the Haig
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the Haig

Ottawa, Ontario, Canada | Established. Jan 01, 2011 | SELF

Ottawa, Ontario, Canada | SELF
Established on Jan, 2011
Band Alternative Art Rock




"Couch Assassin Piece"

ometimes chaos is a relief from the everyday norm. “Template for Disaster” may just give you the guidance to get through the chaos and unwind into a blissful moment of Joy.

“Template for Disaster” is the latest release from Ottawa Garage/Gypsy/Sex rockers The Haig. The group is made up of four members: Dean Morris (Guitar, Vox), Chris Davidson (Drums), Richard Michel (Bass, Vox), and Treawna Harvey (Keys, Vox).

In the spring of 2013, I met the band while they were competing in Beerfest: Play for the Pot at Lunenburg Pub. Immediately, I was taken in by the band’s unique sound, which blends modern indie rock with a unique sound that makes up The Haig.

The band has been playing the Ottawa scene for about a year now. In an interview with Couch Assassin, Dean Morris gave me a little insight into the beginnings of The Haig. - Andrew Lacelle - Couch Assassin

"Template for Disaster Release Party Review"

It was now time for The Haig to shine. It was, after all, their night — their EP Release. They played Template for Disaster in its entirety, and it sounded fantastic. I truly enjoyed “Starfruit (Galore).” But what really had me mesmerized was the bass player singing into a rotary phone. They were in a great mood on stage. Bass player, Richard Michels, said “We’ve got a lot to say, but we will play more because that is more important to you and us.” The tequila shots delivered with love certainly didn’t hurt either.
As the set concluded, the police showed up with he sound of sirens blaring. Luckily for everyone inside, Andrew Lacelle from Couch Assassin rerouted the police. The Haig then played an amazing instrumental piece, “World Ate” off their new EP, that took the crowd’s collective psyche through a maze full of hope and despair. A few songs later their set concluded and we took off into the winter wonderland. I strongly suggest you take a listen to their EP below.
The Haig… Good times with musical weapons. - Joseph Mathieu - Ottawa Showbox

"Template for Disaster Release Announcement"

Within the short few weeks of an early winter in Ottawa, locals have been geared towards hearing some damn good music. They want to crunch through the snow to the best show of the night, no matter how far it may be. Those with a serious hankering for eerie bass, interesting song structure and funny lyrics–not to mention an itch for a 90s fix–should listen to this.

Ottawa cornucopia The Haig will soon release an EP called Template for Disaster which is anything but. The indication is leaning towards an enjoyable bout of live music from Chris Davidson, Dean Morris, Richard Michels & Treawna Harvey starting on Dec. 20 when their EP is officially released. A measly $5 will get you into Ottawa’s favourite Soviet themed venue Avant-Garde and within reach of Ottawa’s sweetest cacophonic band. They’ll be joined by their friends Bearshark, The Apollohs, and Hello, Hello for a fun evening. - Joseph Mathieu - Ottawa Showbox

"Ottawa Showbox Top Local Releases of 2013"

2013 was quite the year for music in the nation’s capital. As per our Top Canadian List, this is not a ranking or a competition but simply a list of local releases that caught our ears and got a lot of play time for us. Check them out, support local and enjoy some of the best our city has to offer as 2013 unwinds. - Eric Scharf - Ottawa Showbox

"Equal Ground review - Template for Disaster"

Are you in the mood for the kind of music that will paint pictures for your ears, and will not only describe a mood and atmosphere but will immerse you deep in the thick of things from the very first note? If you are, then The Haig’s EP Template For Disaster is a must-listen. I spent a few minutes admiring the intricate gold foil on the cover – for a number of reasons; it is a suitable introduction to the music within.

I just love the deep bass intro to “Starfruit (Galore),” an intro that builds into a really fun and bouncy song that packs punches of flavor. I imagine this is what starfruit must taste like, bright and brilliant, but still sweet with a touch of an edge – an image molded by the chunky chords and sailing bass.

“Camel Chase” is a heavy, serious song that gallops along. The guitar has just a pinch of Arabic charm at the beginning, and the swirling notes could easily describe blowing sand. I am not in a desert right now, nor in any real danger of being chased by a camel, but I can’t help feeling a little touch of adrenaline and fear in the center of my chest as I imagine that large creature rushing at me.

“534342” surprised me with the blues rock n’ roll mixed with some – is that electric or autotuned rap?? – vocal harmonies on top of a thoroughly engrossing and unrelenting low end. There is a lot going on in this song, not too much, but more than suits just a casual listen. This is also the longest song on the EP, containing what sounds like a no holds barred jam session in which things REALLY get interesting.

The instrumental “World Ate” has a suspiciously calm beginning, sounding much like the music that accompanies a private investigator stealing through the night. The best part about this song is that it doesn’t stray far from its initial theme and sound, but it still manages to keep things fresh and different and has some real nice surprises sprinkled along the way.

“Sex (With a Woman)” – just, listen to this song. The melody is positively infectious; it’s seasoned perfectly with appropriate voice samples, and the lyrics are hilarious and kept a smile on my face the entire time.

This album was a great deal of fun to listen to. With so much going on at any given point in time, it really captured my attention and held it, and I found myself reluctant (and largely unwilling) to pause it at any given point in time. Every single musician did an outstanding job, but the bassist should really get a pat on the back – that instrument just booms and rocks throughout the whole album and keeps everything together. Definitely, definitely give this a listen – fantastic work! -


Still working on that hot first release.



The Haig is an alternative rock band at its core. Think of what you would get when you take Queens of the Stone Age and Muse, and have them write the soundtrack to the cartoons that take place in your nightmares. Kind of like a dystopian muppet feel that can be whimsical, eclectic, spacey, heavy and catchy all at once. You know, that kind of music.

We consist of Dean Morris, Richard Michels, Treawna Harvey and Chris Davidson. Dean fronts the band, playing guitar and singing his heart out. Dean’s unique, spacey and riff-heavy guitar style utilizes various effects and always fits into the song in just the right place. Not  always trying to push to the front, but busting out solos when it is right, Dean’s guitar playing is always mesmerizing. Dean builds most of his own guitar pedals, so duplicating his sound would not be easy. His vocals have been described as poppy at times, contrasting with the overall feel of the music and carrying the melody splendidly. His harmonies with Treawna take the band a step ahead vocally.

Treawna plays keys and backs up on vocals. She adds synth sounds, organs, vibes, sound clips, pianos and anything else that’s needed to fill out the sound and hook you in. Her wispy and intimate vocals are hypnotic and enthralling. Between her and Dean, the vocals the Haig puts forward are full of depth and character and carry your attention without allowing you to look away.

Richard’s bass playing booms and cuts through the mix more than you’d expect from a rock band, and rightfully so. His bass lines don’t just hold down the low end and emphasize the root notes, but add new layers, riffs and tones that keep the band’s songs relentlessly intriquing and unique. Richard also contributes vocally at times using a modified vintage rotary phone connected to a harmonica holder.

Chris brings his metal- and progressive-rock-influenced, precise and firm drumming style to the table, holding all the above instruments together in a perfect way. He knows when to add heavy, fast, intricate fills and he knows when to leave space. Working closely with Richard’s bass lines to lay down the rhythm of each song, Chris sets the tone and cadence. A task at which he is wonderfully proficient.

Dean and Richard take on the bulk of the songwriting efforts before introducing songs to the band. They have an unparalleled affinity for taking a concept and shaping it into an interesting structure that just works. They’ve honed their skills through 12 years of making music together on-and-off. When the concept is more fleshed-out and is introduced to the rest of the band, more honing and shaping and molding take place until the tracks can only be described as razor sharp (note that they can also be described in other ways).

Band Members