve’)

“Yeah anyway what time are guys on tonight because I REALLY wanted to see the show.”

(I think 11pm)

“Ahhh see cause I am also in a band that is playing tonight two doors down and…”

(Oh what band is that?)

“Winhara”

(Sorry?)

“Winhara, we’re a local band…anyway, that sucks cause I really like you guys and we have you at work on the mixed CD…”

(Sorry?)

“Oh, I also work retail and yeah they are a small Canadian company and it is usually just Britney Spears so when you guys came on I was all like (voice cracks) ‘Ohhhh no way this is on here!”

(Well that’s cool)

“Yeah, well and OH! I saw your performance on Letterman, man that was SWEET!”

(Oh well thanks, thanks a lot)

“Oh, sorry I realize I am rambling, I don’t usually get nervous when meeting people but… (trailing off)…you guys are really good”

(Oh no worries man, we are just dudes)

“Yeah but you are good!”

(Well thanks, anyway maybe cut your set short tonight so you can make it…haha)

“Yeah they don’t really need a drummer…acoustic set tonight boys…anyway, thanks, thanks – extends for hand shake again – and it was super cool to meet you guys, later!”

….And then I ran away…Didn’t leave a business card, didn’t try and pump up the band or mention our “after party”…Nope, I just ran away.

For a moment, I was a 12 year old girl.

P.

I’m reading a book on being in an Indie Band.  It reads:

Not everyone is cut out to be an independent musician.  Before making the decision to go after an independent career, you-as a musician-must ask yourself:

*Have you done everything you can to be as good as possible?

*Can you trade dreams of being a star for the reality of making a living from your music?

*Are you willing to bend with suggestions from others?

*How much time are you willing to devote to your music career, including touring?

*How big are your balls?

Indies should never assume anyone will do anything for them that they aren’t willing and able to do for themselves.  No one will ever care as much about your music and career success as you do.  The only helping hand you can truly depend on is connected to the end of your arm.  Don’t expect others to do it better than you can do it yourself!

“I Don’t Need A Record Deal!-Your Survival Guide For The Indie Music Revolution”

I’m just listening to Fleetwood Mac’s greatest hits and it blows my mind how many songs I recognize but had no idea that it was a Fleetwood Mac song. As much as Fleetwood Mac got it’s name from the original rhythm section of Mick Fleetwood and John McVie I think most people think of Lindsey Buckingham and Stevie Nicks when they think of the band.  I did a little reading and didn’t even realize that FM had a lot of life long before Buckingham and Nicks even entered the picture.  Led by guitarist Peter Green in the 60’s who was a famous blues guitar player they had a few hits and he actually wrote a little song called Black Magic Woman…you know that song that made Santana famous…no big deal.  Anyways he left the band in 1970 approx. 13 years before I even existed and faded away, which I think is totally Rock and Roll. After that there was a bit of a transition period and then between ‘75 and ‘87 is when FM did the most damage.  Most people know the drama of this version of FM and how everyone was sleeping with everyone and the crazy tension between the band members especially during the Rumours album.  That shit aside because I really don’t know that much about FM (or care to know), the thing I find most fascinating is that they were one of the few bands that survived through two very vey different era’s.  After listening to the Greatest Hits it’s amazing to hear Hit Songs from the same band that sound so very very different.  If you take a song like Landslide and play it side by side with Little Lies there is a 10 year difference in the songwriting not to mention there were 3 different song writers in the band during this period…not to mention 3 main singers.  What the hell is that!  I guess it just goes to show that if you have a hit song, it’s a hit song.  It doesn’t matter if Stevie Nicks is singing it or Lindsey Buckingham (or the the writer of “Little Lies” herself, Keyboardist Chistine McVie).

Fleetwood Mac, you have some wicked little tunes!

Songs to listen to:

Name-Songwriter

Rhiannon-Stevie Nicks

Sara-Stevie Nicks

Don’t Stop-Christine McVie

Little Lies-Christine McVie

Go Your Own Way-Lindsey Buckingham

Tusk-Lindsey Buckingham (this song is wicked)

(Originally posted by Kent on February 27, 2009)

Check out the new Video Blog and remember if you’d like to be on the Guest List for our March 14th Canadian Music Week show at the Mod Club just e-mail your name to winhara@winhara.com.

Thanks!

A few months I discovered a site called Musebin (musebin.com) which serves up 1 line music reviews.  140 characters or less.  Music reviews for the Twitter generation.

Great.  More internet A.D.D.  Not only am I not going to spend the time to go pick up a music rag and read a whole review, I’m not going to read more that 1 line now?  Except that even when I do read full reviews they are usually crap.  They trash an album simply because it’s Pop.  Or rave about garbage because ‘nobody gets it, it must be genius’.  Or they’re so long-winded I have know idea whether they liked it or not.

I hate pitchfork.

Musebin works like this:  You log in.  You write a one line review of an album – love it, hate it, don’t care, whatever.  Now the part that makes it worthwhile:  Other people read your review.  They can then Agree or Disagree with it.  Multiple review of an album each rated by other people for accuracy creates a much more useful picture of an album than a page written by some dude with a beef against making music AND a living.

What’s the point if you end up reading a bunch of reviews anyway?  It’s the original one line that grabs your attention in the first place.  My latest discovery was an album by a band called Elbow…

(5 minutes later)

… And of course now I can’t find the original review I was looking for, but it said something like “Parachutes era Coldplay meets DJ Shadow”.  That sucked me in, I read more reviews, checked on the previews on iTunes and bought the album.  It’s Awesome.  Buy it.

Even better is that Musebin will send you an email with the 10 best reviews in it every week or so.  And if you have twitter their twitter feed is pushing out new reviews all the time.  I discovered Byetone via twitter post:

“As rhythmic as it is ambient, as gothic as it is dance, as lush as it is stark, this album is a masterpiece.”

The real strength of the site is of course in its membership, so check it out.  The more people who review and rate other peoples reviews, the more useful it becomes for all.  If the radio, Much Music or Pitchfork haven’t turned you onto anything good lately, Musebin just might.

www.Musebin.com

I am spending some time this afternoon watching the snow fall while eating pea soup and listening to The Album Leaf.  This band – which was suggested to me by a contact at our Facebook page – is quite good, using electronica beats that remind me of Four Tet, but with the melodic ambiance of something like Zero 7 or The Cinematic Orchestra.  (The album I’m listening to is their newest – Into The Blue Again.)

But I’m not really thinking about the album.  I’m thinking more about the snow and the pea soup.  I’m also thinking about the money that’s floating around out there and how to get my hands on some of it; I’m thinking of a terrifying dream I had the other night that to get out of my head I’m putting into a song; I’m thinking about what things mean, but actually mean.  Above all I’m thinking about what I’m thinking about and I think it’s because I’m two thirds of the way through Zen and the Art of Motorcycle Maintenance.  It swirls up a certain self-reflexivity in me which is why I’m writing about thinking about what I’m thinking.  This is about to go in circles so I’ll stop before my thoughts crystallize and I lose my sanity.  Instead I will do dishes.  Read the book though, it’s really good.

This song is a bit unsuspecting, hidden at the end of the album.  It isn’t complicated or flashy and it was basically two song ideas that were put together to make one.  But somehow it is one of my favourites.  Here are some facts about Won’t Be Missing You:

• At Byron’s suggestion, the lyrics of the finale changed from “I’ll be missing you again” to “I won’t be missing you again.”
• There is an amazing cello line in the verses that we didn’t include on the album because it made it a little too pretty.
• Hugh plays his bass through three (count ‘em) three distortion pedals for the outro which is why there is that crazy distorted squeeling going into it.
• The beat in the final verse is made by a 70’s drum simulation pedal that we found randomly in Byron’s place and just had to use it somewhere (I think it’s used in the background of Baby Steps as well).
• This is the first song that Hugh started playing keys on.
• The “ahs” at the end actually started as an arrangement idea we recorded so that we would remember it.  We ended up just using those vocals.  Once we doubled and repeated it at the end of the song we knew it would be the album ender.

[Listen to Won't Be Missing You]

Spring 2007 – we were trying to bang out five more songs before we went into the studio for creative sessions. That winter Hugh’s parents were kind enough to let us take over an amazing apartment above their garage, which they rented out during the summers. I worked early in the morning and Kent worked late at night so we would meet there during the day to write, arrange, (and argue a lot) before Steve and Hugh got there for rehearsal.

One day was going particularly badly and nothing was getting done – just a bunch of false starts and dead ends. It turned into me dejectedly napping on the couch while Kent continued to tinker on an acoustic guitar. An hour later I heard a strange, bouncy, lick through the half sleep. I decided I loved it and ran bleary eyed to the piano. From there, most of the song just fell together. I do remember writing the bridge which turned out to be one of my top 3 favorite moments on the album. It was Hugh’s idea to rotate the melody through the three instruments. He plays a bass note on the first beat, then Kent hits his guitar on the second and I finish the line with my keyboard played through a POG, one of the coolest pedals in the world.

Also, some of you (drummers especially) may have noticed the strange mixed time signature that happens. The whole song is in 4/4 except where that original lick appears. It starts on the third beat of the bar and the chords are evenly spaced, but there are three of them and the last one doesn’t land on the first beat of the next bar (as it would in 4/4). In fact it lands a fraction after where the last sixteenth note would be. If any of you music theory buffs can tell us what we have done here an explanatory comment would be much appreciated.

[Listen to This Year]

Since the four of us have known each other for so long we have become good at a few things. One of these things is being diplomatic but brutally honest with each other; another is realizing when this is happening and understanding what the person is actually saying. So when I played Kent this song idea and he said he really liked the verses I knew he did like the verses but was also saying that the chorus sucked, which, (looking back) it did. The challenge, then, became to write a new one.

I wouldn’t say that writing a chorus is harder than writing a verse. I would say that writing a chorus to a verse is harder than writing a verse to a chorus (follow me?). I think this is because choruses (at least in commercial music) have got to be at least 50% more important than verses. Unfortunately, about nine times out of ten we seem to do it the hard way. Baby Steps was not the exception.*

Two heads are better than one. Four heads are better then two… most of the time. But during Baby Steps’ chorus writing session it was beginning to look more like a Mexican standoff. To avoid this, Kent and Hugh went to develop some ideas on their own, leaving Prevost and me staring at each other from behind our respective instruments. I should look at Steve more often when writing because I immediately got a vision of him thrashing away… complete with audio. I attempted to break the singer/drummer language barrier using the appropriate “bah-bah, kah-kah’s” and he did an unbelievable job of make sense of the jibberish. After some fine tuning, Steve came up with the rhythm that is in the final version of the song. If I remember correctly, Hugh and Kent were sold as soon as they heard it.

[Listen to Baby Steps]

(* Footnote: This is indicated by the fact that the words “baby steps” don’t appear one single time in the entire song. Those lyrics, from the original scrapped chorus idea, just sort of stuck.)