Peter Moller

The Responsibilities of Evolution is an album of tunes I've been working on since releasing The Shrine of Impossible Love in 2006 (now  available as a free download... click on 'MUSIC THEN' above).
This journey has been an experiment in the de- and re-construction of a favored musical form: the pop-rock album. Personally I blame my affliction with pop music music on the experience of seeing The Beatles on Ed Sullivan in 1964. I know I'm not the only one to have been so greatly influenced by those shows and the ensuing Beatlemania... I'm nine, the music is, simply, great and there's a packed audience in the Ed Sullivan Theatre that appears to be made up of only cute young girls screaming their affections. Further investigation seemed certain.

The result of this experiment; 10 original songs and a cover of the Secret V's punk classic, Waiting For The Drugs To Take Hold.

Studio MicMost of Responsibilities was recorded in my basement studio using the same single microphone (this one on the left) I used to create The Shrine album, as well as having my musical compatriots
contribute by sending files via the interweb. Some of the album was recorded in the studio space at Theatre Junction's The Grand (thanks TJ). It was mixed and mastered by yours truly whenever time allowed.

Many musical pals contributed; Mark Bandola, Dave Clark, Brigitte Dajczer, Kris Demeanor, Rebecca Hennessy, Di Kooch, Keri Latimer, Carolyn Mark, Lyle Pisio and Chantal Vitalis. A host of friends filled the role of a pop-rock Greek-chorus, of sorts: Shawna Burnett, Sadie Evans, Helen Husak, Ian Kilburn, Anna Krysiak, Mark Lawes, Allison Lynch, Wojciech Mochniej, Sequoia, Mike Tan, Raphaele Thiriet, and Stephen Turner.

Mark Bandola

MARK BANDOLA

Mark and I met at Calgary's Lord Beaverbrook Senior High School in the early 1970s. We were both in our mid-teens and recognized a kindred musical spirit along with the mutual hope of escaping the confines of the suburbs and school through our love of music. I fondly recall going over to Mark's place while we were in high school and glimpsing his new recording break-through. He had discovered that he could place one microphone under a pillow and another under a cardboard box to replicate the sounds of a kick drum and snare... awesome. Eventually Mark gravitated to England, most likely the end result of being hit by the same British Wave that took me down (willingly) in the mid 60s. There he found fame with Brit new wave exponents The Lucy Show.

Just about the time I finished with Responsibilities, Mark released his latest solo album. Pictures From The Antique Skip is the third in his Typewriter series. You should hear them.
Go here to find out more:

 


KD and the Crack Band

THE CRACK BAND

This is the band that backs Kris Demeanor. Chantal Vitalis on guitar, Di Kooch on bass, Kris Demeanor on guitars and vocals and yours truly on drums. We've played as a unit for almost 10 years, touring Canada, the US, Europe and Australia.

Pretend was recorded at the same time we were laying down the beds for Kris' latest album These United States.

Here's the link to Kris' website

 


Keri Latimer

KERI LATIMER

Keri is one half of the dynamic duo that spearhead Winnipeg's Nathan... Shelley Marshall being the 2nd half of the equation. Keri has near magical skills when it comes to writing and playing as well as being blessed with the voice of an angel. Perfection.

Nathan's web site

 


Dan Meichel

DAN MEICHEL

My dear friend Dan passed away in 2009 while on tour in Japan. For years we played, recorded and improvised together in bands as disparate as the Frank Zappa project The Whip It Out Ensemble, Kris Demeanor's Crack Band, improv/noize band the Street of Crocodiles and many, many others. Dan also recorded for some of my theatre sound designs. The files that I used in the track named LSD originate from recordings we made for The Old Trout Puppet Workshop's Beowulf.

 


 

Credits and Lyrics

GRAVITY

Dave Clark: tamborine, penny whistle • Keri Latimer: vocals • Carolyn Mark: vocals • PM: drum kit, guitars, bass, piano, vocals

Sometimes I feel the earth moving under me
And I get on my knees and pray to gravity
It's the thing that holds us here together on the ground
Keeps our feet from flying up instead of staying down

All you really need to do
Is hold on tight and close your eyes
While we slowly spin

Do all cities sound like this
Sleep the sleep so perfectly
I hope that we'll be found

BEFORE MORNING

To me
Oh you
Always want to hear
Burt Bacharach

Sometimes
I don't think he knows
Where it's at

Sometimes I feel the earth moving under me
And I get on my knees and pray to gravity
I just pray

© Peter Moller / Adolescent Grande Result, SOCAN 2010

MISSILE

Dave Clark: bass drum, rattle bass, timbales, snare drums, shakers, toms, tambourine • Onalea Gilbertson: vocals • Rebecca Hennessy: trumpet • PM: drum kit, guitars, bass, synth, vocals

It might not be too late
It might not be our fate

What are you doing
Do we think your time won't end It's a chance to look again
At what you got not what you need
What you give not what you get
Like water off a feathered back
It's what you got
Not what you lack
This ain't no joke
I'm sending all my light to you
Like a missile that'll strike to make

The dreary darkness of your day
Just disappear and fade away
Shining bright from sea to sea
The water's warm
Swim out with me

You know I love you
Always thinking 'bout you

© Peter Moller / Adolescent Grande Result, SOCAN 2010

DEVOTION

Brigitte Dajczer: violin • Keri Latimer: theremin • PM: drum kit, guitars, bass, synth, vocals • Lyle Pisio: sax

Please remit devotion
(This remote devotion)
Rumors we burned the city
We are so ramshackle, baby
We're crazy to call for aid

But the fall that I lack
In this planned heart attack
Is unending without bending
To the weight of my lies

She distracts me

Ignorance as proof of virtue
Grant relief from boundless prophets
Split between church and devil wasted time
The old silence of the new suburbs

But the fall that I lack
In this planned heart attack Is unending without bending
To the weight of my lies

It distracts me

With the end in sight
Of this long lonely night
On bridge you arrive
And I won't be denied
Anymore

Of you
Anymore
Of you
Anymore

© Peter Moller / Adolescent Grande Result, SOCAN 2010

WAITING FOR THE DRUGS TO TAKE HOLD for the Secret V's

Mark Bandola: bass, leslie guitar, Hammond B-3, Emulator synth • Brigitte Dajczer: violins • Lyle Pisio; saxophone • PM: drum kit, drum programming, vocals, synth • Chantal Vitalis: guitars

We were just products of the... the great repression
Staccato lies in rapid succession
And I still don't know, just who to blame
Well if she's so smart why ain't she insane

Now I'm just waiting for the drugs to take take hold
Now darling I'm just waiting for the drugs to take take hold waiting for the drugs to take...
Oh darling I'm just waiting to relinquish control

Well I don't know but, but I've been told
They say the streets up in heaven are lined with gold
I feel those streets they are a coming awful close you know I...
went and exceeded... the recommended dose

Now I'm just waiting for the drugs to take take hold
Now darling I'm just waiting for the drugs to take take hold I'm just waiting for the drugs to take...
Oh darling I'm just waiting to relinquish control

Well I saw you through a window, through a window painted black You know I pressed against the pane but I just bounced back, and,
Now I hear the ticking of the, the kitchen clock
You know these sounds just keep on coming and they just won't stop They just won't stop
They just won't stop...

© 1980 Bruce. A (SOCAN)

PRETEND

The Crack Band: Kris Demeanor (guitar/vocals), Chantal Vitalis (guitars), Di Kooch (bass) • Carolyn Mark: vocals • PM: drum kit, slide guitar, vocals, tambourine • Recorded by Kam Sherman

Candy coated kisses
The colour of the love that's in your eyes
The air a gentle breeze that sneaks down from the trees
To lift your skirt / surprise
The never-ending feeling of always disbelieving
The never ever why With love you can pretend here
The rules were meant to bend dear
And I just want to fly Into your arms again
I love it when we pretend

All the birdies sing while the bells ring-a-ling to broadcast
We're like liquid
Flowing home to the sea
As fresh as flowers sown like towers of love within her majesty
La la la la la la la

You're crazy (can't make me happy, no)
You don't know what you're talking about
You're crazy (motherfucker, ya)
You don't know what you're talking about

Red and yellow bright
The orange a scary sight
The colours meld as one
Disbelieve the past and welcome to the pleasant
Catch within her eye
A hunger always yearns
And sure the fire burns the house down
But not now The present is tomorrow
Complete without the sorrow
The past is so not now
And I want to fly again
I love it when we pretend
All the birdies sing while the bells ring-a-ling to broadcast
We're like liquid
Flowing home to the sea
As fresh as flowers sown like towers of love within her majesty
La la la la la la la

You're crazy (can't make me happy, no)
You don't know what you're talking about
You're crazy (motherfucker, ya)
You don't know what you're talking about

© Peter Moller / Adolescent Grande Result, SOCAN 2010

 


 

Secret V's

The Secret V's: Waiting For The Drugs To Take Hold

I had the chance to meet and witness the Secret V's in the early 80s when I was drumming with The Rip Chords at the now, thankfully, defunct Calgarian Hotel. It was there one evening that the V's were attacked by some Calgary yahoos and Ray, the bass player, got his nose broken. Their live performances were incendiary, and left an indelible mark; hence my cover of Waiting for the Drugs To Take Hold. It’s as much a tribute to the Secret V's as it is to that crazy-assed time in my life.

Bruce A, the composer of Waiting For The Drugs To Take Hold:

In the late 70s, I was living on Powell, a little ways east of Main. It was a street-level place beneath the Daroka Rooms and next to the Reverend Melinda Thorpe's Revival Centre. The lock on the front door didn't work, and often there were people sleeping in the doorway. My roommate, a painter, got a handgun as a solution, which he would bring out and cradle and gaze at - an object of desire.

My object of desire was a black Stratocaster that I'd seen rentable cheap at Long and McQuade. Punk rock had just started in Vancouver, and the first gig that I'd seen knocked me out. Flat out. Suddenly, everything that mattered seemed possible. I knew a guitar player, Richard, and we immediately decided to make a band, which we originally called Bands are Out. I wrote a bunch of songs, one of which was "Waiting..."

I moved to Pender and Heatley, in spitting distance of Hastings, half way between the Carnegie Centre and the Raymur projects, in a house with Grant, who was later in The Worst. He had this great, exhaustive collection of 45's that stretched way back, and he'd take them out and play them and I got a music education that way: "OK, now we're going to hear just the singles that Dave Davies wrote".

A social worker that I knew wanted me to meet a "very troubled youth" on his caseload that played drums. Kenny played so hard that he kept smashing up parts of his kit and he kept having to stop and fix things or go out and get replacement parts. He had the fattest sticks you could get, and he'd turn them around and hammer his kit with the butt ends. It was both exhilarating and terrifying. The cymbals would get cracked, and he'd have chunks ground out of them to stop the cracks from getting worse. They looked like alley cat ears.