It’s not a riddle it’s a stepping stone

I first heard Half Moon Run’s 21 Gun Salute and the intensely dramatic beginning to that song with lead vocals by Devon Portielje on the CBC at a live show, just a couple of months ago. It was meditative even ambient – and I was entranced –instantly inspired – including other songs like Full Circle.

Although I had not heard of them before, I felt it was a new mission of mine to share the gift of music with my family (including my preschool age children on some certain tracks (Call me in the afternoon even by one by one [x2 ]is sung around the hosue like a Christmas Carol substituting some words in for the obvious) and all my friends and social network so they too could enjoy this gift. That being said there was something sacred in hearing them for the first time. It was so different yet modern but there was a comfort in it that seemed to be missing in most modern music, and not felt by me personally, since artists like Bob Dylan, and Ballads from Simon & Garfunkel, I was introduced to in my youth.

That same day after discovering and enjoying the first album on iTunes (Dark Eyes Released June 2013) My musical journey with HMR led me to discover the second album which coincidentally was released that same day!

Sun Leads Me, Released Oct 23, 2015

It was a groovier sound and a more uplifting album than the first. It assisted in my creativity and put me in a greater mindset, having just emerged from the writing depths, after 10 years and creating again myself personally.

In researching the journey of the band, from recording in the desert (Texas) to California (For some seaside inspiration, leading up to the Second Album, and living in a dome shaped Oceanside house fit just right for a inspirational surf all day and late night magic sessions ) To experimenting in Europe in what appears to be a bit of a Rave Scene – road testing songs like Trust - it all lines up triumphantly.

I was lucky enough to experience this live set of troubadours on Dec 7th, 2015 at Sugar Nightclub in Victoria BC to a sold out show where some fans paid 9 x the door price just to get in. After staying late and meeting the eclectic mix of supporters, including a High School French Teacher and his wife who also thought their sound was as transcendent and made the journey to support them from up Island (Where most of the band hails from in Comox), to the sprawl of young woman who clearly were there for the "act" to the Lead Vocalist Devon Portielje who you could say in my excitement of après show and with my slight nerves "When a sip of gin saved an hour of speech - Nerve " I didn’t quite get the interview I thought I would - instead Briefly – you could say I found speaking with Devon clearly exhaustive from his end.

This band tours and plays almost nightly I would have asked him who "stole his Sunny Day" – but I could tell he was wiped. I asked him if the band would emerge on the Island again soon (Returning to play Rifflandia in 2016 like in 2014 but he didn’t commit to that.)

I spoke to his interests and would he get a chance to Surf the Jordan River on his visit to the Island but he said they only had 8 hours in the city and then off to Vancouver for the next nights sold out show at the Imperial.

This Band works hard – you forget sometimes when you haven’t seen an emerging act for awhile ( My last show was UB40 in the summer at the Commodore in Vancouver ) that to really put yourself forward you have to put in the hours (years ) on Tour (They actually toured Dark Eyes for three years !)

Just the fact that the Lead from the opening act for that nights show (Nick
Vallee from Folly & The Hunter) was assisting behind the counter at the merchandise booth after a long night and travel… well that’s a team of working mans bands.

More on the Music, there is huge variety in sounds on the current album, Sun Leads me – with the gritty Narrow Margins - There is a hint of Flamingo music that quickly folds into a somewhat Hip Hop beat – the sound not found anywhere else on the album, speaks like a story its very cool and soulful. It wasn’t played in the show, as I had anticipated – it’s a story of sorts that sounds very introspective.

Highlighting the further talents of Connor Molander (Harmonica being my favorite) one can find a cover done of the modern, Chvrches –The Mother we Share on the BBC Radio 1 (01/2014) then found again in the finale to the current live show touring with the Cover to Bob Dylan’s , Shall be released – seeing it live is spectacular - it was clever and mirrored the original art but with a tang of HMR.

There are confessional tones and a little sadness on both albums – and stories of what appears to be glimpse into the world of addiction – Music is a challenging business for anyone who has had this in their lives – this band however appears to live clean and is into a very healthy lifestyle from surfing to organic gardening mentioned to me by a family friend at the show about Issac’s Symonds (Mandolin extraordinaire and haunting vocalist) wishes for at organic landscaping book for Christmas.

I have heard Dylan Philips (Drummer – who has a great timing and a soulful sound as a professionally trained pianist – and always rocks the keyboard) said in other interviews that in terms of personal struggles that they have had the music guide them as a group – I noticed words formed around the struggle with being saved and loss of faith - perhaps even a loss of hope there – I hope they will continue to explore some further element of faith and that this translates to even more extraordinary music from this talented group, I am proud to call Canadian and will continue to share as their talents that will be sure to surprise us with further gifts in the future.

I clicked the you tube link on HMR’s website and watched some videos they had favored and found: TORA : and now I feel like the gifts just keep giving.

In the next feature story coming in January 2016:

　

Artist Profile: Half Moon Run

Singer Devon Portielje on vocals, guitar and percussion;

Conner Molander on vocals, guitar and keyboard;

Dylan Phillips on vocals, drums and keyboard;

Isaac Symonds on vocals, percussions, mandolin, keyboard and guitar.

The Franklin Electric : Jon Matte - Martin Desrosby - Kevin Warren - Ken Pressé and a few more from time to time

P. Tinham 12.05.2016

After their powerful first album, This Is How I Let You Down, Montreal's , The Franklin Electric returns with a highly favored second album. The Franklin Electric takes it next level with Blue Ceilings via Indica Records.

From the first couple of tracks available now (I Know the Feeling & Walk with You) you begin a divine journey and I am optimistic it will live up to it’s anticipation when it is fully released 02.2017. Jon Matte is a sweet soul and very forthcoming on discussing the passion of his craft. We caught up with Jon reading in a cafe and taking it easy, no doubt very pleased and satisfied upon reflection of this latest work which he has sent out to the universe.

SLM: Can you share with us how The Franklin Electric came together ?

JM: It was a kind of a recording project of my own. It was more of an idea based on writing songs, and I wasn’t really even singing at that point. I was writing songs and working in the studio and just being a musician and producer.

I wrote some songs and then I was getting comments like “your demos sound great, you can actually sing” and I was trying to swallow that whole thing. Being a face and leader of a band is so different. I put a little budget together and I called a friend of mine that was an engineer and he had worked with Patrick Watson, and I trusted him. I called Rob, and he was just really supportive and we went into the studio with some friends and from there is started happening and getting a reaction staring to work with bar shows and filling rooms. It was a very organic thing that grew and it was beautiful to see it grow actually, that was the most fun. It really challenges your inner self watching something that you create that found its place in the world, which is pretty, is my main passion.

SLM: I know from my research that you’re a talented producer having worked with Patrick Watson and many more as well. Did you have a co-producer on this new Album ?

JM: Well it’s a bit personal but … We got into a rhythm with this producer whose really great , Markus Blockett, he’s worked with local natives , like Arcade Fire and was a really sweet guy and really talented and we went at it for a while. We were balancing the studio while on tour so throughout the process of the record I found I had to swallow a lot of limitations as we all do, so it was a constant balance of constant way of using practical decision making and dealing with the limitations that were been faced with by life and by the people and team we were with it could be money it could be time all this stuff. So we ended up finishing a bunch of songs but I was still kind of like unhappy with certain things and I wanted to push even further. I jus said f..k it and did 4 or 5 songs alone. So now the record is half done co-produced with me and Markus and the other half is just with me the old school way and it just worked.

SLM: It’s more organic that it happened that way.

JM: I guess sometimes you’re scared and you reach a point in your career, where you think, I can have a producer I can have a record label and all these things, look at me, but that’s bullshit. If you want it to be right within you, you can’t be scared to do the work and you can’t rely on other people and you can’t trust everybody to try to read your mind and get what you want out of a song, you do it or you can accept it to be something else. This time we didn’t let it go and ow we have a great record.

SLM: First Album seemed very introspective, beautiful songs like The Strongest Man Alive, and Show Me Quiet Ai. With this new triumph, Blue Ceilings and the first couple of tracks I Know The Feeling, and Walk With You, also carry that feel, but also seem like they are a more romantic and an outward story. What are your thoughts there ?

JM: Yah, I would say it's a little less introspective, it's still has the same feeling but I think there is a little bit of a boldness to it, and one thing I am really proud of is that it really can reflect would we do live. We put it out but we have played so many shows that we surpassed the performance of the album. Which is great, every band does that, usually, but we did it a lot. At a certain point, I know the performance and the production on the new really will reflect what we do live. It translates really well.

SLM: It is a blessing to know what you want to do and you seem so passionate in your song writing. Touring is tough though do you love the travel experience on tour, do you get to enjoy the travel experience of it ?

JM: As a musician you are blessed with these moments that you will never forget and you can have so many of them in a year. We have had surreal moments where you come into a place, enjoy the scenery the people and connections and then have struggles and overcoming adversities as a team which is completely magical. My point is that yes, I do get to enjoy it the only thing is, it is work , so you have visit the same place 3 or 4 times before you actually get to know their neighbourhood, because in 2 or three days you probably only have 3 or for 4 hours to walk around hang out.

SLM: Do you have a hidden gem of a venue that you would love to return to play after travelling the world, Europe, Australia  ?

JM: Each place has such great venues and different vibes. In general Europe is great because sometimes the venues are really old, basements, stone circle domes, like a cavern, caves. The vibe of the walls and history of the places brings a new type of performance to it. We played Massey Hall with Ben Howard and that just blew my Mind. In Australia The Triffid or the Opera House The corner Hotel and more.

SLM: I know you guys are really excited to play the Woodford Folk Festival in Australia on the upcoming tour , I have heard it’s amazing. Do you feel your ART resonates with a crowd in more of a festival setting or intimate theatre type show and do you have a preference for playing ?

JM: I think it’s gotten a bit bolder, there is a power behind it, instead of a folky thing where we could all sit on the floor with candles. Now it's been kicked up a notch and has become a different beast live on tour. I wouldn’t say an indoor vs outdoor preference but there is defiantly more of an up and then we will bring it back down in a moment not so campfirey anymore.

SLM: I heard in a past interview that you have a deep Interest in learning more about spirituality in others and your own, there is a great quote The Spiritual Significance Of Music by Justin St. Vincent , that says "Music resonates within the human spirit. At the heart of humanity is a song of the soul. The spiritual significance of music can transcend communities, cultures, and creeds. What do you think about that ?

JM: Its 100% true. It’s a nice way to say it. Everybody wants to relate and I believe every wants to feel that and relate that. Music is a bridge to bring people closer it almost makes you feel like you’re not alone. You’re not alone when you hear a song.

SLM: You grew up playing the violin and with your love of brass how did you stay focused at such a young age ?

JM: It was my mom, she was really on me, I was 3 and in piano lessons with Music Free for children which is a National Organization where you go to classes once a week and my mom played piano. I have big family in New Brunswick and they are really musical, and sing Amazing Grace or an Eagles Song and everybody will just kick out the harmony in 3 or 4 part, and it as kind of easy for me.

SLM: You weren’t a singer originally, but like you say you were encouraged, and now you are the front man for a beautiful band, that is an amazing thing.

JM: I could carry a tune and I could understand it and at a certain point, my best friend had passed away that was really a shock to me and that kind of gave me a motivation. I knew it pushed me outside of my comfort zone and I would try things, it was all I had. Otherwise I would probably work at a Subway for the rest of my life, and I had no interest in that. I took what I had as my tools,  I had my semi kind of voice and wanted to make use of what you got. It’s like trying to make a dollar out of 15 cents, there is little bit of entrepreneurialism that you have to have and risk it and go to the bank and find money and make it happen otherwise you are going to work at the factory for the rest of your life.

SLM: There is an artistic side to managing the business, what advice would you give to a young artist starting out ?

JM: Well that’s it. I see the people that are generally bound by emotional and career struggles, I don’t know why, its about the ART of decision making. Even right now were getting cut backs on a video we are shooting and its confusing me and disturbing and I know I have to make the right decisions and move forward. It’s like we are all living under a limit and if you want it all you get nothing. If you can make the best of what you have you are going to get somewhere. Managing your decisions and trying to find a little bit of freedom between the limits that life has provided you. If you want to be completely free you’ll probably never be, but you can live and make something out of what you got, that’s freedom.

SLM: I love that. Paul Simon once said "Every generation pulls a hero out of the pop charts," who do you feel that is for you at this time in music ?

 JM: It’s so saturated now there are no more Heroes.

SLM: I heard you do such a soulful tribute cover of a Gordon Lightfoot's song If You Could Read My Mind in Berlin. Do you have some favorite Canadian ARTists that you can share with us ?

JM: That is just such a great song. There are so many local artists that have inspired me. I’ve always looked up to the big brother bands around  and it’s a great experience for me to be able to share the stage with now, like Half Moon Run. I grew up in Hudson outside of Montreal, and Patrick Watson grew up there and he was always a bit a head of me and I was seeing him to well and now we are finally catching up and sharing stages. I have studied and listened and checked out who’s been around and I have always been a bit of a sponge. How do they getting around the lighting set up and tricks and everyone was sharing information and so everyone around the scene in Montreal has inspired me.

SLM: The ARTwork for the Album is great tell us about that ?

JM: Well the ARTwork was kind of a lucky thing too. We didn’t have and album title but songs were all happening and we needed to give it a personality.  I was dating this girl from Australia who just has this really great eye and she found this guy from London, Samuel Burgess-Johnson and he is a big deal in graphic design and in the ART scene, he did the 1975 covers, and is usually big budget. But I went out on a limb and emailed him and then spoke to him as a human and asked is there a way we can do something ? We came to an agreement, and we just got lucky. The colors and the feeling of the sky, but there’s also a darkness within it and a limitation to it and a limited sense of freedom. That’s why I called the Album Blue Ceilings. Two words that summed up the over all feeling I went through making the record, and what the songs are about and then it all came together.

SLM :This going to be an amazing album and look forward to seeing you guys out west on tour in the New Year ! Have fun in Australia.

JM: Thank you, and we'll see you soon.

Freedom Between The Limits

 

THE FRANKLIN ELECTRIC