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This summer has been a busy one for GutterAwl. The trio has been playing gigs all over the city and throughout Western Canada, recorded a split 12" vinyl with friends Damn Dirty Ape as well as a soundtrack for a local film-maker. But after three years of hard work, Mark Overland, Al Pujo and GutterAwlJzero Shuurman are taking a break. Not to worry though, it's not like we won't see them again.

The boys will take the time off to work on their next album, "Red Sauce". The writing process should result in a 2008 release. Meanwhile, Overland will continue to perform his solo project Lucid 44 and also with Grandfather Fire and the Holy Morning. You'll also find Shuurman drumming for Jane Vain & the Dark Matter (who's new album is scheduled for a January 15th release) while working on his solo project Psychic Pollution. Pujo is also planning on working on his solo project with guitarist Johnny Vincent (formerly of Phattoe, Those Who Remain and Lost Dog). He's expecting to record it with Brian Campbell at Retrogram Sound in Edmonton soon.

Just before announcing said break, GutterAwl composed and recorded the soundtrack for Aboriginal film-maker Terrence Houle's latest short film, "Landscape". "It is a great art film," proclaims Pujo. "Look for this film to be abuzz amongst those in the film circles."

Watch for all of this in the near future. - Kmnr.ca

RAMP First Anniversary
The Broken City, Calgary AB September 6
By Aubrey McInnis

Curated by members of the Summerlad, RAMP is a monthly concert series dedicated to artistically amped-up gig experiences. On RAMP's one-year anniversary, Calgary bands covered Calgary bands. Most of the roster included young bands reverently covering fellow contemporary local bands. Thankfully, musicians who have outlasted scene turnovers sprung classics from the vaults that might not ever make it to ring tone status, but shouldn't be collecting dust either. The cheeky Ex-Boyfriends blazed through saucy numbers from animated rock'n'roll predecessors in the Vindicators and Warren Kinsella's the Hot Nasties. Along with Woodpigeon, guitarist/vocalist Peter Moersch brought the house down with a spot-on tribute to wistful scene favourites of the '90s, Straight. The Keith Frank proficiently covered scene titans, the Primrods — another '90s band of cool kids from art school. Rodney "Guitarsplat" Brent gave a warm-hearted salute to Stampede city cow punks, Agriculture Club. Since Lock Fulton focused on the A-Team during his documentary, Breakfast at Rock Central, it was only fitting that he and Matt Masters (as the Martin Fulton Overkill) dove into a sweaty A-Team set. Although very conservative in their song selections, younger musicians were more playful in their performances. The Consonant C leapt off the stage to sing Azeda Booth songs a cappella while interpretively dancing around a band-mate devouring lemon meringue pie. Adding to a sugary twee love fest, the Tetraktys along with Azeda Booth covered the Consonant C. Two promising outfits, Lucky Sonne and Winnipeg transplants the Lonely Hunters sailed through expressive covers of Chad VanGaalen and the Jagatha Christies respectfully. The evening ended with technically impressive renditions from the gravely, soul-gripping sounds of GutterAwl (covering punk legends the Inquisition), the impressive Thwomp (covering Summerlad) and the mighty Lint, with far too short a set covering Gunther. Although sluggish in parts, the evening was a casual but artistically articulate homage to Boomtown hits both past and present. - Exclaim Magazine

Trio of NE Calgary Bands Make For A Long Night

What do you get when you have three local bands of varying rock styles, copious amounts of inebriants, green vinyl records and a brand new digital camera all set in the infamous Castle Pub? A shortened live review, that's what. Oh, and great night of course.

PC Theft hit the stage well after 22:00 hrs (10pm) and ripped through their set of thrash-punk. It was unbridled, raw and a little sloppy but it is thrash-punk. Damn Dirty Ape were fantastic and could have played for hours but of course, their friends still had their set to play and the bar does need to close at two in the morning. GutterAwl set up as quickly as possible and had an impressive performance, complete with a wandering Mark Overland. He played most of the set on the floor in front of the stage. When I say "on the floor", I mean that literally. He was standing, laying down, spinning around and finished with a Hendrix-like stance over his guitar. He even strolled down the corridor to the washrooms at one point.

The show ended so late that the ugly lights came on and GutterAwl still had a couple of songs to go. It was quite an evening to say the least. - Kmnr.ca

GutterAwl and Lucid 44's soul on fire
Shy songwriter Markus Overland stands on sturdy legs once again
>>PREVIEW
GUTTERAWL
Friday, May 11
The Castle Pub

>>PREVIEW
LUCID 44
Saturday, May 12
The Marquee Room

Growing up cash poor, Markus Overland would spend his free time at the neighbourhood library checking out records. It was the early-'90s and the future front man of GutterAwl and Lucid 44 was getting a heat rash listening to Sub Pop bands chew up the charts.

Aching for his 18th birthday so he could pursue gigs in underground rock clubs, Overland temporarily resigned himself to the Village Square library, repeatedly borrowing releases by Mudhoney and Nirvana. It was a significant day when Overland could finally pony up the cash for his own copy of the album that changed his life – Sebadoh's Bubble and Scrape.

"I think I bought that CD like five times over… for girlfriends, ex-girlfriends and I lent it to people. I listened to that and was like – holy. You know how you record on your ghettoblaster? It sounded like that. The lyrics were really personal. And the music," says Overland, trailing off after emphatically exhaling. "They were honest. Then, the whole riot grrl stuff came. It was like, yeah, I'm OK, I can do this. There are people doing this somewhere."

Overland began his solo project, Lucid 44, right away. Instantly, music became a vital form of artistic expression and escapism for the gentle introvert. While he delicately glosses over the details, his history is fraught with tragic losses beginning with the death of his father at age 12. Regrettably, that was only the beginning. He pensively shakes his head at the number of friends he's buried because of drug overdoses. After Overland tragically lost his fiancée to a brain aneurysm, he became resolved to turn a page in his life.

"That happened in 1998, so I kind of lost my… uh, maybe my mind, per se. I did some travelling, came back and said, 'I'm going to give a go at this.' Now, it's calmer, and I've got a handle on it.

"Mostly, it was my fault for being miserable all the time from not opening up. Once (I opened up), I became a lot happier and had good friends around. It's partly your mindset, right? I had some personal tragedies… it's not like I don't care anymore, but I'm here. I've got these legs and I might as well use them."

Pulling himself together and moving on, Overland began contributing to local bands before diving into his gristly rock outfit GutterAwl in 2005. Overland's powerfully raw songwriting and gritty vocal style quickly attracted deep respect from music scene mainstays.

"GutterAwl are awesome," raves producer and musician Cameron Hayden. "In fact, their album (Lv'er/Bismuth) may be one of my favourites, as far as stuff I've recorded. I got a taste of how talented Mark was when I recorded Pitchin' Woo a few years back. Then, he rolled in with (GutterAwl) and didn't disappoint at all. I love how ramshackle it all is while still holding together.

"His voice is great, his arrangements are great, his lyrics are crazy. If more people had a chance to hear Mark, they'd know how good he is. Looking at him, you'd never expect it."

Despite the sum of past sorrows, Overland's brown eyes sparkle as he laughs more freely these days. There's more to be happy about. Along with band mates Allen Pujo (bass/vocals) and Jzero Schuurman (drums), GutterAwl will be releasing a split 12" record with Damn Dirty Ape. Simultaneously, Overland is releasing a companion Lucid 44 EP CD. With a new music video on the way (created by local filmmaker Terrance Houle), it looks like the shy songwriter's days of flying under the radar are numbered. - FFWD Magazine

GUTTERAWL

Lv'er/Bismuth

Tonto is Jesus Music

LUCID-44

Cope/Inn

Tonto is Jesus Music

The common thread between Lucid-44 and GutterAwl, two Calgary bands making seriously good noise down the QE Highway, is Leslie Mark Overland.

Lucid-44 sees him using his deep-voiced and moody demeanor as an experimental solo folk artist. GutterAwl has him joined by friends, more of a punk-folk thing. The idea's the same, it's just a fuller band sound where Overland sounds more like Eddie Vedder. He leans towards Will Oldham in L-44 when the others aren't watching.

These captivating D.I.Y. co-releases are both available in fine, indie record stores. But now that we're done with the introductions, some specifics.

Since the halcyon days of Mudhoney and Nirvana, radio bands have inevitably gravitated towards a certain hooky slickness, emboldened by the work of their heroes yet somehow with a dull seriousness that all but dropped the "punk" that got grunge going in the first place.

That slickness comes in many forms, none of which seem to understand the value of a good A/D record. Insipid, self-serving lyrics and overproduction are usually to blame for the fact that we've already almost forgotten the turn-of-the-century wave of bands with numbers in their name.

But GutterAwl, to get to it, simply beams with rare rawness, non-overdubbed notes and fantastic passion. It's weird but familiar, like patterns in a lava lamp. And lines like "Got no god-damned armband on for anyone" bring a person back to his roots.

This record is bursting with quiet rebellion and none of that thumbsucking that's helped so many bands into instant obscurity. Not that this record's going to top the charts.

Lucid 44 is, as I said, much quieter, but at home with the mood of the Palace Brothers' work - music for the dawn that's both tender and disgusted, heavy but smooth. So why two bands? The partition is always such a personal thing. Thom Yorke wanted to make a solo album as good as Radiohead, and did. Maybe Mr. Overland just likes things in little boxes.

But seen from the distant borders of each of these records, the landscape is wide and impressive. The kind of place you just might be dying to get lost in.
- Edmonton Sun

It's only been one year since Calgary's GutterAwl released their debut album which has afforded them plenty of college radio play. And things are still picking up for this "spaz rock/heavy blues" band. They've gone from being a duo to a trio, adding drummer Jzero Schuurman, are set to release a split 12" record with Damn Dirty Ape in May and hope to finish their second album for a late 2007 arrival. Not bad for three guys with day jobs who self-finance their musical efforts.

The addition of Schuurman is a welcome one as bassist/backing vocalist Al Pujos explains.

"Mark (Overland) used to play drums while sitting down – he played with his feet and guitar and sang. He's multi-talented man." He adds jokingly, "It's also a good backup if Jzero quits the band or decided he doesn't want to show up at a show."

Their debut album has garnered them a healthy amount of college radio play, especially on CJSW and in Kamloops while reaching #129 on the Canada-wide college radio charts. The focus now is on the split 12".

The group opted to go with a small run from a U.S. vinyl pressing company.
"You don't want to make a thousand [copies] and have them until you're passing [them] on to your kids or using them for placemats," says Overland.
"Initial costs of getting a record done is the pricey part," he continued while Pujos confirms that the price-tag is around $1400 for about 200 records (which doesn't include art-work). "I'm going to be printing off our covers on my big machine at work and then we're going to have a big craft night at Damn Dirty Ape's jam space," Pujos adds. "We'll all sit around, drink beer, talk gossip, make crafts and put together records!"

The GutterAwl side will contain three songs; two new ("PJ's" and "Turn Out The Light") and the first recorded version of "Condescending Rice".
"We had some songs we were starting to record that were going to originally be for the next album but then Mark had the idea to put out a record," says Pujos. Considering the cost, the option of going the split route was an easy decision as was the band chosen.

"It's kinda neat 'cause us two," Pujos refers to himself and Overland, "and Damn Dirty Ape, we all grew up within a five kilometre radius. He and I are from Marlborough Park. Those guys are from Rundle and Temple, so it's kinda like a North East Calgary rock association."

With a "rock association" like this, you won't want to miss the release party where both bands will perform at the Castle Pub on May 11th and will of course have copies of the new split 12" vinyl available. GutterAwl will also be appearing on CJSW's My Allergy to the Fans radio program between 2:00 and 4:00 p.m. on the same day.

Damn Dirty Ape

You can't have a split release without another band, so it was only fair that we talk with the three guys from Damn Dirty Ape who are certainly deserving of recognition. Having been together for over ten years and surviving the loss of a lead singer, they're now getting ready for the split release with friends GutterAwl in advance of a new album they recorded with Dave Alcock at Calgary's Sundae Sound Studios.

These long-time friends jokingly call themselves "indie-punk afro-beat" but it's hard to simplify the band's sound. "I like the fact that people have trouble classifying us," says drummer Ryan Billard. "It's diverse. There's definite[ly] different flavours in a typical set when we're playing," adds bassist/vocalist Brian Quast. "The songs that are on this album represent a few different sounds."

Four songs will appear on the split release. "These songs are the same recordings that were done by Dave Alcock for our album," states singer/guitarist Jameel Lila. As far as which songs from the four day recording session would be included, the decision was simple.
"We thought these songs would sound awesome on vinyl."

Despite being largely absent from the live Calgary scene, the band has a different outlook on gigs now. "We're really starting to enjoy playing shows. Before, it was something we never looked for," Lila explains. "Now we're starting to take it a little more seriously." They even go as far as wanting to play at least one or two shows a month.

Even though they're preparing for these next two releases, DDA are already looking beyond that. "There's definitely a next album," says Billard while Lila adds, "There's an EP and THEN a next album!" They are certainly excited about what the future holds. "This EP's gonna rock," exclaims Lila. "We do it because we love the music." - Beatroute Magazine

It’s only been one year since Calgary’s GutterAwl released their debut album which has afforded them plenty of college radio play. Even still, things are starting to pick up for this “spaz rock/heavy blues” band. They’ve gone from being a duo to a trio, adding drummer Jzero Schuurman; are set to release a split 12” record with Damn Dirty Ape in May and hope to finish their second album for a late 2007 arrival. Not bad for three guys with day jobs who self-finance their musical efforts.

The addition of Schuurman is a welcome one as bassist/backing vocalist Al Pujo explains. “Mark (Overland) used to play drums while sitting down, played with his feet and guitar and sang. He’s multi-talented man.” He adds jokingly, “It’s also a good backup if Jzero quits the band or decided he doesn’t want to show up at a show.”

Their debut album has garnered them a healthy amount of college radio play, especially on CJSW and in Kamloops while reaching #129 on the Canada-wide college radio charts. The focus now is on the split 12”.

The group opted to go with a small run from a U.S. vinyl pressing company. “You don’t want to make a thousand (copies) and have them until you’re passing [them] on to your kids or using them for place mats,” says Overland. “Initial costs of getting a record done is the pricey part,” he continued while Pujo confirms that the price-tag is around $1400 for about 200 records (which doesn’t include art-work.) “I’m going to be printing off our covers on my big machine at work and then we’re going to have a big craft night at Damn Dirty Ape’s jam space,” Pujo adds. “We’ll all sit around, drink beer, talk gossip, make crafts and put together records!”

The GutterAwl side will contain three songs; two new (“PJ’s” and “Turn out the Light”) and the first recorded version of “Condescending Rice”. “We had some songs we were starting to record that were going to originally be for the next album but then Mark had the idea to put out a record,” says Pujo. Considering the cost, the option of going the split route was an easy decision as was the band chosen. “It’s kinda neat ‘cause us two,” Pujo refers to himself and Overland, “and Damn Dirty Ape, we all grew up within a five km radius. Him and I are from Marloborough Park. Those guys are from Rundle and Temple, so it’s kinda like a North-East Calgary rock association.”

With a “rock association” like this, you won’t want to miss the release party where both bands will perform at the Castle Pub on May 11th and of course have copies of the new split 12” vinyl available. GutterAwl will also be appearing on CJSW’s “My Allergy to the Fans” radio program between 14:00 and 16:00 hrs on the same day. - kmnr.ca

This Thursday, September 4 is your last chance to take in RAMP, the offbeat showcase of Calgary’s thriving independent music scene that’s taken over Broken City on the first Thursday of each month for the last two years.

Arran Fisher, Summerlad bassist, Acoustikitty studio magnate and RAMP curator, initially founded the event as an alternative to the grind of touring and playing dead-end shows to the same crowds of local fans and friends, but has decided to finish the run. “The idea of RAMP was just to put on an interesting evening once a month,” he says. Fisher encouraged local artists to take risks and offer experimental entertainment that defied conventions and expectations. Over the last two years, RAMP enthusiasts have witnessed Woodpigeon perform a mini operetta based on the legend of Redbeard the pirate, seen head Electric Ape Jay Crocker re-create the entirety of The Band’s second album, and heard Aaron Booth and Ryan Bourne resurrect Harry Nilsson’s obscure children’s album, The Point. They’ve heard country bands creating raw noise-scapes, punk bands covering country songs, rock bands dueling with a mighty pipe organ and assorted artists performing everything from blood-soaked songs about violent death to innocent children’s tunes. The only common element seems to be fun.

For their second anniversary and last waltz, RAMP is repeating the Calgary Covers Calgary theme of their first anniversary, once again celebrating the unabashed, incestuous glory of our crowded talent pool. Laura Leif of acoustic pop chorale group The Consonant C has played a couple RAMPs in the past and is presenting a CC side project, A Chalk Board (with drummer Jared Andres). “This particular project is way sillier than anything else,” she says. “The rule is that we never practise more than twice for any show, we play in disguises and we don’t play our normal instruments. We’re not really concerned with quality, just with having fun.”

Though she’s not bringing the full band to this year’s event, Leif has fond memories of last year’s RAMP show. The group took a stab at recreating the synthetic sounds of Azeda Booth.

“Last year we covered two Azeda Booth songs — ‘Landscape’ and ‘Dead Girls,’” she says. “We worked so hard on ‘Landscape’ that we didn’t have enough time to do ‘Dead Girls’ very well, so our solution to that was to get a huge group of our friends — I think there were 12 of us — and we went on to the main floor and we all patty-caked while we sang it, and then we chicken-fighted and then we ended with a dog pile. I’m really enthusiastic about the dog piles!”

While Leif won’t say who she’s covering this year, Raphael Standell Preston (a.k.a. Indiensoci) was a tad more forthcoming: “I was gonna do an Azeda Booth cover, I’m not really sure which one yet, and a cover of Jane Vane’s ‘Come on Baby,’ because I used to be in Jane Vane and we really despised that song. Well, not despised,” she says, “but we disliked it, so I was gonna do a weird ambient cover of that song.”

Marcus Overland, whose bands Gutterawl and Lucid 44 have played four RAMP shows, believes the events have been valuable for local musicians. “It was nice to see a lot of the new bands and performers that I wasn’t aware of prior [to RAMP],” he says. “It also helped encourage musicians and fans to take a different approach, to mash it up a bit, throw your borders out the window and basically, have a little fun and challenge yourself.” Last year, Gutterawl covered The Inquisition. This year, Lucid 44 might play some Beyond Possession.

As a reflection of the cohesiveness and resiliency of the local scene, no one seems overly concerned that the demise of RAMP will leave an unfilled hole. “In a way, it speaks to the success of RAMP that it isn’t really needed anymore,” says Fisher. “More venues and promoters are realizing there is a market for this kind of thing, and it’s gotten easier for people to put together their own events.”

Leif agrees. “When I first heard that it was coming to a close, I was sort of sad. I was talking to Arran and he was like; ‘No, I think it’s time for it to end.’ I think he always knew that it was something he was going to do for awhile and do it really well,” she says. “I think that’s an important part of the life of something like this, is to let it die and let it die well.”
- FFWD magazine