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Winnepeg Free Press - Winnepeg - April 7th, 2009 Grand Analog (Metropolis Is Burning) Is it too early to pick our hottest album of 2009? Yes? Too bad, we're doing it anyway. Last week, Grand Analog head honcho Odario Williams announced the local alt-hip-hop collective would release its sophomore album, Metropolis is Burning, on May 29. If that weren't tease enough, Williams put the album's first single, Electric City, up for download at Grandanalog.bandcamp.com. If ears could drool... Exclaim! Magazine - December 2008 Valery Gore (Avalanche To Wandering Bear) By Scott A. Gray Jazz pop doesn't usually inspire gushing accolades over its brilliance but thankfully Valery Gore deals in a natural blend of musical sensibilities more suited to a fair trade mom and pop coffee shop than Starbucks. Her classical piano chops drive most of the songs found on "Avalanche to Wandering Bear," but it's the compositions that should garner the highest praise. Gore's voice is a beautifully silky instrument that's sure to be compared to Feist's golden pipes but her songs are positively brimming with tasteful vibrancy in their arrangements and structures. Three tracks of stately pop perfection open the disc before the jazz-fusion of "Scared" lights a rhythmic fire under the listener's ass with an unabashedly complex groove. It's the mark of a great album when each song has such a distinct feel while remaining cohesive and well paced in the overall flow. "Knife Dream" sounds like something Sarah Slean would sell a million tears to write and never achieve. One of the best written and produced records of the year that should establish Valery Gore among the strongest female voices currently writing music. The Toronto Sun - Toronto - January 7, 2009 Valery Gore (Avalanche To Wandering Bear) By Errol Nazareth (Avalanche to Wandering Bear) was easily one of the most curiously titled independent releases of '08. And if you were curious enough, your ears would have rewarded with some of the most unpredictable, catchy and adventurous pop being made in this city...It's completely original and there's no reason why Gore should not be rewarded with the same love and glowing press that, say, Feist has received...Easily one of the album's selling points is the fact that every song has its own identity and sound. SPILL MAGAZINE Peter Katz and the Curious (More Nights) By Andrew Seale (Peter Katz) breathes life into Jeff Buckley's unique stream of folk music and for a moment garners smiles from those who worshipped the genre. But Katz by no means lives in Buckley's shadow. he carves his own niche in teh industry and delivers a unique blend of folk with a vintage sound reminiscent of Ron Sexsmith...More Nights is a definitively Canadian album drawing an east coast rhythmic sensibility, blended with a prairie-like abandonment, and a west coasters point of view...Peter Katz embodies Canadian folk. |
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I grew up playing music and I still get to every day. Guitar was first (ok it was actually clarinet first, but I'm not counting that), then a bunch of other stuff that makes sound. Except drums. I suck at drums. And I have nothing against clarinet. I started as a session guy: guitar, bass, mandolin, keys, dulcimer, accordion, and other things unequally well. These days I produce records-arrange, record, mix. I'll often play on them too. I've been mixing quite a few records for other producers too. I also write music for picture: film, TV, and commercials. I get to work with three other great composers at The Hive (www.thehive.ca) on lots of great stuff that get seen around the world. I'm into any sound that’s real and makes me feel something. Irony is easy and boring. Some people say that the song is everything. I don't believe that. Everything is everything. We always start with lots of pre-production. It’s the way it used to be, and the way it should be. I like recording people playing together in a good room, especially to tape. I really dig the sound of my Studer 2 inch 16 track. I like the smell of tape too. I like old microphones, preferably German. I love ribbon mics. I think that most important part of my job is to help musicians get great performances, not to fix stuff later. |
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I love making records-—the rush of hearing tunes come together for the first time in pre-production, the musical energy captured when putting bed tracks down with everyone playing hard at the same time, the steady daily build and experimenation of overdubs, the refining process of editing and comping, the courage of creating and committing to a mix, and the joy (and relief) of hearing the whole thing become a “record” in mastering. |  |
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- Garth Hudson "A Tribute to The Band” 2010 (Curve/Sony): Mix |
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I’ve been working with the guys at The Hive for five years now (Oliver Johnson, Andrew Seok, DJ Catalist, Paul Gillespie and Craig Pady), and we’ve had the chance to make music and create sound design for a ton of national and worldwide ad campaigns. Some of the highlights are Dove’s “Little Girls” spot for award winning worldwide “Campaign for True Beauty”, Samsung’s worldwide World Cup and Olympic sponsorship spots, Visa’s Olympic campaign, and US national spots for the NFL, Cingular, AT&T. I love that I get to work on such a wide range of music (one day we’ll be doing big cinematic orchestral stuff, the next day rock, the next day hip hop, the next electro…. |  |
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Much of the scoring work I’ve done is done with the other composers at The Hive. One of the things I love about scoring film and television with the Hive is that we all bring different strengths and perspectives to the same picture, which keeps things fresh over the course of a TV series or film. We’re all composers as well as record producers: Oliver Johnson (Esthero, Divine Brown, Layah Jane), Andrew Seok (Juno nominated for God Made Me Funky) , and AlisterJohnson, aka DJ Catalist (Grand Analog, Louwop, Feist remixes) and I think you can hear it in the music. A recent highlight is the documentary Addicted to Plastic (www.crypticmoth.com/plastic.php), a feature-length documentary about solutions to plastic pollution, which has been winning awards at a bunch of film festivals and has been bought by TV networks around the world (CBC Canada, VRT Belgium, YES Israel, EBS Korea, Planete Poland). |  |
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My studio is part of The Hive—a cooperative space with 3 other studios. It’s not fancy, but everyone loves the vibe, and we’ve got the place stuffed with an amazing collection of instruments and gear (especially keys: we’ve got a couple sweet Hammonds, a cranky 100 year old Heintzmann upright that brings out everyone’s inner Tom Waits, Rhodes, Wurly, Clav, Pianet, and bunch of analog synths by Moog, Korg, Arp, Sequential Circuits, etc). While I usually do bed tracks for records in studios with big live rooms and 2” tape decks (such as MetalWorks), we’ve got a couple cool sounding spaces to record drums (a lively room and a dry booth), and I really like the sound of my control room for mixing and booth for overdubs. Click Here For The Gear List |
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