Patrick Canning and The Suffering Mothers

http://thenewspin.blogspot.com/2008/08/interview-with-st-johns-own-patrick.html - the new spin

PATRICK CANNING
West-Coast native Patrick Canning is a local artist and singer-songwriter who has just released his newest album, entitled Sex Lives of the Paralyzed. Kirsten Joy had an e-chat with Patrick to discuss the album and his involvement in the local arts scene.


What is the significance of the title Sex Lives of the Paralyzed?

Sex Lives of the Paralyzed sort of represents the theme of the album which is about sexual frustration, ugly/unpopular sentiments, depression, and just bad situations. More importantly I feel a good album title should grab attention and provoke a reaction from the viewer, "Sex Lives of the Paralyzed" is just cheeky enough to provoke a giggle out of strangers and it rhymes!


Your last album was called The Pervert, is there a reason for this sexual theme in your album titles?

Sex is one of the important drives in life, especially in regards to creative expression. I'm really sick of the trend of the rather neutered, sexless, whiny indie rock I'm confronted with regularly. With The Pervert it was more about the impact of the word itself; I just wanted the album to have an iconographic impact on the viewer. The title was simple and provocative. Also there was a 12 minute song at the end of it about a pervert so I figured it fit.


Does sex play a huge role in your song-writing?

One could argue that sex really is, possibly, the only drive involved in songwriting or any creative expression for that matter. Either as a means of discussing it, channeling its energy (think orgiastic guitar solos or wailing or thrashing about), or getting it from the actual audience; either by wooing them through displays your virility through your performance or your sensitivity and romantic nature through your poetry or composition (this almost never ever works). For me, I just try to write words and melodies that require a passionate performance.


Was there a big progression personally and musically from the Patrick of The Pervert to Sex Lives?

Probably more of a regression back to the Patrick of my first album (called Patrick), than any kind of progression. That album was recorded versions of songs I'd been playing live for a couple of years previous, songs where I knew how they wanted to sound before the project started. The Pervert was more a collection of arrangement and production ideas I had that I wrote songs around. The Pervert was more a learning project where I would attempt to use the computer and software as a songwriting tool. As a result I ended up with a pile of songs that I thought sounded real cool but had no idea how to pull off in a live setting, which made promoting it difficult since there were really only four or five songs out of the 17 that could be played in front of other people. On this new one I wanted all the songs to be solid and live tested before I recorded them to make it easier for me. This album is closer to what I sound like live then the previous albums and I think it's a bit more approachable and palatable as a whole, even if the subject matter is pretty bleak and raw.


I've always noticed how your CD covers are very detailed and artistic; do you any other outlets for your artwork?

My background is in the visual arts; I've been drawing and painting my whole life. It's what I got my degree in and it's only in the last 2 or 3 years that music and sound recording has become the main focus. And where I'm totally self taught in regards to music I have a harder time introducing myself or thinking of myself as a musician first rather then as a visual artist. I moved to St. John's because rent was cheap so I figured I could just work a part time job and make a large body of paintings in the off time. But music is just too much fun. I still maintain a decent visual output, but for the last three years or so I've developed a considerable distaste (outright hatred really) for most contemporary art scenes I come across. So much so that I just can't be bothered to make gallery proposals or participate in any of it anymore. I still do the occasional commission or painting for shits and giggles, but most of my visual work goes into supporting the music endeavors nowadays. After I smarten up or mellow out a bit I'll get back into the visual art game again.


You also took part in the recent 24-Hour Art Marathon didn't you?

I take part in the Art Marathon every year; it's usually the highlight of my summer. This is my 5th year in a row being a marathon artist, and the first time I've performed a music set. As usual it was an excellent experience. I think this year's was the largest piece I've ever done for the marathon (5 x 3.5 feet) and it sold for more then I expected. This year's event was the most ambitious one yet and it was easily the most impressive collection of artists so far. It's always a fun way to meet new people and get the creative juices flowing.


There seems to be a huge blend of influences on this album. What inspires you in your music, art, and other creative ventures?

I could rhyme off a slew of names, like Cohen, Nick Cave, Steve Reich, Howlin' Wolf or whoever, but most of the inspiration I get is from my friends and people I play with. Being in a few bands with Victor Lewis is all the inspiration anyone needs. The man makes an album every three months and gets the richest, fullest sound out of anyone in town and he only uses this puny Tascam 8 track recorder, it's not fair at all! Danny Keating (of the bands Catmanduah and the Origin of the Sound) is the best and most elemental songwriter in Atlantic Canada and at least one the most prolific. Alison Corbett (Aka Black Molly) is a genius and easily one of the most charismatic performers around not counting Steve Abbott (of Local Tough and Be Alright) who is the guitar god of guitar gods and a total lunatic on stage. I'll suck up to these people before any bloody celebrity passing through here.


September 19th at the Ship marks the official CD release show for "Sex Lives of the Paralyzed". It is a duel CD release show with AE Bridger releasing their album "I am a Ghostly Leech" as well. Other shows will be announced soon. Look for a possible Canadian tour in this spring with Patrick and Alison Corbett.

http://www.currentmag.ca/wp-content/uploads/2008/09/curretnv10_issue18-3.pdf

- The Current

http://www.themuse.ca/view.php?aid=41256
Patrick Canning
Sex Lives Of The Paralyzed
Independent

A+

By Thom Coombes

By now, Patrick Canning knows exactly what he’s doing. His latest album, Sex Lives Of The Paralyzed, was self-produced in his living room and is his strongest album to date.

Sex Lives is less experimental and less noisy than his previous album, The Pervert, but is still quite colourful.

Canning is backed by guest musicians Steve Abbott, Alison Corbett, and Victor Lewis. While the songs themselves are more heartfelt and darker than past works, the album is not depressing.

Canning has a way of bending and blending genres – a little hint of country and a tiny bit of grunge – covering what might have been stripped down folk songs.
Whatever his trick is, it works – he has a signature sound. Sex Lives is one of those albums that should be listened to with headphones while out for a walk, or while painting in your attic, or zoning out in your basement.
One gets the feeling that this album should have come out 10 or 20 years ago and became some sort of cult classic.
- The Muse

Patrick Canning
The Pervert
Working at a call centre for 11 months may make you detest humanity, but it doesn't mean you can't turn that around and make a quirky, fascinating, at times even powerful album of 80 minutes long at the same time. He works with a broad palette of instruments and swoops easily from traditional-sounding tunes to high-experimentation. With The Pervert, Canning has poured himself into a clear glass—the outcome may not go down easy, but it definitely gives you a healthy serving of food for thought. EL - The Scope

Patrick Canning- Patrick (Independent)

Patrick Canning's Patrick is the best 2006 album you haven't heard. It's a creepy country masterpiece with all the bells and whistles, and for that matter, violins and freaky echo effects. If you like Nick Cave or the Handsome Family, you will love Patrick. - The Muse

Patrick
Patrick
Country/Experimental
Independent

A-

By Gavin Chubbs

Written, produced, performed, and recorded by ex-Bookburners guitarist/vocalist Patrick Canning, Patrick is unlike anything you have ever heard.

While it's possible to compare the low husky grumbles of tracks like "Crooked Laughter" (the lyrics to which are actually printed on the insert as "grumble grumble grumble") to Leonard Cohen, it would not be representative of the bulk of the album.

It says little about the layers of guitar, piano, slide guitar, and violin (provided by White Tara's Alison Corbett) throughout the album. They reach their apex in "Here Comes the Drunks", where a rickety saloon-style piano, reminiscent of Nick Cave, slowly decomposes in a pool of weeping slide guitar.

As it becomes difficult to navigate the eerie fog of sound Patrick creates, more traditional country tracks (as traditional as Patrick gets, anyway) like "Return Policy" and "The Ocean Isn't Big" offer a chance to re-establish your bearings.

As for production quality, the sound is fabulous for a home recording – you just need to turn your volume up a little higher than normal. While the CD-R the music is on may not be friendly to older CD players, each disc comes with a unique illustration by Patrick himself – a sign of the care and involvement that went into the production of this recording. - The Muse