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Andrew Whiteman, meanwhile, having quit the Bourbon Tabernacle Choir, dove into the warehouse district scene, forming Latin rock band Que vida. She looked them up after moving to Toronto a few years later. In Calgary during a demoralizing tour to promote their unsuccessful major-label debut in 1994, hHead met sixteen-year-old Leslie Feist, a stunningly talented vocalist. He didn’t start a band in high school, instead making droning, John Carpenter–inspired imaginary soundtracks on a friend’s keyboard. His schoolmates included Emily ‘Metric’ Haines and Amy ‘Stars’ Millan, seniors who later became his musical collaborators. But I didn’t pick up a guitar till I was seventeen.ĭrew attended the acclaimed Etobicoke School of the Arts, in the inner suburbs west of downtown. That changed the course of my life, because I thought, that’s how I feel. Kevin Drew: That was the first time I heard a new song that I immediately related to. Kevin Drew was fourteen and had just heard Dinosaur Jr. Eight years earlier, while grungy hHead released their first cassette and took over 1150 Queen Street West, guitarist Andrew Whiteman was playing in one of the most popular bands in Toronto, soul/funk collective the Bourbon Tabernacle Choir. Canning tempered young Drew’s lofty enthusiasm and arty indulgence with even-tempered experience and a focused pop sensibility.
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Seven years older than the wide-eyed, hungry Drew, Canning was already a road-tested band vet, and BSS marked his transformation from grinning, fresh-faced hHead bassist to wise, soft-spoken elder. And the process of how they all met one another is intimately tied with how their sound evolved.īroken Social Scene began in 1999 with the collaboration of Kevin Drew and Brendan Canning. Their various starting points all contributed to the band’s unique sound and modus operandi. The story of how BSS came together is like an explosion in reverse. They’re also also reductively labelled ‘indie-rock’ - which paints over the way their sound drew on different elements of the underground nineties: post-rock, dreampop, dub, folk, ambient electronica. Check out Kevin Drew in a live chat with Jonny, today at 5pm via Instagram Social Scene are usually described as a sprawling collective, their name a commentary on their large, fractured membership. Purchase your copy of the book on SpacingStore.ca. so many people have egositic desires in the sense that so many people want to be a character, or an image within the public eye and within media, they wanna be a cause, no matter if they have to do things they dont like to get there, some people do terrible things to be a cause and some do stupid things to be a cause, thats what i take from "everyone wants to be a cause" "everyone wants to fuck the cause" i feel like when he says fuck the cause its a way of metaphoring the lustful, obsesive relationship that many of us have with money/fame/power.Spacing is teaming up with Coach House Books and Jonny Dovercourt to bring you partial and complete chapter excerpts from the new book on Toronto’s music scene from 1957-2001, Any Night of the Week (2020). Ive been listening to this masterpeice since i was about 5 and i never get tired of hearing it :) im 18 now but the meaning always sticks with me, personally i feel this song is a message to be yourself. Here is a waiting room that wants to save your life