The Fall of the Winter Palace
01. The Welcoming Committee
02. The Longest Fall
03. Ostalgia
04. My Resistance is Low
05. Idaho Hights
06. These too Safe Seas
07. Slack Sabbaths
08. Burton and Taylor
09. Under the Pavement
10. Neither Here Nor There
11. Bourbon Kings
02. The Longest Fall
03. Ostalgia
04. My Resistance is Low
05. Idaho Hights
06. These too Safe Seas
07. Slack Sabbaths
08. Burton and Taylor
09. Under the Pavement
10. Neither Here Nor There
11. Bourbon Kings
home > artists > stirling
On the band’s MySpace page, Stirling claim that they “miss the Evil Empire” and “take back the bad things they said about it.” Though the sentiment shouldn’t, perhaps, be taken too seriously (the page also mentions that the rhythm section has made a killing on pyramid scams), it does point to the band’s deep interest in history as well as their nostalgia for a time when the album, not singles, was the dominant mode of thinking about music.
While they are somewhat reluctant to call The Fall of the Winter Palace a “concept album” they will admit that their shared obsession with 20th century history (Matt used to teach the subject) provided the thread that ties it all together. Perhaps this explains the presence of songs that deal with such seemingly unrelated topics as the Canadian downhill skier Dave Irwin, 1950’s movie starlets, Cold War ideologues, and doomed French autocrats.
Concepts aside, going into the studio, Stirling wanted to avoid writing a record fit only for listening to through headphones at home. Ed Zych, who both recorded and produced all eleven tracks, intuitively understood their desire for big guitars and drums, a step away perhaps from their more piano oriented debut, Northern Light. This shift in musical style became almost unavoidable when the band’s lead singer and rhythm guitarist Matt Booi ran into some ne’re-do-wells after a show in Toronto last summer. The altercation left him with a broken hand that allowed him to still hold a pick but that made playing the piano almost impossible.
The result is a disc that balances the glam of David Bowie with the strut and velour of Jarvis Cocker—an album that is, above all, meant to be heard live. Roxy Music, The Jesus and Mary Chain and the ghost of Talk Talk all make an appearance in the reverb-laden textures emanating from guitarist Josh Dallman’s amplifier. It is this attention to mood and atmosphere that is the cornerstone of Stirling’s particular brand of dial-twirling, frequency-taming, pedal-engaging and Bowie-inspired hollering.
Filled out by Jeremy Gontier (bass) and Mike Rivet (drums), Palace was recorded over a period of more than a year. Its success has led to features on Much Music’s show “The Wedge” and a spotlight on MTV Live. They have shared the stage with the likes of Elbow, Kasabian, the Futureheads, the Duke Spirit and the Russian Futurists and have played across the pond in Berlin and London.
On the band’s MySpace page, Stirling claim that they “miss the Evil Empire” and “take back the bad things they said about it.” Though the sentiment shouldn’t, perhaps, be taken too seriously (the page also mentions that the rhythm section has made a killing on pyramid scams), it does point to the band’s deep interest in history as well as their nostalgia for a time when the album, not singles, was the dominant mode of thinking about music.
While they are somewhat reluctant to call The Fall of the Winter Palace a “concept album” they will admit that their shared obsession with 20th century history (Matt used to teach the subject) provided the thread that ties it all together. Perhaps this explains the presence of songs that deal with such seemingly unrelated topics as the Canadian downhill skier Dave Irwin, 1950’s movie starlets, Cold War ideologues, and doomed French autocrats.
Concepts aside, going into the studio, Stirling wanted to avoid writing a record fit only for listening to through headphones at home. Ed Zych, who both recorded and produced all eleven tracks, intuitively understood their desire for big guitars and drums, a step away perhaps from their more piano oriented debut, Northern Light. This shift in musical style became almost unavoidable when the band’s lead singer and rhythm guitarist Matt Booi ran into some ne’re-do-wells after a show in Toronto last summer. The altercation left him with a broken hand that allowed him to still hold a pick but that made playing the piano almost impossible.
The result is a disc that balances the glam of David Bowie with the strut and velour of Jarvis Cocker—an album that is, above all, meant to be heard live. Roxy Music, The Jesus and Mary Chain and the ghost of Talk Talk all make an appearance in the reverb-laden textures emanating from guitarist Josh Dallman’s amplifier. It is this attention to mood and atmosphere that is the cornerstone of Stirling’s particular brand of dial-twirling, frequency-taming, pedal-engaging and Bowie-inspired hollering.
Filled out by Jeremy Gontier (bass) and Mike Rivet (drums), Palace was recorded over a period of more than a year. Its success has led to features on Much Music’s show “The Wedge” and a spotlight on MTV Live. They have shared the stage with the likes of Elbow, Kasabian, the Futureheads, the Duke Spirit and the Russian Futurists and have played across the pond in Berlin and London.
- reviews of The Fall of the Winter Palace
- READ Caitlin Hotchkiss Chartattack interview (May 2005)
- For more information about Stirling visit their website: stirlingmusic.com
- Find Stirling on MySpace.