| SEP 20 - 26, 2001 | VOL. 21 NO. 3
John Crossingham's Raising the Fawn is an occasional side project that turned into a full-time band. Begun as a quiet home-recording antidote to the loud rock of Crossingham's Thanatopop group, the Fawn soon swelled into a four-piece soft pop ensemble. The group's self-titled, self-released debut is delightfully understated, only occasionally breaking above a whisper. Get close when Raising the Fawn open for the American Analog Set at the Horseshoe Wednesday (September 26).
What's the worst thing about playing quiet music in loud rock clubs?
It's really not as bad as you'd think. Some people are drawn in by our lack of volume, and I think people are more self-conscious about talking when everyone can hear them. You're currently looking for a new drummer.
What three qualities wouldn't cut it in a new Fawn recruit?
No loud drummers, no busy drummers and no budding singer-songwriters. One drummer-turned-songwriter in a band is enough, thank you very much.
The first album was written entirely about your girlfriend Lesa. Any burning topics for album #2?
I just moved to Toronto, so that's been occupying my thoughts lately. Most of the songs are still about Lesa, though. Trust me, you don't want me singing about politics. I'd make a shitty Bono.
If quiet is the new loud, what's the new quiet?
I'm not sure about the new quiet, but I once heard someone say that slowcore is the new prog. I guess you should be expecting capes on the 26th.
Last two great things you heard?
Unwound's new Leaves Turn Inside You has been an unexpected and gorgeous surprise for me. Also, I just saw Deep Dark United. It's like seeing Another Side Of Bob Dylan and Coltrane's Ascension colliding onstage. The best live band in the city.