The new WP record is officially in the can! Details are to follow, but I can confirm that it’s a five-song EP called Old Dreams; it’s once again produced by Murray Lightburn and features longtime WP pals Stacey DeWolfe, Chilly Gonzales, Steve Raegele and my brother Nick Fraser; it will be released this fall in a (very) limited edition 10″ vinyl as well as on all digital platforms, and we will be doing some shows for the release.
2017 was the first year that I didn’t do any WP shows since 1999, or in other words, in the entire history of the WP. That feels strange. However, I did stay busy with music.
Working with producer Murray Lightburn for the third time, I recorded five new songs. They sound pretty different than anything I’ve done so far, so I’m curious to see what people will think. Murray and I did most of the music ourselves, Stacey sings on a bunch of tracks, and longtime WP cohorts Chilly Gonzales, Steve Raegele and my brother Nick Fraser all make appearances. These tunes will be released in some form in 2018, and the WP will get back on the road.
The other thing that kept me busy was the 30th anniversary tour of the Permanent Stains, the band I’ve been in since junior high school. We released an updated edition of our autobiography, Let’s Get Greasy, and did five shows in Ontario and Quebec. The tour was probably one of my favourite experiences ever. In our heyday we were notorious for being theatrical and confrontational but not very good—but today, with half the band being full-time pro musicians, I knew we could make an impact musically as well as theatrically. Some may be surprised by this, due to my reputation for haphazard sloppiness, but I actually have very high standards both for the WP and the Stains: I want to blow people’s minds. And if I may say so, I think we accomplished that this summer. But don’t take it from me…
Some of the shows were mostly for old friends, which was fun, but when we played in North Bay and Peterborough, the audience was all young people rocking out, which was super energizing. We also got to play with a bunch of really cool bands and artists, including old friends like garbageface, Broken Puppy and Just Like the Movies, but also new (or new to us) artists like Ugly Cry, Eliza Kavtion, Gamma Scum, Like a Girl, Coastal Pigs, Worn Robot and Lonely Parade. The tour was full of friendship, hysterical laughter and ridiculous stunts both onstage and off. To be able to spend that time with the band—my brother and a bunch of my closest friends—and to pull off our absurdist spectacle so successfully, was really like an adolescent fantasy come true, and I hope to work with the Stains again before too long.
While I was on the road with the Stains, I was contacted to host a panel discussion at Pop Montreal with recently reunited 90s band Royal Trux. I was familiar, if not intimate, with their music, but I was curious (and flattered) enough to say yes. Starting at that moment and continuing up until minutes before the panel, people from my close friends to the highest ranks of Pop authority warned me that the band were notoriously difficult. I figured I had to get my Nardwuar on and do scrupulous research in order to not be publicly humiliated.
In the end, the research paid off and/or the band’s difficulty was greatly exaggerated, but it was a pretty great experience—they were just funny, smart, very candid people. In addition to a nominal fee I got a festival pass out of it, which was great. I saw a number of shows, including nostalgic classic album run-throughs by pals The Dears and Besnard Lakes, a great set by Carodiario which also was apparently Maica’s last under that moniker, and a rager by the Trux themselves. The best was a NYC rapper named Quay Dash. I was on my way home from another show when I ran into my friend Roxanne aka Donzelle, who urged me to join her, and I’m so glad I did. True hip-hop, raw and real, like I hadn’t seen onstage in years.
Anyway, I’m excited to share my new music and to get performing again. Thanks for reading, and I hope to be seeing you soon!
After a quiet period, mainly due to the birth of our son, the WP started to get back in action this year. In the spring we released our latest EP Always. Produced by Murray Lightburn and featuring a song co-written with Mocky and a cameo from Chilly Gonzales on piano, it’s been called a return to the “classic” WP sound and, well, what more can I say? I like it, and I hope you do too.
We also put out a video for “Hey Joanne” directed by Montreal artist and musician Bryce Cody.
And we got back on the road! It was a short jaunt, but we had a lot of fun. In Toronto, we were backed by a one-off supergroup featuring three of my favourite musicians and human beings in general: Charlotte Cornfield, Adam Waito and Matt Collins. Here we are performing the title track from Always:
In Montreal, we were joined by our longtime collaborators Gordon Allen and Warren Auld, along with Tim Kingsbury (Sam Patch, Arcade Fire) on guitar. In Ottawa, none of my wish-list guests could make it, so Warren, Gord and I played as a power trio with Stacey’s vocals on top. And that was fun too.
In the fall, we had the opportunity to play at Montreal’s best film festival, the Festival du Nouveau Cinéma, at an afterparty of sorts for our old friend Adam Traynor’s new web series Le Ball-trap. Murray, Warren and Gord filled out the lineup, and José Garcia did some amazing visuals. Here we are performing “Avalanches” from History of Pain:
I didn’t see a ton of shows this year, apart from some great bands we shared the stage with such as Triple Gangers, Muelkik, EXE, Douce Angoisse and Sheenah Ko. I did see one show, however, that was very memorable. It was a triple bill of Napalm Death, Melvins and Melt-Banana.
They were all awesome, but the Melvins show was really life-affirming. They have always been one of my favourite bands, but I hadn’t seen them play for years. I noticed that they had a new bass player, and he was giving off a really good vibe. You know when a veteran band has a new, young member who just seems really overjoyed to be onstage with these guys? It was like that, but as I looked closer I realized that this guy wasn’t that young. But he had the energy of a young person, just really getting into it and enjoying himself onstage. Eventually he was introduced and I realized it was Steve McDonald from Redd Kross. I can’t really express how motivating it was to see the enjoyment he was having and putting forth to the audience. The fact that someone can still be that energetic and positive after many years in the music game gave me a much-needed renewal of faith.
The other big thing that happened this year was that Gordon Thomas, who we made a documentary about years ago and stayed friends with for years after, passed away just shy of his 100th birthday. I wrote a few words about him and the experience of visiting him just before he died.
I didn’t do a ton of freelance writing this year, but I was happy with this review of gay Québécois wrestling icon Pat Patterson’s autobiography.
2016 was a tough year for a lot of people, and I fear that the next few years may be just as hard or harder. I don’t know what to say or what to do, except to try to be a good person and engage in my community as much as I can. WP-wise, I’ll be working on some new material and a new stage show which I hope to share with as many people as possible.
If you’re reading this, I thank you for your support, I wish you all the best and hope to see you soon!
You can buy it on iTunes or other digital stores, stream it on Spotify, Google Play or wherever music is streamed, or buy it from our Bandcamp page, where (if you like physical objects) you can also get a CD or a T-shirt (including a download code).
Always was produced by Murray Lightburn (The Dears), features Chilly Gonzales tickling the ivories on “Pam Pam,” and the title track was co-written with Mocky.
The World Provider’s Always to be released May 27!
Produced by Murray Lightburn (The Dears, The Darcys), Always is a return to The World Provider’s roots in lo-fi synth-pop. With overtones of 90’s grunge and garage rock, the songs pair the WP’s traditional budget synths with fuzzed-out guitars, dreamy melodies and restrained looseness.
Features the singles “Pam Pam” (featuring Chilly Gonzales on piano) and “Autumn Wheels” (described by The Globe and Mail’s Sean Michaels as a “song you need to hear”) plus four new tracks!
With an upcoming video for “Hey Joanne” and shows in Toronto, Montreal and Ottawa, the WP’s low-budget theatrical synth rock spectacular is back in action.
Always is available digitally on May 27, 2016 via Ting Dun. Or come to one of our shows and pick up a T-shirt with download code, or even (if you’re really old-school) a CD.
I only did two WP shows this year (plus one with the Police cover band Stinkronicity, possibly/probably our last). I was mainly occupied with being a parent. Both were old-school solo WP shows: likely to be happening more and more, though I plan to bring Stacey and the guys back onstage when it’s logistically possible.
I enjoyed doing these shows, though I now have to spend some time rethinking the solo act so that I’m not just doing the same thing I was 10-15 years ago. I’m always happy to perform my old songs and routines, but I need to add new ingredients to the broth as well.
On Halloween I did a show with Corpusse at Casa del popolo. In addition to performing as the WP, I also accompanied Corpusse onstage, which was really fun. Unfortunately (and unbeknownst to me), during my show two guys got in a fight. I was honestly shocked to find out something like this would happen at Casa, which I always thought of as more or less a safe space with like-minded people. But in addition to this other, much more serious, incident, this reminded me that no place is immune to douchery.
And yes—each and every single one of these is by personal friends of mine. What can I say? I know a lot of talented people… and I have good taste.
I didn’t see nearly as many movies as I used to, but I liked Sicoria, It Follows and Entertainment quite a lot. TV… mostly British crime series that I often fall asleep while watching. Books… I’ve only recently started to be able to read them again. Baby brain is a real thing.
The new video for “Pam Pam” is directed by our longtime friend and collaborator Kara Blake. Katie Ward did the choreography. Chilly Gonzales plays piano on the track, which was produced by Murray Lightburn.
If you like the song, you can download it for free from our Bandcamp or Soundcloud pages. You can still also purchase it as part of this compilation of local Montreal bands, with proceeds going to the Ange-Aimée Woods memorial bursary.
Somehow we let three years go by without a visit to the WP’s hometown of Toronto. That’s to be corrected when we hit TO this Saturday, October 11 at Handlebar (159 Augusta in Kensington Market). Also on the bill are The Almighty Rhombus, The Lord Almightys and Bardos. It’s all put on by our old friends at the Wavelength music series. We are super excited for this return and have prepared a set of songs old and new. Doors open at 9pm and the WP hits the stage at 10:30. Check out my Wavelength interview here.
We’re also happy to present our new video, which premieres today on the Exclaim site. It’s the first release from the batch of tunes we recorded earlier this year. That’s Stacey on the lead vocal and my man Chilly Gonzales on the keys. The video is directed by longtime WP collaborator Kara Blake. Check it out here.
I was very saddened recently by the sudden passing of Ange-Aimée Woods. She and I were not close per se, but she was a friend as well as a big supporter of all my projects. I’m still a little shocked, not quite over the fact that she’s gone.
Her family and friends have set up a memorial bursary in her name which will support journalism students at Concordia based on financial need. Now j-school might not seem like the most relevant cause to some, but in my opinion, with the state of the media being the way it is, we need informed and passionate journalists more than ever. I think it’s a great way to pay tribute to her enthusiasm and integrity while supporting the people who still care enough to get into this crazy line of work.
I hate to tie this sad news in with self-promotion, but bear with me here. We are playing the Passovah Festival in Montreal on August 21. The festival has released a compilation featuring many of the artists playing at the fest. It’s available at a pay-what-you-can price, with all proceeds going to the Ange-Aimée Woods Memorial Bursary.
The WP has a song on the comp. “Pam Pam” is a brand new tune that will be “officially” released as our new single this fall. It features Stacey on lead vocals and my man Chilly Gonzales on the piano.
Check it out and if you have a few bucks to donate, you can get the whole comp for a good cause.
In the summer of 1998, I had just graduated from film school. I was bumming around doing random jobs, and I’d just laid down some tracks of my newly formed solo project at a friend’s bedroom studio. That studio’s owner, my longtime friend and collaborator Dominic Salole (now better known as Mocky) announced that he was leaving Toronto to move to London (he would later ramble on to Amsterdam before settling in Berlin).
He and I had known each other as kids in Ottawa—I saw his first band play at basement parties and talent shows. Later, he and my brother were roommates in Toronto, and that’s how I came to meet Chilly Gonzales, Peaches et al. I have a million great stories about all those years, but I’m saving them for the coffee table book.
His move was the catalyst for an exodus to Europe among our group of friends—Gonzo left a year later, Peach and Taylor Savvy the following year, and Feist not long after. Now, after 10 years in Berlin, Mocky has made another dramatic shift, moving to Los Angeles with his wife, fashion designer Desirée Klein, and their two-year-old son.
During his time in Berlin he produced three solo albums including last year’s amazing Saskamodie and too many collaborations to count, but in the wider music world he’s probably best known as a producer—of Jamie Lidell’s Multiply and Jim and as part of the team behind the Feist albums The Reminder and Metals.
When Mocky was in Montreal recently, working in the studio with Bassekou Kouyate (Malian master of the ngoni, an ancestor to the banjo), we caught up and I thought I’d take the opportunity to find out more about his latest move and where it’s taking him. This interview is based on conversations in person with an email follow-up.
WP: Where did you get the idea to move to LA?
Mocky: Jamie brought me out here in 2007 (and I hadn’t been there since the 90s—a much different time) and I saw so many similarities to Berlin in terms of decaying relics of former magnificence.
WP: Was it hard to leave Berlin? Do you miss it?
Mocky: Not really, I am Canadian after all not German. My Wikipedia page says I’m “Somalian-Canadian,” but that is inaccurate and not how I identify. I have a very mixed ethnic background including British, Italian, Somalian, Ethiopian and more, but I was born and raised in Canada and only identify myself as Canadian. However I lived in Berlin for 10 years—I miss my Berlin friends, I miss the parks and my two Canadian friends who still live there, Peaches and Taylor Savvy. But otherwise LA is so fresh and exciting that I don’t miss Berlin much yet.
WP: What’s the atmosphere like in LA?
Mocky: LA today is like Berlin in ’99. The American dream kind of collapsed in on itself, so there is new space there to create—much like Berlin in the 90s after the wall came down… a new space opening up after the “fall of the wall” of American cultural imperialism. There is TONS going on here, and I started skating again, so it’s the perfect climate. I hit sort of a bohemian glass ceiling in Berlin, and LA seemed like the right answer.
WP: I heard that the new Feist album was largely recorded live off the floor. Can you tell me about that decision?
Mocky: It was an incredible experience! We did it live off the floor because we didn’t want to leave anything to chance—we wanted to KNOW we had something as it was going down.
WP: I saw that you did a soundtrack [to Xiaolu Guo’s festival hit UFO In Her Eyes]. Is that your focus these days, or producing/other work/your own music/all of the above?
Mocky: All of the above—I’m starting a new project TBA.
Though he’s been working and hanging out with underground artists such as Juiceboxxx, The Hawnay Troof and Kevin Blechdom (whose album Gentlemania he’d produced in Berlin), Mocky’s most recent coup de coeur was someone seemingly at the opposite end of the music-business spectrum: superstar producer and songwriter Linda Perry, who he had the occasion to see perform at a club.
“She came out wearing clown makeup,” he recalls, “and said ‘I’ve been depressed for two weeks, so this is how I’m dealing with it.’ She had a record player and she was lifting the needle and putting it back down—real Andy Kaufman shit. Then she sat down at the piano and started singing, and it was just AMAZING. Great songs, a voice like Nina Simone, totally heavy shit.”
Since then, Mocky has actually had the chance to work in proximity to Perry—producing one of her protegés at her Studio B and, as he says hopefully, “soaking up her writing skills through osmosis.”
I am officially intrigued. I hope to report directly from Mocky’s new home at some point—in the meantime, I’ll be keeping an eye out on what he’s up to. He has always been one of the most inspiring artists I’ve known, so here’s hoping the move to this cultural hot spot will bring his various projects to more and more ears.