| Naam | Colin Huebert Erik Arnesen Shaunn Watt Peter Carruthers Andrew Lee |
| Functie | 5× band |
| Geslacht | man |
| Geboortedatum | 2009 |
| Leeftijd | 15 – 16 |
| Herkomst | Canada 🇨🇦 |
| Genres | dubstep dubstep |
| siskiyoumusic@gmail.com | |
| Links |     |
Biografie
Siskiyou was formed by Colin Huebert and Erik Arnesen in the late 2000s while the two musicians were part of Great Lake Swimmers. Under the impetus of Huebert's hotel room and home recordings, the pair forged an approach to songwriting that was decidedly more stark and emotionally tense, marked by a minimal aesthetic, an economy of effects and arrangements, and an appreciation for the timbral and textural qualities of sparse elements. The band combines a back porch, moonlit looseness with a controlled, self-contained country gothic formalism that often finds the music circling within the cusp of restrained fury or frenzy.
It is difficult to say exactly how long it took Siskiyou to record their debut album. It was during downtime from the Great Lake Swimmers tour schedule that Colin Huebert began unofficially recording sketches, demos and fragments and it wasn't until his final departure from GLS in the summer of 2008 that Huebert found the time necessary to finish crafting Siskiyou's eponymous first record – an album aptly described as perfectly capturing the lush yet chilly landscape of the Pacific Northwest.
Even as this first record made its way to Constellation in early 2010 and was being prepped for release that fall, Colin remained holed up through the winter in Mara, BC (pop. 350) writing more songs and eventually being joined by his Siskiyou co-conspirator Erik Arnesen for a few weeks of intensive recording. Unlike the debut album, which was recorded in semi-nomadic fashion in literal nooks and crannies, the Mara, BC sessions found Colin and Eric settled and rooted, with keys in hand to the empty Mara Community Hall, a century-old timber structure nested in the Canadian Rockies.
With the addition of Shaunn Watt (drums, backing vocals) and Peter Carruthers (bass, keyboards, backing vocals) in 2010, Siskiyou coalesced into a superbly incisive four-piece band, honed through extensive touring in Europe and Canada. Coming off a season of live playing, the quartet hit Vancouver's JC/DC Studio (Destroyer, New Pornographers) in early 2011, adding to Colin and Erik's Mara sessions from the previous winter, cutting a few new tunes, and running a couple of mixes with Dave Carswell. Colin Huebert self-produced the remainder of the songs on Siskiyou's second album, Keep Away The Dead, released in fall 2011.
Behind the distinct shiver of Colin Huebert's whisper/wail you'll hear acoustic and slide guitars, banjo, and gently brushed drums. But there's something quietly ominous and subtly disquieting in the band's sounds and words. Crackling of old AM radio tuners, distant squelching feedback of an electric guitar abandoned by its amplifier, small moments of complete musical deconstruction like the whole band has just collectively fallen down the stairs. Siskiyou's songs are often about death, or enmity, or some kind of immobility waiting to burst, tackled with varying shades of defiance and resignation, but never as odes of abject defeat (or defeatism), not as slacker hymns or high-gothic morbidity. Huebert is much more Neil Young than Nick Cave, finding poetry in simple meditations and in little twists of phrase that are sometimes twists of the knife but also sometimes just changes of heart, internal emotional shifts from anger to acceptance, from belligerence to peace.
It is difficult to say exactly how long it took Siskiyou to record their debut album. It was during downtime from the Great Lake Swimmers tour schedule that Colin Huebert began unofficially recording sketches, demos and fragments and it wasn't until his final departure from GLS in the summer of 2008 that Huebert found the time necessary to finish crafting Siskiyou's eponymous first record – an album aptly described as perfectly capturing the lush yet chilly landscape of the Pacific Northwest.
Even as this first record made its way to Constellation in early 2010 and was being prepped for release that fall, Colin remained holed up through the winter in Mara, BC (pop. 350) writing more songs and eventually being joined by his Siskiyou co-conspirator Erik Arnesen for a few weeks of intensive recording. Unlike the debut album, which was recorded in semi-nomadic fashion in literal nooks and crannies, the Mara, BC sessions found Colin and Eric settled and rooted, with keys in hand to the empty Mara Community Hall, a century-old timber structure nested in the Canadian Rockies.
With the addition of Shaunn Watt (drums, backing vocals) and Peter Carruthers (bass, keyboards, backing vocals) in 2010, Siskiyou coalesced into a superbly incisive four-piece band, honed through extensive touring in Europe and Canada. Coming off a season of live playing, the quartet hit Vancouver's JC/DC Studio (Destroyer, New Pornographers) in early 2011, adding to Colin and Erik's Mara sessions from the previous winter, cutting a few new tunes, and running a couple of mixes with Dave Carswell. Colin Huebert self-produced the remainder of the songs on Siskiyou's second album, Keep Away The Dead, released in fall 2011.
Behind the distinct shiver of Colin Huebert's whisper/wail you'll hear acoustic and slide guitars, banjo, and gently brushed drums. But there's something quietly ominous and subtly disquieting in the band's sounds and words. Crackling of old AM radio tuners, distant squelching feedback of an electric guitar abandoned by its amplifier, small moments of complete musical deconstruction like the whole band has just collectively fallen down the stairs. Siskiyou's songs are often about death, or enmity, or some kind of immobility waiting to burst, tackled with varying shades of defiance and resignation, but never as odes of abject defeat (or defeatism), not as slacker hymns or high-gothic morbidity. Huebert is much more Neil Young than Nick Cave, finding poetry in simple meditations and in little twists of phrase that are sometimes twists of the knife but also sometimes just changes of heart, internal emotional shifts from anger to acceptance, from belligerence to peace.
