If you’ve never heard of One in the Chamber, well, you’re about to.
A hard rock band based in Toronto, Canada, they bring a fresh sound to rock and roll that boasts a unique punching power and swagger – just when you think you’ve got their style figured out, they pull out the ol’ rope-a-dope maneuver and put you on your ass.
I recently had a chance to “digitally” sit down (thanks to nobody’s friend COVID-19) with the band’s drummer and de facto manager Gerrod Harris to discuss the band, their music, and what’s coming up for them. Gerrod also highlights some takeaway advice/experiences he can offer to anybody trying to carve out a name for themselves in the music business.
Me: Hey, Gerrod, thanks for joining me today. Some crazy times out there, but thanks for reaching out and getting back to me so quickly.
Gerrod: No problem Mitch, thanks for having me. And yeah, it’s a weird time for everyone right now, but I think it’s a weird time, especially for creative people.
Alright, so I’ll just dive right into things. Let’s start with the band. I listened to your entire discography, I listened to the single (Blow) quite a few times actually just to get familiar with it – it’s pretty good! I’m excited, you know your guys’ style… I can’t really put my finger on it. So that being said, first and foremost, why don’t you just tell me a little bit about the band. How’d you guys get started? How long have you been together?
One in the Chamber started about 5 years ago… coming up to about 5 years now. 2 of the members, Cecil Eugene on lead guitar and Christian Dotto on bass, they’re from Mississauga. Our lead singer and guitarist Mike Biase, he’s from Richmond Hill, and as for myself on drums, I’m from Markham. But there’s not really much of a scene in York region *laughs*… so it’s just easier to say you’re a Toronto band. So yeah, we’re a Mississauga / Toronto rock band.
So how would you describe your music? You know, for me, I listen to your stuff, and I kind of pick out a bit of a Velvet Revolver vibe almost… but that’s not it. You have these melodies and riffs that are more reminiscent of classic rock or an 80’s rock sound, but then your guitar tone or a chorus melody will switch things up, and it’s just completely different. So let’s hear how you’d describe your sound.
Well, to me, we’re like a classic rock band. We’re kind of in the same vein as a lot of these up and coming bands in the United States like Them Evils or Black Top Mojo and Canadian bands like Crown Lands or The Wild!. We’re kind of in that classic rock… I don’t like using the word revival because that sounds like a fad – but we sort of have that classic rock tone, and I think that’s the basis for us. That’s where it starts anyway, but then when we add all of these different things and styles and that’s when it gets unique.
Okay, so do you guys have any primary influences? Any specific bands or sources of inspiration?
Well, we’re all different and that’s part of it.
Mike is a big classic rock guy, so for him, it’s all about bands like Led Zeppelin, Guns N Roses, and Motley Crue. As for Chris, well, he’s a big metalhead… like I mean a BIG metalhead, and so Metallica, Pantera, and a bunch of different progressive metal are where his background comes from. Cecil is actually just all over the place. He loves pop music; he loves rock music. Honestly, he loves and hates the most interesting things that you would just never guess… and he also went to jazz school! He went to York University for jazz, which is actually where I met him because I was also at York for jazz, so there’s a little bit of that jazzy-ness in there in our sound.
As for myself, I’m very similar to Mike. I love classic rock. But you know I also love a lot of 90’s rock. That comes from my drumming instructor when I was growing up. He was born in the ’80s and grew up throughout the ’90s, so every week he was bringing things to me that I had never heard of before. You know, I grew up listening to stuff like Aerosmith and Led Zeppelin, but then he’s bringing over Soundgarden and Rage Against the Machine and stuff like that… so for me, that drastically changed my musical direction.
So if you look at all that, when the 4 of us kind of get together in a room, there’s a lot of different ideas that surprise us. There are a lot of ideas that naturally we react like “that’s a weird sort of twist” or “I don’t know if I like that or hate it” … but it’s just because all of us have ideas and we’re all coming from different places. For us, that makes things really cool and fun; it makes it different what we’re playing. Because of that, it kind of leaves things really wide open.
That’s pretty cool. I would have never guessed the jazz part, but then hey, maybe that’s why I had such a hard time putting my finger on exactly who you guys sound like! So how would you say your creative process works then when you guys write your music?
When we first started, everyone was coming from different spots musically. Cecil had already been in a couple of bands, and so had Chris and Mike. I had only really been in a high school band and a couple other jazz things at that time. So Cecil and Chris were bringing in a lot of their own material that they had written before, and we were kind of adding stuff to it. That’s where our first demo EP comes from… it’s a lot of songs that were written as a group but started off as nearly completed songs from individual members. After that point is when we kind of started sitting down together and actually writing music.
Everything on our 2018 debut studio EP, “I’ve Got Something to Say,” is a very collaborative effort, and I think that’s what makes it so different from the demo EP we put out before that.
So now, our process is that different guys bring in very rough, very foundational ideas like a riff or a chord progression or a melody into the practice space, and then one of us will kind of jump into it. We’ll be jamming on it for a little bit, and as we’re jamming, it just kind of grows. Sometimes it grows into a full song, and sometimes it doesn’t. I find it to be very organic. It’s a lot of fun musically for us to actually sit down as a group and put different pieces together. At time’s we’ll just stop playing and be like… “okay, well, how to do we get from here to here?” and then we start to connect those dots.
Do you guys all write the lyrics? Do the lyrics come first?
The lyrics are primarily written by Mike and Cecil. Actually, scratch that: they’re only written by Mike and Cecil *laughs*.
Musically it’s a group process; everyone has input on everything. But lyrically, I don’t even attempt… that’s not something that I do, and lyrically Mike and Cecil are fantastic. They just come up with these ideas, and half of the time, I don’t even know the words. Like, come on, I don’t need to know the words I’m the drummer! *laughs*.
But we’ll be in the studio and Mike will be singing his vocal take and that’s all I will be able to hear, so when he comes out from the vocal booth I’ might say something like “Oh my god that was brilliant!” and he’ll reply “Oh you liked it eh?” *laughs*
So do you guys write the lyrics after the music? Or do you have some written beforehand?
It’s weird, I don’t think once someone’s brought in lyrics and said let’s write a song around these lyrics – I don’t think we’ve ever done that. But between Mike and Cecil, they’re both walking around with these little books that they’ve always got words written down from ideas that we never finished or ideas that they had written but never got put to song. So usually we’ll be jamming, and then Mike will drop what he’s doing and run out to his car and he’ll grab his book, and then he’ll be flipping through it trying to put a melody to some of the words he’d think would go with whatever we’re playing. Or sometimes he’ll start writing as we’re playing.
Like I said, it’s all very organic. It would be tough to say that the lyrics are a starting point because sometimes they already exist before the song does.
I like that, I dig it. Alright, so I know you guys just released a single, Blow. Are you guys working on anything else right now?
Yeah, so as you know, we just released Blow with a music video and everything. At least, for the time being, we just want the focus to be on the single, promoting it, and the music video. But of course, we’re working on other things too. This whole coronavirus situation has changed things a bit, but we’re working through it.
That’s good to hear, I’m looking forward to what comes next.
So, I’m just going to ask: do you have any favorite or cool stories from your musical journey thus far? I know that I have stories for days from mine…
Yeah, I mean, when you play in a band for 5-10 years, you have lots of cool stories you never thought would happen. You have lots of just shit-show stories that act pretty much as a sign to where the local music industry is at. One of our early shows – I think we signed up for it through it for Sonicbids… Which in itself for anyone listening – don’t sign up for Sonicbids *laughs*.
Oh yeah, I definitely made that mistake once too.
That was a lesson that took a little longer to learn. We signed up for this record showcase sort of show. We show up, we’re holding our instruments, and we actually had to pay to get into our own show – all of the other bands had also paid to get into the show. Then the promoter who put it together was there for maybe 5 minutes at the door. Supposedly, he was at the door for a few minutes where he put on this awful video on a projector; it was like a homemade newscast saying that this was his label, and it was doing big things. It was… *groans*. But you know for every story like that, you get a good one too.
For example, in our first year, we got to open this huge show; it was huge for me anyways. It was huge for the band too, but for me, well, two of my favorite bands are Stone Temple Pilots and Velvet Revolver, and we got to open for Scott Weiland at what would actually be his final performance. Ever.
Yeah, he played Adelaide Hall on what I think was December 1st, 2015… and yeah, the next gig was the one wherever they found him when he had passed away on his tour bus before he actually played the show. So you know even at the time it huge for me, because it was like “Oh my god, I got us this gig opening for one of my absolute heroes” and then he was gone. Just looking back now, it’s… well, you know.
The last one. Ever. That’s just, man that’s… that’s a story.
Like now, I’m sitting here, just imagining what it would be like to open for a personal hero… it would be like me opening for Ozzy Osbourne, and then afterward, he kicks the bucket or something. I mean, that’s going to happen sooner than later now, I’m sure… if you listened to his last album it’s pretty much a farewell letter.
I loved that record. I don’t typically rush out to listen to Ozzy, but the fact that Chad Smith from the Chilli Peppers was on drums was enough for me to be like “Day One, I’m going to listen to this,” and I was just blown away.
It’s really not like anything else in his body of work. But when I finished listening to it, I felt it was perfect for its time. Like, I’m not somebody who’s going to rush out to listen to Post Malone anytime soon, and he’s featured on a track, and then you’ve got a song with Elton John – which I ask “how did these two guys never collaborate before?”, or “why are they doing it now, or if at all?”. But somehow, it all just worked.
So I know you mentioned the Sonic Bids thing, and I think that is excellent advice in itself, but do you have any other advice from your experience that you would give to other bands or musicians who are just getting going?
Even now, 5 years into things, there’s always something to learn. There’s always something that’s like “okay, I wouldn’t have done it that way, but this is the way that we have to do it,” and you have to ask yourself how you can adapt.
Photo credit: top left – Melissa Aquino, bottom left – Nicole Wolfe, right – Gary Munroe
Take right now, for instance. All of our gigs have been canceled, but we still have this single coming out with no live shows to promote it. This was supposed to be the big year of drop the single, drop the music video, play everywhere in Ontario and Quebec, and then do more content in the fall. And now it’s… “okay, how do we continue doing this without shows?”.
So we’re figuring that out. Live streaming looks like a good option… but for every live stream that I’ve watched, most of them are just not as exciting as I would have hoped, or the quality sucks, so again it’s like, “how do we do this right without busting the bank?”.
I think when you’re starting a project, whether you’re just starting it, or you’re in the middle, or you’re deep into it… staying open, putting the time into it, and just taking the time to figure things out is what you have to do. You know, think about what makes the most sense for you, and don’t be afraid to have to learn how to do something new for the sake of the band.
I never used to use photoshop, and now I design all the essential posters for the band. I took a simple website that we had on Wix, and I’ve done everything to completely revamp it and update it. For the social media aspect, I try to make sure to take the time to figure out things like the best time to post or how to post to reach people that aren’t already following us.
There’s always something to do, and there’s always something to learn, and I think that as long as you’re willing to kind of put in that time, you’ll eventually start to find your way.
Great advice, Gerrod. I think that’s pretty much all I have for you today, so I’d just like to say thanks again for joining me here at The Creative Wealth Project! I really dig the single, and I am looking forward to more material in the future!
Thanks Mitch, it was a pleasure chatting with you.
You too Gerrod, keep in touch!
You heard the man folks, it’s out now, so without further adieu, here’s the video for One in the Chamber’s new single “Blow.”
Be sure to follow the band on their website and social media listed below to check out their other tunes and keep up with all that’s happening with One in the Chamber!