20 Questions: Sloan

--taken from: PopMatters

by Evan Sawdey

After over 20 years in the game, Sloan's Andrew Scott contributes a hell of an epic to the band's new "multiple-solo project" album Commonwealth and tells us of why he ended up stealing so many USA license plates in his time.

One would be hard-pressed to find much correlation between the Toronto power-pop institution that is Sloan and famed makeup-metalers KISS, but as of late, that task has become increasingly easy.

Back in 1978, riding a crest of popularity following the fact that KISS’ live albums were making them bigger stars than their studio albums ever were, the band’s manager thought it would be great idea to have each band member release their very own solo album on the same day, each disc counting as half-an-album in their five-album contract with their label. Although such a unique marketing idea had never been tried prior, the stunt itself turned out to have more of a lasting legacy than any of the material that appeared on those discs, but, if KISS gained a reputation for anything, it was being great at marketing.

For Sloan, however, the band has quietly been turning out brilliant pop albums every few years like clockwork, which makes them sound like they exist purely as craftsmen, but their consistently-stunning, quietly-developing style has been the very thing that has endeared them to their fans, which explains why, how after two decades in the business, they are still going strong, with each member (Chris Murphy, Patrick Pentland, Jay Ferguson, and Andrew Scott) proving to be a dynamic, distinct songwriter in their own right.

So, for Commonwealth, their 11th full-length, the band basically pulled their own KISS-style solo album stunt, releasing a double-disc set wherein each band member gets a “side”, or, a mean average of 14 minutes to fill with whatever they want. Being Sloan, the entire set is brimming with bright melodies and immediately-hummable hooks, but for a band that started releasing material all the way back in 1992, it is astonishing how fresh, dynamic, and downright fun Commonwealth sounds, the disc feeling like the end result of a bunch of ambitious twentysomethings trying to make every song they write the new Greatest Pop Song Ever.

Unlike his bandmates, drummer Andrew Scott decided to fill his entire side with a single song: the shapeshifting rock epic that is “Forty-Eight Portraits”, a semi-biographical shimmy through a litany of six-string styles. To help celebrate Commonwealth‘s release, Scott answers PopMatters’ 20 Questions and reveals a bit about where his love of portraiture came from, how artistic pursuits lead him to to steal a whole bunch of USA license plates, and how it’s best to take one’s moderation in moderation ...

* * *
1. The latest book or movie that made you cry?

The World According to Garp.

2. The fictional character most like you?

The Great White from the movie Jaws. Why? because everybody thought it was so evil and cold and calculating but in reality it was simply eating.

3. The greatest album, ever?

The Velvet Underground (a.k.a. their self-titled third album).

4. Star Trek or Star Wars?

Wars

5. Your ideal brain food?

Therapy, flow, and art.

6. You’re proud of this accomplishment, but why?

What accomplishment? I suppose one should be proud of any accomplishment as long is it’s part of the solution and not part of the problem, particularly if that accomplishment is a complete and utter failure. That is something we should be proud of—failure—because then you have the opportunity to learn and bounce back. Hindsight is 20/20 ...

7. You want to be remembered for ...?

Art and music, not that they necessarily occupy different planes of existence. Agnes Martin once said that “music was the highest art form”—I can’t say from where I stand, but I go to battle with both painting and music on a daily basis and I can experience terrible vertigo from either vantage point.

8. Of those who’ve come before, the most inspirational are?

I don’t go too much for “inspiration”. I prefer to just show up and “get to work”. As far as influences go there are simply too many to name ... where would I begin: the ancient Greeks?

9. The creative masterpiece you wish bore your signature?

“Dear Prudence”, a song from a band called the Beatles—or almost anything by American sculptor Donald Judd, especially the wall mounted work.

10. Your hidden talents ...?

I am right handed, however I can write upside down and backwards with my right hand and forwards with my left ... simultaneously!

11. The best piece of advice you actually followed?

“Come and do my intro painting class”. Words spoken to me from Gerald Ferguson (studio painting instructor and future mentor to me) when I interned as a printmaking technician at Nova Scotia College of Art and Design (NSCAD) in the late ‘80s. Making prints was something that felt good to me but in the fog of perfect facilities and perpetual access. I never had the foresight of what came after I graduated. He had me re-etch a few zinc plates from a series of intaglio prints he’d had done years prior and when my job for him was complete he very bluntly said something like “What the fuck are you doing this stuff for?! Do you think after you leave here you’ll have access to a 10,000lb press and huge limestone slabs (for lithography) that have to be moved around with a small forklift? Come and do my intro painting course!”

As he stated, it was something that was light and portable and you could do it almost anywhere literally until the day you dropped dead. I had no desire to be a painter—I thought I wanted to be a graphic designer but quickly learned that that was not for me. Long story short, I did enter his class and fell immediately in love with the process of painting and still wrestle with it to this hour. Jerry took his own life for reasons that very few of us will ever understand a while back, and I still struggle with how to process that “lesson”. I am dealing with it on my own terms in between carrying out the answers to these questions ...

12. The best thing you ever bought, stole, or borrowed?

Back to my printmaking days! Years before, my good friend Tony and I lived close to a giant mall where every summer, huge swaths of Silver Stream trailers would park up and I guess “camp out” for days on end to do this or that. Well we would dress in head to toe “Peter Sellers” black and at sundown we’d creep and skulk and get on our backs, wrenches in hand, and remove the license plates as the inhabitants slept (they were from all over the USA). The really choice ones for me were Arizona, Nevada, California, Texas—all the hot states. I later made some pretty nice prints from them.

13. You feel best in Armani or Levis or ...?

Well, that depends wholly upon where I am and with whom? But definitely never Armani. I’d much rather sport a suit made by some young cat from my neighborhood.

14. Your dinner guest at the Ritz would be?

I’ve fielded this question before and my answer remains the same: Gwynne Dyer. He is a Canadian-born (and based in London) journalist, columnist, and military historian. Super smart and dry and if you want to know what’s really going on in this world—he knows and he doesn’t mince words. A born Newfoundlander so he probably drinks too.

15. Time travel: where, when, and why?

This very precise moment in time (oh shit it’s gone?) because there is no before or future. The only time that exists is exactly when and where we are and I don’t live for yesterday or tomorrow ...

16. Stress management: hit man, spa vacation, or Prozac?

Ice hockey three to four times weekly, year round (so Canadian).

17. Essential to life: coffee, vodka, cigarettes, chocolate, or ...?

Although none of the aforementioned are essential to my life, I must admit that some participate with me, some more than others, and some more often than they should. Al Tuck says it best: “Moderation. Everything in moderation, including moderation ...”

18. Environ of choice: city or country, and where on the map?

Either right downtown or way out in the country—nowhere in-between. Nova Scotia for the rural and for the urban, right where I am in my backyard in downtown Toronto. I never really saw myself living in this city but I have for a long time and since having two kids, I really can’t think of a better place to be? Sure there are “better” places everywhere but I have what I have and this is our community. Nowhere is perfect but I’ve heard that it is better to want what you have than it is to have what you want ...

19. What do you want to say to the leader of your country?

“Resign now!” and then, “You’re under arrest for crimes against humanity.”

20. Last but certainly not least, what are you working on, now?

I’m working on a series of paintings that for the first time in a while seem like they are going my way ... I am also busy learning how to play our newest LP with my co-workers. This too is going well. Now I have to make dinner for my family and then go see my therapist. When I get home I intend to work very hard on a bottle of good Spanish red wine. Then I will work on bed and the cycle of life begins again tomorrow.

--taken from: PopMatters

Cooking for a Cause

--taken from: NOW Toronto (read more here)

Toronto-based digital indie music label Zunior turns 10 this year, and it’s celebrating by branching out into book publishing. The cookbook Zunior Eats features recipes from Canadian musicians, including Peter Elkas, Tamara Lindeman (aka the Weather Station), Sloan’s Jay Ferguson and the Burning Hell’s Mathias Kom (full disclosure: NOW writer/editor Carla Gillis has one in there, too), each contributing a dish that means something to them along with recommended listening while making it.

--taken from: NOW Toronto (read more here)

Music Review: Sloan – ‘Commonwealth’

--taken from: Blogcritics

by The Power Popaholic (Aaron Kupferberg)

Toronto-based quartet Sloan has been playing the most consistent quality power pop for over 20 years, and longer than any other band (still active) in the genre. After the career nadir which was 2011’s Double Cross, the band does something off the beaten path once again. This 15-song collection sees Sloan creating one of the most ambitious recordings of their career. Like the touchstone LP Never Hear The End of It, you’ve got a pile of great tracks and like The Beatles’ White Album, each band member creates a unique album section with its own layered personality. I’ll highlight each side here.

Sloan - CommonwealthJay Ferguson side: On first listen, it’s no different than any other Sloan LP – a good balance of sweet vocal melody and guitar riffs with enough hooks to keep you in headphone heaven. “You’ve Got A Lot On Your Mind,” “Three Sisters” and “Cleopatra” are standouts. The ’70s-style harmonies are most present here, with clear influences from The Beatles (especially Paul McCartney), Beach Boys and Todd Rundgren.

Chris Murphy side: Not as sweet, but just as strong, “Carried Away” resembles a Fleetwood Mac classic with heavier lyrical tone. The piano ballad “So Far So Good” is part of Sloan’s perfect melancholy theme that states, “When it comes down to it everybody meant well/Before their lives went to hell.” Another standout is “Misty’s Beside Herself,” which is a great story/song about a shy girl who finds herself in a relationship.


Patrick Pentland side: Here is where the bombastic guitarist gets to break out the riffs on “13 (Under A Bad Sign)” and the fuzz feedback anthem “Take It Easy.” In a major stylistic change from the previous two band member segments, Pentland opts for the heavy riffs and guitar effects. While the best track in his set is “Keep Swinging (Downtown),” it didn’t really lend itself to repeat listens.

Andrew Scott side: Probably the most ambitious of the sections, it’s one long 17-minute suite called “Forty-Eight Portraits.” Opening with about three minutes of discord and barking dogs, it really catches your attention with a Led Zeppelin-like piano bridge and guitar. It’s equal parts of stunning brilliance, rambling rock cliches and layered codas worthy of Who’s Next. It takes a few listens, but it’s worth it.

The band has matured to the point where these experiments keep things fresh. It’s the hooks here that will keep you listening to this album over and over again. What Commonwealth proves is that we have four skilled songwriters and instrumentalists with distinct tastes that keep Sloan atop the list of power pop bands.

--taken from: Blogcritics

Music Review: Sloan - Commonwealth

--taken from: CBC East Coast Music

by Bob Mersereau

I always thought the four members of Sloan should do what Kiss did in 1978, each release a solo album. The timing couldn't be better. They could have done them on oh-so-hot vinyl, and even dolled themselves up in make-up just to continue the joke. But the real benefit would be allowing each of the four members to write a full album's worth of material. After all, they've all been contributing to the band albums since the start. I've always wondered what each could come up with if 40 minutes was needed.

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Anyway, the group kind of went with this concept, just not on such a grand scale as my perfect (and humble) idea. Each member of the four-headed monster (Chris Murphy, Patrick Pentland, Andrew Scott, Jay Ferguson) takes roughly one-fourth of the album, and instead of mixing the songs up, they are presented all together. Jay starts with five short tracks, Chris chimes in with his five, Patrick offers four, and Andrew just has one, but it's a whopping 17-plus minutes long, giving him the most time on the album.

The group proceeds to do what they do, with Ferguson contributing the purest pop, Murphy the cleverest and catchiest, Pentland the hardest-rocking, and Scott the wild-card. Pentland's Keep Swinging (Downtown) matches CanRock 70's (BTO, April Wine) with Bowie out-there. Murphy comes out with the line of the album, as he usually does: "Did you learn nothing from five seasons of The Wire? When it comes down to it, everybody meant well before their lives went to hell." Scott's epic starts part-Pet Sounds (the barking dog part), part-rejected ideas for a Pink Floyd album (when they tried to make the follow-up to Dark Side using household items instead of instruments), but then becomes a huge, multi-song collection about life and not getting messed up by the ego-play going on in your head and around you, sticking to all the love that's available: "If happiness lies deep within us, how come most deny it for themselves?" It features a children's choir at one point, orchestra parts, and is the Who-rock opera bit on the album, a grand accomplishment. As for the short and sweet, that's Ferguson's domain, and You've Got A Lot On Your Mind is the power-pop hit that never was, while Three Sisters is the production-rich dreamy ballad. Enjoying the concept of a suite of songs, Ferguson brings back the hook line from You've Got A Lot On Your Mind for the ending of Cleopatra.

So, there is lots of playfulness going on, all the members getting into the "one-side each" idea. My complaint is that they sold themselves short, that less in this case was not more. Actually, I've thought that for the group's whole career, there's just too much talent being squeezed in to each project. Four albums boys, I'm serious here.

--taken from: CBC East Coast Music

Sloan – Commonwealth (Yep Roc)

--taken from: Elmore Magazine

by Layne Montgomery

If this was a righteous world, Sloan would be as big in America as they are in their native Canada. Why are they so good? All four of them are songwriters and none of them is a Ringo.

On their new double album, Commonwealth (their 11th), each band member’s songwriting takes up a full side/suite. Sloan had talked about doing Kiss-esque solo records from each member for years, but wondered if fans would put in the time to listen to each one. However, putting all the solo-written material on one double album instead of four separate ones made it easier for the band to finish and will make it easier for listeners to digest. At least that’s what the band hopes. “Maybe people won’t like it this way, say it sucks,” said bassist and de facto leader Chris Murphy. “And the next one will be back to how we usually do it.”

It is slightly jarring, as a huge Sloan geek, to listen to Commonwealth for the first time. I’m used to hearing the four songwriters’ voices one right after the other (as opposed to segregated into separate sides): a Jay Ferguson song (guitar; lots of ballads; the sensitive one), then a Murphy song (bass; drums; the funny one), then a Patrick Pentland song (guitar; riffs; usually writes the singles), then an Andrew Scott song (drums; guitar; the complex one). And that’s the order of the sides here, chosen “alphabetically because we couldn’t decide,” said Murphy.

“We’ve Come This Far,” the solo Lennon-esque stomper that opens the album, acts as a mission statement for the band, now in its 23rd year. The song is a somber look at a mid-level lifer band’s career, as Ferguson sings, “Are we charmed or are we vexed? Does history or vanity decide?” This leads into “You’ve Got A Lot On Your Mind,” probably the best song here (how was it not the lead single?) and one of the few Sloan tunes you can actually dance to. Then Ferguson’s acoustic song (because he always has an acoustic song) “Neither Here Nor There” is also quite lovely and closes out his side.

Murphy’s songs tend to be the bridge between everyone else’s sounds: he can do light FM pop like Ferguson, pysch-rock like Scott, or head-bangers like Pentland, but here he settles into songs that are undeniably his own: witty lyricism, many structural twists and turns, and a chugging, mid-tempo feel. His side is probably the album’s most solid, punch for punch, although none of his songs stand out quite like past numbers including “Take It Upon Yourself” or “She Says What She Means.”

Over the past few years, Pentland has become Sloan’s weak link, and here he turns in the album’s dud—the slow, plodding, electronic “What’s Inside”—but then follows it with a total jammer in the single, “Keep Swinging (Downtown).” “Patrick always gets the singles,” Murphy said. “I don’t know what I’m doing wrong.”

Next, Scott’s side is one very long suite, entitled “Forty-Eight Portraits.” He tends to have the least amount of songs per album, so it is somewhat of a bummer that he only has one here, especially since it opens with two and a half minutes of “Revolution 9”-esque ambience and later quotes an older Sloan song (the classic “Delivering Maybes”). However the suite as a whole is still pretty awesome, so maybe I’m just being greedy for more Scott.

This is not Sloan’s best album. While there are some great songs, it is, ultimately, a little bit of a letdown. That said, what other bands are still doing crazy ambitious things like this on their 11th record? Plus, I’m probably holding them to impossibly high standards because I love them way too much. It wouldn’t be the first time. Just listen to Sloan already.

--taken from: Elmore Magazine