Ben Gunning - Biography

BEN GUNNING

I released my second record last year - a concept record about a cruise ship employee called "Mal de Mer" and have recently released a 7" record with 2 new songs on Joel Plaskett's label , New Scotland Records. I have been performing both solo and in groups ranging from 3-9 players for the last 5 years, with the support and great playing of the following musicians from various cities: Aaron Booth, Joel Stouffer, Michael Holt, Cindy Fairbank, Don Kerr, Vincent Spilchuk, Joshua Van Tassel, TW Walsh, Ken Maiuri, Erin Costelo, Benn Ross, Jeff Gay, Joseph Shabason, Allie Hughes, Michael Davidson, Felicity Williams, Alanna Stewart, Chris Banks, and Bram Gielen.

SWISS DICE

Swiss Dice has taken shape so magically over the last 2 years and I will admit I am rather precious about the music that has resulted. Swiss Dice started as an informal jam session between drummer Kieran Adams and I. He invited bass-synthist Vince Spilchuk who, in turn, invited synth/keyboardist Blair Johnsrude. Within a few meetings we had written two tunes with no conversation about what kind of music we wanted to make. The level-headed consensus between the members has led to a unique brand of instrumental music which avoids the usual trappings and clichés of the instrumental route. Our approach has been to focus on composition, form, and arrangement, treating the tunes as if they were to stand against the wealth of pop music out there. I would describe it is compositionally mature music (it can be harmonically involved, for example) but that any edges springing from that sophistication are rounded by a presentation that recognizes the strength in pop form, memorable melody, and danceable rhythms. The sound is rather synth-heavy and I would say much “funkier” (though I’m aware of the horrid connotations that that adjective might conjure, I do think it is appropriate in this case) than most of the "electronic" music that I hear currently. For music that is created in such a vacuum, without the pressures of an intended audience, per se, I believe it is surprisingly accessible. To listen to Swiss Dice, please visit here.

LOCAL RABBITS

I spent about 12 years active in this band, starting at about 15 years old, when it was formed by Peter Elkas, Ryan Myshrall, and I in 1990 or so. Originally, we had my father on drums and then spent a couple of years with Brian Waters on drums, though most of our touring and the last 2 albums featured Jason Tustin at the kit. The band was an eclectic and ambitious project that presented the songs of mostly Peter and I in a way that was not afraid to tread any territory that was deemed un-hip by the indie guidelines of the day. Elements of Blues, Progressive Rock, R&B, Light-rock, Jazz, and more were thrown into the soup, producing some unique results. We also brought an energized, albeit, at times, chaotic approach to performance that was revered by our cult audience in Canada and, frankly, not easy to find through the first 2/3 of the 90's when the mode was to appear meek and introverted on stage. Though Local Rabbits never enjoyed any commercial success, we released 3 records with the group and each was quite well received in the so-called underground, mainly due to our persistence in touring North America against all signs of economic unsustainability. If you would like to hear our music, please enjoy some songs here.

In a strange turn of events stemming (I think) from a sentence I uttered many moons ago to Ryan while I was feeling submerged in my own project and having recently enjoyed the song "Charlie Brown" by the Coasters - "Everything I do is so artistically calculated - I want to play songs that I can perform drunk and just have fun" - we find ourselves paying together once again in a cover band called Oldies 990 with Gavin Maguire on the drums. Due to Ryan's idea to follow through and form the band on that premise with Peter, we have actually begun performing in Toronto, armed with a repertoire of tunes from 1955-65 (roughly), none of which contain any minor chords. It is not only a cathartic experience as my quote foreshadowed but it has been a real treat playing with these great friends again.

BOILERMAKER BROTHERS

Although a sporadically active project, this collaboration with my brother, Casey, AKA DJ Kidd brings me great joy. We started working together because we wanted to create quality tracks for R&B, Hip Hop, and Reggae artists. We have provided tracks for the likes of Montreal Hip Hop/Dancehall artist Shogun and Reggae artist Kali Dub. We bring both a unique set of influences and a deep respect for those genres to the table. This project does not get as much focus as I'd like. To hear some of our work listen here.

RELAY RUNNERS

The most casual of my projects, Relay Runners, is a 2-person collaboration between Matt Murphy and I. The project is a back and forth; each member sends a few parts to the other, more parts are added, and so on, leading to unexpected and unplanned results. There is no vision of an end product and the final tunes have been pleasantly surprising. Over the last couple of years, most of our time in "Relay Runners" has been spent stating, during random encounters on the town, "yeah we should do another of those and we should put them all on an EP and release it". Which reminds me that I should really get on that. Not for those who are sensitive to the degrading effect of digital compression; we consider it a part of our sound. Listen here.

OTHER

I also compose for film, TV, web, games, etc. . and have worked with the likes of comedian/writer Tim McAuliffe, comedians Adam & Dave, and artist Jeff Thomas.

GENERAL		PROJECTS
After deciding not to go the “traditional bio” route (bolded headlining acts, exaggerated wins, etc.), I proceeded to write & rewrite what ended up amounting to an essay defending my work, with each new draft more convoluted than the last, fraught with qualifying tangents and caveats. Ironic, considering my low profile within a saturated arena (pop music) whose bar is set so low it would free anyone demonstrating a fleck of effort from critical attack. My assumption that the level of mistrust and skepticism in my potential audience matches or exceeds my own makes it as difficult for me to write this as one of my songs. A friend of mine suggested I make it succinct and unapologetic and so here is the result, fueled on the premise that you, the reader, have afforded me the faith required to do so with confidence. I take the responsibility of writing and releasing lyrics and music very seriously. There is something devaluing about the sheer quantity of music out there, most of which offers nothing poignant or original, lyrically or musically. I don't want to be another offender but I need to write and be heard. This contributes to a painstaking writing process that I undertake under self-imposed pressure. I attempt to be lyrically poignant by working towards illuminating truths while acknowledging and incorporating the very particulars that fracture or obscure those truths into the picture. Given the advent of globalization, rapidly breeding technology, postmodernism (or what I think that is), etc., it is an understatement to say that the task is daunting. Overlooking or omitting these particulars generally produces work that is monolithic and simplistic, antiquated, or cliché. Denouncing the possibility of truths and universals, however, to focus on those particulars and revel in the chaos of their contradictions and randomness is an artistic cop-out and eventual cul-de-sac. I am not loyal to any genre of music because they are culturally formed and thus not to be taken for granted as being any more than constructs. I see all musical elements, regardless of their predominance in particular genres, as possible ingredients in the music I create. By the same token, I am aware of the sometimes artistically exploitative nature of lifting discernable elements from genres (e.g. gratuitous record scratch in a commercial Pop-Rock tune) and most certainly proceed with due caution and sensitivity. More troubling to me, though, is the idea of choosing a genre (as opposed to having something lineally passed in some kind of legitimate cultural silo as in the case of traditional musical forms) and making all artistic choices out of that first choice. Mal de Mer, the follow up to my first record, Beigy Blur (currently fully written but not fully recorded and mixed), is a 13 song “song cycle” (I was advised that I could use that term instead of the potentially off-putting “concept album”) that chronicles the growing disillusionment of a cruise ship employee. Guided by the above principles, the songs deal with large themes such as our break from God and nature, a culture that seems wildly varied but maintains a seemingly linear progression, and the effect of these on the human spirit. It is musically darker and more compositionally sophisticated than Beigy Blur, with an emphasis on contrasting composition/improvisation, tight sequencing/live playing, electronic/acoustic sounds, while maintaining adherence to the pop form. It is possible that I have eluded the stated mandate: a succinct an unapologetic bio. I hope, however, that this serves as a cursory insight into my point of view and my intentions with my music. What may not have come across is how much I love music. I treat it like work but there is nothing much more gratifying to me than performing music live and sharing it with others. I have provided more practical information about my various projects in the right column.		BEN GUNNING I released my second record last year - a concept record about a cruise ship employee called "Mal de Mer" and have recently released a 7" record with 2 new songs on Joel Plaskett's label , New Scotland Records. I have been performing both solo and in groups ranging from 3-9 players for the last 5 years, with the support and great playing of the following musicians from various cities: Aaron Booth, Joel Stouffer, Michael Holt, Cindy Fairbank, Don Kerr, Vincent Spilchuk, Joshua Van Tassel, TW Walsh, Ken Maiuri, Erin Costelo, Benn Ross, Jeff Gay, Joseph Shabason, Allie Hughes, Michael Davidson, Felicity Williams, Alanna Stewart, Chris Banks, and Bram Gielen. SWISS DICE Swiss Dice has taken shape so magically over the last 2 years and I will admit I am rather precious about the music that has resulted. Swiss Dice started as an informal jam session between drummer Kieran Adams and I. He invited bass-synthist Vince Spilchuk who, in turn, invited synth/keyboardist Blair Johnsrude. Within a few meetings we had written two tunes with no conversation about what kind of music we wanted to make. The level-headed consensus between the members has led to a unique brand of instrumental music which avoids the usual trappings and clichés of the instrumental route. Our approach has been to focus on composition, form, and arrangement, treating the tunes as if they were to stand against the wealth of pop music out there. I would describe it is compositionally mature music (it can be harmonically involved, for example) but that any edges springing from that sophistication are rounded by a presentation that recognizes the strength in pop form, memorable melody, and danceable rhythms. The sound is rather synth-heavy and I would say much “funkier” (though I’m aware of the horrid connotations that that adjective might conjure, I do think it is appropriate in this case) than most of the "electronic" music that I hear currently. For music that is created in such a vacuum, without the pressures of an intended audience, per se, I believe it is surprisingly accessible. To listen to Swiss Dice, please visit here. LOCAL RABBITS I spent about 12 years active in this band, starting at about 15 years old, when it was formed by Peter Elkas, Ryan Myshrall, and I in 1990 or so. Originally, we had my father on drums and then spent a couple of years with Brian Waters on drums, though most of our touring and the last 2 albums featured Jason Tustin at the kit. The band was an eclectic and ambitious project that presented the songs of mostly Peter and I in a way that was not afraid to tread any territory that was deemed un-hip by the indie guidelines of the day. Elements of Blues, Progressive Rock, R&B, Light-rock, Jazz, and more were thrown into the soup, producing some unique results. We also brought an energized, albeit, at times, chaotic approach to performance that was revered by our cult audience in Canada and, frankly, not easy to find through the first 2/3 of the 90's when the mode was to appear meek and introverted on stage. Though Local Rabbits never enjoyed any commercial success, we released 3 records with the group and each was quite well received in the so-called underground, mainly due to our persistence in touring North America against all signs of economic unsustainability. If you would like to hear our music, please enjoy some songs here. In a strange turn of events stemming (I think) from a sentence I uttered many moons ago to Ryan while I was feeling submerged in my own project and having recently enjoyed the song "Charlie Brown" by the Coasters - "Everything I do is so artistically calculated - I want to play songs that I can perform drunk and just have fun" - we find ourselves paying together once again in a cover band called Oldies 990 with Gavin Maguire on the drums. Due to Ryan's idea to follow through and form the band on that premise with Peter, we have actually begun performing in Toronto, armed with a repertoire of tunes from 1955-65 (roughly), none of which contain any minor chords. It is not only a cathartic experience as my quote foreshadowed but it has been a real treat playing with these great friends again. BOILERMAKER BROTHERS Although a sporadically active project, this collaboration with my brother, Casey, AKA DJ Kidd brings me great joy. We started working together because we wanted to create quality tracks for R&B, Hip Hop, and Reggae artists. We have provided tracks for the likes of Montreal Hip Hop/Dancehall artist Shogun and Reggae artist Kali Dub. We bring both a unique set of influences and a deep respect for those genres to the table. This project does not get as much focus as I'd like. To hear some of our work listen here. RELAY RUNNERS The most casual of my projects, Relay Runners, is a 2-person collaboration between Matt Murphy and I. The project is a back and forth; each member sends a few parts to the other, more parts are added, and so on, leading to unexpected and unplanned results. There is no vision of an end product and the final tunes have been pleasantly surprising. Over the last couple of years, most of our time in "Relay Runners" has been spent stating, during random encounters on the town, "yeah we should do another of those and we should put them all on an EP and release it". Which reminds me that I should really get on that. Not for those who are sensitive to the degrading effect of digital compression; we consider it a part of our sound. Listen here. OTHER I also compose for film, TV, web, games, etc. . and have worked with the likes of comedian/writer Tim McAuliffe, comedians Adam & Dave, and artist Jeff Thomas.