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artist Culture Reject

Toronto, ON, CANADA
White Whale Records
genres
Experimental, Soul
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biographical info

This year’s POP Montreal Program states that, “Michael O’Connell specializes in playing any instrument that makes a noise, and playing all of them masterfully. He uses this considerable skill to shape the artful melodies that accompany his evocative lyrics. This soft, tender music will let him play your heartstrings too.”

After a few years away from a busy touring schedule with his former band Black Cabbage, the dynamic songwriter created Culture Reject to house his latest body of work. It comes from an interesting path of influences: growing up on a diet of Nina Simone, Stevie Wonder, Led Zeppelin and Van Morrison records would provide anyone with a healthy place from which to engage musically in the world… For O’Connell, it created a hunger to seek music beyond the omnipresent classic rock format of Southern Ontario. While spending time on exchange in Africa and more recently hauling his family through rural Cuba, he found himself regularly joining in on spontaneous neighbourhood jam sessions; hearing his own songs accompanied with instruments and infused with rhythms he had yet to consider. These influences and experiences largely form the source of Culture Reject’s infectious, soulful melodies, syncopated guitars and easy grooves.

Aside from touring, O’Connell spends time engineering and producing tracks in the recording studio of Sketch: the working arts for street-involved and homeless youth. Creating beats and opportunities for at-risk youth in Toronto is a transformative process for both the youth and himself. In fact, the Sketch environment proves itself a massive influence on his life and in many ways the thematic basis to many of the songs on his upcoming self-titled release.

Inspired by love and mourning, the trials of good people feeling isolated and life in city chaos, Culture Reject grew from myriad Toronto home recording sessions with O’Connell at the console accompanied by several guitars, a loop pedal, a glockenspiel, and whatever else produced a sound when it was struck. Guests include Jim Guthrie (drums, vocals), Karri North (background vocals), percussion virtuoso Dave Clark and a horn section consisting of Michael Barclay, Bradley Fauteux, and Venezuelan/Canadian saxophone star, Bernardo Padron. Most of the songs were then sent off for further mixing at London, Ontario ’s House Of Miracles by the sure ears of Andy Magoffin (Constantines, Great Lake Swimmers).

On stage, as witnessed at this year’s CMJ Music Marathon in New York City, Culture Reject recreates the songs with an impressive and unique use of a loop pedal and an intricate finger picking style that creates a bed of syncopation and harmony under O’Connell’s powerfully dynamic vocal range. He is sometimes backed up by vocalist Karri North or a thick wall of saxophone and trumpets.

lineup

Michael artist
Culture Reject
Label White Whale Records
Released April, 2008
Culture Reject

Start A Fire

posted by ryder   
We are two bands who play as one. For the next three weeks Poorfolk and the Mohawk Lodge will be on the road, travelling from Vancouver to Toronto with the former backing the latter. We, Poorfolk, are on the road to promote our sophomore album “Our Burning Street” and Ryder – of the Lodge – is with us for both practical and party reasons. The party excuse is just that - he has never been the type to pass over an excuse to spread his manic and intense roots rock across the the country. The practical is that he has decided to relocate his label, ‘White Whale Records’, and his band to Toronto. Be afraid Ontarians for he does not plan on tolerating Apathy- he will be in your face, making you listen, care and dance. Resistance is futile. If you cooperate you will be transported to both an original and familiar place where more than your toes move. You will find yourself, shaker in hand, at the front of the club and you will be one of us. Friday the 18th of September: The Biltmore We arrived on Thursday to a flurry of errands and prep work for the tour. Among our tasks is to simply rehearse with Ryder. Friday will be the original Mohawk Lodge line-ups last show together for an indefinite amount of time. With no animosity, they are to remain in Vancouver while Poorfolk take over their duties on the road. We are from Ottawa and have been practicing our own material at home so a shotgun rehearsal means learning a lot of material in about four hours. I have already played bass for them before, but the remainder of the band was forced learn the catalogue via the album and in record time. They’ve done their homework though and the practice, with the help of Lodge member Cory Price, goes well and Ryder, felt sweet relief. The Show: We missed sound check that night while tying up last minute details for the road: equipment, insurance, condoms, antiseptics etc- Just minutes after we haul our gear in the show begins with the beautiful textured sounds of ‘Lakefield’. The Biltmore echoed with song for only seconds before the audience, hanging around the side bars or smoking outside, dampened the sound with their bodies on the floor in front of the stage. Up next, Brian and Dave of ‘Japandroids’ attacked us with gut shots and sonic upper cuts. We learn later that we’ll be playing a show with them, Collapsing Opposites and Brasstronaught at the Friendship Cove in Montreal during the Pop festival. This excites us for two reasons. First, I was somewhat occupied during their set and want to see them see them rock out again. Second, these boys can drink and we’re looking forward to partying with them. It was Dave’s birthday eve that night and we watched him put back a healthy dose of Whiskey while not missing a beat. As we set up for Poorfolk I scanned the audience with awe at how jovial and positive everyone was there (yes- we have played to some depressing crowds over the years). It’s clear we’ve got a lot of friends in Vancouver. People chanted and partied all through our set and made up for all the intensity that preceded this trip. First night and I’m already satisfied. We end with ‘Stupid as a Tank’, joined by the audience on stage chanting along with us. As we start to leave the stage someone calls out ‘Motor Away’ by Guided By Voices, and Arch from the Lodge sings it out to put a cap on this great experience for us. Finally The Lodge are up. I haven’t played with these boys for a year and am so happy to share this ‘last show’ with Arch, Cory and Rob. These are possibly the funniest men I have ever met and before I have a chance to have a smoke between sets my stomach already hurts from laughing. Ryder gives Vancouver a goodbye they ought not forget. For an hour and a half he dances and belts out the songs like a man possessed and I’m pleased to follow along- the only difficulty is staying out of his way as he spins around and destroys the stage. For everyone involved with this night I would like to personally thank you. I would have in person, but about ten seconds after we left the stage Ryder and I got into a... Well... let’s just say that drama ensued. Sometimes the booze gets our ire up and we let ourselves say things we later regret. The negative, however, always turns around for us and as I woke the next morning, pain in my head and on three hours sleep, I call Ryder and we just start laughing. Water under the bridge. We pack up and head out for Kelowna.
posted by ryder   

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