Articles tagged with Mother Mother

Mother Mother – “The Sticks”

Mother Mother
I’m on the jury for the Prism Prize, which ranks the best Canadian music videos of the past year. I can’t think of many (any?) clips better than the one for Mother Mother‘s “The Sticks,” which was animated by Chad VanGaalen. Check out the unsettling, post-apocalyptic nightmare below.

Go to Exclaim! to read my interview with Mother Mother.


 
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Mother Mother – “Let’s Fall in Love”

Mother Mother
I’ve always enjoyed Mother Mother at its craziest and most eclectic. That being said, the band’s most recent single from The Sticks, “Let’s Fall in Love,” definitely isn’t its most left-field single. Still, the music video (which you can see below) is a little gruesome.


 
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They don’t make no love

Are you guys friends?
Last night, I reviewed the massive Summer Live concert in Stanley Park for the Georgia Straight. It was a blast.

Below, check out a rare track from headliner Mother Mother. I had never actually listened to this extra cut from 2008′s O My Heart sessions until this morning (although I believe I may have heard it live at some point). It’s a buoyant pop rocker that sounds like classic Mother Mother.


 
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Paradise spread out with a butter knife

Tilt your head to the left and it looks normal
The crazier Mother Mother gets, the better. That’s why I like the band’s most recent single, “The Stand.” Simply put, this song is batshit crazy. It centres around a duet between frontman Ryan Guldemond (doing a half-spoken Lou Reed impression) and singers Molly Guldemond and Jasmin Parkin (sounding like shrill schoolgirls) and features acoustic slide riffs, sugar-spiked synths and background banjo plucking. What the fuck? This is great.

The best part is the third verse. The female half of the duet is in italics: “Talk about space / Well, it’s a beautiful place / But it’s so damn cold / Sure, for the human race / But for the planets and the stars and everything else and Mars / It’s like paradise spread out with a butter knife.”

The tune comes from the upcoming Eureka. I interviewed Ryan about the recording process for Exclaim! last year and wrote a more recent album story and tour announcement.


 
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Make my mark in the world

Someone get Jasmin a box to stand on
My first-ever interview was with Mother Mother for an article in the Skinny (the piece is no longer online). I spoke with singer Ryan Guldemond for 45 minutes for a concert preview that was maybe 400 words. Sorry for wasting your time, dude.

More recently (this week), I wrote an article about the band for the Tyee. It’s not an interview, but check it out if you’d like to witness me fellate the band with words. Because seriously, Mother Mother is fucking great.

“Body of Years” is one of the more straightforward songs in the group’s catalogue, with a Pixies-style bass groove and a hummable, uplifting melody. It ends in a pretty sweet guitar jam, but you should also seek out some of the group’s more boundary-pushing songs like “Hayloft” and “Verbatim.”

MP3: “Body of Years”
 
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This one’s overdue

Mother Mother
There are few songs in recent memory as thoroughly twisted as “Hayloft,” the stand out track from Mother Mother‘s sophomore album, O My Heart. Mixing heavy metal riffs with a female-sung hip-hop chorus, it makes rap rock sound dangerous in a way that it hasn’t since Rage Against the Machine disbanded in 2000. Not only is it the strangest song Mother Mother has ever written, it’s also the catchiest—the hooks come in quick succession, and the moments when the rhythm section suddenly kicks into double time are electrifying.

O My Heart came out a year ago, but it took until now for “Hayloft” to be released as a single. Mother Mother unveiled the new video yesterday, an effects-heavy clip that resembles the credit sequence of a spy film, with flying bullets and lots of fancy green screen effects. There’s not much of a concept other than “lots of bright colours,” but the brilliance of the song more than makes up for the video’s apparent lack of significance.

As of this writing, the video is exclusive to MuchMusic, which means no embed is available. Click here to check it out.

O My Heart is out now via Last Gang.
 
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Mother Mother @ the Commodore Ballroom

This show was a major coup for local music. The Commodore Ballroom is the biggest and best rock club in Vancouver, with a capacity of 900 (according to this website). So when Mother Mother announced that it would be playing the Commodore along with Said the Whale, Hannah Georgas, and Gang Violence, some eyebrows were raised. But the show sold out—weeks in advance no less—meaning that the street outside the venue was littered with scalpers and assorted poor saps asking around for extra tickets.

Dance punk trio Gang Violence got things off to an energetic start, with feedback-laden rave-ups that evoked You Say Party! We Say Die! and the Rapture. Rob Andow was particularly impressive, splitting duties between guitar, keyboard, and synthesizer—often all within the same song. Unfortunately, the set got derailed after only a few songs when the synth malfunctioned. After several minutes of tinkering, the band gave up and abruptly left the stage. It was especially baffling considering the guitar was still in full working order; apparently the group doesn’t subscribe to the “show must go on” axiom.

Things turned around quickly once Said the Whale took the stage, starting things off with an epic take on “Love Is Art/Sleep Through Fire” (a mashup of two songs from the EP Let’s Have Sound). Beginning as a gentle acoustic ballad, the song suddenly exploded halfway through, with heart-stopping crescendos and cascading drum fills. “B.C. Orienteering” was another standout, an upbeat folk song with lyrics that read like a survival handbook for a backwoods game of capture the flag.

During the set, local singer-songwriter Hannah Georgas played Feist to Said the Whale’s Broken Social Scene, joining the band mid-set to contribute backup vocals. The collective also played a cut from Hannah’s upcoming album called “The Deep End,” which featured choppy banjo strumming and dazzling group harmonies.

Mother Mother took the stage near 11, with large screens on either side of the stage showing videos of swimming fish and still-beating hearts, shot entirely in black and red. In previous years, Mother Mother’s arrangements were almost entirely acoustic, but the group’s setup now features a keyboard and a synthesizer, which provided an atmospheric backup for the group’s recent new wave-inspired direction. “Touch Up” was reinvented as a Pixies-style rocker, with a lumbering bassline and sing-song boy-girl harmonies, while “O My Heart” featured squalling electronics and a distorted drum pad. Bassist Jeremy Page doubled as a horn player, offering up a jazzy sax solo during a haunting version of “Try to Change.” But it was the group’s three-part harmonies that stole the show, particularly during a chilling take on “Angry Sea.”

By the end of the show, it no longer seemed so remarkable that the venue was sold out; in fact, it seemed stupidly obvious. The guys and girls of Mother Mother came across as fully-fledged rock stars, every bit as charismatic and overpowering as you’d expect Commodore headliners to be. By selling out and blowing away the Commodore, the group has graduated from its previous status of local secret; Mother Mother, welcome to the big leagues.
 
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