So this all began back in 2016, more or less. I was in a rut of sound, or soundless I should say. I wasn’t playing at all. I had recently, well, maybe a year earlier left the band I was in. It was a hard rock/metal band that sounded like the bastard child of Motörhead and Black Sabbath. The rest of the band which by that point was just the drummer and the originally bassist turned guitarist, turn lead guitarist/singer and we no longer were playing the original songs but instead were playing other bands music for some odd reason because still in my opinion the world does NOT need another cover band. That said, my brother-in-law Rick plays in two cover bands and yes they are amazingly talented but again, their talents can be better put to creating original music!
Anyways… back to the band I was in. I wasn’t interested in playing covers of Green Day, Neil Young and some band Gas Light Lamp House something or other, I don’t know or really care at this point. So I needed a break and left the band, took my amp and guitar home, all my original songs and fuck it. I fell in to a rut for a bit, sold off some of my gear and one morning in July I woke and said this is not my life and started playing again.
I sat downstairs and began to take hold of sound but a new and different unconventional way. Not your typical cookie cutter song structure but a menagerie of different sounds and styles. It stems from the 2007 album I did whilst originally experimenting with sound to the end result, Chateau d’Hiver.
The original artwork was changed and changed again. But overall it’s my first step in to what became the OddsFiche style and sound to come. A concept album of a man gone insane from the world around him and the end result of being vegetated by the drugs in the asylum as he goes through the steps of insanity to being somewhat catatonic in the end watering his plants quietly. Well, at least that’s what I was going for. But between 2007 and 2016, 9 years is a long time to get your ass in gear and going on what you now truly love doing musically. But things were meant to happen at this time and my mind is in the right headspace for it so whoosh! We’re away!
So I recorded my first album in about a week and a half, Ninth Eyelid Atelier.
It’s a hodgepodge of ideas and stories that fell out of my head and on to the recorder. I’m happy with it and it’s literally me on “tape” so-to-speak. Just experimenting with sound and sound effects and putting them together making sense of them all. July 20th 2016 it was released and I had so many ideas coming at me I kept recording and was on a roll and August 18th 2016 I released, Soundtracks for Cemeteries. The cover shows my foot in front of a guitar I threw out in the snow that February and left there till May to freeze in the snow and ice then bake in the sun and soaked in the rain. I brought that guitar in and let it dry completely then after the fretboard rotted off I cautiously plugged it in and voila it still made noise and It shows up on Ninth Eyelid Atelier and every album following that. I call it the “Gurum”, Guitar-Drum because I play it percussively with a mallet and use a slide as well.
Soundtracks for Cemeteries was coined by my friend Kat who came up with the title while we listened to some of the first recorded tracks driving through a cemetery because the trees made it cooler than the blistering heat that was around us.
This album was more in check with being conceptual and better organized than its predecessor, however it was still in the primary stages of creating my sound but I was off to a good start.
Soundtracks was release August 18th 2016 and the following day on August 19th 2016 I decided to take the next step and play live and try out some of this new stuff I have been recording and experimenting with. Naturally I was trying to talk myself out of it to friends who said it’ll be fine, don’t worry. I was still in huge shadows of doubt playing live, AND, solo! Well… it went well and thus began a 10 show tenure at Open Studio Art Café in Pickering, Ontario. I played the Hi-Toronto Hostel and La Rev as well but stuck to Open Studio a lot, it was my comfort zone for the time being.
My appearance had to be as unique as my music so I adopted the suit jacket and bowler hat to go with whatever t-shirt ended up on me that day, here it was Charlie Brown! The Gurum was in its early stage of being rather naked and unfinished but thought what the hell and took it for it’s debut spin here. The song that the Gurum is famous for is Subtle Grenade Cereal and Oyster Velocity.
After several shows and releasing the live shows as free downloads, I recorded, Cut Myself Shaving.
Another expansion in to the dynamic sound that is beginning to forge the OddsFiche style and unique dimension to music that I am now creating.
After a somewhat botched show at Open Studio due to some technical errors and effects pedals failures I released Cone of Shame in January 2017. To my surprise it’s the album that began to get more attention globally I guess but at least among friends. Better song structure and design, and this album flowed better than the others and I did more vocalization on this record than the others. I have no push to my voice, I’m no singer by any stretch of the imagination! I can harmonize with others if they can sing and I can sort of sing quietly with an acoustic guitar but that’s about it mate! Not a singer but for some reason always get stuck in a position where I have to sing cuz either I know the words OR no one else will do it!
It was at this time I was contacted by Nicholas Cooper, a DJ at the University of Guelph radio station CFRU. (https://cfru.ca) He had seen my song and picture in Prog Rock magazine from the U.K., I managed to get on to November’s CD sampler and he wanted to do more Canadian content on his show. Well twist my rubber arm eh? So naturally I said Hells Yes! He’s been a big supporter and fan of my music and has played several songs over the last year on his show so huge thanks go to him for that and continuing support for OddsFiche is greatly appreciated.
I went to visit Nicholas at the University of Guelph and did not just an interview but a live performance on his show in the booth with him as my in person audience and to whoever was listening to the show! Another first for me! By July of last year I had met Kevin on a site for musicians, a directory basically to connect with musicians who share similar tastes in sound and get together to jam and see of it leads to a band situation, which it did.
For a couple of weeks it was Kevin and I and I began mentioning that we need a bass player to which he said he had a friend who played bass with him back in the 70’s. I said ok, with caution at first because I didn’t want it to be another bring your friends in and goof around or turn it in to where I get pushed out of the scene and left at the curb. Pass on that BUT it paid off. Enter Hratch, the new bassist. At first he was more focussed on doing what I wanted as a visionary to my music until I drilled it in to both their heads that if we’re going to be a band then it’s OUR music and not mine alone. It took a bit of time but eventually that “Your Vision” turned in to “The Band” and its pathway to where we are getting to now. Aside form a short month long stint auditioning potential keyboard played, Jov, who would attempt to nap on a workout bench, bring food that they weren’t sure what it is they ordered and claimed to be a keyboard player but had no gear to speak of they could bring and was forced to rent something but oops, forgot to get a keyboard amp as well. So needless to say we had to say goodbye to Jov and we carried on and were stronger for it in my opinion.
Can’t Autograph a Snowball was released April 19th 2018 though this is an alternate cover as we are still waiting for the finished cover to be handed over for a proper release but we had to put it out with this cover because we’re in this month’s issue of Prog magazine’s CD sampler and a song form this album is being featured so we kind of need it out there for people to hear it!
This album is by far the most controlled album released to date in the OddsFiche canon, the most tempered guitar work and song structured as well. I issued a lot of restrain here to bring my facet of the music in to the fold. I had done snippets of that before on other albums but here it’s what it should be right now for me. Who knows what other albums may bring but I am proud of this album.
Right now we’re looking for a singer, preferably a female singer with a mature but edge to her voice like Janis Joplin, Grace Slick, Nancy Wilson, Melissa Etheridge etc. Why? Well, because it’s a sausagefest for Prog to have all guys sing and play in a band especially in North America. Europe and the U.K. are more in to having women sing music that’s not commercial clap trap pop. Too many female singers are thrown in to the mix of this machine over here if you will where they are all forced to sing like whoever the pop culture flavour of the week is and not what their true voices really are. So I want a female voice as the vocal facet of the band and we are thinking of a keyboard player too if one so happens to show up on the doorstep one day!
So there you have it, OddsFiche in a nutshell basically.
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