WAVELENGTH 'ZINE | DEC 9, 2001 | WAVELENGTH #93

Purveyors of: Bedtime music to inspire complicated dreams
Pictured: Julie Booth, Scott Remila, John Crossingham
Not pictured: Guest drummer Steve P. McGrath
Illustration by: John Crossingham
Web: http://raisingthefawn.tripod.com
Email: thefawn@hotmail.com

It's been a helluva year for John Crossingham and Raising The Fawn since first playing Wavelength last December. They've released their first full-length CD, opened for Mogwai and gotten the thumbs-up from the local press, while offstage John has become one of the friendly faces behind the counter at Soundscapes. Their Dec. 9 Wavelength will be their last gig before taking a break to work on LP #2. Buddy Milton drops the smartass act for a sec to ask Mr. J.C. some insightful questions.

Have you ever noticed how certain songs sound better in certain seasons? Why the hell is that, and which season are you most attached to?
Because certain chords and melodies just bring you to that "place." It's an intangible but very real thing. Like the Rheostatics: nothing makes me feel happier in winter than a fresh snowfall and Whale Music. Sublime. Personally, I think we are an autumn band. Lots of minor chords and slow passages, but still plenty of harmonies and shimmering parts.

Would you rather hear new music, or music you already know but in a new context (i.e. in a car, on a cheap tape player on a porch up north)?
I guess new music. I enjoy hearing new things that other people are doing, new places yet to be discovered. However, context is everything. I remember driving up to Montreal with my Broken Social Scene bandmate Andrew Whiteman and playing the Shuggie Otis reissue. I already enjoyed the album, but he was hearing it for the first time and grooving on it hard. His excitement was so contagious that I really felt the album like never before.

How would you describe your songs visually?
Wool sweaters. Piles of fallen leaves. Faded family photos. Your lover's exposed collarbone... and a discarded ember threatening to burn down the whole fucking forest.

What's the last thing on your mind before the first note and first thing on your mind before the last note?
"Jesus, am I shaking!" (nervousness) "Jesus, am I shaking!" (excitement) Give your own reasons for wanting to "squash all beef"? Well, our guitarist Julie would probably want to squash all beef because she is a vegetarian. I want to squash all beef into hamburger patties, although I'm much more partial to fish and chicken. I dunno... This is just one of those dumb questions, right? 'Cause I'm kinda like, " 'Squash all beef'? Is that one of my lyrics?"

What chord progression would you like to play to animals?
G, E-minor, C, D: It starts off curious (G), becomes wary (Em), gradually gets more trusting (C), and finally ends with big lick (D). Kinda like meeting a dog for the first time.