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Benjamin Russell‘s excellent new album is an amalgam of avant-garde modernity, earthy tradition, and Brian Eno-like eccentricity. When the self-produced  Rockhill (TCBE Records, 2010) hit the CIAMM desks this week, it was instantly noticed for its uniqueness. There is a brave, progressive vibe at play here; a production conducted from a vantage point above many a lesser player’s peak. Little was I to know the true width and breadth of Benjamin’s artistic expression, and  family approach to his creativity. Prolifically talented as a young Saskatoon performer, his wandering spirit eventually brought him to Montreal, and the love of his life, Elyce. Together, they grew a whole musical family around themselves, and the roots of a music career that now spans 14 albums garnering national acclaim, and some 500 songs committed to paper…Literally, this man’s music is his life.  His other form of expression, in the visual arts, adds yet another dimension to his fierce creativity. Benjamin is very generous with his abilities, many, of which, he shares as a music producer for an array of indie Canadian artists. Whether by paint brush stroke or music note, there is always evidence of an uplifting, unified strength in his work.

Learn how Benjamin Russell shaped his whole life in the pursuit of perfect expression, and of his long road to get there. To succeed on so many levels, you need an artist’s vision, so CIAMM presents this feature to serve as inspiration to all of our artists to Stick To Your Vision. We speak to Benjanim Russell, for this exclusive interview, via email, in the days leading up to the band’s next appearance at NamasThe, in scenic Ormstown, QC.

Download Let It Be Real, From Rockhill, featuring JF Dumais

Are you strictly a studio act?

The short answer is no.

Live performance comes and goes for me. Over the years I’ve performed in venues ranging from busking in the street to art gallery concerts, to clubs (I played the Rivoli in Toronto, and Club Soda in Montreal, for example) and I’ve played live on TV.

There have been long periods of retreat into the studio. I’m a painter too and for me, the recording studio is where I can prepare a sonic canvas and paint with sound in ways I can imagine, but couldn’t really do live without some serious fakery.

I love the freedom to do whatever I want. Whoa, back that up! I’m not free at all. I have a slave driver of a muse forcing me to do music that jumps from one genre to another in ways that would drive a band crazy. The studio is the only place I can make it work. Right now, I’m in a live phase. I’ve got my muse back in the bottle long enough to have played some shows over the last year, and I plan to do more.

Are there any live music opportunities in the horizon?

Yes. I want more. Spread the word.

I love playing live whether solo acoustic, with a band or, as I did last night, in a trio with Sandra Chechik on keyboards and José Sierra on bass and guitar.

Here are some links of me playing with Peter Marunzak on drums (formerly of Luba), Peter Patrick on guitar (formerly of Naked Lunch), Sandra Chechik on keyboards and José Sierra on bass:

 
Who are your collaborators on this project?

They’re friends, some very talented people.

Sandra Chechik is a film composer (she has music in a Peter Greenaway film). I gave her a poem called “Time” and set her free to do her thing. The track on the album is her music and arrangement (I threw in a few bits like the electric slide work). Sandra is a keyboard player, but didn’t consider herself a singer. I forced her in front of a mic since she was in the studio, and she sang backups on “Magic”. She likes to sing now.

Jean-François Dumais is a producer and multi-instrumentalist. We’ve worked on a lot of stuff together, but only a couple of things ended up on this CD. “Believe” started with sampled drums. JF heard it and asked to play drums on it. He also added percussion on “Water”. You can hear him on my website in a song on another album called, “Let It Be Real”.

Peter Patrick lead player for Naked Lunch, a legendary East Coast psychedelic band, and one of the tastiest acoustic players I know, played on “Connection”. Pete has an impressive guitar collection. I hit on him to borrow his vintage Vantage 12-string electric for some of the tracks.

I co-wrote “Space”, “Breakaway” and “Garden” with my wife, Elyce. I’ve been collaborating with her for a long time and she’s written songs with me that have appeared on earlier albums.

“Belong” was written by me and Elyce with help from our son, Oliver.

“Quiet” was originally a pure punk song written by me, Elyce and my drummer from back then, Mike Bessette.

Fred Lemlin played drums on “Hunger”.

 
Where do you find inspiration for your lyrics?

I get some of my favorite songs from dreams. I try to turn my base self into gold, to tell the truth, not literally, but in some essential way. If the words don’t ring true, I’ll toss them, no matter how finely I think I crafted them. But I’ve learned that trying to talk about truth is like trying to pick up an atom with a pair of pliers.

Watch Starved, From Rockhill

 
What do you consider to be your main instrument?

If I were left on a desert island, it would have to be an acoustic guitar. That said, I play electric guitar as well. I love playing slide with lots of distortion and space. I also play bass, keyboards and percussions (not drums – I’m the opposite of ambidextrous when it comes to drums!) A couple of years ago, I had the urge to learn sax and found I love playing it as much as singing. It feels good.

Don’t let’s forget about the computer. That’s an important instrument in the studio. I played the funky little dobro licks in “Water” on the computer keyboard of my laptop. I am very comfortable with computers but you’ve got to be sure you’re controlling them, not the other way around!

Benjamin Russell Artwork is fully updated with a brilliant gallery of Benjamin’s multi-media expertise. Much like his music, he is most inspired by the people in his life, and beautifully depicts them in his distinguished style. Also of note, within the artwork of Rockhill’s design is a beautful example of celebrated Toronto painter Fred Herscovitch‘s hyper-detailed and surrealistic method. Art buffs, be sure to investigate!