The Details
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The Details

Winnipeg, Manitoba, Canada | INDIE | AFM

Winnipeg, Manitoba, Canada | INDIE | AFM
Band Alternative Rock


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This band has not uploaded any videos



"Review: Sledding Sled Island"

8:25 – Grand Theatre

The Details

You never know what you’re going to get at the beginning of a bill, at the beginning of a long night of music.

Usually that’s where they dump the weaker acts and usually you’re fine to miss them.

Not with Sled Island.

The programming is maddeningly solid, meaning you probably won’t be disappointed no matter where you begin and no matter at what point in the evening.

Winnipeg band The Details are the perfect example of that, having the honour/thankless task of kicking off the entire night as the first band on a bill that included Geronimo, Calgary’s Woodpigeon, and The Constantines.

The 60 or so people in the Grand – a gorgeous music venue with incredible sound, for those who’ve never been – were rewarded with a treat, as the four-piece pop band delivered a confident set of sweet, satisfying songs.

In fact, for a relatively unknown act, they have incredibly welcoming, appealing and familiar material, sounding at times and in a very, very good way like the Northern Pikes.

(It also helps if you’re a sucker for a female bassist.)

It’s a great way to begin the night.

Unfortunately, there’s little time to linger, seeing as how the next band and next venue were the furthest ones from the downtown core . . .

-- Mike Bell - Calgary Herald - June 30, 2007

"Review: 'Draw a Distance. Draw a Border.'"
Posted on Tuesday 21 August 2007

Paying Close Attention to The Details

In most forms of contemporary rock music, it is highly perceptible that mood has the ability to dictate tempo. Rock artists conventionally treat the listener to separate entities of diversity within an individual album, mixing calmer ballads with elaborately involved songs of a more chaotic nature in their attempt for fledging captivation. Just imagine how dull an album would sound if each song had the same amount of intensity. Regardless of whether each track consisted of one acoustic guitar or five electric guitars, it would be a generally unpleasant experience without the right touches of diversity. Some artists fall flat on their faces while attempting to produce the slower, more brooding songs because of their shallow emotional ability. Others cannot pull off a expeditious track because their instrumental dexterity wears thin. Unless you are looking in the direction of a one-hit wonder, it is rare to find a successful artist without the ability to write a successful song in both atmospheric aspects. The Details, as their namesake implies, pay good attention to the basics of success. Their debut album, Draw a Distance. Draw a Border., is nearly equally split between rollickingly swift rock and subdued ballads. While it may be easy to enter the production process with such a coveted plan for stylistic variety in mind, The Details actually execute it nearly faultlessly.

Hailing from Winnipeg, The Details have already begun to take Canada by storm in playing at several prominent gigs, including the 2006 Western Canadian Music Awards, Canadian Music Week 2007, New Music West 2007, and North By Northeast 2007. While traveling the snowy roads of Canada, from Vancouver to Halifax, The Details have been preparing Draw a Distance. Draw a Border. with great precision. Their first full-length release, it follows up on their five-song Marching Sound EP, released last November. Draw a Distance. Draw a Border was recorded during the arduously cold months of winter in Winnipeg. From January to April, the four members of The Details worked vigorously with producer Jack Shapira and engineer Scott Stewart, the two having over 30 years of collective experience in music production. As the snow fell rapidly outside the doors of Unison Studios in Winnipeg, The Details were in the midst of crafting an album that would hopefully earn them the highly sought recognition of being one of the latest and greatest out of the mounting Canadian music scene.

Listening to Draw a Distance. Draw a Border, it is extremely apparent that The Details have all the tools necessary to become radio darlings. While their heavier tracks border too much on an emo flavor for my own liking, there is no denying that the songs are well crafted and redeeming enough to appeal to a very large and applicable audience. Though the vocals and guitar riffs within the distorted prowess of “Reunion Souvenirs” remain too whiny, groaning, and repetitive for my personal taste, I can’t help but admire the melodic flow of the song. Even more impressive, The Details are one of those bands who actually pay close attention to their lyrical content. Both witty and intelligently thought-provoking, lyricists Jon Plett and Sean Vidal are capable wordsmiths on every track throughout Draw a Distance. Draw a Border. On the cello-aided “Capture and Develop”, lead vocalist Jon Plett manages to incorporate aspects of philosophy and modern romanticism. “Only the boldest admit what they can’t defeat,” he sings over a subdued rhythm section and a recurring guitar drone, “Every liar says what they really mean. It takes a conflict to agree and the darkness before we can ever truly see.” After the mild introduction, the song expands into a fully intricate composition full of rowdy electric guitars, fervent vocal strains, and an expertly implemented cello supplied by Jonathan Bauch. While the shrill chorus is once again bordering too much on generic emo for the song to become a true force, it is more tolerable than tracks like “Burns Much Brighter” and “Demons / Heathens”.

Apart from such stylistic hiccups, The Details’ brightest colors shine on the more delicately performed tracks, particularly the insanely catchy leading single, “Underground”. As The Details should be given some leeway considering that Draw a Distance. Draw a Border. is their first album, the eventual success of “Underground” should give the four-piece some clarification on which musical style they should confidently pursue. The harmonically irresistible swoon of “Underground” is so exceedingly brilliant compared to earlier tracks on the album; tracks in the vein of “Burns Much Brighter” that pursue volume and halfhearted angst over pure melodic force. When Plett calls out, “If you call, if you call, I will always answer you,” in the hearteningly striking chorus, there is little doubt that this is where The Details’ strength lies. Both “Underground” and the beautiful though overly titled “I Asked What We Should Do. You Said, “I Just Don’t Want to Think”" are the most patiently intertwined tracks and, by no coincidence, also the best. If The Details can repeat such successes more frequently for their next release, they can expect to be ranked among the elite of rising Canadian artists. - Obscure Sound

"Review: 'Draw a Distance. Draw a Border.'"

The Details – Draw A Distance. Draw A Border. (Parliament of Trees) //
Released on a label that they started with friends The Paperbacks, Winnipeg’s The Details have a wonderfully diverse full length debut on their hands. A record that opens with hooky rockers (the brilliant build of “Always, Always, Never, Never”, the blasting “Reunion Souvenirs”) also cools off about ¾ of the way through (the lovely “Floor Plans”). One track with an overtly lengthy title sounds like Damien Rice covering the Weakerthans, whereas “The Height of Land” is reminiscent of any song from their catalogue. Fitting, considering their label mates used John K. Samson as producer on their upcoming sophomore record. Overall, Border is a great full length that acts as a record, with a perfect track order and tunes that seamlessly blend into one another. -

"Article: Much Does Winnipeg; The Details Do Much"

Tuesday May 01, 2007

WINNIPEG — Believe it or not, MuchMusic gets it right sometimes.

Taking time out from its regularly scheduled re-run marathons of The Search For The Next Doll, Much will be in Winnipeg on Wednesday for the fourth annual Much Does Winnipeg showcase, giving five local acts the rare chance to strut their stuff on national television.

This year's lineup features rug-cutters DJ Hunnicutt and DJ Co-op, experimental electronica act Blunderspublik, hard rockers Hot Live Guys, punk-poppers Anthem Red and Winnipeg's newest indie pop darlings, The Details.

"It's a really fun lineup," Details bassist Keli Martin says. "It's nice because it spans a few genres and it's a different reflection of what's going on in Winnipeg."

Much Does Winnipeg has spotlighted a who's-who of scene shakers since its debut in 2003, including Novillero, Sick City, Paper Moon and the Wailin' Jennys. This year, Much teamed up with local imprint Smallman Records, and the label's ear-to-the-ground staff are to thank for the impressive show roster.

"Amelia [Curran] from Smallman asked us if we were interested quite a while ago," Martin explains. "She had to come up with a list to pitch to MuchMusic and write a little bio about all of us, too.

"It was really nice of her to do all that work because we're not a Smallman band and we also don't have a video or a record coming out."

Not yet, that is. The quartet — Jon Plett (vocals, guitar), Sean Vidal (guitar, vocals), Shaun Gibson (percussion, vocals) and Martin — teamed up with noted 'Peg producer Jack Shapira in early 2007, and are now on the final leg of recording their full-length debut. The LP, due out in September, will be the follow-up to the infectiously charming Marching Sound EP, a shimmering five-song appetizer that was released in November.

"The full-length is going well, but it's been a long process," Martin says. "We started recording in January and it's just hard because we all hold down full-time jobs and we haven't been able to take time off to go into the studio to do it.

"We all work really hard, so it's been nice to see those hours come to light. We hope to have it in our hands by July so we have something to sell from the stage on our tour this summer."

The Details are proof that, even if you're a new band, hard work can pay off. Although they've only been together since the end of 2005, the quartet already have Canadian Music Week and Western Canadian Music Awards showcases under their belts, as well as an impressive resume of local gigs. The band are also planning a cross-country jaunt in July.

Still, as good as things are looking for The Details, there are still challenges that come with being the new kids in the scene.

"Getting a tour together is really hard," Martin says with a tired laugh. "You're basically trying to convince people who would maybe know your name from a poster on a pole to book you in their venue. But we're really excited to get out of the studio and get out there again."

Much Does Winnipeg goes down on Wednesday at the West End Cultural Centre at 7 p.m. -

"Review: 'Draw a Distance. Draw a Border.'"

The Details
Draw a Distance, Draw a Border
(Parliament of Trees)

Draw a Distance, Draw a Border is truly one of the best-sounding albums of the year. The thoughtful songs here are as emotive and frankly enjoyable as any you are likely to hear from a indie-rock band. Singer Jon Plett's earnest croon has a cracked vulnerability that engages the listener without resorting to screaming. On the heavier tracks, the band drives incessantly, and pretty much avoids guitar solos, in aid of a more democratic and powerful sonic attack. The pounding Demons/Heathens and the swell Hit Parade are definitive tracks and The Details should confidently set their collective sights on conquering the world outside the Perimeter Highway...

* * * * - JM - Winnipeg Free Press (September 8, 2007)

"Article: Taking care of business: Hard work, attention to the small things works for The Details"

"Playing in an independent rock band will eventually make you equal parts truck driver, gladiator and mule. Glamour is for those with trust funds."

That's a Neko Case quote that was printed on the side of my Starbucks cup a few months back - and I was reminded of it when transcribing this interview.

While many musicians familiar with the realities that come with being in an unsigned and unsupported band will certainly nod in agreement, this quote seems especially fitting for a band with as Herculean a work ethic as The Details.

The Winnipeg indie pop-rock quartet - made up of Shaun Gibson (drums), Keli Martin (bass), Jon Plett (vocals, guitar), and Sean Vidal (guitar, vocals) - is gearing up for the release of its debut full-length album Draw a Distance. Draw a Border, an outing that joins a long list of highly-anticipated September releases from noteworthy Winnipeg bands, including The Weakerthans, The Paperbacks, Sick City and Tele.

That said, The Details is a surprise entry on that list. No one really expected the band to have an album out so quickly - especially as the band played its first show just 18 months ago. But, since that first night at the Albert in March 2006, the band has criss-crossed the country a few times, released a well-received EP, and been disciplined enough to write and record a full-length record.

"We've been working hard and we've kept working," Plett says over some post-gig pints.

"This record has been on the go for six months," Gibson adds. "It's nice to see the finished project."

"We tried to tackle everything in six months," Vidal says. "We basically tried to condense one year of work into six months. We've really hit the ground running and it's been non-stop."

"We all hold down full-time jobs, too," Martin adds. "But I think we like to be busy."

When Vidal says the band tried to tackle everything in six months, he isn't kidding. The Details headed into Unison Studios in January but it's amazing the project wasn't shelved, especially after a look at the group's tour schedule in that time. While recording the album, the band wanted to make sure it didn't miss out on honing its live skills.

You could say the four Details aren't the types to sit still.

"I had been in bands before, but I had no idea it took this much work," Plett says. "Luck always has a bit to do with it, but I really think that how successful you become is directly related to how hard you work.

"We just didn't want to wait around," he continues. "So we booked tours and continued to book shows while we made the record."

"We're also dumb," Vidal laughs. "We don't hire anyone else. I think we all chose the wrong profession. I think if we worked this hard at something else, we'd be wealthy."

Still, the band did enlist a few helping hands on the new record. Teaming up with the "very patient" local producer Jack Shapira - who also produced November's Marching Sound EP - The Details laid down its unique brand of hooky, sparkling indie pop and, happily, the finished project is a striking testament to the power of its players, beautifully building on a range of sound that was only hinted at on the EP. Friends such as Stephen Carroll (The Weakerthans), Allison Shevernoha (Paper Moon), Jay Churko (Chords of Canada) and Ashley Roch (The Western States) also dropped in on recording sessions to lend a hand.

Draw a Distance. Draw a Border is an impressive debut and, even though the band did bail to go tour while recording it, the record certainly doesn't sound like it was ever neglected.

"It did seem like it took a long time," Plett says. "But I like the fact that it took a while. If it were shorter, I think (there'd be more) things you'd regret."

"Even touring while recording was sort of a good experience," Gibson says. "It gave us a sense of what we're getting into."

The Details took its DIY ethos a step further in June, along with friends and regular tour mates The Paperbacks, when they co-founded a small label called Parliament of Trees, an imprint that will be home to both Draw a Distance. Draw a Border and The Paperbacks' latest, An Illusion Against Death.

"We thought it would be smart for monetary reasons," Martin says. "We were doing so much ourselves anyway, it made sense."

"It's more of a co-op than a label," Plett says. "We're the true meaning of an indie label."

"We just hate all of our friends is all," Gibson laughs. "We don't want to see them."

Though The Details are - chronologically speaking - a new band, most of its players have been intimately involved in music for a long time. The foursome eventually found each other through the incestuous nature of the Winnipeg music scene - and through a unanimous need to broaden themselves musically.

"Jon and I had played together before and we wanted to start something new," Vidal says.

"We begged Keli to play, but she turned us down a few times," Gibson says.

"I did turn them down a few times," Martin confirms. "I remember when I did come out the first time, I was so nervous. I'd never been to a try-out before."

"It wasn't a try-out," Vidal interjects.

"After we jammed for a bit, Sean and I went outside and said 'this is what we want to sound like,'"Plett says.

When the lineup was officially nailed down, the band went ahead with its first two practices - followed, fittingly, by its first business meeting.

"Two practices and then a meeting," Plett laughs. "We were even dividing tasks. That should have foreshadowed what was to come."

"And," adds Vidal, "we haven't slowed down since."

- Jen Zoratti - Uptown Magazine (September 6, 2007)

"Review: 'Draw a Distance. Draw a Border.'"

The Details: Draw a Distance. Draw a Border.

The debut album from Winnipeg's The Details is anthemic from start to finish, each song a heartful lament on the past or a startling thought of what's to come. The gentle chorus of "Hit Parades" propels an unveiled song of pity for those who suffer in war and those unaware casualties of fame. Not only do the melodies create barnstorming songs such as "Reunion Souvenirs" (a new-wave banger and instantly recognizable as the key track of the album and which strangely has the author thinking of Robert Palmer), but lyrical gems like "you've let your hatred rhyme with love" ("A National Anthem") vocalize the discontent of an entire province.

As a lyricist, Jon Plett (along with Sean Vidal) is almost never too ironic, usually sparing listeners from tired and repeated juxtapositions. Instead, we're treated with small victories in the form of "We never quite remember, so I'll carve our names in every fence and barely living tree" ("Underground"), howled with a careful balance of emotion and prescience, as if he knows the pain is only temporary.

Draw A Distance, Draw A Border is captivating from the start. Every track fits the album, and the songs are accessible without being diluted. Masterful pop with more than just a touch of hard rock, The Details live up to their name, giving plenty of attention to what it takes to make a good record.
- Any Given Tuesday (

"Review: 'Draw a Distance. Draw a Border.'"

The Details
Draw a Distance. Draw a Border
By Rob Nay

The Winnipeg-based quartet gracefully unfurl a path of expertly mapped tunes on their first full-length. Draw a Distance. Draw a Border shows an expansive and urgent musical approach, widening the focus displayed on the group’s strong self-released debut EP, Marching Sound. The slow, sombre pace of the full-length’s opener builds into the propulsive and insistent “Reunion Souvenirs,” setting the tone for the record’s rich depth. Guests, such as the Weakerthans’ Stephen Carroll, contribute to the wealth of layers on Draw a Distance. Draw a Border. The crashing cascades of tracks such as “Capture and Develop” and “A National Anthem” are skilfully balanced by the gently sway of “Floor Plans” and “Underground.” Throughout the record, the Details convey a fierce command of melody and an impressive ability to arrange engaging songs.(Parliament of Trees) - Exclaim! (October 2007)

"Review: 'Draw a Distance. Draw a Border.'"

5 Stars

Reviewed By: Kindah Mardam Bey

Winnipeg must be the next generation of Seattle; if you’ve been to both places, you will see that boredom could be conducive to ‘making your own fun’ and in this case, it would be music.

Welcome to the new sound of music and it appears God has placed it in The Details, yet again. Although this band has implications towards the subject of a higher being, for those non-believers out there, don’t be dissuaded. In fact The Details will probably attract a large audience as music hasn’t been this good in Canada since our Billy Talent discovery.

The band formed in 2005 and as lead singer Jon Plett states, they have ‘the brand new band smell.’ The four members, Plett, Sean Vidal, Keli Martin (a girl in a rock band, and on bass no less!) and Shaun Gibson have managed to earn their stripes as a formidable talent to be reckoned with when combined into The Details. OK, so that’s the brief description, now let me tell you about the music……

Because in truth I didn’t like The Details, Draw A Distance. Draw A Border., I LOVED the album. It is a debut collection of prolific, intelligent, orchestrated, tracks that are each unique and interesting to listen to as the last. Shear splendour for the eardrums!

The Details are rock but new rock like Keane, pushing how we think of rock music. They have created their distinct own sound; as Coldplay is to England, The Details are to Canada. If this band doesn’t shape the state of Canadian music, then we are all in deep trouble. Each song stands on its own feet and draws you into its intricate and edgy lyrics. Why don’t more artists go into the studio like The Details, with a game plan, an intention, a clear understanding of what they are creating, and all done with a apparent enough focus to make an album work in its individual parts and as a whole as well?

I don’t care where you are, where you live, whether you have ITunes or $20, get Draw A Distance. Draw A Border if you think you know good rock music, if you think you know new talent, if you think you know what good sounds like. This CD will be released on September 25th mark your calendar! - A n E Vibe (September 23, 2007)

"Review: 'Draw a Distance. Draw a Border.'"

I don’t know what it is, but I find it super exciting to write about a band that’s fresh, new and about to embark on what could possibly be quite the memorable and fantastic ride. Their first CD is about to be released and heard by the world, and the road and many a venues await their arrival. That excitement probably can’t be imagined, but I still can’t help but feel giddy and content for The Details and their Draw a Distance. Draw a Border.

That excitement is precisely this band and this record, with a future that is unknown, yet bright and promising, especially judging by the record at hand. Right from the first track I couldn’t help but be sucked in, as their sound is catchy and there is just something about them that instantly made me interested in finding out what it is that they are about.

This is what I now know, and I will share in case you want to know as well:

-- they are from Winnipeg

-- formed at the end of 2005

-- have played a shit load of shows even in such a short amount of time together, including Canadian Music Week, New Music West, Canadian Music Awards, and North by Northeast…impressive

-- the record includes piano, trumpet (which I love), banjo, etc.

-- Draw a Distance. Draw a Border. was recorded during the long and very cold months of a lovely Canadian winter

-- the band have co-founded a label called Parliament of Trees with tour mates (and Winnipeg natives) The Paperbacks

This is what I like, and once again, I will share just in case you care:

-- that they are from Winnipeg

-- “Floor Plans” is a nice change of pace, a really beautiful ballad that was somewhat unexpected yet pulled off without a cinch

-- the piano, trumpet (yes, I do indeed love it), banjo, etc.

-- that they co-founded a label with The Paperbacks

-- Draw a Distance. Draw a Border.

Anyway, we’ll come back to writing real sentences and paragraphs again. So, after only being together for such a short time, I’m clearly impressed by how well this unit works together. It’s not surprising then to find out that they have barely gone a day without seeing one another since they formed this group, and to hear that they are a hard-working band putting their all into this project is also not at all surprising.

I’m pretty sure I believe it, as this record is put together to perfection -- and not to be too predictable in saying this, but hitting the mark with the details. I’m pretty confident in saying that they have more than one radio-friendly hit on their hands, although hopefully they also have enough here to impress a large and diverse crowd as well…now wouldn’t that be quite the accomplishment? An exciting one, I’m sure.

No matter what happens from this point forward, I wish The Details much luck in their endeavors, as I sit here and listen away to their Draw a Distance. Draw A Border. - Two Way Monologues


Lost Art (Coming Spring 2011)
-11 song full-length.

The Original Mark EP (Coming Fall 2010)
-5 song EP.

Draw a Distance. Draw a Border. (Released September 2007)
-12 song full-length.

Marching Sound EP (Released November 2006)
- 5 Song EP.



Every band who plays SXSW hopes they’ll end the week with a lucrative record deal, or at least the prospect of one. For Winnipeg foursome The Details, that almost happened. “You know the evil manager in the movie the Runaways?” asks Jon Plett, the band’s singer and guitarist. “We met him in an elevator, gave him a press kit and then he wouldn’t stop calling.”

That guy was none other than Kim Fowley, a legendary record producer and songwriter who’s worked with The Runaways, Kiss, Alice Cooper and more. They didn’t know who the towering, white-haired 60-something was at first, but Fowley, after listing to their first record — Draw a Distance, Draw a Border — knew exactly who the band was.

One day, as Plett was working on his farm (that’s right, he’s a farmer), he got a call. “It was Fowley,” he says. “We talked for an hour, it was so surreal.” The producer said he played the band’s music for people in L.A. and there was a lot of interest. He wanted more tunes and to tried to fly the group out to California.

The band was at a crossroads — do they go and potentially give up a piece of the band to the music industry machine? Or stay home and create a new record on their own terms. They chose the latter.

It turned out to be the right move, especially since the band found two equally adept producers in Brandon Reid, The National’s engineer and right hand man, and Stephen Carroll, the guitarist of seminal Winnipeg indie act The Weakerthans.

Reid and Carroll don’t produce just any act that comes their way. There are two reasons they spent 12 long days working and recording The Details: their huge potential and the fact that they're not afraid of hard work. A lot of bands write some songs in a few weeks then release a record, only to regret the final product. The Details took three years to write the songs on their sophomore effort, Lost Art, and spent a year perfecting them, throwing out songs that didn’t work or redoing tunes that needed an extra push. “We’d play a song a certain way for three months and then flip it on its head,” says Sean Vidal, the group’s other guitarist. “It took us three years to refine the songs the way we wanted them.”

That painstaking work was a good thing. It resulted in one of the most exciting records to come out of Winnipeg since The Weakerthans’ Left and Leaving. The combination of Reid and Carroll couldn’t have been more appropriate — Lost Art channels the same type of pull-at-the-heartstrings indie rock as The Weakerthans and The National’s rich folk rock feel. But it’s also got punch. “Vulture Mechanics” kicks off with the loud slap of Shaun Gibson’s snare, eventually launching into a soaring chorus backed by Keli Martin’s deep bass and Vidal’s bright fuzzy riffs.

But it’s “Weightless in the Dark” that really shows The Details’ depth. Lyrically, it’s on par with any John K. Samson tune, while the fluid, pop folk instrumentation makes this one of those tracks that you can play on a long road trip or after a night of too much drinking at the bar.

Each song has so many moving parts that you won’t get tired of listening to the music multiple times. Yet, it’s simple enough that you can get it on the first try. And that was intentional. “We were trying to stay away from hitting the audience over the head with dynamic changes like we did with the first record,” says Sean. “We stayed away from throwing 10 super distorted guitars in the mix.”

While the band worked at getting these songs right, it was Reid, and his experience (and stories) with The National, who put the finishing touches on this already solid disc. “He has such an intimate knowledge of indie rock,” says Jon. “He knew what we could and couldn’t do. Plus, he’s a hard worker — this was a labour intensive process.”

In the end, listeners get one of the most cohesive, focused and creative indie pop albums to come out this year. And, once Kim Fowley hears it, there’s no doubt he’ll be on the next plane to Winnipeg.