Krief: Dears Guitarist's Solo Album Fuelled by Anxiety, Despair and Depression

Patrick Krief is probably best known as the lead guitarist for indie darlings the Dears, but what people are discovering is that the Montreal native is a formidable solo artist in his own right. Starting in 2007, Krief released a debut EP titled Take it or Leave, followed it up with 2009's Calm Awaits under the band outfit Black Diamond Bay, and just last week the 32-year old singer/songwriter released his third effort A Hundred Thousand Pieces on Pirates Blend, the label operated by reggae rockers Bedouin Soundclash.

Oh and don't call him Patrick -- in these circles, he's known simply as "Krief."

Krief is a classic rock fan, citing the likes of John Lennon and Jimi Hendrix as influences, and is a classical music aficionado, as well. Beyond drawing parallels that both he and Thom Yorke "are Libras" he has no difficulty admitting he's "completely out of the loop" when it comes to the latest musical acts.
"I like what I like, and take in inspiration in small doses," Krief tells Spinner.

Dears fans, whose breakup sensors might be overactive, what with fellow band member Robert Benvie also releasing an album recently as Camouflage Nights, don't have to fear Krief's solo work meaning he's bailing on the band.

"We've been together [in the Dears] so long, that I don't have to choose one over the other," says Krief. "We read each other so well artistically that the [writing and studio process] goes really quickly."

A Hundred Thousand Pieces was gleaned from a dark period of anxiety and financial uncertainty for Krief and was almost left on the cutting room floor as he fell further into a chasm of despair. The 10 songs on the album were also self-produced and mixed, adding to the solitary immersion/isolation that Krief experienced.

"I was in the darkest place I had ever been in," Krief says. "I worked on myself for six months and through talking with others realized everybody has been through something like this. When you're going through it you think you're the only one, but it's not true."

The end result has proved to be Krief's most vibrant work to date. While his vocal styling's have subtleties of Leonard Cohen, and the drama of a Rufus Wainwright or David Bowie, the music is reminiscent of Sigur Ros soundscapes, vintage Genesis storytelling and some Wayne Coyne whimsy. It's a tapestry of work that's both lovely and depressing at the same time.

His ultimate goal is to continue to have artistic control over his projects and most importantly "sustainability" in such a precarious industry. Krief wants to be around for a long time.

"The goal is not to be a superstar," says Krief, matter of factly. He'll leave that moniker for acts like the Beatles, before reflecting on meeting Paul McCartney a couple of years back. "He shook my hand and I couldn't believe this icon was even acknowledging my existence. I couldn't even talk and just walked off after that. I had been staring at his picture since I was five years old, what on earth could I have possibly said to the man? In retrospect I wanted to just say 'thank you' but my nerves got the best of me."




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