KYEO & The CSA Present:
Thursday October 29, 2009
KING NEPTUNE & HIS TRIDENTS (GUELPH)
King Neptune & His Tridents (circa summer gig, 2009) Photo by Karolina Kuras
King Neptune & His Tridents is an all-star gathering of Guelph musicians, who first started playing together in 2003. The event that brought them together was CFRU’s Glam Slam Ball, which was first popularized in Guelph in the early 90s, as a “fake prom” where young students and people waaaay past high school could get dressed up and party like there were no chaperones in the room. Rekindled six years ago at the Ebar, the Glam Slam has gained new life as a hotly anticipated, annual, pre-Halloween bash that marries amazing music with dancing, formal wear, and a unique “prom” theme.
This year, King Neptune & His Tridents pay tribute to pop icon Michael Jackson, performing songs that span his career and are guaranteed to light up the dance floor. This 2009 Glam Slam incarnation of the band features Alison Bell-Smith, Andrew Collins, Bill Whitehead, Chris Hierlihy, Dave Withers, Drew Mcivor, Jeff Munro, Jessy Bell Smith, Johnny Merritt, Jordan Howard, Tristan O’Malley, and Vish Khanna. Patrons are all encouraged to wear prom wear of course but dressing as some incarnation of the King of Pop would be double nice!
Thursday October 29, 2009
The Ebar 41 Quebec St. Guelph
Doors at 10:00 PM
$8 with non-perishable food item
UPCOMING KYEO/CSA SHOWS:
THURSDAY NOVEMBER 26:
KYEO & CSA PRESENT: SHAD + I AM ROBOT AND PROUD @ Ebar – 10:00 PM $10 w/food donation /$12 – AA/LIC benefit for: www.cancer.ca
WEDNESDAY DECEMBER 16 & THURSDAY DECEMBER 17:
KYEO & CSA PRESENT: STAY OUT OF THE MALL VIII @ Ebar – 9:00 PM $10 w/food donation /$12 – AA/LIC benefit for: www.cancer.ca
For anyone, the BQE would be a lofty endeavour but, in some ways, you gravitate to this scale of artistic expression. What motivates you to take on such grand projects?
Well y’know, I don’t think I set out to make epic projects. I think the projects themselves become unmanageable in the process and I end up producing so much for a single project, that they end up taking over and becoming much bigger and grander than I’d anticipated. I never intended for this to be so drastic or extensive. In the case of the commission from [the Brooklyn Academy of Music], I was definitely working within a form. The piece itself had to exist in an opera house seating 2,000 people and fill the space visually, orally, and conceptually. So I knew I had to work within that scale and that’s why I wanted these three images, a miniature orchestra, and live hula hoopers, because I felt like that was what was required! I had the grant so I had the money to see things through. And then after the piece premiered and it came time to condense this into an album, I was really frustrated by the inability to reduce it to an LP. That’s when I started to develop more of the expository parts of the essay, and that’s when the comic book developed. So, the whole thing was unwarranted of course, but was heedlessly enraptured by this conceptual ideal or grand idea of just venturing beyond what was normal or rational to capture it, and satisfy my creative desire to have a set piece that would represent The BQE.
That speaks to The BQE but in general, you’re saying your ideas develop from basic structures ?
They’re really small. I really work on a very microscopic level. I really think in terms of the song or folk song, and I work within a very conservative frame of melody, accompaniment, and narrative. So really basic, simple forms, and they just end up becoming hybrids or amended or expanded to form greater, epic, set pieces.
In a recent interview you conducted with Shannon Stephens for AK.com’s Sidebar section, you wrote the following; “For myself, I’m starting to fear that music is far too selfish, self-absorbed, and self-interested for the ordinary life. When I’m entrenched in a project, for instance, the dishes are left undone, the bills left unpaid, the house is a mess. I become sub-human. I begin to despise all my bad habits.” Then later, you say, “I’m at a point where I no longer have a deep desire to share my music with anyone, having spent many years imparting my songs to the public. Although I have great respect for the social dynamic of music—that it should be shared with others, that it brings people together—I now feel something personal is irrevocably lost in this process.” And in your essay for The BQE project, you suggest that car culture and the expressway itself really reveal the self-destructive nature of man. So, my question here is, do you think that you or perhaps all of us stuck in this moment of our cultural trajectory, are enduring a particular kind of existential dilemma?
I can’t speak for the culture at large or anyone else. But for myself, I definitely feel a kind of claustrophobia because of the excess in our culture and the availability of so much.
It’s funny that you had this little interview and it made headlines. People seemed to think you were saying, ‘I’m retiring.’
Yeah, no, I didn’t intend to say that. I would never explicitly say something like that. But I definitely feel like ‘What is the point? What’s the point of making music anymore?’ I feel that the album no longer has a stronghold or has any real bearing anymore. The physical format itself is obsolete; the CD is obsolete and the LP is kinda nostalgic. So, I think the album is suffering and that’s how I’ve always created—I work with these conceptual albums in the long-form. And I’m wondering, what’s the value of my work once these forms are obsolete and everyone’s just downloading music? And I’m starting to get sick of my conceptual ideas. I’m tired of these grand, epic endeavours, and wanting to just make music for the joy of making music and having it be immediate and nothing to do with the industry itself, which, y’know is suffering right now of course. And I think it has to do with a creative crisis too. I’m wondering what am I doing? What is a song even? I’m questioning, what’s the point of a song? Is a song antiquated? Does it have any power any more? The format itself—a narrative song with accompaniment—is really beyond me now. Like, I feel that The BQE is not really a song, it’s not really a movie, it’s not really just a soundtrack. It’s so ambiguous and diversified, it seems to lack shape. And the expressway itself lacks shape, so I feel like it’s all related to this existential crisis: Me versus the BQE, or me versus my work, y’know? And I don’t think I can win; I feel like it’s a losing battle…