AUGUST 2008 - CHROMEWAVES - FEATURE

You couldn't have picked a more perfect place to be introduced to the gothic gospel spirituals of Toronto's Bruce Peninsula than under an open sky as the sun began to set across a farmer's field, as I did last August at the Dog Day Afternoon festival. Sounding both fresh and unmeasurably old, the eleven-piece choir/blues band hybrid made an indelible first impression I figured would be nearly impossible to match. And yet they did a few months later in the more conventional environs of Lee's Palace and once again in a couple weeks at The Horseshoe. Obviously, as special as that Dog Day performance was, Bruce Peninsula were not dependent on their environs to work their magic.

But what of the studio? It's hard enough to capture the chemistry of live performance on tape for a conventional band - how about one that's as much an old-time revival show or gospel choir as a band? Amazingly, it sounds like they've done it. Listening to some still-rough/unmastered versions of their debut album, A Mountain Is A Mouth, I'm immediately reminded not only of the energy and intensity of their live shows, but also the mystery and sense of distance - spatial and chronal - that I didn't think could be experienced indoors, let alone from speakers. And the clarity of all the voices and instruments, not necessarily something you get live, is also astonishing. Whoever recorded this thing did a hell of a job.

The record is still being polished up (but hopefully not too much) for a release sometime this Fall on a home still to be named/determined, but in the meantime the band have released a 7" of two traditional folk recordings (from the Alan Lomax archives) that also capture the sound of the band, if not their songwriting. Both sides are streaming at the band's MySpace (along with a track from the album) but I suspect it doesn't sound quite the same over the internet as it would on record, with the added dimension of crackles, or live, with the added dimension of crickets.