Victor Tavares photo
See Apostle Of Hustle at the Rivoli tonight and on Feb. 15.
You, the listeners, have given Apostle Of Hustle some very eclectic requests for cover songs on the band’s MySpace site. But they claim that if you want to know which of your picks they’re going to play, you’ll have to attend the gigs.
“It’s a fun thing we thought we’d do,” front man and mastermind Andrew Whitehead says of the list of candidates. “It’s interesting to see what people want us to play. We’ve had requests for Gershwin songs, Albatross by PiL; We’re considering Let Me Fix My Weave by Missy Elliot … What cover are we going to play? Nah, we’re not giving that away.”
Here’s what we do know: The Broken Social Scene spinoff project will be touring its second effort National Anthem Of Nowhere for the next few weeks. With fellow BSS members Julian Brown (guitars) and Dean Stone (drums) in tow, Whitehead will bring a salsa-driven electric pop to venues around Ontario for the next few weeks.
While the disc has a distinctly Spanish flavour, Whitehead says that the sound has also been influenced by a number of global sources exotic to the North American ear.
“I’m a world music fan,” Whitehead says. “But I don’t like that term, ‘World Music.’ We all make world music, even in North America. I love North African Berber music, Greek music with its freaky time signatures, Cuban, Indian and Japanese. My favourites are Spanish and South American.”
Whitehead won’t divulge too much about how the process from inspiration to execution, however, one such example being track Rafaga, a poem by Spanish writer Garcia Lorca set to music. He’s worried that over-analyzing it would destroy the esthetic value of the work.
“I don’t know how it has an influence,” Whitehead says. “But you don’t want to know too much about how the process works. You enjoy it more when it comes through a sort of myth. You’re a conduit.”
Along with the diversity the side project affords them, Whitehead says their incarnation as Apostle Of Hustle lets them play around with their craft at more intimate venues.
“We like the smaller places because we get more plays in, we get ourselves together,” Whitehead says. “At those shows we work out the improv stuff and experiment a little bit. A Broken Social Scene show is less personal because the venue is bigger.”