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Market Collective | Musicians | March 18-20

Friday, March 18 >>> Infilm <<< 8pm
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Infilm is an experimental electronic duo from Calgary.To record their debut record, Emporium, Infilm traveled on the road to Brooklyn, New York. While being engulfed in the heaving of the breathing city, Infilm took to the studio to capture the various tracks on Emporium. Their music, both melodically and lyrically, makes a committed attempt to encompass the varying aspects of being profoundly human.

Emporium has been described as delicate, fragile, and dauntingly vast. Often weighing on feelings of desolation and depersonalization, the delivery of Emporium exposes a great deal of vulnerability; however, it is also quick to expose feelings of personal growth and rebellion against societal misconceptions. Infilm’s genre-bridging sound is driven by the synthesis of both electronic and rock elements and captures the listener’s attention with both energetic and compelling layers of expression.

Friday, March 18 >>> Fox Who Slept the Day Away <<< 7pm
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Fox Who Slept the Day Away is an ambient indie band that delivers layers of groovy interwoven melodies and harmonies that have people dancing and sleeping all at once. Their wide array of influences drives a dynamic post-rock sound, which creates a spacey atmosphere.

Friday, March 18 >>> Deepone <<< 4-7pm
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Saturday, March 19 >>> Chris Dadge <<< 10am-Noon
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Chris Dadge lives in Calgary, Alberta, where he works as a percussionist, producer, songwriter, multi-instrumentalist, record label operator, and concert organizer.

As an improvising musician, Dadge has spent the bulk of his years playing percussion, developing a voice based on an increasingly open-ended variety of sound-generating objects, integrating found items and re-purposed strings. Massimo Ricci writes, “the almost perfect balance between skin, wood and metal-derived timbres is definitely cherished,” and a review from Volcanic Tongue noted, “Dadge has a fleet, needling style that would transpose Milford Grave’s multi-pulse work to a looser, more thought-paced setting, working in bursts of propulsion and single emphatic sound events.” This underlying quest for a personalized vocabulary led to the broadening of the instrumental palette, adding violin, broken electronics, crude sampling, and various other small instruments to the list. The current realization of this approach can be heard in Dadge’s solo work (on albums such as A Bird Is A Light Thing and What Comes After Dust) as well as with Scott Munro in the Bent Spoon Duo. The duo, which has been active for over a decade, “approach[es] improvisation from an anti-classicist stance, instead opting for a scrape and drape sound that finds the two moving between instruments and mood in rapid fire succession,” (Ear-Conditioned Nightmare) and The Wire’s Byron Coley calls it “splendid, low-bore Improv racket in the classic pots-and-pans style.” Dadge has worked with, among others, Peter Evans, Eugene Chadbourne, Jack Wright, Chris Riggs, Eric Chenaux, Mats Gustafsson, Christian Munthe, Ellwood Epps, Chad van Gaalen, Bill Horist, Fossils/David Payne, John Oswald, and Colin Fisher.

Saturday, March 19 >>> MMMARISHHH <<< Noon
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Soul speak not far from yesterdays and tomorrow, MMMARISHHH is a futurepsych/ambientgnome recording artist from Alberta. She sings and plays 12 string guitar and is a member of the bands, Devonian Gardens and Sleepkit.

Saturday, March 19 >>> Chad Saunders <<< 1-3pm
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Chad Saunders is the Director of Operations and Special Projects at the NMC, former station manager for University of Calgary-based radio station CJSW 90.9 FM and retired host of ‘My Allergy to the Fans’ on CJSW.
Saturday, March 19 >>> Hornell & Sneddon <<< 3pm
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Matthew Hornell is a gifted singer/songwriter, aware that the muse often directs the master. Ideas and emotions both personal and universal are channeled throughout “Have It All” his sophomore, soulful folk album.Accompanied by an amazing group of musicians and gorgeous, soothing female backing vocals, Have It All is a record of spiritual awakening.

Matthew Hornell deservedly won a plethora of MIANL. Awards for his CD debut. Clearly upon a few listens you realize Hornell has the key ‘chops’ as a singer/songwriter. The lyrical content is diverse, arrangements succinct and vocal delivery unquestionably honest.You can usually tell when a songwriter is being clever or cute, going for a pretty shot. But Matthew Hornell wears his authenticity like a badge of honour.
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Andrew Sneddon is a multi-instrumentalist and songwriter based in Halifax, NS, Canada. He is primarily noted for his work on the Resophonic Guitar as well as other steel guitars. Sneddon performs primarily with the award winning group The Modern Grass as a contributing songwriter, vocalist, and resophonic guitarist. When not touring and working in MG, Sneddon can be found performing in other bluegrass groups and as a sideman to singer-songwriters.

Saturday, March 19 >>> Mr. Robinson < 4-6pm
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Sunday, March 20 >>> Overland <<< 10am-Noon
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Sunday, March 20 >>> Pancake <<< Noon
Sunday, March 20 >>> DJ Wolfadel <<< 1-3pm
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Antonio’s first love was the guitar at the age of three. Because he was so young, it needed to have three nylon strings so his toddler fingers wouldn’t be cut while he played it. Within a few
years he added percussion, then piano to his repertoire. From a young age, Antonio was mentored by Calgary’s favourite Kaley Kinjo. The relationship was a great match from day one when at the age of six, Antonio shared that his favourite band was the Ramones. After years of busking with his guitar on Stephen Ave. and jamming on the drums in the basements of local musicians, Antonio gained an interest in DJ’ing. He has been studying at Beat Drop and continues to expand his skills into mastering production and turntabling. His musical knowledge and interests range from classical music to contemporary hip-hop. Now, at the age of fourteen, Antonio has performed his DJ’ing skills at Art openings and private functions as DJ Wolfadel.

Sunday, March 20 >>> Jason Famous & Le Fame <<< 3pm
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Sunday, March 20 >>> Corinthian <<< 4-6pm
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Evan Freeman | Luna | Album Release

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{Q&A with Evan Freeman}
Having known you for the better part of the last decade and witnessed your various music projects, I feel a certain sense of accumulative growth after listening to ‘Luna’. Describe the path you took to lead you to this debut solo record:

From 2012 to 2014, I lived in Mexico City with my wife. The experience of moving together to a huge foreign city, learning the language and being isolated from friends drove a lot of creativity. Also, Mexico City is a beautiful place! Safe, friendly, rich in culture. I got so much inspiration from the music, architecture, sculpture and paintings there.


So I started recording demos on weekends in my little music studio in our apartment. These demos seemed to be a departure from the acoustic music I developed with the group Home. I tried to incorporate more post-rock and shoegaze tones. Those styles are very close to my heart. I have a deep appreciation for groups like Sigur Rós, Slowdive, Mogwai, Explosions In The Sky, etc., and I really wanted be part of a project with those dynamic, emotive sounds.

Sigur Rós in particular have been an obsession for the last ten years. I think their records are immaculate full-album headphone listens, and their live shows are incredibly powerful and precise. I’ve travelled all over the world to see them – Cologne, Madrid, Montreal, Phoenix, Mexico City. At one point I moved to Iceland for three months, just to get deeper into the Icelandic music scene. Suffice to say Sigur Rós are a huge influence motivating this record.

When I moved back to Calgary, I started looking for a collaborator to flesh out the project. A friend recommended that I check out Derek Downham’s work. Derek is a producer and multi-instrumentalist from Toronto. I was really moved by the recordings I heard. Derek has an incredible ability with guitar and synth tones, and such a strong sense of groove. I sent him the demo for Dreamer and he was like “Yeah!! let’s do it!”
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Derek got me hooked on his favourite shoegaze group, Ride, which was a total revelation. I remember biking around Calgary last spring with Ride’s album Nowhere cranked on my headphones. Their guitar tones, songwriting and groove totally captivated me. Another major influence.

Derek suggested that we do the tracking in Calgary at OCL Studios. I went out there to meet with engineer Josh Rob Gwilliam, and I was completely blown away. OCL is an absolute dream! I can’t believe we have such an incredible facility near Calgary. More on that later.


When Derek arrived mid-summer, we had three days of pre-production to shape the record. We whittled down 21 demos to 9 album tracks, and then re-worked the arrangements to fit the shoegaze/post-rock vibe. I also wrote another song in the studio which made the cut (Eden).

Tracking was very quick. In six days we recorded almost everything you hear on the album. Peter Gabriel talks about imposing limitations to stimulate creativity – our time restraint paved the way for synchronicity and happy accidents. I recall one day where the power cut out, and we had just enough generator power to track electric guitars in studio B. Derek, Josh and I were crammed in with a bunch of guitars and effects pedals, sweating it out for 14 hours without AC. The album reflects the intensity of those sessions. Thankfully OCL has a swimming pool where we held our ‘production meetings’!

As we were wrapped up tracking and Josh worked on the initial mixes, I realized this is a very special record. At that point I decided to release the record under my name, as a totally new project.

I decided to pour extra time and energy into mixing, bringing Arran Fisher from Acoustikitty Studios onboard to work on the final mixes. Arran is an exceptionally talented mix engineer, and his ear for shoegaze production added focus, cohesiveness and polish to the record.
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For mastering, I flew to Toronto to work with Noah Mintz at Lacquer Channel. Noah has a very tasteful approach to mastering. He added what was needed and nothing more. The final tracks have lots of dynamic range, the peaks hit hard and the album flows well as a whole.

It has been a long road from initial demos to finished product. What makes it worthwhile is that the album, to me, measures up to the mark that Sigur Rós inspired: a beautiful full-album headphone listen. I’m grateful for all the collaborators that lent their talents to the project. It was truly a dream to work on.


You have had numerous musical collaborators over the year. Who has shaped your style and how?

For about fifteen years, I’ve been playing with my friend Paul Gettis. He encouraged me to start singing and writing songs, back when I was mainly drumming. Together with Carl Ayer, an awesome percussionist, we started a project called Home, which is focused on mellow acoustic grooves. Paul and Carl have pushed me to gig more often, and engage with audiences rather than practicing in the basement all the time. They’ve also taught me about creating in the moment, opening up to new ideas and happy accidents when performing.


Since they were called Infunkstigation, I’ve always enjoyed jamming on drums & percussion with Freak Motif. They have such a strong sense of groove, which has definitely informed my songwriting process. I feel like groove is the core of a song, everything else grows from there. Stu, Victor, Henry, Matt, Jer and the rest of the Freak Motif crew are super talented, and I’m grateful to join them onstage whenever I can.

My wife Erin has also shaped my style, with her keen ear for gems in my songwriting, and her amazing knowledge of electronic music. She got me into House/Techno/DnB and we collaborate on an electronic project called Keep.
Evan and Erin
I also learned a lot from Ghosts of the Land, an instrumental post-rock group that I joined 2009-2010. Chris and Craig taught me about guitar tones, cool chords and instrumental bands like Tortoise.

The Evan Freeman band is an impressive roster of talented, young Calgary musicians. Can you introduce them and elaborate on some of their various projects?

It is a really great group! I’m grateful they agreed to be a part of it.


Darren Young – Darren is our insanely talented lead guitarist. He plays in Jung People, Diatessaron, Lucky Sonne and The Northwest Passage, among others. He has been essential in getting this project off the ground and forming the group. Very humble and helpful guy. Darren also teaches guitar, bass and ukulele, and is the president of the Classical Guitar Society of Calgary.

Robin Cillo – Robin plays drums in this project, as well as I Am The Mountain and Natural Twenty. Previously, he was a member of post-rock group Ta Pocketa Pocketa. Robin is such a tasteful player, he lays down intricate grooves and has a great ear for dynamics.

Keath Mueller – Keath is a true multi-instrumentalist, part of I Am The Mountain and previously Ta Pocketa Pocketa. He is a music student at the U of C, playing trumpet and euphonium in a number of ensembles. Keath juggles rhythm guitar, keys and horns in our group, adding beautiful textures to the mix.

Brendan McGuigan – Brendan is an extremely solid and technical bass player. He has a background in composition, sound design and session playing with the Rosebud Centre for the Arts, Blue Bridge Repertory Theatre and Beautiful Unicorn Records.

What is it like to record an album at OCL Studios, and how were you assisted in imagining the potential of ‘Luna’ from a technical standpoint?

OCL Studios is a world-class creative hub. Their staff and their equipment are simply the best. Josh Rob Gwilliam, the recording engineer for this project, brings to the table a vast knowledge of microphones, mic placement techniques, outboard gear and plugins. In particular, he excels at making drums sound huge, propulsive and tasty. As a producer, he has worked on records for artists like Lauren Mann and Michael Bernard Fitzgerald.

Working with Josh and his assistants James Bundy and Brennan Kennedy was an absolute pleasure. I was nervous at first, being in such a high-end studio for the first time, but they helped me relax and feel at home.

In terms of equipment, I would encourage you to visit OCLStudios.com and arrange a tour. There are too many goodies to list here, but everything is top notch: their Neve 88R console, Telefunken and Neumann mics, ATC mains, massive snare drum collection.

What are your top five songs listened to while conceptualizing this album?




Market Collective | Musicians | February 12-14

Friday, February 12 >>> The Heirlooms <<< 8pm
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The Heirlooms is an up-and-coming, five piece group of groove induced youngsters that formed in early January of 2015. Their music has been described as “a kaleidoscopic patchwork of intelligent and emotional brilliance”-Mark Steele of Sound Blab UK.They have a second album titled ‘Ma-Me-O Beach’ set to release in early March of 2016.

Not yet a year from the release of their first album ‘These Days Too Shall Pass’ which was released in July of 2015. After three members moved to Calgary from High River AB to further pursue musical careers they were heavily supported by many well established local bands and venues.

Eventually coming to join Fossil Records with the intention of furthering Calgary in becoming a prolific and influential arts community in Canada. They have played various venues in cities across Alberta and are in the midst of booking their first tour in 2016.

Friday, February 12 >>> Steve Young <<< 7pm
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Friday, February 12 >>> Jah Raven Creation. <<< 4-7pm
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Jah Raven Creation. is an All Vinyl, All Analog Movement. Well Deep and Exceptionally Thought Provoking. Welcome to the depths of the nest. Minimal house and techno. Beautiful things happen when you distance yourself from negativity.

Saturday, February 13 >>> DJ SCIENCE <<< 10am-Noon
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DJ Science has been DJing since 2007, both on the radio (CJSW) and in clubs. At venues like The Warehouse and Commonwealth, she spun her flavour of indie rock music but is also drawn to experimental music, electronica and 90s pop. She’s a huge science and math nerd. She loves when art and science meet to create something beautiful and can be found scouring the internet for weird music created by artificial intelligence or mathematical formulas (yup, nerd).
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Saturday, February 13 >>> 21 Strings <<< Noon
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Xinna plays the guzheng, a 21-stringed traditional Chinese acoustic instrument. Ezra plays guitar, piano and drums. Together, they combine classic Chinese songs with modern Western tunes and original compositions. They have been playing together since 2009, and are currently working toward completing their first full album.

Saturday, February 13 >>> Hank Zappa <<< 1-3pm
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Saturday, February 13 >>> Dumb Angel <<< 3pm
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Giving the tag “Folk Rock” a good name, Shaun Mason AKA Dumb Angel breathes life into a sound that has been nearly kicked to death by an endless parade of indie-chancers and miserablists. If Dennis Wilson jammed with ‘Wish You Were Here;-era Pink Floyd, ‘Broken Glass’ would be the result, born into bright waves and drifting far from shore. Harmonies for days, Shaun and his group open the windows wide and step into that breeze. You’ll either get it or you won’t. Like John Lee Hooker, he’s singing “for the people who feel the same way I (sic) do”.

‘Broken Glass’ is the 4th and latest album from Saskatoon, Canada’s inner-space explorers Dumb Angel. Recorded and co-produced by S.J. Kardash (The Deep Dark Woods, The Sheepdogs, Reignwolf), ‘Broken Glass’ follows up 2012′s Eight Moments of Spring (recorded by The Besnard Lakes’ Jace Lasek) and continues the evolution from the sparse, raw singer-songwriter approach of earlier albums to the vibrant, dynamic-band colossus that is present day Dumb Angel. Mason’s luminous, meditative songs are elevated to exhilarating new heights by lush vocal harmonies, cosmic pedal steel, hypnotic layered guitars, keys, and percussion, all combining to make this the most entrancing Dumb Angel release to date. The band will be touring across Canada in April 2015 in conjunction with the official album release.



Saturday, February 13 >>> Barnaby Bennett <<< 4-6pm

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Barnaby Bennett is an artist currently based in Calgary, Canada. His musical work explores psychedelic folk and pop song forms, traditional country music and experimental/ambient sound art – all within a contemporary context.

A multitude of releases in a wide array of styles have been released by Barnaby in the past few years, with no less than five future projects scheduled for release in the near future. His album ‘Shadows and Reflections: An Anthology’ was released in November 2012 through Umor Rex in Mexico City (distributed by Thrill Jockey in North America and Morr Music in Europe).

Other notable projects involve collaborations with M. Geddes Gengras, R. Stevie Moore, Amos Garrett, Charlie McCoy, Wayne Moss and members of the Carter family – as well as collaborative live performances with D/P/I, Damo Suzuki, Julia Holter and Astral Swans.

Barnaby co-founded and curated the critically acclaimed MTT Fest which brought artists such as Dean & Britta, Sonic Boom, Mac Demarco and Matthewdavid to Calgary in March 2012. He also curates the Calgary Psych concert series which to date has hosted Masaki Batoh, Hamish Kilgour & Theo Angell, Prince Rama, Rene Hell, Ital, Sun Araw, The Vacant Lots, Felicia Atkinson and more.

Sunday, February 14 >>> Themes <<< 10am-Noon
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Sunday, February 14 >>> Kirsten Ludwig <<< Noon
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With a soft demeanor and heavy mind, Kirsten Ludwig achieves simultaneous vulnerability, strength, grace, and madness. Ludwig continues to blaze a fierce path much like the wildly creative and independent female artists she is noted to look to.

Sunday, February 14 >>> Alexandria Maillot <<< 12:30pm
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It is easy to assume, at the age of twenty-two, that endeavours are a mere surface scratch to the entirety of one’s corporeality lifespan. Toes have been dipped in the waters of trial and triumph, yet a quarter of a life hardly merits a badge of prolific feat. It is easy to assume, at the age of twenty-two, that one does not yet know who they are. It is easy to assume.

Alexandria’s debut EP Just Another Girl was a project spanning several years, which finally came to fruition in the spring of 2012. Production for the album took place in the critical years of adolescence; thus, the album, marking an epoch of her personal and creative evolution, helped cultivate the musical kindling of her forthcoming sophomore release. It is evident, at the age of twenty-two, Alexandria carries herself in song and spirit beyond her years.

Sunday, February 14 >>> Tom Mannix <<< 1-3pm
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Sunday, February 14 >>> Ship Shape <<< 3pm
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Ship Shape is the manifestation of the songs and vision of Calgary producer and musician Arran Fisher. After 11 years as a core contributor to psych rock stalwarts The Summerlad, Fisher decided it was time for a complete change of pace, and verged this time into folk-rock territory with songs that focus on the melody and lyrics.

The band was formed in spring 2011 with five core players and a few occasional contributors. All are seasoned veterans of the Calgary music scene, with histories in bands such as Brenda Vaqueros/Beaver Squadron, Günther, Heat Ray, Clinton St. John, Beija Flor, Shiver and THWOMP.It’s worth noting that none of the aforementioned bands is known for its folk/roots sound, but Fisher wasn’t looking for players who knew the genre, he wanted people who would enjoy spending time together and playing his songs.

This is a band who are in it for the love and the spirit of the moment. For Ship Shape, the point of playing is to play, to make a song happen. Maybe this is old-fashioned, but Ship Shape doesn’t make music for those who need to be cool.

Sunday, February 14 >>> Two Pair Pat <<< 4-6pm
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Robbie Bankes | February Snow


Words by Robbie Bankes on living in Rauland, Norway

The dawn comes late here and days are met with a coffee and porridge, back against the wall of my cabin looking out over the lake. The bike to school takes 20 minutes and follows the road around the lake past a few sheep farms and a few lonely houses. Most days I go straight to school, but on the lucky ones I get up early and bike a little further, up the hill to the goat farm where I work and I spend a few hours milking and feeding.

The school here in Rauland is small, with a student population the hovers around 70. All the students here are studying folk music or folk art; metal, wood or textile.
 I came here from Calgary last year to learn about the fiddle music tradition of Norway, on the regular fiddle but also on the Hardanger fiddle, an ornate variant of the violin with 4 or 5 extra sympathetic strings that run under the fingerboard. These strings are not played by the bow; they ring and sing independently as a melody is played as it would be on a violin.

Robbie Bankes Web

The music is also different, and Telemark, the area I’m living in has a continuous fiddle tradition going back as far as four or five hundred years. Rhythmic beats are counted unevenly; causing the music (and the dance) to leap and push forward, “like an egg, rolling down a hill.” We dance lots here, and once a week the students and people for the area get together and lace up leather shoes. Music is played by a man in the corner, a student, teacher or proud local, the dances and the tunes are the same ones that the old folks grew up and their old folks before.

Life here does seem slow, a little stuck in the past, but the days go by in slow and cosy circles of wood, candles and fiddle music. Today I’ll head to the sauna in the school basement and then ride home for dinner. Tomorrow will start with a coffee and the late dawn, and some thanks for how damn lucky I’ve been.


Almost Norwegian Waffles Recipe
-Some Flour

-Some Eggs

-Cultured milk or Keffir 

-Milk (if needed)

-Pinch and a bit of sugar

-Healthy dose of cardamom 

-Pinch of Salt

-Baking powder and soda



Combine the dry ingredients in a bowl. Use roughly two cups flour and adjust the rest from there. Add roughly two cups cultured milk and around 4 eggs and see how the dough is doing. It should be almost runny, but with enough substance to give it form… Make a waffle, taste a waffle. If they don’t cook, add a little more flour. If cook to much or are two thick, add some milk. For best results, use a flour shaped, Nordic style waffle maker.

Welcome to the West | Steve Young Montgomery in the Rain

Outlaw Country music pioneer, Steve Young wrote and first recorded Montgomery in the Rain in 1971. The song is the final track off his second solo album, Seven Bridges Road. In 1977, Hank Williams Jr. recorded a version of Montgomery in the Rain on his album, The New South.

Welcome to the West filmed this Montgomery in the Rain session in Montana on the Gallatin River, a tributary of the Missouri River which flows through high alpine meadows, dropping into the rocky Gallatin Canyon, and flowing out into the Gallatin Valley.

“Montgomery in the Rain is a very unusual song. Sometimes I wonder how I wrote this. While I was in Montgomery, I was having all these problems with some of the junior clansman. Then, I started writing this song and it evolved into Montgomery in the Rain. There’s a slight reference, kind of toned down to the hostility that sometimes I would encounter in that city. Because it was a very redneck city. Not so long before that, I realized there had been a mob that was trying to get at Martin Luther King in downtown Montgomery at a church and President Kennedy called in the National Guard. So here I come, and I’m southerner. I’m supposed to be one of them and I’m saying ‘No this isn’t right’. So that’s why they disliked me so much. It was really explosive.”

- Steve Young

Welcome to the West | Rachel Fannan

Sosneado Gentle
Words by Rachel Fannan:
In the winter of 2012 I was graciously flown into the snowy city of Calgary, Alberta for what would turn out to be a significantly life changing month-long residency of music, wine, baking and collaboration. My host, the magnetic Irish-Canadian captain of Welcome to the West, Brendan Kane. His inquisitive nature and gift of gab captured my attentions for most of the trip. The crew, a handful of elite local gentlemen all working to ensure my stay there would be cozy, inspiring and worth the journey. It was soon after settling in that we got to work. Kane had arranged a series of meet n’ play dates for myself and a hand selected number of musicians from the community, which included the likes of Tequila Mockingbird Orchestra frontman, Kurt Loewen and the Calgary Classical Revolution.

During my first week there, I met the enchanting Vi An Diep. Kane had shared a bit of Vi’s music with me before hand, but I really couldn’t have anticipated how spellbinding she and more over her music, would be in person. We would be performing Sosneado, a song of mine written for the lost lives of Uruguayan Air Force Flight 571 which crashed in a very isolated and hostile section of the Andes in 1972.


Vi arrived at our session fully present, eyes sparkling, laughter bubbling and we quickly felt a magical chemistry brewing between us. As the cameras and microphones took their place, and Vi An and I played through the song together, the air seemed to grow thick like a cosmic steam. We would come to the end and look at each other like… “ok lets do that again, right?” Eventually I had Vi playing a long intro and even longer outro, just so I could experience the pleasure of hearing her improvise. Incredible.
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Words by Vi An Diep

“Indescribable pleasure and honour to work with such an impossibly beautiful artist as Fannan. She is my idol! So inspiring and generous throughout the entire co-creative process. Majestic sights and sounds, so thankful to Welcome to the West for this fine opportunity of a life time really. I’m a truly better artist because of this tremendous learning, loving and nourishing experience together! The world is a happier place for me now truly.”


Week 2. I’d spent my free time learning about the ebb and flow of Calgary living, perfecting my chocolate chip cookie recipe and traveling the outskirts of town. My second meet n play would take place at the home of Nathaniel Schmidt, rehearsing with the prestigious Classical Revolution players. There was Nathan on piano, Matt Heller on bass, and Laura Reid on violin. I knew very little about the organization itself before we all met but I was game. While I had grown up with piano teachers for parents, admittedly I felt like I had no business wrangling their talents into my world, but as we got to talking and then to playing, the snow melted and we found that golden eerie sweet spot. Laura’s technique, combined with Matt’s emotion and Nathan’s ear for arrangement Uneasy gradually came to life. That’s an understatement, they transformed a simple demo of mine into a confession. I mean they were damn good. Their focus and patience made a huge impact on me at the time and while the footage from our live session later that week was claimed by the ether, the audio is thankfully available. So without further ado, I humbly submit a few pages torn from the diary of my heart, made possible by yours truly, Welcome to the West.

Words by Brendan Kane
The events above transpired in conjunction with the third anniversary of Welcome to the West – a month-long Rocky Mountain recording expedition and week-long concert series based in downtown Calgary. The series featured 26 musicians from throughout western Canada and our resident recording artist, Rachel Fannan of the Los Angeles band, Only You.

Our dedicated technical team of video directors, Chad Tweten and Charles Roberts along with audio director, Nils Mikkelsen braved the cold temperatures and unorthodox personnel concoctions to digitally document a bevy of new works. These sessions were intended to followup Fannan’s ‘Let Me Sing You Love Songs’ which to this date, remains one of the West’s most popular sessions.
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