Jon Cohen, first became a musician of international standing as part of Montreal’s
The Dears. Once hailed by NME as
“the best new band in the world”.
A heavy moniker for any band to carry and though the flame burned
bright for several years, it fizzled, just like the acclaim.
Cohen, moved onto more critical acclaim with
The Social Register, and several other bands. His latest undertaking
The Jon Cohen Experimental, has spawned 2 albums 2007′s self titled debut and 2011′s
Behold.
Jon Cohen, brings his one-man orchestra to The Grand Social
this Friday (20th) in what promises to be an eye-opening evening. We caught up with him mid-transit, dreaming of a pint of
“the black stuff”.
How the devil are you?
Damn good, feeling great, on top of my game. I’ve been putting this
beast of a tour together. It’s called the passenger tour and it will see
me on a two-month non-stop road trip across all of Europe, Uk and
Scandinavia. I’m at the airport lounge now waiting for my late flight
and finally breathing a sigh of relief that it’s actually underway. I
cant believe it! This is gonna be sweet.
Your musical past and present is quite varied and there seems
to be a simultaneous personal and musical development. How did the
latest chapter evolve and how would you describe your current output?
My current output is at about 120 volts AC and 1700 Ma DC…ok just
kidding, Well I’ve always considered the music I make to be an
amalgamation of influences that are so jumbled together none of them
want to show their true identity. That being said, I have always been a
true believer in the power of tender love and care. The same way you
would treat a gently child, or a flower or a beautiful woman, I would
with a song. Especially when it is first being conceived. In the past I
would write and write and write to my hearts content but I wasn’t
developing anything I wrote. I was only into the instant pleasure of
creation. Now I’m trying out a different set of gloves. With the songs
on
Behold, it was all about care, all about working and
re-working them with the band. It was about letting the music grow and
develop over time, like fine wine, letting it ferment and take its own
shape as opposed to recording them right away. This has been the last
chapter of my life, fatherhood but not of children, rather songs which
are my children. I am now putting them through the growing pains of
adulthood by transforming them into solo one-man band songs. I’m
impressed with how well they turned out.
Having been in many bands over the years is it liberating to be the ringmaster at last?
Yeah, it’s more liberating to be touring and playing as a one man
orchestra on top of writing and performing my own music. In many ways
it has its own challenges. But I like meeting them and I love being
involved and growing something, seeing it manifest, becoming something
beautiful. Music has a special way of reminding us of our own humility.
It’s so grandiose in itself, so deep and so powerful. When you are in
that studio and its all coming together, it’s like you are no longer in
control of it. You kick started the process but that’s all it took.
after that it’s out of your hands if you are wise. Because then it takes
on a life of its own. I was in the studio for the record all the time
listening to the mixing thinking
“did I really create this?” That’s why I say I didn’t record this album. Rather this record recorded
me. In
the same way, when I was playing in other projects, I wasn’t so much
involved in the process but rather I was used as a tool to achieve it.
It’s not a bad thing at all, it’s a wonderful thing to be a tool. You
become the instrument, the scalpel, the drill with which the artist can
create. I enjoyed that a great deal too and still do it (albeit I do it a
lot less now than before) but I hope to be utilized again.
Will this be your debut Irish performance? If so what are your expectations? if not how did you find the previous experience?
I have no expectations; I chose to play in Ireland because I feel a
certain Kinship to the Irish. Not many indie performers from Canada do
Ireland when they do a UK tour for some reason, must be the straight
(maybe they can’t swim as well as me!) I spent some time in Dublin
about ten years ago and fell in love with the place, the people and the
Guinness (still remember the taste of that original pint in the
underground bar at the Guinness Brewery). That’s really why I’m coming
back!!!
No but seriously I think it’s going to be a kickass show and I’ve
heard great things about the Grand Social. Whatever happens in Dublin
this Friday night, expect two hundred and fifty percent from me on that
stage.
Are you aware that Dublin is currently a hotbed for
experimental and post rock music, with highly passionate and well-versed
fans? Whit that in mind, what can people expect from a Jon Cohen
Experimental show, and why should they attend?
I am aware that an amazing scene is brewing in Dublin town. I did
lots of research in preparing these shows and was really blown away by
this. It reminded me a lot of Montreal in the heyday (2005-07) I’m glad I
made the decision to come. Really, I wont try to sell myself too much
except to say that this is a once in a longtime opportunity for the fine
indie /experimental/folk/post rock/pre rock and during rock denizens to
come together as a live, organic, feeling, breathing dancing, loving
and living audience. You will be blown away not by
my show but what
our show will
bring out in you and what we as a unit are gonna create together. This
is an outspoken act of creation and you are called forth. How could you
not answer that call?
“The Passenger Tour” is a gigantic undertaking. Is this a labor of love or a financial necessity?
Finances have nothing to do with it. I’ve already put more time,
effort money and hours into this thing than I expect will come back to
me. I see this more as an expense, a trip, like if you were going to
Cuba, or Thailand, except less hot. No, people have wondered if I didn’t
get a lobotomy to embark on such an expensive journey. Perhaps they’re
right, but I have to say that even though I may be lacking some brain
cells, it will be so so worth it in the end to have the honor to meet
and play for all the beautiful faces of Ireland, the UK, Scandinavia and
then Europe. I love these mega tours, they make me feel like its 1970
and I’m on a mega world tour with Iron Maiden or something. Ok maybe not
Iron Maiden, maybe Rush.
What five songs from your career are you most proud of and why?
I like this question. Hmm let’s see, I’m particularly proud of the Song
“Brain Pollution”, written in Laos after having a deep realization about myself.
“Don’t be the Cloud” is great because it came together so spontaneously.
“Behold” because Angela Desveaux sings on it, and she has the voice of an angel. From My first record,
“I Won’t Mind” because
it’s so epic yet still very pop friendly. Finally, “This Wind of Mine”,
I wrote it on a balcony in Casablanca, on a beautiful sunny afternoon
when the entire city was shut down because everyone naps at 3pm (I wish
we could do that too). So it was so quiet except for the sound of a
family of birds chirping and floating at high speed from rooftop to
rooftop in complete synchronicity and unison. I was watching one brain,
one mind at work. That was a beautiful moment for me…. birds, wind and
the sound of one lone classical guitar on a sunny roof top balcony.
With record sales at a low ebb where do you see the future of the record industry?
I don’t know, it’s changing for sure, live music is the new album,
and even bands now are playing their famous albums as a live show. The
live context is the future of music. It’s almost like we’ve come full
circle, like we are back in the days of the travelling troubadours,
gypsies, playing music for the love of it, and for money and survival.
But it’s no longer only in the hands of the antiquated model of
corporate musician slavery. Now the playing field is more level and its
up to the ingenuity and creativity of the musicians themselves to make
things happen. Mostly though, their desire to get out of their bedroom
studios and see the world, play for the world, not only think about
money fame whatever all these things are just fodder for the ego. Its
time we put our music where our mouth is. That’s why I decided to do
these tours, why I give it all up. After a certain time of being
stagnant and waiting for something to happen (which it didn’t) I’m
putting my own dents in the world, my faith in my own hands now and not
hoping and waiting for some fantasy manager to swoop down from major
label heaven to do it for me.
How is the current Canadian/Montreal music scene holding up post Arcade Fire and Dears hysteria?
Great, always growing always changing, always evolving, Montreal is a
very transient place due to the French and the cold weather, but people
are drawn here because it has so much energy. Bands form here and go on
to do great things. I’ve lived here my whole life, and can tell you
life doesn’t end at Arcade Fire. It’s only the beginning, and anyway, I
know the media is always keen to put the spotlight somewhere but it’s
outside the spotlight that the action is. Music scenes are like clothes;
no city can wear them forever. I got my money on Dublin for my next
outfit.
What’s next on the agenda for The Jon Cohen Experimental, juggernaut?
Definitely not a juggernaut, nor do I want it to be. I want to find
out what my place is in the musical sphere is. I want to see how I can
use music for good, that means for not back massaging my own sense of
self. I want to connect with people, to feel something real with them. I
want to accomplish what I need to accomplish and see where the chips
fall after that. I want to be an open book, a live wire a conductor for
genuine truth and beauty in music. I’m not there yet by any stretch but
it’s the getting there that’s all the fun. Let’s go there together this
friday night shall we Dublin?
