You might recognize Jonathan MacIsaac, that is if you’ve made a habit of peering towards the back of the stage. He’s been the drummer for Aftrr, Kurtis Eugene, The Bloody Hell and Jont & The Infinite Possibility. Now, MacIsaac is stepping out of the shadows and taking centre stage in a new solo effort. His six-track debut release, Forgiver, is out today.
Forgiver is an emotionally laden, largely instrumental album that draws heavily on MacIsaac’s experiences of the last year. Brooding, but with a silver lining, MacIsaac’s metal influences shine through, particularly on the vocals, though the album is almost completely dependant on an acoustic guitar for a minimalist effect.
“Basically, the album started last year with a few riffs and ideas when I found myself with time away from the drums to play more guitar,” says MacIsaac.
“The album is deeply personal to me, even though only two the of the songs have words. Through the last year and a half I’ve gone through a deep depression, alcohol addiction a broken relationship and fear of the unknown. Through the guitar I found a new way to let go, and express myself, and move on from my past, and come to grips with a better person, a stronger person than I used to be.”
MacIsaac explains that after a hard year, the album was essentially, as the title suggests, all about learning to forgive himself.
“I was constantly hard on myself everyday for a long time, and not just a steady ‘You can do better, Jon,’ which we all seem to have. Everyday I felt like I had failed work, finances, relationship. So, I’m just using the word as, ‘It’s alright now. I forgive you’.”
While MacIsaac’s singing abilities might not be his forte, on the two tracks they do appear (“Gallows Garden” and “Grief”) they are somber and delivered with the earnest brevity of a beat poet, which makes them forgivable.
Recorded over three weeks in MacIsaac’s living room “with one good mic and patience,” the album grew from what he describes as “a large selection of riffs.” Not wanting to over-complicate things he kept the songs, and the recording process, as simple as he could. Using only minor edits, a bit of a delay, and some flanger, the results are a direct poetic expression, manifested note by note.
The process, as might be judged from the album, has been one of catharsis and healing for MacIsaac. The journey from the back of the stage to the front might be a short one in terms of logistics, but a big step in terms of personal growth and artistic exploration.
“The whole recording experience has been uplifting and great. It’s been a good way for me to challenge myself and express myself in a different way. I’ve always loved singer song-writers like Steve Von Till and Scott Kelly, Willie Nelson, you name it! I did my first open mic and I’m addicted. Sweaty, but loved it!”
MacIsaac says he has already framed up a handful of songs that will likely appear sometime early next year.