The Shrine of Impossible Love

Shrine Inside

Critical ears:

Stephen Harvey - Radio Radio

Oh yes, indeed, this is a very Peter Moller recording.  Which is, of course, a more than adequate description for those of you who know the frenetic and creative Mr. Moller. For those who don't, this description will leave you gazing uncomprehendingly into space, foam dripping from your upper lip, the beer sliding down your throat without even waving goodbye.

Let's say that this cd contains glimpses of Peter Moller's sense of humour, wrapped up in a sort of more substantial filo pastry of found sound, atmospherics, some quite lovely melodies, and number of different vocal approaches, sung and spoken.

"Witness" reminds me a little of Robin Hitchcock, the lovely but slightly skewed melody and lyrics in particular, since you asked - we're listening to the inner conversation of someone who may bolt from the room any minute, or try desperately to hide behind that large plant in the corner.

 At the other end of things is "Falluja", layers of  found and created sounds which transports one into the darkness, confusion and heat of that beleaguered Iraqi city.

 In between is the lovely piano and violin piece, "Denmark", and tracks such as "Bridge" and "B2", where tape-loop, distorto, fuzz guitars undulate in and out.

This is a wonderfully titled cd and the title song, reprised at the end, does the concept justice. It sounds as though it comes to us from a great distance of time and space;  a recorded memory of something gone but not forgotten.

 "Arcane" reminds me of "Rael" by the Who, circa 1968.  Maybe it's just the one word title, but rather I think it is the waterfall musical arrangement that conjures up this comparison.

Someone should grab "B2" and use it in their film. Perhaps for that scene of the  hurried flight down rainy streets;  expensive shoes splashing through pools ofwater, lights flashing, cars cornering on two wheels - there must be a safe place somewhere ahead.

 Of course, all the "reminds me"s and "sounds like"s aside, this is a recording only Peter Moller could make because, even if you've never seen him before, you'll see his face before you, as you listen: that slightly mad but warm smile that hints at possible raving lunacy at any moment.

Perhaps a line from "Arcane" sums this cd up best, "letting all/beautiful chaos/flood back in.".

The Writing on the Door

Percussionist Peter Moller finds that, with love, almost anything is possible.

Music Preview by MD Stewart

The Shrine of Impossible Love featuring Dave Clark, Kris Demeanor, Keri Latimer, Carolyn Mark, Onalea Gilbertson, Lester Quitzau and others

January 18th 19th and 20th at the Big Secret Theatre

Like so many great ideas before it, Peter Moller’s current multi-media mega project was inspired by a simple, evocative phrase. “The Shrine of Impossible Love” was scrawled on a hotel room door at the Mouton Noir (Black Sheep) in Wakefield, Quebec. “It’s this funky old bar where all the great Canadian, alternative music scene people play,” Moller explains. “Upstairs, all the doors are open and when you play there you get to pick whatever room you want to stay in.” This simple, found-art concept provided Moller a theme, a context and a title to unify the various songs, soundscapes and aural collages he had been working on for some time. “Really, It’s about Love,” he says, “but for me, that was a great excuse to get that shit out there.”

Last March, Moller, who is well known in Calgary for his work as a percussionist, sound and graphic designer quietly released this intriguing CD which he began sharing with musicians he’d rubbed elbows with while touring in Kris Demeanor’s Crack Band. “For everybody who kind of went; ‘Gee man, I really like your CD,’ I went; ‘Well do you want to be in a show with it?’” Slowly but surely the Shrine concept grew and morphed. While the wonders of the world wide web allowed Montreal based violinist, Brigitte Dajzcer and London based bassist Mark Bandola (The Lucy Show) to contribute parts to the CD it took a high profile event like One Yellow Rabbit’s High Performance Rodeo to get everybody together, in the flesh, for a live performance extravaganza.

The Crack band core and local stars like Onalea Gilbertson and Dan Meichel will be joined by guitarist Lester Quitzau, songstress’s Carolyn Mark and Rachelle Van Zanten (Painting Daisies), among others. “The CD is like a map for the performance, we’re gonna do about five songs from the disc but then we’re gonna bridge them with three ten minute improvisational segments and I’ve had three different filmmakers make three different films which will be broadcast during those improvs” The improvisational bits will be lead by none other than original Rheostatic’s drummer, Dave Clark. Both Chantal Vitalis, from the Crack Band and Keri Latimer from Nathan will be showing off their theremin chops. Expect a few surprises as Moller has absolutely no fear of or aversion to risk. “I love the accidents, I love the mistakes because real good musicians just take those and twist them and make them theirs, within a bar, within an nano-second, within a note”

Moller seems pleased as punch with the way this project has grown from his initial, carefully tended sapling to the stellar ensemble he’s assembled for the show. His highest praise, though, is reserved for Kris Demeanor and Crack band-mates, guitarist Vitalis and bassist Diane Kooch: “I’ve never played with any individuals that love is more apparent. We love each other and we play like were brothers and sisters. It’s the best artistic and creative situation I’ve ever found myself in,” he says wholeheartedly (sounding only slightly hippie-ish).

At least one of Moller’s illustrious fellow “Shriners” was already familiar with the room and the door that gave him his initial inspiration. “When I gave the CD to Carolyn Mark to listen to she freaked out, she said ‘No way, you stayed in that room?’ She stays in that room all the time, right.” Mark had her own theory as to why this particular room was so named “The floor was a little crooked and the bed was on wheels, so when you went flying in and just leapt onto the bed you’d go Boom! and then you’d just sort of drift over to the other side of the room so she figured that was why it was called “the Shrine of Impossible Love” Moller laughs.