>>PREVIEW
JUNIOR BOYS
Monday, October 2
Broken City
"No genre really gets me – I’m sort of a record by record fan," says Jeremy Greenspan, the voice of Junior Boys, whose latest album So This is Goodbye hit North American stereos earlier this month. "Making this record, I was listening to a lot of older music – music that isn’t being made anymore – late disco and early house records and experimental light rock-pop from the ’80s and ’70s."
While those reference points make perfect sense, it is not immediately obvious when listening to the duo’s second release. Though quite different from 2004’s Last Exit, which was recorded over a long period of time, Goodbye has traces of early Junior Boys with a delicate twist on the possibilities of pop music. It seems an effortless progression, but the changes are audible.
"I think I was a little nervous about that at first," says Greenspan, "but then I came, at a certain point, to trust that if I do it, it will probably just sound like me."
With Greenspan at the helm, the direction may shift from time to time, but the path is clear. Junior Boys make music as much for themselves as for their supporters.
"I respect our fans. I feel as though the reason that we release (music) is so they get something out of it."
This creative consideration enters in to the group’s live show as well. It differs slightly from the group’s last Calgary performance in 2005. This new setup includes drummer Dave Foster, who may be familiar to some as the techno producer, Teste.
"The live thing, for me, is a fun way to meet people who like the music," says Greenspan. "It’s a good way to give people some feeling of ownership over the thing."
This outlook is just as it seems – positive and, sadly, unique in a world where several electronic artists somehow get away with mediocre live sets that could be classified as a cure for insomnia rather than a performance. Perhaps it is the time and care they take to create an experience, but Junior Boys do not suffer the aforementioned fate. Quiet becomes intimate and engaging. Beats are organic and infectious. It is the killer combination for any era of pop music.
Calling Hamilton, Ontario home puts the boys in proximity to Canada’s big cities while simultaneously keeping them at bay. This suits Greenspan just fine – he even describes the distance as giving the group an edge that has prevented them from having to dress, act or make music a certain way. "We don’t have any of that pressure – especially in a place like Hamilton that is probably one of the most unpretentious cities in the world.
"There are creative and interesting people everywhere. In lots of ways I think it’s easier to find creative people in smaller places because there’s not as many phonies around."
The Hamilton advantage must also apply to the music industry, particularly the Canadian music industry, that can be relentless in its efforts to cash in on great collaborations and the next-big-scenes.
"I think of us as pretty much making Canadian music and I think of our music as very much coming out of a Canadian experience," says Greenspan, "and at the same time, I don’t pay much attention to the Canadian music industry at all."
Being on Domino Records out of the U.K. benefits Greenspan and co-Junior Boy Matt Didemus in keeping them distanced from "the insular world of Cancon."
While they might not fall prey to that side of the music biz or the press that goes with it – which, in the case of this group is stunningly positive, by the way – they remain in the loop thanks to some keen family members.
"I hear about every review from my mother," he says.
Admitting that the CD is always in the stereo at his parent’s place, it’s when the music is playing for friends of the family that Jeremy Greenspan leaves the room. He is assured by the fact that this is not an exceptional occurrence.
"I think all moms do that. I’m sure even Slayer’s mom plays their songs for friends and stuff." |
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