Pleased To Meet Me: Antenna93
Image: Cynthia Paturel
Introduce yourself... (Where are you from, what band do you play in etc..)
M. I’m Michael, drummer for Antenna93. RDP forever.
A. My name is Akira, I’m from around these parts. I play in Antenna93.
T. I’m Trevor, I play guitar in Antenna93. I’m from Montreal.
D. I’m Derek, the bassist of Antenna93. I’m from Montreal.
Why do you play music?
M. I’ve always been extremely passionate about music. Not sure I can really answer this, I don’t come from a musical family, but I started playing drums at 10 and have been enamoured with music, both playing and consuming, ever since.
A. Insatiable drive and lust for music. It’s like asking someone why they eat.
T. Music has always been present in my life, some of my first memories involve music, we always had the radio on growing up. Rock bands were like sports stars or superheroes to me, I loved learning every bit about them, their lore, their “stats”. I started playing guitar when I was 10 and it just connected. Since then, playing has always been such a great release to me.
D. Music is one of the only things in life that makes me truly happy.
What was a major influence on you as an Artist/Band?
M. Growing up, the bands I looked up to were bands important in the math rock/post rock scene (Don Caballero, Tortoise, Do Make Say Think). Anything with complex drumming and weird time signatures really.
I really believe we’re so lucky to be in a city like Montreal, with a phenomenal indie scene. More than anything, bands I got to watch at local shows really inspired me to take music more seriously. My two favourite local bands are Gulfer and Works. Always felt great to see bands taking risks in songwriting and structure and they both really inspired me to play the music I do today, as well as to seek out all the shows I’ve gotten to watch and play over the past few years.
A. Too many to list out. Ask me in person and I’ll happily give you an album or two.
T. On a personal level, I was lucky enough to have artists in my family as role models growing up. Through them I learned that you could make a living through art, so I was able to “lock-in” to the arts at an early age, mainly through drawing, but music came shortly after. Musically, Fugazi has always spiritually been my “favourite band”. Their ethos, their songwriting, their political engagement had me hooked from the start.
D. My musical influences came from many parts of my early childhood. The music in the video games I played, the music in the movies I watched, or whatever my parents would play me. These things all manifested into an intense obsession with listening to music, and the eventual interest to write my own.
What’s a favourite book or film?
M. I wish I spent more time with literature and film. Had a big Dostoevsky /Camus phase while in Europe, so I’d lean towards their books, but no concrete answer to give here.
A. Favourite book at thi smoment is The Boys from Brazil by Ira Levin. Favourite film at this moment is either Close Up by Abbas Kiarostami, Trances by Ahmed El Maânouni or Angels in America by Mike Nichols.
T. I haven’t read a book in over a decade, it’s too late to start now. I’m always a sucker for Paris, Texas (the colours are so gorgeous) and This Is England is a comfort-watch for me.
D. A book that comes to mind is Down and Out in Paris and London by George Orwell. Something about the way he described kitchen work made it relatable to me when I initially read it. Is it my favourite? I don't know, but I think about it more often than most of the books I read during my degree. Currently, my favourite director is this French dude named Jacques Tati. His movie Playtime is probably my favourite of his work. I watch a lot of movies, so my answer to this question might be different by the time you’re reading this.
Do you prefer the recording process or performing live?
M. In a vacuum, I prefer performing live. I get into the music more than most drummers I’ve seen and I think it shows. There’s something really beautiful about playing your music in front of a crowd. That being said, there is no better feeling in the world than tracking the music you’ve been working for months on and finally getting it recorded. The feeling of anticipation is unmatched.
A. Both have its fun aspects The recording process is a wonderful area to fill voids and have fun with sounds. Same can be said with performing live, but there’s a more physical element to it that is very nice. Hard to choose.
T. Neither. I’m such a fraud when it comes to knowing anything about recording or music equipment and performing gives me anxiety. I like writing music and connecting/communicating with people through music though!
D. Definitely recording. I love writing and composing in the studio, it's the part of music I have the most fun with. Performing can be fun as well, but I’m not much of a showman.
What would be a dream collaboration?
M. I already play with all the best musicians in the world.
A. None at the moment.
T. Perhaps contributing our music/performance to something outside of music, like playing an art show, something in the film or fashion world. I think using our music as a piece towards a bigger project would be super cool.
D. I would love to write a film score. So anyone who would let me do that.
Describe a favourite album.
M. Thingy – Morbid Curiosity is one of my favourite albums of all time. Not an album I ever hear talked about but its Rob Crow from Pinback (which is his least interesting project)’s band. I love really dreamy music but this album is just straight up math/post-hardcore with super technical parts, most songs <2 minutes, with crazy ideas. The musicians are insane and the vocal harmonies in 7 in Filament is one of the greatest feats of engineering ever conceived.
A Waka /J awaka + Grand Wazoob y Zappa. Both recorded at Paramount.Studios with essentially the same musicians. An incredible feat of multitracking technology, layering so many trumpets upon each other that you feel some shock looking at the liner notes and seeing that Sal Marquez is the only trumpet player on this album.
T. Women’s self-titled (2008) is always a favourite one to return to, and I think it’s one album/band that links every member of antenna. It’s such a wonderfully varied yet balanced album. Beautifully fragile guitars, disorienting rhythms, patches of harsh-noise, delightfully catchy passages that know better than to overstay their welcome, and respites of open ambience.
D. It’s not my favourite of all time, but I’ve been revisiting a lot of Tom Waits recently. I think his record Rain Dogs is one of my favourites. I remember listening to it a very long time ago, and just being so blown away by the sounds used in some of the songs. I’m pretty sure there's an anvil being used as percussion at one point. Also, the way his voice can be this harrowing yelp in one song, and then this sort of Springsteen-esque delivery in the next. I love his persona, and the oddity that is Tom Waits.
What's your favourite local haunt?
M. Bruno Sports Bar on Beaubien / Drolet. No other place in Montreal to consistently catch Brighton and Hove Albion games at 9am on a Saturday morning.
A. Breakfasts after crashing at my friend’s is the best at Corvette on Jarry. Corvette keeps their musicians fed.
T. Osmo from 9am to about 11am, afterwards it gets way too busy. Otherwise it's Jeane-Mance.
D. Billard Fats Pub, hands down. Although the last few times I’ve been, I noticed a change in the crowd, my favourite bartenders are no longer there, and the music being played has changed. Regardless, I had some of the most fun nights of my life at that bar. I love shooting pool with the homies.
What's your strangest experience while performing live?
M. With my old band, Ostrich Bouquet, we were playing a BSTB show at Esco and a girl had a seizure and fell over during our set. We stopped the song as she got up, laughing. After the show she told us it happens all the time and not to worry about it, but kind of hard not to be in the moment.
A. In terms of Antenna shows, not many strange things have happened, if anything I’ve instigated them by writhing on the floor or throwing a paperback sociology textbook into the crowd. However, touring with hojean in 2022 showed me the tiktok effect of crowd etiquette and it’s so odd, bordering on uncomfortable at times. I also got mistaken for Ginger Root twice, and I hope those people get their legs removed.
T. Probably when Akira threw the textbook at someone.
D. Definitely the textbook.
What are some of your favourite aspects of being a musician in Montreal?
M. The scene is great, and while I believe certain pockets of Montreal’s scene tends to be pretty same-y, the good bands are really great, and it seems like there’s a lot of support for one another. People tend to listen and appreciate when you’re doing something outside the box here.
A. Not sure anymore .I feel very disconnected from Montreal in more ways than one. Ostracized even.
T. I think, similar to Montreal as a whole, it’s eclectic and saturated enough without being overcrowded. There’s always something happening every night of the week, constant DIY
shows, there are always creative ideas and initiatives pushing through. It’s long-time “affordability” (although its definitely changing) has always granted artists more room to play and experiment. People typically make connections with people they’re genuinely interested in here, whereas in places like Toronto or NYC, the social landscape does feel a lot more transactional.
D. There are so many great bands in Montreal. Every time I go to a show, I get inspired to keep writing and experimenting. We have our share of pretentious holier-than-thou assholes here and there, but overall the scene is very welcoming to all forms of music and performance. Music aside, there are so many artists in this city. It is impossible for me not to feel inspired even just walking down the street in this town.
Has the current COVID-19 pandemic and quarantine influenced your creative process?
M. Like anything, it was a lived experience from which I could take inspiration lyrically. COVID really also inspired me to seek out what makes me happy, and in my case it is playing music. I’m in three bands currently, and I love it, something I wouldn’t have been able to do if my mindset hadn’t changed during the abject boredoms periods of COVID.
A. Barely, if anything it has stifled it.
T. I think it made me reflect on how important it is to savor the art that exists in real, tangible spaces. I’ve always made art that mostly exists in the digital ether, especially so throughout covid, so when we “returned to normal” it was so much more invigorating to be at shows again, to see art that my friends made in person, and not some cold VR or IG LIVE experience.
D. My creative process did not change during the pandemic. I think just being cooped up and alone, just made me realize how important music is to my well-being.
If you weren’t playing music in Montreal, where would you be ?
M. I have this romanticized ideal of traveling, especially in Europe. I spent three months in Europe last summer, and I really love Scandinavia/Iceland/the UK. Could really see myself in a place like that.
More realistically though, I really believe Montreal is the best city in the world. We have a lot going for us here, and considering how walkable/bikeable/transit friendly it is I would be very happy living the rest of my life here.
A. Not sure .I only play live with Antenna and DAISY at the moment.
T. I’d still be here making art. I’ve always wanted to live in the UK for a bit, but I’ve always had the sense that Montreal is where I belong.
D. I’ve only been overseas once, so probably somewhere overseas.
Any sage advice for young musicians?
M. Akira is going to give a more in depth explanation than this, but just enjoy yourself, and write music for yourself, that you’re happy listening to. Your fanbase doesn’t know what they want to hear, you have to provide that sound for them. Other than that, support the scene, support your friends, and go to shows. You will only meet musicians, make friends, and find opportunities by being passionate and supporting others.
A. The streaming model is a scam. Don’t believe in playlists or whatever, it doesn’t matter. Make cassettes or CD-Rs of your music as merch, personalize them. That alone will have more of an impact and longer shelf life than a link on a story. Make sure any work you do with people is in writing, especially if the people you work with have a lot of money. Working with friends is the best thing you can do as a human being, and reaching out for help from anyone is even more commendable than trying to prove yourself by doing everything solo. Learn all the stock plugins that come with your DAW so you don’t spend money on plugins that can do the same as what you have. Use what you have. Not having things is okay, limitation is better than limitless options. Communication is key, check in with your fellow musician friends and that can show how much you care for them. When making potential plans, have an actual date and time set instead of “soon”. “Soon” means nothing. If you ever get hired in the states, make sure the people hiring you are the ones paying for your visa since the costs for even a P2 visa can be quite a lot, especially when you convert it from USD to CAD. If they get weird about paying for visa costs, something’s suspicious. Join the Canadian Federation of Musicians via a locally recognized associated guild if you can, it helps quicken the visa process if you join beforehand and it also just sounds cool to say you’re in a guild. Livenation has a chokehold over a large chunk of the venues in North America, and they will do anything in their power to make more money than you. Look into how you can knock them down a peg. Remember that you are a worker and you deserve as many rights as every other worker in this world. Become a member of SOCAN or whatever other performing rights organization that applies to your area, it’ll come in handy at some point. Make friends with people in the states, you’ll never know. Know that people in New York who are transplants are going to be weird about housing you unless they’re punks in nature (Make it clear that you don’t care if it’s a couch). “I’ll//We’ll let you know” means absolutely nothing, and is the most hollow sentence anyone can tell you. Don’t trust rich kids. If you were to become rich from music, use that money to pay off debts or buy things you only deem is necessary instead of expensive items to show off. That can come later (or whatever, I’m not your Damn mom). Flexing can only get you so far till the world gets annoyed by you, and the world will get annoyed by it quick. Also, if the money starts getting good, please for the love of god keep a foot in the real world. Stay connected with friends who aren’t as lucky as you, read theory even. Don’t sequester yourself in the idea of monetary success, there’s a real world out there and you’re a part of it whether you like it or not. If you’re going to hire a manager, hire one who’s around a decade older than you. In other words, someone who has actual experience instead of your buddy who “knows people”. If you’re ever on tour and you’re autistic, it’s going to be tough and it will feel ostracizing, but it’s best to be transparent about that so people can
understand and provide a healthy support network to make you not feel bad. If they don’t show an ounce of care for you, they are not your friends.
T. It’s hard for me to provide much insight here, as music isn’t something I aim to pursue professionally. I’d say to make it for yourself over anything, celebrate it at its most rudimentary form as “communication”, as meditation, as healing. The landscape feels rather bleak, so I think managing expectations, focusing on your local scene, making friendships through music and always maintaining that sense of play are crucial to making the most out of this.
D. Write the music you want to listen to. If people like it, great. But don't ever bend for the sake of pleasing others. Don’t compare yourself to others either, there's always someone who can play better, looks cooler, and might have more success than you. If you spend your time looking at what others have, you won’t see what you have and take yourself for granted. Also, inspiration can come from anywhere. Listen to music of course, but also read, write, get a camera, watch a movie. If you keep working and expanding that creative muscle, it will make you better a musician, and a more interesting person.