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ment, but only recording will allow them to tap into a larger audience. As luck would have it, or perhaps history will someday call it fate, Drew’s father, David, owns Chalet Studios in Claremont. The Fringe must wait their turn behind previ- ously-booked customers, but target a six-song EP (extended play) for July (2009) release. Everyone of The Fringe’s generation recognizes the impact downloading has exerted on the modern music busi- ness, and their plans for the EP incorporate this reality. Where the Beatles, BeeGees, and Bangles relied on radio airplay and record sales to fill concert venues and gener- ate revenue, The Fringe will encourage free access to their music through Facebook. Appreciative listeners can sign onas “fans” through the site. Electronic word of mouth has the power to expand the band’s popularity exponentially, all without benefit of a record label’s promotion or radio station's endorsement. Two tracks on the CD are set, a pair of solid originals which showcase the group's stylistic diversity. New tunes, rehearsals, live concerts, recording sessions. It’s expected to be a busy year for The Fringe, especially if their EP earns favourable notice. hat happend over the past ten months... April: The Fringe’s wintertime concert plans abruptly evaporate. One band on the proposed program breaks up; one prospec- tive venue owner tells them gruffly he'll have “no punk kids running through his place.” Rather than crumble, the boys practise faithfully and Patiently seek alternate gigs. “nally, a break: The Fringe is among 10 bands invited to an outdoor concert. Not exactly Yazgur’s Farm (1969 Wood- stock Festival), yet another appreciative crowd. Both weather and audience favour The Fringe that day; 100 new fans register on Facebook. August: I'm impressed. John and Drew preview three songs from the upcoming EP. Though their initial July 1 release date’s long passed, they’re still buoyant with enthusiasm. “Recording was fun,” Drew comments. “But those were long days.” “Three more songs to do,” John adds. “We're hoping for September 1.” Barter has paid for their studio time. Drew’s parents, I’m given to understand, have a wealth of freshly-painted surfaces and the tidiest yard in the neighbourhood. November: Their growth is palpable. It's a silent confidence - absorbed gradually on the in- side, exuded eventually on the outside. This self-assurance doesn’t mean graduation from the Rock ‘n’ Roll College of Hard Knocks, but does indicate the completion of a year’s arduous study. “We learned a lot in the studio,” Drew recalls of the autumn sessions. “Some parts took time to fine-tune, but when you do ‘get it’ it’s satisfying. And we enjoyed experi- menting — some ‘happy accidents’ came out of that.” The group shared the Port Perry Town Hall 1873 stage with other acts as part of a benefit concert. Again, they experienced valuable “firsts.” “It was the first gig we worked with a sound guy and Pye nothing but original material.” They’ve maintained their live edge despite bassist Andrew's departure for university. Even that’s proven posi- we introduced a whole new audience to us,” John says. “Word of mouth’s so important to an independent group.” John’s comment offers a segue to their latest Facebook fan count. “3531” Almost in unison. Opportune circumstances continue to build the group’s momentum. As winner of the “Pickering Idol” contest, Drew claims a timely prize: free studio time, which The Fringe will use to record demos of new songs. But their whisper-close EP dominates our conversation. “We were lucky to have Ian Bodzasi producing,” Drew says. “He’s worked with some big names.” The iistmas season promised excitement for The Fringe beyond Santa’s visit. Still lots to learn, but their first career milestone is finaly i in sight. January 2010: John and I share the harvest of nine months’ working, learning, and dreaming. “Our producer did an amazing job,” he says proudly. But there's a caveat: this disc is the only one in captivity. “The music's done, now we're waiting on the packager,” he sighs. So what happened? “Equipment in the studio, waiting for the inside content (liner notes and song lyrics), scheduling conflicts.” “You must have fans clamouring for the cd,” I comment. John smiles back. “We've got soooo many people bug- ging us after revising the release date so often. Another couple weeks... and next time, no advance promises!” February: Some musicians contend the rush of playing live is their career’s highest reward. But all agree that holding their cd represents a moment of unbridled pride and excitement. After a year in the making, the boys’ eyes reflect that exhila- ration. “We learned about song- creation,” John says. “Some songs ‘grew’ in the recording proc The completed cd is like Teaching | the landing among a lengthy flight of stairs: a moment to reflect an eae but ultimately, there are more to climb. The Fringe their “ “Soon, we'll use that free studio time to en more demos. And with better weather coming, more chances to play live to promote our cd.” Rock ‘n’ roll, never forget, is a vicious game. Rock ‘n’ roll history is littered with “coulda’s” and “shoulda’s.” The Fringe’s history is, mostly, yet unwritten. Fate and luck will have their way, no doubt, as they do with all aspiring artists. But successful people create their own “luck” through determination. And passion for their craft is unquestionably in their favour, whatever fate may dole out. By Scott Mercer Focus on Scugog FOCUS - MARCH 2010 19