IPOD
RADIO
The Constantines
By Daniel Robert Epstein
Jan 27, 2005
The Constantines had a pretty big following before they teamed up with Sub Pop to re-release their first album, Shine A Light. They’ve been supporting the album on tour for a long time. I got a chance to talk with their co-vocalist/guitarist Bryan Webb.
Check out Sub Pop’s website for The Constantines
Daniel Robert Epstein: Why did it take so long to get this album released in America?
Bryan Webb: We’ve always stuck with our label Three Gut Records in Canada because we all grew up in the same town. They released our first record originally and we tried to get distribution in America through Sub Pop but still use Three Gut. But it wasn’t working and we needed it to be promoted a bit better and Three Gut couldn’t do that in the States like Sub Pop could.
DRE:
How is it talking about this older album when you’ve already put out another one since then?
BW:
It’s strange to address questions about that record. The best thing is that Sub Pop put the record out on vinyl which we weren’t able to afford before. I just got that in the mail and it was a real trip to listen to it for the first time in three years. Now we’re on Sub Pop and they put out Shine A Light and Three Gut still puts out our stuff in Canada.
DRE:
You guys get a lot press in Canada.
BW:
Yeah we’ve done most of our touring there.
DRE:
How has it touring in the United States?
BW:
It’s a lot different now than it was when we first toured here a few years ago. The first time we hooked up with Oneida in Brooklyn and did a few shows with them. Then the second time we were there we opened for the Weakerthans and we kind of built an audience off of them. Then the last tour was us on our own. It’s still kind of weird to play in places like San Francisco and Tucson and see people that actually know our music.
DRE:
I read your shows are pretty wild to the point where you scare some people out.
BW:
Yeah we have some good times [laughs].
DRE:
What puts the audience over the edge?
BW:
I think a big part of what we do is audience participation. We try to bring as much percussion and homemade noisemakers to the show for the audience. It would really be great if everyone started bringing drums and noisemakers to the shows. We like that good vibe that comes with a community performance.
DRE:
The music you do is pretty eclectic; do you all have a lot of the same influences?
BW:
Yeah for sure. I think we all got along because of bands like The Clash and The Talking Heads. We actually just started a Neil Young cover band and we’ve played a few shows.
DRE:
What’s the name of the cover band?
BW:
Horsey Craze. Anyone who wants to play with us is welcome. We had a trumpet player and five guitarists last time. That was a big bonding point.
DRE:
Was it at a Sub Pop showcase where you covered Lou Reed’s Temporary Thing?
BW:
Yeah we did that song a lot on the last tour also. It’s a good audience participation one because it’s got big drums and it’s good to sing along to.
DRE:
Did you ever do private parties?
BW:
Sure, we used to live together in a house in Guelph, Ontario so we used to have house shows all the time. A lot of local bands used to show up as well. That’s partly where the audience participation thing began but we also developed a love for a creative music community.
DRE:
What made you guys move to Toronto?
BW:
We all gradually moved here. Guelph is a pretty transient place like most university towns. It’s a great place and I’d like to live there again but Three Gut is in Toronto and we have a lot of friends here. Some of us had girlfriends that already moved here but it still took like two years for all of us to move here. It’s definitely a good cultural center which is stimulating.
DRE:
Someone referred to the Juno Awards as “Canada's much-maligned Juno Awards.” Why is that?
BW:
It’s like most award shows. It’s a pat on the back from the industry to the industry. You can call Evanescence the best new band but most of the people at the Juno Awards have no idea about bands like Oneida or whoever. It’s pretty skewed. We were nominated for a couple of Junos under alternative rock which is nice but I tend to react more when our friends like our new songs.
DRE:
Do you still have your day job?
BW:
No, 2004 was the first year I haven’t worked. We were on the road so much I was able to support myself. We’ve all been able to work less and less at real jobs. As long as we keep playing shows I will be able to keep my apartment. It’s exciting. Also it’s a little different in Canada because we’ve gotten some arts grants to tour.
DRE:
You said a few years ago that you never even saw yourself getting a record deal.
BW:
Every year in the last five years has brought something new that I never would have expected like in 2004 when we went to Europe. Sub Pop was a label we all grew up listening to so it seemed like it would never happen to a small band from Canada. We weren’t even looking for a deal but when it came time to make our second record we just thought we would give it a shot.
DRE:
At one point you guys were saying, “The Constantines come from a planet held together with power chords and safety pins.”
BW:
We all grew up on the hardcore punk rock DIY scene. We used to make all our own patches and things like that.
DRE:
I read that your mom was a backup vocalist on one of the tracks.
BW:
It’s true. My mom is definitely a rocker. We’ve gone to see concerts like Springsteen and Dylan together. Those ones transcend generation gaps. It’s also part of that whole community thing and I’m really into family. ‘
DRE:
How’d she do?
BW:
She was a little shy but it turned out great. I kept telling her to yell it. It was adorable.
by Daniel Robert Epstein
SG Username: AndersWolleck
The Constantines had a pretty big following before they teamed up with Sub Pop to re-release their first album, Shine A Light. They’ve been supporting the album on tour for a long time. I got a chance to talk with their co-vocalist/guitarist Bryan Webb.
Check out Sub Pop’s website for The Constantines
Daniel Robert Epstein: Why did it take so long to get this album released in America?
Bryan Webb: We’ve always stuck with our label Three Gut Records in Canada because we all grew up in the same town. They released our first record originally and we tried to get distribution in America through Sub Pop but still use Three Gut. But it wasn’t working and we needed it to be promoted a bit better and Three Gut couldn’t do that in the States like Sub Pop could.
DRE:
How is it talking about this older album when you’ve already put out another one since then?
BW:
It’s strange to address questions about that record. The best thing is that Sub Pop put the record out on vinyl which we weren’t able to afford before. I just got that in the mail and it was a real trip to listen to it for the first time in three years. Now we’re on Sub Pop and they put out Shine A Light and Three Gut still puts out our stuff in Canada.
DRE:
You guys get a lot press in Canada.
BW:
Yeah we’ve done most of our touring there.
DRE:
How has it touring in the United States?
BW:
It’s a lot different now than it was when we first toured here a few years ago. The first time we hooked up with Oneida in Brooklyn and did a few shows with them. Then the second time we were there we opened for the Weakerthans and we kind of built an audience off of them. Then the last tour was us on our own. It’s still kind of weird to play in places like San Francisco and Tucson and see people that actually know our music.
DRE:
I read your shows are pretty wild to the point where you scare some people out.
BW:
Yeah we have some good times [laughs].
DRE:
What puts the audience over the edge?
BW:
I think a big part of what we do is audience participation. We try to bring as much percussion and homemade noisemakers to the show for the audience. It would really be great if everyone started bringing drums and noisemakers to the shows. We like that good vibe that comes with a community performance.
DRE:
The music you do is pretty eclectic; do you all have a lot of the same influences?
BW:
Yeah for sure. I think we all got along because of bands like The Clash and The Talking Heads. We actually just started a Neil Young cover band and we’ve played a few shows.
DRE:
What’s the name of the cover band?
BW:
Horsey Craze. Anyone who wants to play with us is welcome. We had a trumpet player and five guitarists last time. That was a big bonding point.
DRE:
Was it at a Sub Pop showcase where you covered Lou Reed’s Temporary Thing?
BW:
Yeah we did that song a lot on the last tour also. It’s a good audience participation one because it’s got big drums and it’s good to sing along to.
DRE:
Did you ever do private parties?
BW:
Sure, we used to live together in a house in Guelph, Ontario so we used to have house shows all the time. A lot of local bands used to show up as well. That’s partly where the audience participation thing began but we also developed a love for a creative music community.
DRE:
What made you guys move to Toronto?
BW:
We all gradually moved here. Guelph is a pretty transient place like most university towns. It’s a great place and I’d like to live there again but Three Gut is in Toronto and we have a lot of friends here. Some of us had girlfriends that already moved here but it still took like two years for all of us to move here. It’s definitely a good cultural center which is stimulating.
DRE:
Someone referred to the Juno Awards as “Canada's much-maligned Juno Awards.” Why is that?
BW:
It’s like most award shows. It’s a pat on the back from the industry to the industry. You can call Evanescence the best new band but most of the people at the Juno Awards have no idea about bands like Oneida or whoever. It’s pretty skewed. We were nominated for a couple of Junos under alternative rock which is nice but I tend to react more when our friends like our new songs.
DRE:
Do you still have your day job?
BW:
No, 2004 was the first year I haven’t worked. We were on the road so much I was able to support myself. We’ve all been able to work less and less at real jobs. As long as we keep playing shows I will be able to keep my apartment. It’s exciting. Also it’s a little different in Canada because we’ve gotten some arts grants to tour.
DRE:
You said a few years ago that you never even saw yourself getting a record deal.
BW:
Every year in the last five years has brought something new that I never would have expected like in 2004 when we went to Europe. Sub Pop was a label we all grew up listening to so it seemed like it would never happen to a small band from Canada. We weren’t even looking for a deal but when it came time to make our second record we just thought we would give it a shot.
DRE:
At one point you guys were saying, “The Constantines come from a planet held together with power chords and safety pins.”
BW:
We all grew up on the hardcore punk rock DIY scene. We used to make all our own patches and things like that.
DRE:
I read that your mom was a backup vocalist on one of the tracks.
BW:
It’s true. My mom is definitely a rocker. We’ve gone to see concerts like Springsteen and Dylan together. Those ones transcend generation gaps. It’s also part of that whole community thing and I’m really into family. ‘
DRE:
How’d she do?
BW:
She was a little shy but it turned out great. I kept telling her to yell it. It was adorable.
by Daniel Robert Epstein
SG Username: AndersWolleck
by Daniel Robert Epstein
SG Username: AndersWolleck
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