REMAINING ITEMS FROM THE SALE. HAS TO GO, CONTACT US IF YOU ARE INTERESTED.
CASH AND CARRY or reasonable trades. Write us if you have trades propositions: aidswolf aaaaaaat aidswolf dottttt net
1977-79 Traynor Monoblock II
80's Peavey 4x12" Scorpion Cabinet
Monoblocks have been a staple in AW's sound since the beginning. That head arrived in the band when Myles joined in March 2007. He bought it originally from Tricky Woo's Eric Laroque back in his Ottawa days-- that's the bass amp on The Enemy Is Real, so it's kind of a piece of canadian music history. 125w at 8ohm, 250w at 4ohm, 325w at 2ohm (maximum load)--- and these are not peak RMS. No bullshit. The most versatile amp I ever played on. Bass or guitar, nice fuzz when the preamp is maxed, wide range EQ. On our albums that would be the sound coming from the right.
400$
This Peavey cab has been with us since the Electric End days. Normally houses four 12" scorpions (8 ohm 600 watts), but one of them blew on our 2008 US tour and we did not have a basket replacement (haaa, peaveys)-- on a sunday! We were in Austin, thank god, and we found a music store open, but could only find a Black Widow to replace it. And it just stayed there cuz it sounded pretty good like that. Comes with TWO Scorpion replacement baskets and THREE magnets. Has a great woody bass tone (see all albums since Clash of the Life-Force etc, left speaker).
350$
Jensen fitted Fender 4x12 guitar/bass cabinet
That's kind of a weird one. One of those 80's Fender guitar cab fitted with four italian 12" bass speakers. I don't know what I was thinking. 800w RMS, 4ohm. Works pretty good. Cab picked in Ottawa after a gig with Death from Above, speakers bought from the trunk of bassist of the Ripcordz's beater car on a sketchy corner in the Gay Village. Mostly used in Hamborghinni gigs.
220$
Traynor YT-15 2x15" bass cabinet
Ok. That was acquired when I was having this idea that I would build a crazy rig. Drove all the way to Sainte-Julie to pick this cab up. This guy just had all this Traynor gear; ended up there again to pick up a Traynor combo that is now played by Graeme from Pink Noise. Was part of the first AW PA rig in 2009-2010. One of the speakers is a 300w Electro-Voice, and the other one is some unnamed 15", I would guess about 100w? Handles loud volumes very well. Pretty stupid sounding. Has casters! Sounds great with an GK 800rb.
160$
Home made 15" bass cabinet with vents, casters
That has been with me since I moved to Montreal. Made every band I played in since. It's time to go now, buddy. Great, deeeeeep bass tone-- tons and tons of super subs 20 to 60hz. The cats just fucking luved it. You can dry your hair with it while you play. All you need is a speaker.
30$
Samick Greg Bennett Special Guitar
Well, well. That was Myles back up. The only time we had to use it was in Bremen, Germany. It is what it is. Quaint. We all wonder what Greg Bennett did too. Seymour Duncan humbuckers. Comes with a Black Feeling Cd and two pedal cables.
100$
Electric Blue Ibanez Roadster weirdly refinished and moded, according to one dude the humbucking pickup on the back is worth more than the guitar but i dunno. This was briefly my Ku guitar as well as my first aids wolf axe. Yannick declared the back pickup "too hot" which is like Chloe saying a meal is "too salty" or me saying a James Brown bootleg is "too funky and intense". Comes with giant acoustic guitar case with matching felt powder blue interior.
95$
12" guitar speaker, round magnet
Was originally in that Fender cab. 8ohm.
20$
12" guitar speaker, square magnet
8ohm. Works, no idea of its origin.
20$
Eminence Legend 1258 12" guitar speaker
8ohm, 75 watts. Yep.
40$
PAS Loudspeakers 12" guitar or PA speaker
8ohm, 100w
40$
Weber Classic Series British 12" guitar speaker
8ohm, 100w
70$
Weber Ferromax Vintage Series 12" guitar speaker
8ohm, 50w
70$
Ludwig 22" x 18" Bass drum wooden shell
Ok I don't need two kicks. This one can be yours. I never used it. Painted flat black by the same dude. MONSTER. Super loud dry kick with crazy sub subs. Kind of super used up though.
80$
Various drum hardware
Stool (the one with the black top): 5$
Weird thing to hook up your tom on: Free
AIDS Wolf T-shirts
Different designs, odd sizes
PAY WHAT YOU WANT
AIDS Wolf Releases
Well, you know what that is. Until we run out. Prices vary.
Ok Ok. So there we go. We officially broke up. Although we are doing some farewell shows in May. We are also having a short recording session scheduled before Alex goes back out west, to put the last tracks in the can. So expect a minor release somewhere soon.
But yeah, it's time to move on. The three of us are having projects that are getting more intense, and distance is a major factor undermining getting our shit together aesthetically, in order to keep drawing a continuity from previous works. Academia is getting more and more appealing, as both Chloe and me will start school soon, her finishing her undergrad and me applying for grad school.
AIDS Wolf's framework is too complicated to be a part-time endeavour. Also, it is not the most sustainable business economically--- although we always 'broke even', it is getting harder and harder to do so, and with our giant van and gear, we recently could not stop comparing ourselves with other bands and feeling somewhat like dinosaurs...
But that doesn't mean we will stop playing music. Alex is still fully active with Drainolith, Chloe and me will do the odd Hamborghinni thing, and who knows what happens next. Music has always been part of our collective praxis, and will be exploited one way or another by either of us.
This is an essay Chloe wrote pinning down our present state of mind way better than I could do. You should read it.
So my band broke up and I’m having a lot of feelings about it. I’m going to try to make sense of those feelings here.
My band is called AIDS Wolf and we started as a 4 piece noise-rock band in Montreal in 2003. Over the years with line up changes and the growing sophistication of our own tastes we became a trio in 2009 and started calling ourselves either Formalist/Unknown Wave or Abstract Rock.
When my beau and I started the band our expectations were pretty minimal. We’d already been in 2 bands together and each several bands before meeting. Him more of the garage and punk varieties and myself of the noise and industrial ones. We dropped out of university to do a major tour with one of our previous projects , to have one of our band-mates leave the day we got home. We’d already learned that relying on others for one’s creative pursuits was dicey even in the best circumstances. Besides, as Canadians we were geographically challenged on the touring side of things. We told ourselves AW would be a fun hobby and we’d play around locally and that would be that. But it wasn’t that. We started getting more involved and reaching out to American bands we liked to bring them up here and while accompanying them to play gigs across southern Ontario our fate became cemented, we become a touring band. A REAL band. The type of band we looked up to , the type of band we all went to see. It had previously had seemed so out of reach.
In the early part of the 2000′s there was a swell of noise-rock , noise and no wave influenced bands doing it seriously , some of them managing to find actual audiences. From Youtube clips of our early gigs we started getting contacted by labels in 2005 , settling on Lovepump United & Skin Graft Records to co-release our debut album , The Lovvers Lp in January 06.At that point we started touring pretty much non-stop in Europe , the US , even doing a week of gigs in Israel in ’08.
We did our thing pretty modesty, sometimes getting decent crowds in the bigger urban centers, much less elsewhere. After The Lovvers came out music bloggers and journalists more or less collectively decided we were total shit and disingenuous to boot so after a rash of spectacularly awful reviews, we mostly got left alone by media. It didn’t seem to matter too much , we had our context , we had a crew of like-minded bands & musicians who were also interested in sowing a more difficult row.
And because things always change, that did too. In ’09 we stepped back after our guitarist Myles moved to the UK to woodshed as a trio with Alex. New rig , new songs and an goal towards greater abstraction. Alex Ross’s The Rest is Noise had been passed around in the van and as a trio, going towards more a formal and disjointed sound seemed a natural progression.
So we stayed in the jam room for a year and wrote songs complicated enough that the only way to learn them was drilling them over and over for hours. My own lyrics got more abstract as I’d use made up words , vocal imitations of Alex’s electronics and plenty of stream of consciousness & cut up. During this time we wrote and rehearsed the material for Ma vie banale avant-garde.
Then , exactly a year letter we took in on the road and to Dub Narcotic studio in Olympia to record. It was to see that the setting had radically changed in the year we were woodsheding. For one , many of our peer bands had either disbanded , or stopped/seriously slowed down on touring. “I’m in debt and can’t afford the time off work anymore” they’d tell us , or “I want to start a family / go to grad school / get an adult job”. “I can’t face another empty room , it’s futile , pointless , ridiculous , demoralizing”. Same story everywhere and no surprise , we were getting older and so were our friends and what’s marginal at 20-something becomes much more so at 30-something or 40-something. But beyond many of our cohort moving on, there where significant changes in what was deemed “underground” , what could get booked where and under what circumstances. It seemed that as a bunch of 30 somethings in an extended van full of big amps and a loud as hell P.A. had become an anachronism.
All of the sudden bands doing ads for soft drink companies or department stores were considered “underground”. So where did this leave the actual underground, the one that couldn’t sell cars/soda/computers even if if wanted to? Because it was weird/ugly/dangerous/challenging? It left it in a cave.
In many smaller centers, our friends moved to the bigger cities, and we’d arrive in a college town where our previous crew had moved to Chicago/LA/Brooklyn/ect , each night was like starting from scratch.
But being the scrappers that we are , we got home and chalked it all up to bad luck / bad timing and got on mixing MVBAG , feeling chipper and more certain than ever about what we were doing creatively. Then the requirements for US touring visas changed. All of the sudden the price doubled & we needed signed contracts from every promoter 3 months before petitioning for the visa. As one might imagine , getting contracts from DIY promoters 6 months before a gig is as easy as teaching your cats how to play the drums. So the expenses are going up , the paper work is going wayyy up , the audiences are going way down and most of the bands we liked , if they weren’t packing it in , where seriously scaling back. The whole thing started feeling like more trouble than it was worth but we were so confident in our record that we went ahead despite any lingering doubts. We felt on top of our game , stoked to share our tirelessly worked songs , rehearsed to precision, with our peers. Then the actual tour happened, where by the time we had played to less than 5 people several gigs in a row , being a scroungy jammer seemed less like a fun hobby / challenging art practice and more like an exercise in humiliation. At at least half the gigs, the opening bands would split right after playing, without even acknowledging our presence. In New Orleans, attempts to chat with one of the opening bands got us eye rolls.
Myself , I had been contemplating returning to school for awhile at this point but there would always be a tour on the horizon. While my cohorts in the art scene were doing MFAs and getting gallery representation , I was playing a warehouse in the Midwest , a piss flooded communist squat in the Alps or someone’s living room in Texas.
As the front woman I was also getting pretty sick of the unending stream of misogynistic comments I’d face at our gigs , online or in the rare press coverage we’d get. Even more sick when I was told I should feel *good* about strange men verbally dissecting my body.
As someone who considered music making as part of an artistic practice , I was getting more and more disillusioned with the underground rock circuit. A lot of the time DIY shows was as shitty than the bar shows. Providing the background tunes for a party was not why I was putting this amount of effort/sacrifice into a project.Is a better context for underground experimental music too much to ask for?
Apparently it is.
So now Alex is not living in Montreal , I’m going back to school to be a 34 year old undergrad and we are still paying rent on a jam space to store our gear.
The vibrant scene we were part of seems to barely exist and it turns out that no one is actually interested in an hour long record of very formal harsh jams.
So we are playing our last 3 gigs in May. Not because we no longer get along , cause we do , and not because we aren’t happy with the actual music making , because we are. It’s simply not sustainable to be in this type of project for us anymore. 9 years is a long time to invest all of yourself in something that gets next to no feedback. It feels like the death of a loved one and we have to bury the body to keep the maggots away.
The only reason I even though to announce the breakup and not just do it quietly so our friends who live near by can come up to celebrate/commiserate with us, I posted it on our Facebook page. And then the blogs and magazines got up on it. It’s hard not to feel cynical when publications wouldn’t wouldn’t waste an article or review on us before are reporting on the breakup.
I posted on my twitter feed that I was crying for an end of an era as much as I was mourning the end of my band. But it’s not just that.In a sense it’s the end of myself. I’ve been in bands since I was 17 and I’m now 34. My self image is that of a jammer. A scroungy jammer. If I don’t have a band and don’t play shows am I still a jammer? If not a jammer than where do i fit in?
I’m not sure yet if this is the end of me making music or just the beginning of a long break but if it’s the latter I hope I can come back to it with ideas on how to create a new context for underground experimental music. A context that doesn’t revolve around youth culture or selling drinks (or anything else for that matter) or “entertainment” but one similar that that of performance art or that of musique actuelle.
All that said, I regret nothing. I stand behind everything we put out and despite the difficulties, frustrations and financial hits , it’s been 100% worthwhile. I’m proud of what we’ve done and glad as well as humbled to have gotten to play/work with the people and bands that we have. I don’t know I’d recommend this path to anyone else or if it’s even relevant to younger folks but I’m glad for the experiences because even the terrible ones become funny in time.
Ma vie banale avant-garde is our 4th album and our first one as a trio. It includes 24 tracks, and is released digitally and as a Double LP vinyl 12". Please note that capitalisation on titles is either following the french rule, or is purely intentional.
A Heaps of Sour Earth No Females on Board Despair Ritual Cinq à sept Wings of Inertia Nothing But a Tape Recorder
B Like PSHTS of Aerosol Volunteer Decoys Le cercle des ratés I've had such an acrid taste in my throat What's an aphid? London's not like back home
C Child of Wind, Creature of Dust Why bother? Pop a Candy Drop Subconscious Snacks on Ha Ha Self-defence Is Moral Dentistry Breeding Grounds Are Burial Mounds
D Chippers Takes a Sip Please hold the line The wise have no use for wisdom anymore Born Dead An Honest Miracle/Mistake Snuffed Out Dreams
Produced by AIDS Wolf. Recorded at Dub Narcotic, Olympia, Washington, October 2010. Engineered by Bob Schwenkler. Mixed by Bob Schwenkler and Yannick Desranleau. Mastered by Weasel Walter.
10/07/11 - Montreal, QC RECORD LAUNCH @ Musée d'Art Contemporain de Montréal w/ The Pink Noise
10/20/11 – Brooklyn, NY @ Death By Audio 10/21/11 – Cleveland, OH @ Now That’s Class 10/22/11 – Chicago, IL @ Empty Bottle 10/23/11 – Minneapolis, MN @ 7th Street Entry 10/24/11 – Iowa City, IA @ Gabe’s Oasis 10/25/11 – Lawrence, KS @ Replay Lounge 10/26/11 – Normal, OK @ Opolis 10/27/11 – Austin, TX @ 29th St. Ballroom @ Spide 10/28/11 – Denton, TX @ Rubberglove 10/29/11 – Hot Springs, AR @ tba 10/30/11 – Birmingham AL @ Firehouse 10/31/11 – Athens, GA @ Farm 255
11/3/11 – Miami, FL @ Churchill’s 11/4/11 – Tampa, FL @ Crowbar 11/5/11 – Orlando, FL @ Will’s Pub 11/6/11 – Atlanta, GA @ 529 11/7/11 – Chapel Hill, NC @ Nightlight 11/8/11 – Harrisonburg, VA @ Festival Ballroom at JMU
11/10/11 – Washington DC @ Comet Ping Pong 11/11/11 – New York, NY @ 92Y Tribeca 11/12/11 – Binghamton, NY @ Pajama Kazama 11/13/11 – Boston, MA @ Church of Boston
All October dates w/ Henry and Hazel Slaughter; all November dates & Halloween show w/ Unicorn Hard-On
29.07.2011 Kutna Hora (CZ), Creepy Teepee Festival With IMAGES (US), STAR SLINGER (UK), R. STEVIE MOORE & TROPICAL OOZE (US), JAMES FERRARO (US) & FOOT VILLAGE (US)
