Swanktrendzvanc's Blog

Upcoming Tours in Vancouver

Dawes

Date: November 10

Place: The Rickshaw

Tickets: Red Cat Records, Zulu Records

Hey Rosetta

Date: Saturday, Nov 12

Place: Commodore

Tickets: Live Nation

THE REASON

Date: Tues/Wed Nov 15/16

Place: Commodore

Tickets: Live Nation

Tune Yards

Date Friday, November 18

Place: The Biltmore

Tickets: Red Cat Records, Zulu Records

Andrew WK

Date: Saturday, Nov 26

Place: Rickshaw Theatre

Tickets: Red Cat Records, Zulu Records, Scratch Records

The National

Date: Mon., November 28th/ Tues Nov 29

Place:  The Orpheum

Tickets: Ticketmaster

*MEAGHAN SMITH

Date: Tues. Nov 29

Place: Media Club

Tickets: Media Club

Blind Pilot

Date: Saturday, Dec 3

Place: Venue

Tickets: Red Cat Records, Zulu Records

Cass McCombs

Date: Tues., December 6

Place: Electric Owl

Tickets: red Cat and Zulu Records

Papercuts

Date: Friday, Dec. 9

Place: The Waldorf

Tickets: Ticketmaster, Red Cat Records, Zulu Records

Tennis

Date: Tuesday, Dec. 13

Place:  Biltmore

Tickets: ticketweb.ca

JIM CUDDY

Date: Sat. Jan 7

Place: The Vogue

Tickets: Live Nation

THE LOW ANTHEM

Date: Thurs/Fri Jan 19/20

Place: Queen Elizabeth Theatre

Tickets: Live Nation

Youth Lagoon

Date: Friday, Jan 20

Place: The Biltmore

Tickets: Red Cat Records, Zulu Records, Ticketmaster

SIMPLE PLAN

Date: Sat Feb. 11

Place: Pacific Coliseum

Tickets: Live Nation

*MEGADETH

Date: Mon. Feb 20th

Place: Abbotsford Sports Arena

Tickets: Live Nation

*STRAIGHT NO CHASER

Date: Thurs. March 15

Place: The Vogue

Tickets: Union Events

* NEW SHOW ADDED ON THE LIST

There are several steps to ensure that you get sufficient rest while sleeping on a couch. Trust me, I know, I've grown up moving from couch to couch – belonging to family and friends whose hearts are way too big for human chests.

There was the Radonich era. Now THAT, was a couch. Double-wide, soft and nicely broken in. And faithful Buddy, my best friend, occasionally sleeping right at the foot.

Then there were the Riders’ Pub days. First with Jaymie, my cousin who occupied a bachelor suite. Coulda been trouble, but we were often too drunk to care.

And Chris down the hall. His couch was not quite as comfy, but a classy one nonetheless. (That is, until a lady friend and I had an accident and broke it. Sorry Chris).

Which brings us to Jenna and Ryan (who hold the glory of coining the phrase "couch gypsy"). These were (at least) four months of the most unforgettable couch surfing the world has to offer.

More recently, and not to be forgotten, the Topnik residence.

 So here’s some couch gypsy rules:

The first step is:

1. Forget it's a couch. It's really just a giant pillow of surreal comfort.

2. The backrest is your friend. Sure, you don’t have the full room of a bed in the conventional sense, but if you put yer leg up on that baby – POW - queen size!

3. Try and have clean clothes to slip into. This goes double if you've been drinking ‘cause you'll sweat like a bastard.

4. Always respect and honor those who have giving up their private comfort for your night of sanctity. Trust me, I've been on the other end, and it can be a real sacrifice.

5. Fold the damn blanket after you use it. These people were kind enough to share their space for the night, so do your best to clean up after yourself.

Follow these quick and easy rules for a night of unforgettable sleep. Whether it's a hide-a-bed or a love seat, just remember, it beats fighting off junkies in an alley for a piece of newspaper to lay on.

Peace out.

She pokes and stabs,

Through skin and scabs,

In hopes of finding a vein;

Beneath the bathroom’s light,

Maybe this hit might,

Kill off all her pain.

The blood looks black,

But she pours it back,

Through a hole between her toes;

She rolls her eyes,

With a pleasured sigh,

Forgetting everything she knows.

She awakes,

To hunger pains,

But not ones for a meal;

So she walks the streets,

A piece of meat,

What she'll do just not to feel.

Enter Shikari is an electronically influenced/ enhanced, hardcore ‘screamo’ rock band who have received a lot of play on my ipod during this last year.

Enter Shakiri formed in St. Albans, Hertfordshire, in 2003. Since then they have released three albums: their debut, Take to the Skies, Common Dreads, andDestabilise. Their label, Ambush Reality (est. 2006) currently only lists Enter Shakiri in their stable of artists. (The band recently noted that much of their stock was affected by a fire started during the 2011 England Riots.)

The members of the band are: Roughton “Rou” Reynolds (lead vocals, keyboards , acoustic guitar, synthesizers and programming); Liam “Rory” Clewlow (backing vocals and guitars);Chris “Batty C” Batten (backing vocals and bass), and finally, Rob Rolfe (drums and percussion). Their individual abilities and sounds mesh together into a perfect musical blend, similar to the group Story of the Year's members.

As I mentioned, I've been playing this CD consistently since last Fall and I consider each of its songs to be ‘gold’. (A hard feat, given how critical I can be.) Two songs I’d like to highlight (for anyone new to the band) are Mothership and Sorry, You’re Not a Winner.

Mothership has an all round cool, haunting sound combined with unnerving structure; reminiscent of System of a Down. Mothership charted as “single of the week” when released on itunes. It has an unpredictable blend of trance and hardcore. You cannot settle into an Enter Shakiri song, predicting the upcoming melody ‘cause they’ll deliver something totally unexpected.

Sorry, You’re not a winner (my favourite) is simply… awesome – great vocals, amazing guitar, wicked bass, thrashing drums, mad hook, intelligent lyrics and a good mix up of trance electronics. As well, another interesting feature is the band’s incorporation of the audience/crowd. Gamers should recognize this song from 08 NHL’s EA Sportsvideo, and Madden 08.

(Interestingly, Enter Shakiri’s released songs continue to chart high, despite not being released in a physical format e.g. CD or on vinyl. This was purposely done at the band’s request.) Another unusual fact - Enter Shakiri is the second unsigned (by choice) band to sell out a concert at London’s Astoria. Clearly, this is a band we’ll be shadowing for some time to come.

Get Destabilised today - you won’t regret it (you might regret the time you wasted not knowing of their existence).

Here is a sampling of Enter Shikari’s nominations and awards. 

2010: Nominated for “Best British Band”

2009: Nominated for “Best Live Band”

2007: Won Breakthrough Artist of the Year

2007: Won “Best Band Live”

2007: Won “Spirit of Independence”

2007: Won Rock Sounds magazine’s poll for “Who’s going to make it?”

2007: Won John Peel Award for Musical Innovation

2006: Nominated for Best British Newcomer

Don’t be surprised if Enter Shakiri’s next release is less synthesizer and more post hardcore. They got our attention by blending two unlikely sounds (trance and hardcore); now wait for them to discover yet another spiraling, uncharted soundscape.

Enter Shakiri's quote: "If you stand for nothing, you will fall for everything."

www.entershikari.com

Enter Shikari is an electronically influenced/ enhanced, hardcore ‘screamo’ rock band who have received a lot of play on my ipod during this last year.

Enter Shakiri formed in St. Albans, Hertfordshire, in 2003. Since then they have released three albums: their debut, Take to the Skies, Common Dreads, andDestabilise. Their label, Ambush Reality (est. 2006) currently only lists Enter Shakiri in their stable of artists. (The band recently noted that much of their stock was affected by a fire started during the 2011 England Riots.)

The members of the band are: Roughton “Rou” Reynolds (lead vocals, keyboards , acoustic guitar, synthesizers and programming); Liam “Rory” Clewlow (backing vocals and guitars);Chris “Batty C” Batten (backing vocals and bass), and finally, Rob Rolfe (drums and percussion). Their individual abilities and sounds mesh together into a perfect musical blend, similar to the group Story of the Year's members.

As I mentioned, I've been playing this CD consistently since last Fall and I consider each of its songs to be ‘gold’. (A hard feat, given how critical I can be.) Two songs I’d like to highlight (for anyone new to the band) are Mothership and Sorry, You’re Not a Winner.

Mothership has an all round cool, haunting sound combined with unnerving structure; reminiscent of System of a Down. Mothership charted as “single of the week” when released on itunes. It has an unpredictable blend of trance and hardcore. You cannot settle into an Enter Shakiri song, predicting the upcoming melody ‘cause they’ll deliver something totally unexpected.

Sorry, You’re not a winner (my favourite) is simply… awesome – great vocals, amazing guitar, wicked bass, thrashing drums, mad hook, intelligent lyrics and a good mix up of trance electronics. As well, another interesting feature is the band’s incorporation of the audience/crowd. Gamers should recognize this song from 08 NHL’s EA Sportsvideo, and Madden 08.

(Interestingly, Enter Shakiri’s released songs continue to chart high, despite not being released in a physical format e.g. CD or on vinyl. This was purposely done at the band’s request.) Another unusual fact - Enter Shakiri is the second unsigned (by choice) band to sell out a concert at London’s Astoria. Clearly, this is a band we’ll be shadowing for some time to come.

Get Destabilised today - you won’t regret it (you might regret the time you wasted not knowing of their existence).

Here is a sampling of Enter Shikari’s nominations and awards. 

2010: Nominated for “Best British Band”

2009: Nominated for “Best Live Band”

2007: Won Breakthrough Artist of the Year

2007: Won “Best Band Live”

2007: Won “Spirit of Independence”

2007: Won Rock Sounds magazine’s poll for “Who’s going to make it?”

2007: Won John Peel Award for Musical Innovation

2006: Nominated for Best British Newcomer

Don’t be surprised if Enter Shakiri’s next release is less synthesizer and more post hardcore. They got our attention by blending two unlikely sounds (trance and hardcore); now wait for them to discover yet another spiraling, uncharted soundscape.

Enter Shakiri's quote: "If you stand for nothing, you will fall for everything."

www.entershikari.com

Attention celebrities: Has your career lost its spark? Do you suddenly find yourself waiting in line, like a schmuck, at your favorite restaurants? Has your agent stopped returning your phone calls?

Well Dr. Drew has just the prescription to rejuvenate your career and help you get back on top. Well… at least to the middle.

The program’s called ‘Celebrity Rehab’, the unscripted television series that cuts right to the heart of your most private affairs. Just pick up your nearest crack pipe, and/or bottle of scotch, and check yourself into the Pasadena Recovery Center. Why detox in private when you can do it in front of the glamorous eye of the camera?

At the Pasadena Recovery Center you'll find yourself surrounded by some of the most talented professionals in the field as well as some of Hollywood's top D-list stars. People such as:

Michael Lohan, Amy Fisher, Dennis Rodman, Heidi Fleiss, and the great Tom Sizemore!

Notice the instant changes in your popularity as people get to see a depiction of the real you instead of the spoiled celebrity they're used to seeing. Take Steven Adler for example (the original drummer for Guns N’ Roses). Adler was kicked out of GNR for his drug problems (which is akin to being kicked out of Rome for being Catholic) but with Dr. Drew’s help, he has become one of the most lovable heroin addicts on television.

So don't hesitate. Visit the Doctor and get your name back on the B-list where it belongs.

I'll swim Autumn's seas,

‘til my skin’s biting numb;

I'll leave behind the trees...

and what the world’s become.

I’ll say goodbye to family,

to friends and enemies;

I’ll put everything behind me...

‘til it’s me against the sea.

Let the city go.

It can rot for all I care.

Along with stuff that people bought,

from apathetic millionaires.

My arms will soon grow tired...

and ya, I'll probably sink.

But I'll be free from all defilers,

adrift in my utopic drink.

..

I have found Sealed with A Kiss Productions’ (also known as SWAK's) stable of enviable talent, to always appear cutting edge, or at least three steps ahead of other alternative scenes. SWAK is also the most difficult company for a writer to comp tickets from, to review upcoming concerts, or to facilitate interviews. to date I have ony been granted one review and one interview. compared to my ‘too-numerous-to-count’ partnerships with Livenation, Universal and ..WindUp Records (A hearty thanks to those three companies) ..

Here is a listing of upcoming shows and events promoted by SWAK Productions. Please take in one of the listed venues; as you won’t be disappointed. In fact, tell the venue that Swanktrendz is encouraging as many people as possible to attend the shows...

(The tickets for SWAK shows are available at: Red Cat Records, Zulu Records, and Ticketmaster. *Please note:For Vogue Theatre events– see the Vogue Theatre for times, and dates. ....

2011 Upcoming Events:

....

Feb 11

Chromeo at The Commodore Ballroom (sold out)

....

.. ..

Feb 16....

Godspeed You! Black Emperor at The Vogue Theatre (sold out)

.. ..

Feb 25....

Swans Wooden Wand at Rickshaw Theatre

March 4....

Yann Tiersen, Breathe Owl Breathe at the Vogue Theatre

March 7

Crystal Castles at the Commodore Theatre

March 12

Born Ruffians at the Rickshaw Theatre

.. ..

March 17....

Destroyer at The Commodore Ballroom

.. ..

March 19....

The Residents at the Rickshaw Theatre

.. ..

March 20....

Akron Family, Delicate Steve at the Biltmore Cabaret

.. ..

March 31....

The Dodos at the Rickshaw Theatre

April 1

The Dodos at the Sugar in Victoria

April 2

Dom at the Biltmore Cabaret

April 8

Bright Eyes at the Commodore Ballroom (sold out)

.. ..

April 21....

The Cave Singer at The Biltmore Cabaret

.. ..

April 29....

Fleet Foxes at The Vogue Theatre� (sold out)....

.. ..

April 30....

Fleet Foxes at The Vogue Theatre (sold out again)

.. ..

May 3....

Zola Jesus at The Biltmore Cabaret

May 11

Peter Bjorn and John at Venue

.. ..

May 13....

Yelle at the Commodore Ballroom

.. ..

June 4....

Friendly Fires at the Venue

June 18....

Keren Ann, Chris Garneau at The Biltmore Cabaret

October 15

The Legendary Pink Dots at the Venue Nightclub

October 17

The Murder City Devils at the Venue Nightclub

.. ..

October 27....

The Shilohs, Lord Beginner at the Media Club

.. ..

October 29....

Avi Buffalo with Fences at The Biltmore cabaret

.. ..

November 4....

Stars with Young Galaxy at the Vogue Theatre

.. ..

November 12....

Brasstonaut with No Go at Rickshaw Theatre

.. ..

November 13....

Delorean with guests Lemonade at the Biltmore Cabaret

.. ..

November 13....

The Cave Singers with Guests at the Richshaw theatre

.. ..December 23

Bikini/ Humans/ Teen daze At the Cobalt....

.. ..

..

Concerts in Vancouver from October 4th to October 10th, 2010,

By: Christine Albrecht for Swanktrendz

1.  Jamie Lidell w/ Zeus

On Oct 4 at 8:00 p.m. (doors open)

Five-Sixty - 560 Seymour  

Tix: $22.00 +  

2.  Klaxons w/ Baby Monster   

On Oct 4  at 8:00 p.m. (doors open)     

The Venue  - 881 Granville  

Tix: $18.50 + 

The Klaxons

3.  Jazzy Nights     

Chris Gestrin Trio, West Coast Art Trio, Wanda Nocwiki Quartet

On Oct 5   at 7:00 p.m. (doors open)

In the House  - 2054 Pandora

Tix: $18/13 +

 4.  Sea Wolf w/ Sera Cahoone and Patrick Park     

On Oct 5  at 8:00 p.m. (Doors Open) 

Rickshaw Theatre  - 254 E Hastings

Tix: $13.00 +

5.  Alice in Chains

w/ Deftones and Mastodon

On Oct 7 at 6:00 p.m. (Doors Open)

Gmm Place – 800 Griffiths Way

Tix: $65/ $45+

Deftones 

6.  Hayley Sales    

On Oct 7  at 7:00 p.m. (doors open)

Chan Centre - 6265 crescent UBC

Tix: $15.25+

 7.  James

w/ Ed Harcourt    

On Oct 7  at 7:00 p.m. (doors Open)

Commodore Ballroom – 868 Granville

Tix: $32.50 + 

8.  K-OS

w/ Austronautalis and Trevor Risk    

On Oct 7 at 8:00 p.m. (Doors open)

The Venue – 881 Granville

Tix: $25.00+ 

Betty Serveert

9.  Bettie Serveert 

w/ Parlour Steps

On Oct 8 at 8:00 p.m. (Doors open)

Biltmore Cabaret - 2755 Prince Edward

Tix: $20.00 + 

9.  Drop the Lime    

On Oct 8 at 11:00 p.m. (doors open)

Biltmore Cabaret - 2755 Prince Edward

Tix: $10:00 +

DJ Oakenfold

10.  Facelift Tour w/ DJ Paul Oakenfold

w/ Chuckie    

On Oct 8  at  9:00 p.m. (doors Open)

Commodore Ballroom – 868 Granville

Tix: $50.00+/$40.00+ 

Marcy Playground

11.  Marcy Playground

featuring John Wozniak    

On Oct 8 at 7:00 p.m. (Doors open)

Summit Theatre – Cascades 20393 Fraser

Tix: $26.50 + 

12.  The Devin Townsend Project    

On Oct 8 at 7:00 p.m. (Doors Open)

Rickshaw Theatre – 254 E Hastings

Tix:  $19.00 +  

13.  The Great Classical Joint Reunion    

Tribute to historic Vancouver music

w/ Kate Hammett-Vaughan, Colleen Savage, and Meriken van Nimwegan

On Oct. 8 at 8:00 p.m. (Doors Open)

The Ironworks – 235 Alexander

Tix: $19.99 + 

Kate et el 

Zhambai Trio

14.  Zimbamoto  World Rhythm

With guests,  Zhambai Trio    

On Oct 8 at 8:00 p.m. (Doors Open)

Café Deux Soleils – 2096 Commercial

Tix: $10.00 + 

Ever entertaining, Tom Landa

14.  Los Paperboys

with Celtic-Latin vocalist, Tom Landa    

On Oct 9/10  at 8:00 (Doors open)

St. James Hall - 3214 West 10th

Tix: $24/20 + 

15.  Royal Wood

w/ Hannah Georgas    

On Oct 9  at 6:30 (Doors Open)

Rio Theatre – 1660 E. Broadway

Tix: $25.00 + 

The Four Tops 

16.  The Four Tops - Motown Legends  

On Oct 9 at 7:00 p.m. (Doors Open)

Red Robinson Theatre - 2080 United, Coquitlam

Tix: $69.50/59.50 + 

17.  The Robert Cray Band    

On October 9 at 7:00 p.m. (doors open)

River Rock Theatre, 8811 River Rd, Richmond

Tix: $64.50, 54.50 +

Robert Cray

Suggested Places to order tickets : www.ticketmaster.ca/, www.livenation.ca/, www.ticketweb.ca/, Zulu Store, Red Cat Store, Scrape Records, Scratch, Beatstreet, Highlife, or band’s myspace page.  Stuck? Email me at swanktrendz1 at yahoo dot ca

Colin Minihan: Canada’s Gift to the World of Film By Christine Albrecht

MuchMusic’s Director of the Year 2009 

I determined two years ago that Colin Minihan is an artistic film ‘genius’, whom has been pushing the envelope of old-school video filming. He injects quirky, hard-to-pin-down visual collages using film manipulation, as well as (what seems to be) a layering of textural visuals over saturated colours. It wouldn’t surprise me if Colin’s name becomes an oft used adjective/noun for a specific video style.  A reviewer in the near future will soon be writing, “Clearly the director was aiming for a Minihanism effect”

My first Minihanism experience was the band, Mother Mother’s video, “O My Heart”. I’ve never tire of this great video and tune. My current fave Minihan video is GOB's - Banshee Song. Once you watch both, you’ll see a recurring theme of goth-influenced, creepy people.

I began researching other videos/films done by Colin Minihan and was surprised to see how prolific this director is, without becoming stale or repetitive. After viewing hours of film footage, I’ve just decided to quit attempting to track or compare his style to that of other directors and/or cinematographers. Due to Colin's age - he has little written about him, despite his lengthy list of accomplishments. When you think about it, Colin is of the generation who watched the birth of MTV/MM and now he's crossed the threshold of viewer to director. So of course, he's not 'like anyone' he is simply like Colin Minihan.

Colin was born on May 18, 1985. As a 25 year-old he has accomplished more than most 35 year-old directors in his field. I am impressed that he has put forth the same effort, concentration and time, as these 'seasoned' videographers. He simply arrived a bit later than them, but quickly caught up.

Colin was focussed enough to know where his passion lay at a time when most of us were trying to decide upon Linear Algebra or Principal’s Math while organizing our high school timetables. Not only did Minihan identify his passion, but he also pursued and honed it, and for that (among his many other talents) he deserved the MMVA's Director of the Year Award (2009)

I could get all artsy and described Minihan’s camera-work; his interesting sparring between light and shadow; his use of unusual subjects, and/or his hypnotic juxtaposition of images, (soon to be known as Minihanisms). But I’d rather you google his name, or go to his site and view his body of work. His work speaks for itself - speaking to each viewer, much like a work of art does. Soon Colin name will be a reference point in filming, much like Tim Burton’s name speaks volumes about a film’s artistic quality.

P.S. While you are googling, could you please go to Wikipedia and put in a request that Colin Minihan be added to their online resource. It's frustrating that he has not already been given a blurb considering the considerable contribution he has made to Canadian filming and music scene. Sorry, I digress... 

Here is a short, online interview with Colin Minihan. I apologize in advance for the lack of more insightful questions regarding his approach towards filmmaking, If you have any specific questions regarding equipment/film Colin used, or are curious as to the techincial aspect of his filming, please forward your questions to this me via this site, or contact Colin directly through his site.

Swanktrendz (ST)

Colin Minihan (CM)

I have divided the interview into two sections: Personal information and Work information.

Personal 

Swanktrendz: I have gleaned that you were born on May 18, 1985, in Port McNeill, B.C.  Is this the case?

Colin Minihan: True. 

ST: Did you live in Port McNeill all of your childhood? What was it like living in a small town located on the Northeast corner of Vancouver Island? Can you list the benefits of such an environment for a child? The detriments? 

CM: Yes, I was born in Victoria and my dad took a teaching job in Port McNeill so I lived there pretty much from the get go, up until I graduated high school and moved away (when I was 18.)

Growing up on the northern tip of Vancouver Island required a two-hour drive, through the woods, to get to the nearest movie theatre. It was frustrating and, while growing up, I wished someone would reopen the local movie theatre, every day. (It had once been opened, before my time, but it financially sunk. )

I used to visit my grandparents in Vancouver during the summer, but, once again, my heart would sink when I saw the Port McNeill sign upon my return.

I think, ultimately, growing up in a small town was a good place for me because, during high school, I was allowed to turn the town into my own little movie set. The Port MacNeill Police Department would let me film in their jail cells, and I would use police officers as actors in a few of my short films. I was making these Anti-Crime films at the time, and I was learning a ton. It was hilarious! Especially when we’d close down McNeill Road to film a police chase with these digital 8 cameras strapped all sketchily to speeding cop cars.

This would never have happened if Kelly Carson (who worked doing community justice programs for kids in the town) hadn't seen a short film of mine - years before - and applied for a government grant… just so I would be able to film more campaigns. She got the grant, and I got to make these anti-crime movies throughout all of grade 11 and 12.

I doubt this chance would have been available in the city. It was a rare opportunity and my experience definitely helped solidify the fact, without a doubt, of what I wanted to do with my life.

I’m not going to list the benefits of growing up in a small town; nor make broad statements about whether you should raise your kids in a small town versus the city. I think both places have pros and cons. I just happened to get “lucky”.

ST: Do you have any siblings? If so, what are their names, and are they older or younger? Are they artsy like you? 

CM: My older brother Ryan is in the army and he just served in Afghanistan. We are very, very different, however, he was always good with a pencil and could outdraw me any day. 

My Aunt is also a pretty awesome painter and I had a great great-grandfather who was a relatively popular artist. We have a ton of his paintings, mostly landscape stuff, but they are great. I also have three younger half-brothers from my Dad’s side who live on the east coast. 

ST: Mom, Dad or both? Together/ divorced? (I realize this question may appear odd, and I certainly am not looking for the dirty details, but I have discovered that many talented men, who end up in the music/fine arts industry, have come from single-parent headed households. As well, all of these single-parents were highly supportive of their sons’ endeavors.) Were your folks supportive of your interest in filming? 

CM: I'm not really in the music industry per-se, so this question probably doesn't apply as well to me, but I'll answer it anyways. My parents are divorced, and I stayed with Mom for the most part. She purchased my first camera (that had firewire) when I was around the age of 12 ... it was an expensive present. She witnessed me wear out her VHS-C camera (which I discovered at about age 8). She was very supportive of me using the house to stage and tape epic gun battles with my friends, everyday.

ST: How old were you when you filmed your first ‘just for fun’ video? Was it of paintball, rollerblading, skateboarding? Did you edit and provide music/dialogue, or was it a silent clip? Was it a collaboration?

CM: I started reenacting scenes of movies from when I was really young – I was probably about 8 years old, or so.

I'd use the video camera for everything, including video replay for street hockey to judge whether or not the puck had crossed the line. I pretty much always filmed, and whoever was filming would always direct.

I think I was about 11 years old, when I discovered you could edit on a VHS player and use the audio dub button on the camera to add Beastie Boys’ tracks to my chase scenes. This was an EPIC DISCOVERY. I remember being like, “NO WAY!”  I became much more obsessed at that point. 

ST: Have you ever worked with Mac’s iMovie software? If so, what did you think of it?

CM: No, but I know it’s similar to what I’ve learned to edit on for PC... Ulead Videostudio was my brand back in my pre-teens; then Media Studio Pro and Adobe Premiere when I was a teenager. I’m not sure imovie even existed at that time.

(Ed: Came out in 2000) The first computer I cut on was a  Pentium , just above a 486 processor. It was brutal and would crash so frequently, after a long day’s work, and I would get extremely upset. 

ST: When did you start to enter filming competitions? What was your first competition, and how did you place? ?

CM: I used to enter a lot of little kid festivals (student film festivals). I won a few but I don't remember the exact first contest I entered.

ST: I noticed you in a clip, “Who is Your Hero?” and you stood out because a) you were so young, and b) you were so confident that you would be your own hero, given your actions in the future. (Which begs the question – was the line scripted, or was that a sincere response? )

CM: That clip isn't of me. I don’t know who that “Colin Minihan” is or why my name is linked to it, but I do like what he said. 

Here's the clip we are talking about and yes, he looks nothing like Colin... BUT given the child’s name, and  his unique and independent response… could you blame me for the error?

ST:I read you won the Willie Mitchell Classic when you were 19 years-old. Did this win provide you with much needed equipment, or was the Panasonic HD video camera ‘so-so’, in that it met only some of your filming needs? 

CM: It’s a camera I was happy to get it because I was broke, out of film school, and without the win I would have been stuck shooting on SD for awhile longer. I did film my first Muchmusic  breakout videos on that camera. It’s a great camera - pretty beat up now, but it stills works.

ST: What other contests / competitions have you entered and/or placed in? Do you ever get nervous or shy, or are these emotions not part of your vocabulary?

CM: I used to submit videos and shorts to all kind of little contests and film festivals when I was a kid, but since I've started working mainly in music videos the annual “contest” in Canada would be the Muchmusic Video Awards. It was a good time when I won “Director of the Year” at the 2009 MMVA’s.

I’m not that cool. I get nervous, but I deal with it. I don't get nervous about directing an artist, or talking to executive types. I get nervous over stupid things, like a driver’s test or doing an interview. 

ST:What music/bands were you listening to when you were 15 years old? What music do you listen to now? As a music fan, do you find that you become obsessed with a band for a few months and then move on, or are you loyal to a group, buying all their CDs?

CM: I was into all sorts of music at 15. I used to love Blink 182, Matthew Good, and Beastie Boys. I was obsessed with the “Freak on a Leash"  video by Korn. I’m not going to lie, I downloaded so much music when Napster first came out, I totally f**d myself out of ever having a huge budget in music videos. The record industry could not recover. I single - handedly crippled them with my downloading, using my 56k dial up modem. (ha) 

ST: Given that you’ve been so busy filming throughout your teens, were you able to complete high school? How did you do, overall, within the confines of formal education? 

CM: I graduated from high school with good grades. I really wanted to get the hell out of Port McNeill so I worked really hard in grade 11 and 12 to make sure my grades would be good enough to be accepted into a university where I could do a film course. 

I was good at studying the night before a test, and then forgetting everything as soon as the test was done. This of course did not help when the final exams came, but by then it was too late because my grade was already high enough that it wouldn't drop that badly. I received a few scholarships that allowed me go to film school, pretty much for free, after high school. 

ST: What wise words can you offer those students who are 15 years old and stuck between their idea of freedom (driving) yet still too young to access anything extracurricular/ of interest /’fun’ outside of school? Or what would you say to those teenagers who believe the high school typecast temporarily forced upon them (by an overbearing clique is merely a sign of things to come?

(Sadly, I have spoken to enough teens who have resigned themselves to a future which echoes their abysmal school experience.)

Perhaps someone young, driven, and successful, can show these teens that high school is merely a blip in one’s life and hardly a predictor of future successes. (hint, hint)? 

CM: I honestly think hard work pays off more than talent, brains etc... Talent and brains may allow some students to shine in high school, but then what? …

If you are willing to work hard, put in the effort, and work harder than everyone else you know, then your efforts WILL pay off in some way, shape, or form, in your life. 

This is a good habit to try and pick up on in high school, or at least during grade 11 and 12. Let’s say you have a friend who is going to get an A+ on an upcoming test, even though he doesn't study... Meanwhile, you’re an average student who will  fail if you don’t study... So, study your ass off, and get that B+. Eventually your studying and hard work ethic will pay off, and your slacker friend will end up playing video games all night while you go off and write and direct a feature film… or whatever... become a doctor… (And remember, drugs will hold you back, the same as not studying, or believing your stereotype.) 

ST:Was there any one person, or several people, (teachers, relatives, friends, etc.) whom you can point to and say that person definitely helped me while growing up because…? 

CM: I’m going to save my thank-you speech for an awards show. (Swanktrendz couldn’t find a clip of Colin’s acceptance speech for his 2009 Director-of-the-Year Award. So I think we still deserve an answer, Mr. Minihan. We’d be happy if you forwarded or emailed a clip or send us an answer…)

ST: At what age did you officially leave Port McNeill? 

CM: 18 years old. 

ST: Were you ever into Nirvana, or Eminem, when you were younger? 

CM: Both

ST: List five of your favourite movies, either for plot, or for filming style. 

CM: I just finished my first feature film – a horror film. Cold Spots. So instead of listing my all time top five films, I am going to list my favorite horror films in celebration of this. 

1: ALIEN 

 2: The Thing 

3: The Fly

4: The Blob

5: Halloween 

Side Note: Colin also created a film titled, Choice . It took him two years to complete. He wrote the screenplay in 11th grad,e and filmed it in 12th grade. According to Colin, keeping the actors involved for that amount of time was the biggest part of the challenge. Choice received the Best Cinematography Award  after a showing at the Mini DV Festival in Hollywood, California.

Work Questions 

ST: Do you agree with this comment: “Canada has a habit of eating and spitting out, rather than supporting, its young talent?” Do you agree the music industry/ media will not acknowledge Canadian talent until the ‘talent’ has been embraced elsewhere? For example, once Canada learns that Europe, and/or the USA, has become fond of our home-grown (yet ignored) talent, Canada suddenly welcomes these artists into our tightly-guarded cultural community; proudly introducing them as “Canadian Talent” to the ‘world’ (same world that originally accepted aforesaid artists). Your thoughts?

CM: I had written a long answer to this but I’d rather not talk about our Canadian music scene in that kind of detail. All I can say is that there are a ton of big bands in Canada that remain only big in Canada. 

ST: In what way do you feel  Myspace  has impacted the music industry (good or bad), and thus impacted the role of directors, producers, etc.?

CM: Myspace  did not impact the industry to the same degree as file sharing did.

I think Myspace is a much more positive place – one that coexists with the record industry. It allows very easy promotion of tour dates, introduction of new music, fan interaction, chats with the band, etc. Social media platforms, in general, are a huge thing for any band (for promotion) as is Twitter. It lets their fans feel involved, or closer to the band, and in turn, makes the concert experience more exciting for the fans, more profitable for the labels, and so on.

You can click one button and you’re in  itunes,  purchasing the music you heard off a  Myspace site. Myspace also reinforced the importance of videos... it solidified the fact that the music video continues to have a place in the music business.

Now that everything is viral, you get a lot of bands who request more crazy and unique video ideas, rather than the ones t-decoration: underline;">Muchmusic or MTV play (the ones that are safe and formulaic). In turn, you get a lot more people and video makers pushing the music video envelope into really cool and new directions.

ST: I think your videos are intriguing, artsy vignettes which introduce overt and subtle techniques. I love your attention to unique framing (with regards to subject/object) Sorry, I have to resort to photography terms as my videographer/ filmmaker lingo is subpar… (okay… nonexistent). Your work contains fascinating editing techniques: stop-starts, etc. and you clearly have a firm grasp on manipulating subject lighting. I’m curious as to how you ‘see’ a scene unfold prior to using the light/shadows, black/white contrasts, etc.? 

CM: I generally have a good idea as to the complete colour pallet, and style of lighting that I want to use for each video treatment that I write. This comes after some pre-visualization, or it can happen right away, pending on the feeling you get from the music.

Different approaches fit different concepts and I like to challenge myself, whether that means doing a video full of long choreographed takes; a video that is done entirely in stop motion, or one that has a more classical, cinematic feel to it. It all depends on the vibe I get from the music, and what I see when I close my eyes or stare off into space.

I would hate to limit my work to one kind of visual style - which so many directors do in this business...

I think diversity, and being able to jump between genres, is an important thing. I have no two videos that look exactly alike. I’d be bored as hell, if I did.

ST: Did you ever considered yourself a guerilla filmmaker (never waiting on a studio – but rather doing it for yourself)? I often think of Steve Martin’s panned (one I enjoyed) film, “Bowfinger”, as it shows a filmmaker/director desperate enough to work around the rules/ excutives/ studios.

CM: I would never wait for a studio to green light something in order to make it. In fact I just co-directed and co-wrote my first feature film, Cold Spots, independently. We are in post-production right now. It’s a horror film and I am stoked that we were able to pull it off.

My company (that I incorporated when I was 18) is the compa ny behind it; as well as a few small investors, and off we went. It was one of those situations where we were just sick of waiting around for others, despite being capable of doing a film on a lower budget. So we said, 'fuck it' and off we went to prove to The Man we could do it. Now we gotta sell, sell, sell, SELL IT. After we finish post, of course. See bottom of interview for a synopsis of Cold Spots.

ST:  You ‘appear’ to be laid back and relaxed on your video shoots. Are you just being kind for the cameras or do you just take things as they come, and not sweat the small stuff? Are you secretly OCD? Are you up all night, correcting every little ‘perceived’ mistake? 

CM: It just depends on how the video is going. I can be a stress case and yell for no reason, or I can be chill and relaxed. It just kind of depends on how the battle is going that day, and if we're losing light.

ST: I’ve studied and I can’t seem to identify your filming ‘tag’. Most directors have a video tag, be it RT’s, filmstrip intro, or Sigismondi’s unique jittery, jangly tag. Unless, your ‘tag’ is how you interplay light with dark, and/or how you juxtapose the two? Perhaps it’s your use of water? I’m sure you and your close friends know exactly what identifies a film/video as a “Minihan, but could you please enlighten the rest of us?

CM: Most directors do not have a tag. Not that I'm aware of. Honestly, I think it’s a bit silly to attach an intro, with your name on it, before every video.

Anyone who knows my style, or knows my work, can spot a video of mine within a good 20 seconds of watching it. Unless, of course, I’m being really experimental or something. Directors don’t need a tag to have an identifiable style. I cut all my own work and I think this is a big factor in being able to identify my work, I also am very hands-on with DOPs. Often times, I'll take the camera and operate it, myself, or I’ll DP the shoot, myself. 

I think having a strong editing background is one of the most important things a director can have going for them. I don't want to put crazy film roll-outs; grain on every video I do, just for an identifiable image or 'tag'. Like I said - diversity ....

ST: Do you choose the general theme/ storyline for the video and present it to the artist, or does the artist come to you with an idea and ask you to elaborate upon it by bringing in ‘the art’? 

CM: I generally come up with the treatment plan for the video, but the artist might want to tweak it (or collaborate on an idea right from the get-go). It’s cool, either way.

ST: How many times do you listen to a song before a scene begins to materialize in your mind? 

CM: Sometimes 100 times, sometimes once. It depends on if a track is easy, and you get the idea you like right away. Others are harder, and you have to force it out, or pass on them. This is why every music video director ‘stock piles’ treatments that they have written for songs which they did not land the job for... Funny, but true. 

You find yourself having a ‘stock pile’ of 20 video ideas you've written in the past, which can be adapted easily to a new track you’ve been given. It might seem a bit of a 'rehash' but, to be honest, these ‘stock pile’ treatments (that were originally rejected by a label or different artist, and haven't been seen) end up being adapted into some of my all-time favorite videos that I have made. 

ST: Do you hand select the extras who appear in the shots, or does a casting agency simply send the ‘type’ you’ve requested over? Does the band have a say in who appears? Do you ever get dreaded requests? (e.g. “I really want my girlfriend/ wife/ mistress/ boyfriend/ mate, whatever, to be in the video?”) 

CM: We do casting through agencies for actors or models. Generally speaking you get a ton of head shots sent over for the types you are looking for and then you meet or audition the top picks. Sure, sometimes a band member will want their girlfriend to be in the video. I’m pretty cool with this kind of thing, though. It can only obviously work if the treatment allows for it or if they have the right look for it.

ST: Do you still use MediaStudio Pro for music videos, or could you please suggest better software and camera? What equipment would you suggest to others for a feature length film/movie? 

CM: Lol this is a funny question. I stopped using a PC to edit on when I was about 18 and I've been using Final Cut Pro ever since. Final Cut Pro is great... use that. 

ST: Is the fish head Mother Mother’s tag, or was that something you thought of? I really enjoyed O my Heart. Was it difficult to film? 

CM: I think Mother Mother wanted to incorporate the fish somehow from the album artwork on the first video. It worked so well on ‘O My Heart’ that I pitched doing it again for the ‘Body Of Years’ video. Those were two really experimental and interesting videos to make, I had a great time on them - cool band, too!

ST:Who is Cody Mielke and how did the two of you meet and come to work together?

CM: Sadly, Cody and I do not work together anymore. We met in film school and the relationship ran its course. He was my friend / producer.) They worked on Choices together.

ST: How many countries, locations, have you traveled to for your work? Any stand-out exotic/ fun locales? Could you please share some? 

CM: I did a Hedley video in Barbados and I got food poisoning. It made what would have been an awesome trip a nightmare. I also shot a video in Cuba and that was pretty awesome. Aside from that I’ve shot in the United States numerous times, and pretty much everywhere in Canada - aside from Montreal. I want to go there.

Colin's Life In Front of Cameras

Colin's Life in Real Life

Colin Minihan’s Random Videography

Here is a random videography of projects Colin Minihan has directed/ co-directed. Again, I must remind you this is only a sampling of this 25-year-old director's body of work. I am sure I have missed many (so please feel free to add to this list). 

A huge thank-you to Colin for being a good sport and allowing us our online interview. I do understand how busy he is, and hopefully his final consensus will be that the interview is fine, as is. 

Random Videography: 

Aaron Pritchett "How Do I get There" 

Armchair Cynics “Ablaze” 

Cherry Bomb 

Elise Estrada "These Three Words" 

Faber Drive "Tongue Tied" 

Faber Drive "When Im With You" 

Faber Drive " Sleepless Nights” 

Faber Drive "Get up and Dance" 

Faber Drive "Give Him Up" 

Faber Drive "You and I tonight 

George Canyon "Just Like You" 

GOB – “Banshee Song” 

Hedley "Don't talk to Strangers" 

Hedley "Never Too Late" 

Hunter Valentine “Revenge” 

Jakalope "Witness" 

Lillix – “Nowhere to Run” 

Marianas Trench "Cross My Heart" 

Marianas Trench "All To Myself" 

Marianas Trench "Celebrity Status" 

Mother Mother "O My Heart" 

Mother Mother "Body Of Years" 

Obsidian "Ultimate Disaster" 

Papa Roach "I almost told you that I loved you" 

Protest The Hero "Divine Suicide of K" 

Social Code "Bomb Hands" 

Social Code "Satisfied" 

Social Code "Everyday (late November)" 

Social Code "The Shortest Line" 

Ten Second Epic "Suck It Up, Princess" 

Ten Second Epic "Count Yourself In" 

Ten Second Epic "Life Times" 

Ten Second Epic "Avenue Days" 

Ten Second Epic "Old Habits Die Hard" 

Theory of a Deadman "Bad Girlfriend" 

Theory of a Deadman "So Happy" 

The Flatliners "Eulogy" 

The Set "Echo Head" 

The Set "Survive" 

Colin Minihan is interviewed on Urban Rush: August, 2010

Brief Synopsis for the movie Cold Spots

(New Film co-written and directed by Colin Minihan)

The film centers on the five-person crew of "Grave Encounters, a ghost-hunting reality show, which is shooting an episode inside an abandoned insane asylum.

After interviewing numerous witnesses who claim to have had paranormal experiences there, they lock themselves inside the massive building and begin their investigation.

To their delight, strange things do begin happening - objects moving on their own, ghostly voices echoing through the halls - and they capture it all on camera. But they soon realize that the building is more than just haunted - it is alive - and doesn't want them to leave. Doors that should lead outside only lead to more hallways, as if the building itself is changing. Time appears to pass, yet every daytime expected reveals itself to still be night. The crew is confused and frightened.

The crew has found themselves trapped in an impossible nightmare, hiding from the ghosts of the crazed patients who haunt the building, slowly picking off the outsiders one by one.

As food and water run low and the crew desperately search for a way out... but not before unearthing the truth behind the asylum's shrouded past...

Someone is managing to capture their final film close-up - their demise - on camera!