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(l to r)
Andrew Lamarche
- Drums
Michael Goyette - Guitar
Sal - Vocals
Leslie Howe - Guitar, Keyboards
Tim Dupont - Bass
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"Yeah, there's a band, too, but I'm the chick singer,
so who gives a flying *#@! about them!" says Sal, chick singer
for Artificial Joy Club. "Seriously, though, we're very much a
band -- I routinely get outvoted during band disagreements."
Heavy issues aside, Artificial Joy Club sounds large, strong and melodic
-- and intellectually accessible in both their music and lyrics. Their
Interscope debut, Melt, turns out
music both blunt and poignant, music that's emotive.
Imported from Ottawa, Canada, Sal, guitarist Leslie Howe,
bassist Tim Dupont, guitarist Michael Goyette and drummer
Andrew Lamarche are not only great musicians, but outspoken
and unapologetic, despite being from
Canada. True to their heritage, however, they are funny and
wryly observant. Drawn to junk/pop culture, urban folklore,
and psychological introspection, Melt
is strewn with references such as Vulcans, Kevorkian, lesbian
porno, gerbils, Forrest Gump, pogo sticks, cheeky monkeys
and Pete Best. "We don't consciously analyze any of this
stuff," says Howe, "it just kind of seeps into the
lyrics."
These elements were distilled through a collaborative creative process
thousands of miles from home. Melt
was written during an intensive month-long outburst when Artificial
Joy Club's creative core -- Sal, Howe and Dupont -- were encamped in
a single room in Los Angeles. "We worked 12 to 14 hour days for
over a month with only one day off," says Howe. "Going out
for Mexican food was our only diversion. Although we worked like dogs,
it was one of the most exciting and rewarding times I can remember."
They knew they had created something very special, and left for home
in Ottawa to rehearse, record and finish the album. Everything fell
into place, and the band finished the album with glowing enthusiasm
and pride. "'Spaceman' is sort of the emotional mascot track for
us on this record. It embodies the emotions and feelings of the times
we experienced together as a team while making this record," says
Howe. "'No Shame' kinda lyrically sums up the last year of our
rollercoaster ride, expressing the disappointment with our career, seeing
other artists we know take off, but then realizing that in some ways
it really doesn't matter, and all that counts is being able to make
your own music."
Beginning in 1993 as Sal's Birdland,
they released an indie album, So Very Happy. which they funded
themselves, recorded in their own studio, and was produced by guitarist
Howe. The album was picked up by MCA after receiving tons of critical
acclaim - "Even though it sold double plywood," says Sal.
The band then wrote and recorded a new album, Nude
Photos Inside, again in their own studio with Howe producing,
and signed to a world wide record deal with a Los Angeles label. "We
soon found the joys of no promotion," says Howe. "At least
my parents bought the album," reflects Sal.
With band morale at an all-time low, Sal, Howe and Dupont proceeded
on the daunting task of writing a follow-up record for an
disinterested and uncomprehending record label. Finally able
to break free, it was then that they locked themselves away
in the Los Angeles crucible which yielded Melt
-- and a new band name. "We got pissed off, 'cause people
kept saying 'Salzburgland' for Sal's Birdland, or just 'What?',"
says Sal.
While the lyrics on the new album may seem to reveal a disturbed girl
in need of help, especially on songs like "Psychic
Man," "Sick
and Beautiful" and "I Say"
-- further investigation reveals a deceptively intelligent wit and bizarre
sense of humor. "People talk a lot about my lyrics and make all
sorts of guesses as to what I'm all about, but I don't slam my hang-ups
over your head like some other artists do, which seems to be in vogue
these-days," says Sal. "I'm just musically verbalizing my
thoughts and viewpoints. If other people can relate or extract some
emotion out of them, bonus, I'll be flattered, but I don't expect it,
'cause I'm just blah blahing about me."
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