7 weeks in Toronto. Zero social life. 4 Cameron House gigs with The Fugitives. One leather recliner chair that has molded to my shape. This is what making a record is like.

STUDIO!

Yes, I’ve been spending 6 days a week since New Year’s in Green Door Studio with producer John Critchley (Dan Mangan, Amelia Curran) and bandmate Brendan McLeod working on this new record. The Fugitives is basically just Brendan and I now (save for the wonderful musicians we hire to make us look/sound good) so all 3 of us got to know each other pretty well. Anyway, my label Light Organ Records will be putting out the new record in the Fall and we can’t wait.  But we will have to.

TOUR!

We are about to embark on a Western Canada tour in March. We kick off with a Vancouver show at the Biltmore Cabaret and then head out to Winnipeg and back. I’m delighted to say that my good friend Hannah Epperson will be joining us on fiddle for this tour and opening a lot of our shows. Check the tour dates page!

(Apologies to my friends in Brandon, MB. Scheduling doesn’t allow us to visit you lovelies this time but definitely in the Fall).

LIFE!

I don’t have one. Just kidding. Right now I’m pretending to be sick so I can finally finish watching the Wire. Then I’ll be able to get on with things. Recent good read: The Sisters Brothers by Canadian author Patrick DeWitt. Simple language but some of the most vivid scenes I can remember reading in a long time.

So on and so forth.

Glynn

When I was 15 and learning electric guitar i used to go home on Friday afternoons, turn up my amp (because there was no-one home to complain) and play Aneurysm and On A Plain as hard as i could. I’d jump around like a grunge animal and there would usually end up being blood spattered across the white pick-guard on my rental Godin and I’d collapse feeling like I got something out. Thanks, Kurt, for teaching me how to brood like a champ. And Happy Birthday.

Sorry for the hiatus, everyone. I’ve been very busy these last couple months with my other project, The Fugitives (www.fugitives.ca). We toured the UK before Xmas and have spent every day since New Year’s in a studio in Toronto recording our new record. I spend 14 hours a day on a couch! I’m like one of those recliner-bound people on the spaceship in Wall-E.

Anyway, you can catch me out on tour with the Fugitives in Western Canada next month, dates will be posted shortly.

In the meantime, here’s a little video of rehearsing a song with a string quartet in the studio last week (i wish i got to do this every morning): Strings in the studio

xo Glynn

This was shot in LA last year for the song Leavin Alone:

vimeo.com/33372184

Hey, sexy people from sexy towns. I hope you’re all smiling and well-fed. I know I am.

Thanks so much to all you Northern BCers for making that little August tour so fun- the Robson Valley Music Fest was magic and all the shows around BC were fantastic, thanks for the support.

I’m back into the theatre world, for now. The play I was part of in February, Chelsea Hotel- featuring the songs of Leonard Cohen, has been picked up for a second go round at the Firehall Arts Centre in downtown Vancouver. We open Oct 3^rd and run till Nov 3^rd, come check us out if you’re in this town. The details are all here.

No rest for the weary, though. As soon as the play closes I’ll be hopping on a flight with the Fugitives to England where we’ll be touring for two weeks, fueled by pints of real ale and struggling to stay on the left side of the road. We’ll be posting our UK dates very soon, they’ll be here on my site and on the Fugitives site.

And that will take us up to the New Year when the Fugitives will head to Toronto to record a new record. Exciting times!

Maybe it’s in preparation for visiting England again, but I am ingesting a lot of British culture at the moment. I finally began reading English author,  David Mitchell. I flew through his wonderful coming-of-age novel BlackSwan Green and am now onto Ghostwritten. I am also obsessed with a BBC documentary series called “Time”. It’s on Youtube. It’s one of those mind-blow type shows where your brain hurts after watching. At least mine does. Maybe my brain doesn’t get enough exercise.

Hope to see you soon.

October love,

Glynn

Hell-oh! I am writing this from balmy and bubbling New York City (mostly garbage juice that’s bubbling). I haven’t been to this city in a while and I have missed it. Too bad it’s so boring.

Hey, Vancouver show at the Media Club Tuesday night (July 17th) with two spectack bands, Bruce Peninsula and the Weather Station. Very excited for this show. Here’s the FB event: www.facebook.com/events/383224485047143/ and you can find tickets here: www.northerntickets.com/venue.php?id=3

Here is my response to the latest Lefsetz Letter re. Maroon 5 lyrics (the letter in question can be viewed here):

Dear Mr. Lefsetz;

I can’t do it anymore. I’ve been getting your letter for over a year now. Sometimes I’m intrigued by it, sometimes I don’t like it; sometimes I agree, sometimes I don’t. But what I’ve never been able to handle is your mystifying fascination with grade-school quality lyrics. You break down lines that are so cliched as to be laugh-out-loudable as if you’re deconstructing a Canterbury tale. Usually I just hit delete and try to ignore why an  intelligent man has the lyrical taste of an illiterate 13-year old girl… but today that changed.

When you got to the part where you were actually analyzing and paying homage to some of the least imaginative and embarrassingly boring lyrics I’ve ever heard in this new Maroon 5 song I actually thought you were kidding. I was convinced it was a wind-up. Your reaction to the line “you turned your back on tomorrow” was an emphatic “Whew!”. Really? This is satirical, right? But as I read on I realized that you were, in all earnestness, blown away by these lyrics. “I gave you my love to borrow but you gave it all away”. These are the kinds of lyrics that make so much popular music unlistenable. And yet you practically deify it.

I just can’t make sense of it. When there’s platinum-sellling artists like Springsteen, who are blue-collar, poetic geniuses, who say something with every song- whether it’s been said before or not, they give it depth and meaning. Or artists like Death Cab For Cutie, who still manage to write catchy-as-shit indie pop tunes but make almost every line mean something. Why are you, who has been privy to so much great music in your time, impressed by the dumbest shit ever written?

“You can’t expect me to be fine

I don’t expect you to care

I know I’ve said it before

But all of our bridges burned down”

What fucking bridges? This is dumb, Bob. Dumb and boring and awful. Children fail creative writing classes for stuff like this. If they don’t, they should. And yet, you’re putting it on a pedestal. You’re embarrassing yourself. You’re embarrassing me for (once) being a reader of yours. You are offering forgiveness to unforgivable music in a time when no such forgiveness need be offered. There is so much good music out there! So many lines of near-poetry embedded in catchy hooks. So many interesting and fresh ways to sing about old concepts like love and sex and fishing or whatever. But you waste our time and your brain cells on Adam Levine lyrics. This is why I can’t be your reader anymore. I hope you understand.

To close, I will offer a quote from the great Maroon 5 that i know you’ll appreciate:  ”Even the sun sets in paradise”.

It’s been nice reading you.

Sincerely,

Adrian Glynn

Hey, the label that is my recording label that is called Light Organ Records put out their summer sampler album today and it has a remix of my song “Bruise” on it (by Joel Armstrong) plus songs by The Zolas, Louise Burns, Adaline and many other wonderful friendlies. It’s only $5:

Go Here:  lightorganrecords.bandcamp.com/

zap.