| О себе: |
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● I was a young girl with big dreams living in a small town in southern Ontario, proudly called Bolton. Many would say I was quite an attention getter filled to the brim with energy and spirit, a loud voice and a will to capture the moment. So, when the day came that I was asked to sing on the spot in a hair salon, I performed as if I was playing for a million people. Little did I know I had just performed one of the most important concerts of my life.
It was that day, the little pink demo I made at twelve years of age, was passed on through a chain of connections in the biz. The lady in the hair salon passed it to her brother – a lawyer. He passed it to the manager of a young producer (James Robertson) who liked what he heard, so I wrote my first record with him. I played hooky to record in his parent's basement over the next year and crafted my debut album, Noise From The Basement.
It was during the recording of Noise From The Basement that I also discovered a love for stop animation films and made my first one for the song “Imaginary Superstar” using a shelf in my bedroom as the stage. It made such an impact that I was whisked away to Hollywood to get an infamous record deal! (By the way, all my friends totally flipped out!).
I immediately started touring everywhere on the planet. I went from summer camps, to 21+ clubs, to arenas with Britney Spears when I was sixteen. I conquered Japan like Godzilla and I even lived out my life long dream as the singing voice for Barbie in Mattel's DVD The Barbie Diaries.
Eventually, it was time for album number two, and I was more ready than ever to get back in the studio. I found myself in various basements in Canada... playing punk rock with my band, to jamming in James Robertson's pad, but in the end...I couldn't resist the wild howls of adore ya, scorn ya, California.
I was hesitant to join the LA writing machine, so I proceeded with caution. Through one way or another I ended up in the basement of Rancid’s Tim Armstrong writing upbeat summer anthems that really hit home. First there was “Ghosts,” a song about coming to a big city but not loosing yourself in it. Tim and I continued to write more tracks, and one in particular, “(Let’s Get Movin’) Into Action” was re-recorded for Tim's solo record. It made its way to the 1 most requested song on KROQ in LA and I had a feature role in the music video with Tim and the Aggrolites (Hellcat) which blew up on YouTube.
Then I got the call from my record label saying that the most in demand, production/writing team in the industry was open to writing with me - THE MATRIX!
It’s no secret that these guys are hit makers, and I was worried that I might come out sounding like one of the many pop/rock dolls that I had been compared to in interviews for the last three years. Not to mention, it was intimidating going from the basement to one of Hollywood's finest studios. Luckily The Matrix, (L. Christy, G. Edwards, S. Spock) were looking to expand their horizons too. Needless to say I ended up scratching out my “anti-Matrix” stamp on one of my guitars.
First up was the heavy hitter “Music Is My Boyfriend” which really nailed the direction I was heading in and how I wanted my record to sound. Once I knew what these guys were capable of, the ideas flowed out of me like a rapid river. “Human,” the rhythmic pop tune about separating yourself from the world became a hidden hit. “Cartoon,” “Make-Out Song,” and “Babydoll Gone Wrong,” are all songs that you don't even have to hear to make you wonder what kind of craziness went down in the studio.
It seemed appropriate to title this record SOUND SOLDIER! For I am a music warrior; defending noise in the fight against silence! I'm a tutu wearing new breed of doll with killer lipstick in my pocket. I stand for auditory extremes and a wicked fash |
