We shot the theoretical shit with Montreal’s own Big Knife Little Knife the other week, while reviewing their latest LP, Anchor Rights. We asked the band a few questions that were inspired when listening to the new project. Why do they refer themselves as a band from the ‘90s? Exactly what is the reasoning behind them naming a song after a late female astronaut? This is what they had to say:
Raz Mataz Magazine (RMM): I saw your bio on Facebook. “DC meets Ottawa meets Olympia in the ‘90s” Why DC and why the ‘90s?
Big Knife LIttle Knife (BKLF): I grew up and started playing music in Ottawa in the ’90s, and it was a pretty fantastic era for punk rock and hardcore bands. Shotmaker, Okara, Union Of Uranus, Buried Inside and more were all part of the wave of music that was happening at the time, and the community in general was very open and supportive and healthy. A lot of my musical instincts were forged during that time. And I think any band doing the kind of music we play owes a debt to D.C. and Dischord records, and their aesthetic. To the same extent, K Records and Kill Rock Stars out of Olympia during that time were also quite important. So all three, both directly and indirectly, inform how we approach the band musically and otherwise.
RMM: How do you find Montreal is for the rock scene? Anything bubbling there? Any thoughts of moving to Toronto or south side to “get noticed?”
BKLK: The Montreal scene is great and it’s particularly exciting in that it’s musically quite diverse. Three of my favourite bands right now from the city — Girl Arm, Nanimal and Big Brave — couldn’t be more different, but they are all making terrific music. As for getting noticed in a commercial sense, we just want people to discover our music and hopefully enjoy it.
RMM: Is there a story about the tracks, “Christina McAuliffe” and “Put in a Good Word for Vlad”?
BKLK: I hope everyone can bring their own experiences to the songs, but generally speaking, ‘Vlad’ is about disconnectedness. “Christa McAuliffe” is about the first teacher selected to go to space, who tragically died in the Challenger disaster of 1986. In a larger sense, the song ties into the album title Anchor Rights, which itself is a play on anchorites, who were religious people who bricked themselves into the walls of churches. We feel like there’s a connection between that idea and people who go to space, since it’s total commitment of the body to the exploration of something otherworldly, even if death is possible or likely.
RMM: Any shows coming up? Touring the album?
BKLK: We’re working on some possible mid-western Canada dates, but nothing has been confirmed just yet.