by Kathryn Kyte

I’ve debated writing this type of piece for, well over a year. When I first took in the notion (circa la 90’s?) of indie as a label definition and indie as an image—I immediately knew it was a slippery slope of convoluted checkmarks and disses, all ending in the question of “what is indie?” Rather than sit here and metaphorically describe the latitudes and longitudes of modern music, I felt the need to further delve into the complexity of the not indie, not mainstream perspective.

In recent months I’ve come across a slew of new artists, a joyful scan of longstanding and notable musicians; and still have trouble understanding why some acts are intrinsically cool while others have to worry about the colour of their Gibson, just to get noticed. And, there seems to be this level of prestige associated with independent artists for doing it the “non-label” way. Doing what exactly? Playing shows? Making music? A writer for example still creates and doesn’t stress and boast about being an independent writer.

Noticeably there has been a shift in the contextual lifestyle of indie. Interestingly now, some acts receive a multitude of exposure, hype and psyched followers—perhaps so much so that “lowering” themselves to the genuine indie circle, seems daunting, and a step backwards.

In simple terms, it’s harder to sell indie artists on the indie scene unless they have no fan base and are in need of attention. If they have it or can taste it, they’d rather do it rockstar styles and opt to neglect the very industry that attempts to feed them at times when the main paycheck doesn’t come through. Aka, the “mom I need money” model.

Does it anger me? No, I didn’t make up the name indie, nor the underlying meaning of it. Does it make me question the integrity of artists these days? Perhaps. Does it make me wonder when music became so cutthroat and snooty, yet full of simply terrible bands? Always.

Then I inadvertently start thinking about acts that are still seen as indie and the groups that are trying desperately to change-up shop, repeatedly noticing how a name has basically shaped and disabled an industry. Does being indie make you cool? Or does it hinder you from being totally cool? Ahem.

by Kathryn Kyte

For those who made it out to the Designer Drugs show a couple weeks back at Mod Club, you may have been blown away, or a little disappointed; I’m still in contention. There were definite peak moments of ‘Riot’ with a somewhat seamless transition between tracks, but I suppose the music feels different depending on what substance of choice has been worked into the mix. For me it was a light drinking—I was one of the few. Regardless of my subdued behaviour the anticipation of Designer Drugs plagued me happily with thoughts of bump n grinds and convulsions, a dance euphoria indeed. I saw many of this.

It can be hard to find an opening ensemble that doesn’t stray too far from the sounds of the main act (especially an act like Designer Drugs), nor become too on par with the synth-production that is commonly attributed to DD’s buzz-blasting beats. There needs to be variety, but at the same time a good warm up to get the knees shaking.  Luckily, the boys from DVAS graciously combined their own jumble of electronica into a live show that made you groove before over-blasting the booty. Recently hitting top spot on Canada’s National Earshot Electronic Radio Chart ( beating Crystal Castles, uh huh!) the Toronto band continue to lock in the nods. 

We caught up with DVAS, Jered Stuffco to talk music, DVAS and their new album!

Explain the background surrounding the Society video.  Was it a collaborative effort? Any special insertions that should be noted?
Toronto’s Shark Teeth Films had a good concept and blueprint for what was going to happen. They did an amazing job of getting the casting done and getting the location ready. They came to see us at The Boat in Toronto and figured that the band showed well in that venue. Thus, that’s where it was shot.

You first released a bunch of mix tapes to get your name and sound out there, was this effective?
The mixtapes were a lot of work and a lot of fun and they are pretty much the only place you can get a lot of DVAS remixes and edits. Those won’t appear anywhere else. I think if a mix is good, people will get into it. That said, there are way too many now and I will likely never do another mixtape because the market is flooded. I’m better off spending my time at the gym or learning a Steely Dan song on piano.

Your music tends to have a pop-induced electronica feel with a lot of airy disco beats.  Are you conscious of your sound and stick to a certain formula (if you will) or try improvise and roll with it?
Nah there isn’t really a formula. But it’s often imbued with what I’m listening to at any given time. Most of it is pretty on-the-fly. I’ll sit at a keyboard and bang out some chords until something sticks. “Forever,” off our last LP, was written like that. I sat in my room chain smoking and playing chords until something good came out.

What has to happen for you to know you've "made it"?
I think we made it at our second show, back in 2004, when people were dancing and up front and having a good time. For so many bands back then, even having people stand close to the stage was a rarity. Everything since then has been gravy.

Do you believe in instant stardom? How important is image in all this?
Image is way too important these days. I mean, it’s out of control. I think that many people don’t really hear music at all. Instead, they hear with their eyes and with their genitals.

Great to see Kid Static taking in your tracks, any particular acts/musicians you're gunning to work with?
Yeah I’d like to get Diamond Cut in the studio. I’m also working on a remix for my friends in The Russian Futurists. I did some studio work with my homie Cadence Weapon recently, and I’m doing a song with these Brits named Futurecop right now.
I wrote a new song recently that would be perfect for Jay-Z. Not sure he got my email, tho.

What's one of your struggles as a young, Canadian act?
Just reaching an audience. It’s hard because there are so many great acts out there. Money is always tight, but if you enjoy music, then you have to do it.

To date your BIGGEST accomplishment is:
Personally, keeping a long-distance relationship going for three years with my wonderful girlfriend. Musically, it would be finishing the song Society. It took 18 months.

You just opened for Designer Drugs at Mod Club. Was that intense? How important is the opening act these days? What do you expect?
I was glad that people liked us. I was a bit concerned since DD are so heavy and synthetic sounding. It’s hard to compete with a DJ since they are playing compressed, produced music. But I think we did ok!

Catch DVAS alongside Foxfire and The Magic, September 9th @ The Drake