The Toronto, ON-based avant garde pop artist Valery Gore began her musical career with formal training at the piano when she was 8. Gore’s classical training was further developed into conceptual songwriting when she studied jazz at Humber College.
The release of her her debut effort put Gore on the map as an artist to pay attention to as she developed a reputation for highly innovative songwriting and composition. In fact, her sophomore effort Avalanche to Wandering Bear was praised by Exclaim Magazine as “one of the best written and produced albums of the year.”
Gore’s forthcoming third effort. Idols in the Dark Heart may well put the Canadian singer/songwriter and composer on the international map as you’ll hear on the jazzy, yet moody and sensual first album “Amsterdam,” a composition that consists of piano, bass, strings, swirling electronics, drums and Gore’s unhurried but throaty croon. Sure, the song manages to have an old-time pop feel but it manages to be both accessible and modern; after all, the song, much like the entire album, manages to evoke the turbulence of almost all human relationships including the sensations of love, loss, nostalgia and self-doubt in a way that should feel familiar as it bears a resemblance to the likes of Fiona Apple.
What advice would you give to a new band about tour ediquette?
Always be kind to your promoters, security, or anyone at the venues who is working with you to make you money. If you’re opening a tour package you’re not on, say hello and introduce yourself to everyone if you get the chance, and encourage them to watch your set, but don’t get pushy about it. They’re more likely to watch your band if you seem like a chill bunch of humans instead of needy weirdos. Most of all play every show like it’s packed out and the biggest set you’ve ever played. Don’t get wasted before hitting the stage, and don’t be dicks when there’s only 3 people watching. Those three people paid to see a show, so give them a reason to each bring three friends with them the next time you come to town.
“Beware of self-indulgence. The romance surrounding the writing profession carries several myths: that one must suffer in order to be creative; that one must be cantankerous and objectionable in order to be bright; that ego is paramount over skill; that one can rise to a level from which one can tell the reader to go to hell. These myths, if believed, can ruin you.
If you believe you can make a living as a writer, you already have enough ego.”—David Brin (via writingquotes)