Progress. It rarely comes from civilized people talking down, listening to reason, hashing things out. Most of the critical advances in human society has come from brief, awe-inspiring, and terrifying periods of forced change. Whether it’s the French Revolution or school integration or the space race, most vital changes in our lives only come when they’re absolutely neccessary – when there’s no other alternative. In some ways, the world of music is similar – before the powers that be pick up on a new trend, it usually requires the one before it to get bludgeoned to death by its own inanity. But unlike the constant arguing over major social or economic change, there, there’s always a sizeable contingent in music that seeks out innovation and isn’t afraid to dive into undiscovered territory : that, after all, is where the money is.

And like most organic processes, the next wave often comes from the least expected places. I ran into Drake’s Theory, a progressive rock band from the wilds of Edmonton, Alberta, as they promoted their debut album locally. The group has been around since late 2004, with keyboardist Albert Draper and basoonist (yes, you did read that correctly) Nathaniel Bautista as a late night recording project, and with time and chemistry, it blossomed into a few performances, featuring mostly acoustic guitar and bass songs, with the two sharing vocal duties. The more you listen to Drake’s Theory, the more you get a feel for how their songs are crafted and how they evolved as a unit – something like a human body, starting with a sparse skeleton and adding layers of muscle gradually.

Riley McNally joined the band as a drummer a couple of years later, and they started working on fresh material sometimes bringing their individual ideas to the table, and other times jamming as a group. Another year and a new guitarist later, the band’s debut record was ready – and Anesthesia Toximia is a monster that puts the free samples they’re giving out online to shame. I was really glad to get a chance to talk with Albert for a little while about life in the underground, Toximia’s lasting impact on the group, and how your Mom can occassionally provide you with more than moral support. We asked him about Edmonton’s local scene first…

Draper: The Edmonton scene seems like a series of detached “pods”, each pod unaware of the other’s existence. Different crowds for different bands, obviously, yet there needs to be more of a united front in getting these people together. Because of this disattachment of social groups and music goers, it is perhaps a little bit difficult to reach out to broader audiences.

When we play shows people are very interested in what they are hearing. I think it needs a couple listens to sink in fully. Sometimes people are expecting epic minor scales with a 4/4 beat (which can still be cool in moderation) and will only react to something that is familiar and stable. People hear our music and really enjoy it, but are left somewhat confused, perhaps with time to reflect and reconsider. All in all, people cheer. Loud.

Zeitgeist: But once it does, it really does. Drake’s Theory, like most good music, has something for you on first listen, but can really open itself to you on the spins after that. Of course, everybody who you run into doesn’t have a chance to listen to an entire record. When reaching out and making contacts in the music world, does your style prejudice people towards or against you? Neither?

Draper: As new entrants into this world, perhaps we do not have the experience yet to determine what sorts of reactions we may receive, but most people we show our music to are very receptive and are positive. Progressive music is dense, so it requires the listeners full attention and devotion to come through. While we also have minimalistic and simpler songs on the album they all come from the realms of creativity so we can just be honest with our songwriting and if people enjoy the songs, then EXCELLENT!

Zeitgeist: I was really impressed with the variety of backgrounds that I could hear coming through. What were your backgrounds musically growing up?

Draper: Lets see, [I had] piano lessons and classical training on woodwind instruments, some time in sea cadet marching bands. Nathaniel’s done vocals from an early age and is an enthusiastic bassoonist. There’s Riley, whose spastic and ferocious Canadian punk stylings [have] evolved into the status quo, and Mikail Oullette’s been a consumate guitarist since the age of 15.

Zeitgeist: And how have the lineup changes outside the core of the group helped to progress and flesh out your sound?

Draper: Going from strictly guitar and bass songs to adding drums and expanding to the piano as a driving device drastically changed things and was very challenging. Our new guitarist has challenged us to think in different ways, and also adds a raw and virtuosic element to the mix.

Zeitgeist: What’s the story behind the album cover? Did you reach out to a friend to design it or was it self produced?

Draper: My mother is an artist (http://www.landogallery.com/adeleknowler) and painted the front cover. It represents the archetypal human being in a black box, their limitations being represented by its confines. On the back cover, the box is gone, representing the metamorphosis to freedom through music.

Zeitgeist: Well, in that case, is there anything that you expect people to take away from hearing your material? Or do you think that’s a bit of a pretentious idea?

I hope that people take away the melodies and chords with them, lyrics too. If someone is humming a single part of one of our songs at any given moment, that would be the greatest compliment. I think the idea of absolute spiritual freedom through one album is as likely to happen as winning the lottery, however, I’m sure one can get a fleeting glimpse into this freedom if they are on the same wavelength as the music through deep listening. It really depends on the conscious state of the person listening as music is so subjective.

Zeitgeist: What’s your favorite track on the record?

Draper: To us, each song represents a moment in our lives- whether it be the memory of composing the song or the emotions and ideas the song brings out. So as artists who have made these songs, choosing a favourite would be impossible for each song holds something important to us in their own way.

Zeitgeist: Has the process of recording music – sitting, reflecting, hashing things out with others – changed your personality or made you look at other ways of solving problems in your life?

Draper: In a sense, the music is a repository for the problems and experiences we go through in life. The music takes on an alter ego persona as it embodies our own emotions and inspiration. I find the greatest moments inspirations for writing songs have come through sadness, although songs can drop out of thin air without any emotional attachment. Definitely though, I’d say that our own growth and maturity has changed and affected the music moreso than the music changing us or the way we deal with things.

Zeitgeist: The internet has done a lot to democratize the recording process, but it’s also decentralized it. Is the lower barrier to entry and the added voices worth the loss of the unifying cultural experiences we used to had when there were 5 albums everyone bough every year?

Draper: That is a difficult question. This new status quo seems really to be only in its infancy, so it is hard to ascertain whether there is a loss. For instance, with five must own albums a year, was it a cultural unification or simply a system in which the press and the music industry instructed faithful consumers which records to enjoy? Truly, timeless and amazing music has come out in this fashion and the power of press and cultural persuasion should not be solely to blame for music speaks for itself. Ultimately, I think that there is an invisible and powerful unification of people enjoying new music transpiring, but it is not being broadcast on a TV set anymore to give definition to its existence.

Zeitgeist: What would you recommend to people who buy this record and really like it?

Draper: I won’t go off the deep end here (and I can’t speak for the rest of my bandmates) but I would suggest an amazingly talented band from Winnipeg, Mahogany Frog. They have wild progressive soundscapes with melodies that you can hear once and remember for years fused with an explosive energy. Electric samples flow seamlessly with carefully composed song structures remniscent of jazz fusion meets english future prog. And for the hell of it, Elliott Smith- he is an incredible songwriter whose work will surely ensnare listeners who enjoy our more melodic pieces.

Guys, It’s impossible to overstate how vital Anesthesia Toximia is, both for fans of the genre and the uninitiated. Drake’s Theory has managed to put together one of 2009’s best records – something hardhitting, expansive, and unquestionably alive. This one’s a monster. Visit http://www.myspace.com/drakestheory for more awesome. And be sure to say hi to Albert’s mom.

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