In the depths of southern Ontario, nestled between Canada’s most dangerous super-highway and the banks of the laconic, ironically-named Speed River, there is a mid-size town called Guelph, also known as The Royal City. More recently, because few people can recall the historic reasons for that Victorian-era subtitle, and because it is more appropriately musical than royal in the twenty-first century anyway, Guelph was rechristened as “The City of Music.” And it is, in fact, a community that takes its music to heart, having sent forward any number of its native sons and daughters in indie band formation. It is also the base of the Hillside Festival, another local effort with international effects, most notably for introducing music lovers to early versions of such acts as Broken Social Scene and The Arcade Fire.
It was in this strangely creative setting, or more accurately on its somewhat more mundane south-end suburban fringe, that Memoryhouse was conceptualized some five years ago.
Memoryhouse didn’t actually set out to be a band. It took form as a collaborative project meant to serve as an artistic outlet for composer Evan Abeele and photographer Denise Nouvion. Evan, a dedicated student of classical music and a pop-music encyclopedist, intended Memoryhouse to be a multimedia art project, pairing his instrumental compositions with Denise’s photographs and short films. Combining their musical and visual artwork seemed the most promising, and least unhealthy, strategy for battling archetypal adolescent angst worsened by the paralyzing effects of Canadian winter. What they wanted was to test ways to blur the boundaries between genres, to weave a synthesis of music and photography. As Denise explains their collaborative cross-media process, "we start with photos that we…
Memoryhouse formed some five years ago in the depths of Southern Ontario, Canada, in a mid-size town called Guelph as a collaborative project meant to serve as an artistic…
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