ss2012zine (PDF)

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Title: Shivering Songs
Author: Marshall E.O.

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Designed by Micah O’Donnell
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Table of Contents

Thank  You  to  Our  2012  Festival  Sponsors





Photograph of Hot Toddy by Owen Steel


‘Artifacts’ by Andrew Sisk


Interview with Mark Kozelek by Eric Hill


‘Joker’ by Acres’ & Acres


‘Lighting the War’ by John Leroux


Photograph of Hot Toddy by Owen Steel


CN Tower drawing by Mike O’Neill


Southern Souls by Olympic Symphonium


‘Bunny’ by Adam MacDonald


Thanks to our Lovely Sponsors










Hot Toddy perform their album 'Shoe Factory'
+ The Olympic Symphonium
@ Wilmot United Church, 473 King Street
Doors 7:00pm, Show 8:00pm - 11:00pm
presented by Boyer & Associates

Owen Steel
+ Babette Hayward
+ Micah Blue Smaldone
@ Wilser’s Room, 362 Queen St
Doors 10:00pm, Show 10:15pm - 12:30am
Acres & Acres
+ Quiet Parade
+ Brydon Crain
@ The Capital Bar, 362 Queen St
Doors 10:30pm, Show 11:00pm - 2:00am

S a t u r d a y

F e b r u a r y

4 ,

2 0 1 2

Songwriter’s and Storyteller Matinee
Host: David Myles
+ Catherine Maclellan, David Adams Richards, Andrew Sisk, Mike O’Neill
@ Wilmot United Church, 473 King St
Doors 1:00pm, Show 2:00pm - 4:00pm
presented by St.Thomas University

Host: Clinton Charlton
+ Adam Mowery, Brent Mason, Peter Hicks & Joe Grass
@ The Cedar Tree Cafe, 418 Queen St
Show 5:00pm – 7:00pm
Mark Kozelek
+ Postdata
+ Paper Beat Scissors
@ Wilmot United Church, 473 King St
Doors 7:00pm, Show 7:30pm - 10:30pm
@ Wilser’s Room, 362 Queen St
Doors 10:00pm, Show 10:30pm-1:00am
+ Heat & Lights
+ These Hands
@ The Capital Bar, 362 Queen St
Doors 10:30pm, Show 11:00pm-2:00am

Sunday February 5, 2012
Bluegrass Brunch
Alan Jeffries & Slim Pickens
+The High Water String Band
Fredericton Farmer’s Market, 665 George St
Doors 10:00am, Show 11:00am-3:00pm

presented by Picaroons


Southern Soul Sessions
Mitch Fillion is a workaholic. He began filming
Southern Souls videos two and a half years ago
and has since made more than 675 videos. That’s
getting near to a video a day. He’s a busy guy.
That’s why we were surprised when he agreed to
fly to Fredericton for two days last winter to film
ten videos for the Olympic Symphonium. We
spent a weekend driving around Fredericton
looking for locations. We had some picked out in
advance (Memorial Hall; the walking bridge) but
we weren’t totally prepared. Mitch was patient and
quiet, silently observing us workout our problems
much like he observes his subjects workout their
songs. He had some great ideas and made some
suggestions that got everything moving smoothly.
He’s good at what he does. You can see it in the
videos he shot for us. You can see it in every video
on his website. You’ll see it in the next nine videos
he’s probably editing at this moment. We hope this
guy stays busy, not only for the sake of the artists
he films but for the sake of his growing audience
who are about to discover their new favourite band
by watching one of his videos.
We've made the audio available for download from
these sessions with Mitch. These are acoustic
versions of songs from our last album, performed
in a bookstore, a curling rink, Memorial Hall, a
parking garage, a basement, a furniture warehouse,
on the walking bridge, on a piano from the early
1900's and outside near Durham Bridge. Just type into your
browser to retrieve the music. Thanks Mitch!
- The Olympic Symphonium

Hello there!
Come on in and grab a seat. Welcome
to Shivering Songs. A year has come
and gone and here we are again, ready
for a weekend of exciting and intimate
shows. It might be cold out there but
now it’s time to get cozy and warm
with some good company and great
music. The festival has grown and as
you can see, so has the line-up. We’ve
done our best to make sure this
weekend is packed with events for you
to enjoy and we’re sure there is
something here for everyone. Our goal
was to curate a line-up that we know
will not disappoint and we strongly
believe we’ve achieved that
goal. Whether it’s an artist you’ve seen
many times before or an act you’ve
never heard, we’re confident that
you’re going to like what you see and
hear. We’re very excited to be putting
on this festival for the second time and
we’re happy to see it grow. We’re also
extremely happy that you’ve chosen to
spend some time with us this
weekend. Enjoy the music. Enjoy the
stories. Enjoy yourselves. From all of
us here at Camp Olympic Symphonium
and the whole Shivering Songs crew,
we hope you have a magical weekend
full of smiles, laughter, stories and
songs. And a few shivers too.








I had travelled enough to know what to expect at a bus stop.
A moment I would have thrown away if not for
Two brothers,
speaking the way children speak,
now in their seventies,
began a conversation
I had not expected to have.
The days you are willing to talk to strangers
are usually the days you meet
two men who can recall your great- grandmother
calling out for your grandfather to come home for lunch.
I wondered if a more cluttered mind would have held on to
a memory as insignificant as this.
have been led to ancient burial mounds
and hidden cities
in this very same way.

Andrew Sisk



Mark Kozelek has been a quiet
road warrior for the last two
decades. First in San Francisco
based group Red House
Painters, producing six albums
that mixed West Coast bliss
with a melancholy chill running
through them. In the early
2000s he subtly changed gears,
taking on the mantle of Sun Kil
Moon. It’s in this guise,
alongside solo records and
tours, where his songwriting
and playing has evolved to
marry the dexterity of classical
themes to a folk rock structure.
Do lyrics come to you fully
and quickly or are you a
My approach has changed a lot
over the years. I spent 5 years on and off - trying to perfect
the song 'Bay of Skulls' from
Admiral Fell Promises, but
some songs come quickly.
Working with Desertshore
recently was a lot of fun,
writing lyrics on the spot, not
worrying about narrative.
There's something very true
about singing the first idea that
pops into your mind.
Does it cross your mind that
each performance will bring
out fans that have been
following your career for


twenty years and others
hearing you for the first
I don't think about that aspect. I
meet people afterwards of all
different ages… people who
think my career began with Sun
Kil Moon… people who think
my best years ended with Sun
Kil Moon. I just get up on stage
and play what I'm inspired to
When you use new
arrangements for older songs
are these choices mostly to
keep you engaged re-playing
the songs?
I'm human and grow and
change and am far too versatile
and free a musician to play
something 'exactly like the
record'. There are simply too
many other options when
you're a skilled player [and
some] fans react differently to
that. Doesn't matter to me.
How hands on are you with
running your label, Caldo
Yes I'm very involved: sign my
artists, deal with various
aspects of the label every day. I
like having control over my life
and career and always felt a
little anxious being on labels.
Between writing, recording,
running a label and playing

artist Edward Burne-Jones,
while the intertwining organic
greens of stalks and acanthus
leaves below are textbook
William Morris with their
foliage and fluidity. The
naturalistic command of BurneJones is evident in his figures,
as they exemplify a superb
command of anatomy,
compositional layout and
rendering of skin tones, all
through the medium of glass.
The August 29, 1912, issue of
The Daily Mail newspaper
reported that the window,
manufactured by the Merton
Abbey Works in Merton,
Surrey, England, was “a fine
piece of workmanship and adds
much to the beauty of the
Surprisingly, Fredericton’s
Morris stained glass soon
became a disregarded and
overlooked work of the Arts and
Crafts studio. It wasn’t
recognized for its true value
until 1990 when a pair of
curators researching the work of
Morris in Canada for an
upcoming exhibition
determined that these were
indeed extraordinary long-lost
Morris windows, as the 1912

British factory ledger stated the
window was sent to Ottawa and
not Fredericton.
Now celebrated as one of the
most revered and significant
artistic movements of the
Nineteenth Century, the PreRaphaelites broke with
academic tradition and
developed a distinctive style
that adored romanticism and
adopted a medievalized style
characterized by bright colours
and hyperrealism. The group
also challenged the artistic,
political, social and religious
values of the time. Taking
subjects from history, literature
and modern life, the PreRaphaelites addressed gender
relations, the crisis of faith, and
problems in the Middle East.
They essentially changed the
course of Victorian art in Great
Britain and much of the Western
Wilmot is so very fortunate to
have these windows, so please
take the time to go up close and
enjoy these artistic marvels.


Wilmot United Church
Designed by Saint John
architect Matthew Stead for the
princely fee of £127, Wilmot
United Church is the last of the
large frame wooden churches
whose spires dominated the
Fredericton skyline during the
Nineteenth Century. Of them
all, this wood shingled
Carpenter Gothic church’s
spire was the tallest at 199 feet,
further surmounted by a sevenfoot carved wooden hand
pointing upward. The church
was constructed in 1852
following an 1850 fire that
destroyed the previous church
on this site, along with many
buildings between Carleton
Street and the Legislature.
Wilmot’s dramatic interior is
distinguished for several
reasons: its high Gothic
vaulted space; outstanding
acoustics; a pink, blue &
brown colour scheme designed
in 1948 by renowned Canadian
artist Alex Colville; and its
collection of stained-glass
Wilmot’s original windows
along its upper balcony are an
extremely well-preserved
series of multicoloured units
with varying wooden Gothic
tracery. While most of the
windows’ height were filled
with frosted ground glass, the
December 17, 1852, issue of

The Reporter newspaper
records that “the heads of each
window are varied Gothic, and
all are filled with stained
glass…”. The result is
strikingly fresh in its primary
colour range, as hue and
flowing tracery line generate
the visual effect as opposed to
relying on narrative or
figurative panes. The latter, of
course, would be the fashion
for the next Century.
To this effect, one of the finest
stained-glass treasures in New
Brunswick is a 1912 window
at Wilmot United Church from
the studio of the late English
Arts & Crafts master William
Morris (1834-1896) – a major
innovator in the production of
the decorative arts, an advocate
for a return to craft and a
promoter of non-industrial,
dignified labour.

live what gives you the most
pleasure at this point in your life?
Writing is the best part, no doubt
about it. There are satisfying
moments playing live, and satisfying
moments recording, but writing is
the best part.
How do you feel about artists that
feel the need to forever re-invent
themselves versus refining and (in
theory) improving?
I love artists that change, mix things
up and surprise people. Rob Zombie
making films, or Mickey Rourke
trying to be a pro boxer; that's
interesting. I don't like hack artists,
artists that play the same record for
20 years. Nothing depresses me

A couple of quick ones to finish up
What are the best and worst
things that have happened to you
on tour recently?
Tour manager put wrong gas in a
rental car in Switzerland and we got
stranded in Zurich for a few days.
Any place you’ve always wanted
to play? Any place you never
want to play again?
South America. I want to go there. I
don't want to play Bluesfest in
Ottawa again. Nightmare.
Writing about cats: good or bad
career move, ultimately?
Was a good career move for Al
Stewart and Ted Nugent.

Located second from the front
on the Queen Street side, the
refined and graceful Morris
window depicts four figures
wearing draping gowns in a
natural setting. The upper
panels depicting the redwinged angels Gabriel
(wearing a cockleshell in his
hat) and Raphael (wearing a
wreath), along with the two
bottom panels depicting
"Clothing the Naked" on the
left and "Feeding the Hungry"
on the right were designed by
the beloved Pre-Raphaelite

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