Mike Trask's 'Beet' gets to the Root of East Coast Songwriting

Eastern Promises' Donald Roberge sat down with East Coast musician, songwriter and producer Mike Trask upon the release of his latest EP Beet. They discussed his affinity for analog, how gardening inspired the recording, and what makes Atlantic Canada such a hotbed for musical talent.

EP: Mike Trask, how are you?

MT: I'm very good. How about you? 

EP: Good, thanks. Where are you coming from today? 

MT: I'm in a place called Jeddore, Nova Scotia.

EP: Is that where you live?

MT: I kind of split my time half between Nova Scotia and New Brunswick these days.

EP: I see. Where are you from originally?

MT: I'm from here, a place called Musquodoboit Harbour, which is kind of near where I'm at right now. So east of Halifax, about 45 minutes is where I was born.

EP: I want to get right into it. Your new record, Beat, spelled B-E-A-T (as in the vegetable), was released May 12th. It's your 11th full-length release, the first since 2021's critically acclaimed record, TV Dinner. And it's kind of a departure of sorts. It's got straight guitar, drum, and bass really propelling it, as opposed to the more complex sounds of TV Dinner. And, while TV Dinner was like a culmination of your musical journey to that point, this was more of a stripped-back sounding album. What went into that? Why the decision to go that route?

MT: I think it was a little bit of wanting things to feel a bit more organic this time. And I did a lot more with the band off the floor. On TV Dinner, I played most of the stuff, so… I wanted to involve other people this time. And keep it, I think a little more rootsy, you know, for no particular reason why. It just ended up that that's the direction I wanted to go. And then it just led me to involve more people. It was kind of a nicer team effort. I listen to so much Bob Dylan, Neil Young and stuff like that, so TV Dinner was definitely different than that, so I wanted to get kind of back to that, I guess. I don't know if I’ve ever done a record quite as rootsy as maybe this one.

EP: Well, it certainly still has that edge to it that you've brought in the past. But after listening to it, I was surprised that it had been recorded right off the floor.

MT: Yeah. Most of it.

EP: Yeah, over the course of a short period of time, I think it was a weekend? It sounds loose and it even sounds a bit improvisatory, but it has, like, a polished feel to it - specifically, the vocals on the album - and given that you're a record producer, you know how difficult that is to pull off. Really, then, my question is, how did you pull that off?

MT: Well, a few of the tunes are overdubbed. Three of them, I think, but most of it's live, and I guess...You know, just kind of practicing a lot. I (also) hired my longtime band to come in. Even though they didn't know the tunes, it still made it a lot easier to focus. So just having the right people surrounding me kind of enabled me to be comfortable enough to sing off the floor, which is something rare for myself to do. So, I think it had a lot to do with that, just surrounding myself with people that made me so comfortable. I didn't have to worry that much about If the parts were going to be right or if it was going to be in time or out of time. I could rely on the band, and it really helped.

EP: Yeah, it sounded like you really captured lightning in a bottle, and I think that it has a lot to do with who you surrounded yourself with during its recording. You've got Adam Mowry, vocalist for St. John's recording project Papal Visit. You got the extraordinary percussionist Matt Gallant. Fredericton blues guitarist Keith Hallett can be heard on it, and it’s really impressive that you got him involved. I'm sure I'm missing other people?

MT: That's the whole team on this one. 

EP: But was it organic? I mean, did you hand-select them specifically knowing that you would get a kind of sound that you wanted for Beat, or did it just kind of evolve?

MT: Well, I've been playing with Adam for probably 15 years. We definitely got a sound. Then Matt, I use it anytime I can. He's very busy but plays with me live most of the time. And Keith actually owns the studio where my gear lives right now and that we did it in. So yeah. It wasn't a spur-of-the-moment decision, but definitely keeping that crew. I mean, there was a few people I would have liked to have on it that couldn't make it, but... Like keeping that crew alive. Definitely. I knew I could achieve something like what we did.

EP: You mixed it yourself, if I'm not mistaken. You produced the album. And I think you did it off tape?

MT: Yeah, I usually use tape. 

EP: I was going to ask you about that. You seem to have an affinity for using analog and recording off tape. And I'm just wondering why, considering everything that's out there. And by the way, I'm all for it. I think we're of a similar generation, you know, and I get that you have a particular kind of effect that comes from doing that. But I'm just wondering if it's more practical to do it for you? Or if it's an aesthetic decision? I'm just wondering why you choose to keep up with analog.

EP: When I started doing it, I was 25 - that was 15 years ago - and it wasn't current then, you know, it was already antiquated, but I did it the first time. I learned from a guy named Garrett Mason. I heard his record, and I said, “Why does it sound like the records I want to make?”. And I met him by chance after I heard the record, and he told me he did it on tape. And I didn't even know what tape was at that time. I had done a few records on (music software) Pro Tools and stuff like that. So, I did that my first time. And the sound that really grabbed me. But then, as I did more... And I would, at the time, I would do it when it was available, then maybe I'd do some computer stuff. And I noticed that the flow was so different, and I loved the flow of it, you know, the stopping, the play, the rewind, the moments, the organic of like, where are we at in the song? We've got to find it. There's no like, and I don't like looking at sound, you know, on the screen. I think that that's best saved for maybe some sort of analysis of room acoustics. I think you can come into that. But in terms of making rock and roll or anything with it, I don't think looking at waveforms has ever helped, in my experience. It usually confuses the people listening. So I like the sound of it. I like to distort stuff. I like the sound of when you hit tape hard. I like the happy mistakes that come with it. And I like that I can usually fix it when it breaks. And if it breaks, you don't lose the whole thing. Like, if a tape machine breaks down, there's no doubt, but you never lose the whole thing you did that day. Maybe you lose that moment. You've got to start over. And if it breaks down, maybe it takes a day or two to get the parts, but we can always fix it. You can identify what's wrong. And I've learned more about that as time's gone on, fixing my own gear. So, it's just that... It's dependable because I can fix it. And my love of it drives me to learn those things. So, it's kind of all those reasons together, you know. And I just love the way they look. I love the way it smells. I love everything about it. 

EP: I wanted to talk about your record, your new release, Beat. It's named after the root vegetable. It's got a lovely painting of it on the cover. And I was wondering what the inspiration was for the album's name. Now, I have a theory, I don't know if you want to hear it or not.

MT: Sure! I'd like to hear it.

EP: Well, I suspect that it refers to beets. It's got a kind of earthiness to it. When you think of a beet, it's got a specific odour, flavour. Even when you wash them, they still feel like they're very much out of the ground. They're literally like a root, you know? And that's not unlike that approach to music you hear on the record. I also think it's kind of a clever play on words with, you know, beat being a rhythmic beat. And even the word’s association with beat poetry, which is famous for its spontaneity and counterculturalism. I don't know if I'm in the ballpark or not, or if you want to expand on that.

MT: If I can be honest with you, I usually named the records before. Like when I'm starting the records, usually I get the name first. TV Dinner was the same. And before that, I had an album called Fantasy Man and Derealization before that. And all of those were named before it was done. And, you know, I don't always know why, you know, the names come because I'm a big believer that art kind of finishes itself. You know what I mean? So, the name came to me while I was looking at a beat that was cut in half. And looking into it, and the depth of it, you know? Like, the depth of that colour. And I'm not trying to say the album has depth. I would never make that claim. Just that's when I got the idea, ‘cause I gardened a lot in the last 10 year,s and some of the things you pull into the garden are just so incredible. Like how does the sunflower grow from the seed? And you're looking at these 14-foot-tall things. And the beet is one of those things that has a colour that’s so powerful. Like you say, the smell is so powerful. And again, I would never say the album is powerful or anything like that. I just mean that that’s when I first got the idea that there's something about this that embodies them. More than just this vegetable in the moment, it's like it says so much. And I love all of your interpretations on it and would say that a lot of them probably would point to why I named it that, but I try not to dissect it. I think that part of it also has to do with the play on words. There were some moments where I think I like the idea that when I'm doing radio interviews and nobody explains how it's spelled. That it could mean “Beat Up”. Beat is in music, but probably nobody is suspecting it's a visual beat. So, I like those little twists and turns, but for me, it starts with the magic of the growth of the garden. - And how does this thing grow underground and then come out? Like you were saying, you cut them up (they) get on everything, but then they don't stain. Someone brought that up to me. Like, they don't stay on your hands, but like, they're just magical. 

EP: It's amazing how a word and how an object can really inspire interpretation, you know? Something as simple as a beat.

MT: That would be the goal of any of it. The songs, the lyrics, any of it. Anything that's more subjective and stream of consciousness. I would say, I don't really know what it's about. And I love when people tell me what they think it's about. And I say like, you know what, you could be right, you know? So, as I got older, I shied away from stream of consciousness stuff and I try to still write that way if I can but the album names, even TV Dinner, then takes on all these meanings, I hope. It's my dream. So, I love that it's projecting things into your mind.

EP: Are you behind the painting? On the cover?

MT: No, my sister painted that.

EP: We'll tell her it’s great.

MT: Yeah, thank you. I love it. I always get someone to paint my covers, but I never give any direction. And in this case, I just told my sister that I wanted some beets. And she did it with the palette brush on canvas and oil paint for the texture. And then the one beat does cut in two that almost looks like a heart, which I don't know if she did it on purpose or not. Thank you, and I'll definitely tell her.

EP: You've made a career as a successful producer. And I was excited at the prospect of interviewing the man behind Acadian Soul Metal ensemble Les Moontunes' award-winning 2024 record Elephant Wizard. That album gets a lot of airtime in our household, and it has an air of improvisation, of confidence, of courage, really, to go against convention. And these are elements that I found to be in Beat. I was wondering if that experience producing their record informed your recording of Beat as well. Do you think there's some kind of a thorough line there?

EP: Yeah, always. I remember when I was working with Les Moontunes and we were getting the demos and they told me they wanted to be heavy. And I don't know if you're familiar with their first record, but it's not really heavy. Heavy as in, you know, heavy music like rock or... Heavy, like they're very into Black Sabbath or stuff like that. And I said, I don't think anyone knows that yet. So I said, “That's what we'll do”, you know? I think that kind of echoed in me when we came to that conclusion. Sometimes You do something, like, “I want it to be Rootsy”. And people don't know it, they’re like, “I didn't get that”.So it kind of helped me with Beat to think, “Okay, I want it to be rootsy”, you know what I mean? And not just rootsy as in the instruments, you know? So, less synth, less trippy stuff or whatever, you know what I mean? So I think in that way... They were one of the last records I would have done before Beat, and I definitely think it helped me. It always informed me sonically too. We did so much on that record. There are two drummers. There were 20 inputs on the bed tracks, which is a lot for me. And I really learned a lot about drums and sounds from Marty, the drummer. Yeah, I think there's definitely a line there, whether intentional or not.

EP: It feels like Americana sounds are having a bit of a moment in the Maritimes right now. New Brunswick roots and blues musician Matt Anderson recently got singled out in a Rolling Stone article as one to watch. PEI's Joce Reyome recently won a top prize at the prestigious international blues challenge. These are just a few examples. Why do you think the Maritimes - and maybe New Brunswick specifically - are so in tune and so vital when it comes to roots music? And what's producing such quality artists?

MT: I'm not sure, you know? I think, partly, it's a specific way of life, east of Montreal. And it starts in Montreal. I mean, Ontario's bad winters, Montreal's bad winters, but something else happens when you get a little further east. And I think every city you go to has a feel, I find. Every town you go to, every province. And musically, when you're travelling, they all have a feel. Saskatchewan you can picture, you can hear the sounds almost in your head. You know what I mean?In  Montreal, you can hear the sounds. And on the East Coast, it's eclectic. But I think that there's a way of life over here that speaks to a rootsy side, you know? I mean, I think there are all kinds of great artists, amazing artists out here who are doing different things, obviously - more than just Roots music - and being successful at it. But I think even if you take out the roots, there's a quality of music out here that definitely is very high, and I don't know if it's the salt air but roots music definitely is having a moment. Which, you know. I don't know how many people are doing that on purpose, Like, I didn't think of it. And I started this two years ago and I suspect some of these other artists did too. But it kind of happens, you know?

EP: I only ask because I've been playing quite a bit of roots musicians from out east and the quality is really remarkable. I mean the thing can be said for other genres but specifically for folk, blues, roots, it's been really staggering how good the quality has been, especially with young musicians who are coming out, which leads me into the next question: As you mentioned, you've been all over this country, you've been performing for a number of years now. You get a sense of what sounds come from where and what's tuned into what. How do you feel the maritime experience has informed your own musicianship, your own art?

MT: Well, there are a few artists here that I don't know If I ever met stronger than a few of them that are here. And I was so lucky when I was young to find band members that were much better than me. And much more experienced than me. And I was always so fortunate with who agreed to play with me. And a lot of those players came from April Wine. One of them, Jim Henman, is a big mentor of mine. Charlie Phillips and Bill Jardine played with me. Dutch Mason, Garrett Mason's dad. And I think that I've learned a lot about blues out here, you know, and, My God, that's a tough question. I mean, it's hard to say how they've informed me, I guess.

EP: Well, let me ask you another way. Is there anything locally that's inspiring you these days, whether it's music or art or anything specific?

MT: Yeah, a lot. Owen Steele. Do you know Owen Steele?

EP: I don't.

MT: Owen put out a record recently. I don't know anyone who ever did anything like that on the East Coast, you know? It's Tom Waits-ish, and avant-garde, but rootsy. So, Owen really inspired me with that one. My good buddy Keith Hallett always inspires me. Garrett Mason always inspires me. I spent a lot of time in Acadie with Les Hay Babies, and they continue to inspire me. In Nova Scotia, there’s a band called Shadow Folk, from Truro. Who really inspired me recently? In Fredericton, there are multiple artists, and I'm always getting inspired there… So many of the young artists coming out do things differently because of their fresh minds, so that is so inspiring, you know? So I'm loving it here right now on the East Coast. There's a lot happening, a lot of good music coming out.

EP: What's next for Mike Trask this year? What do you have happening this summer? Do you have any surprises in store? I know you have a couple of festival dates happening in Cape Breton in July. Maybe a Mudhill reunion?

MT: Yeah, no, I don't know about a Mud Hill reunion, though (laughs). But I'm doing some festivals. I'm doing quite a bit of recording. I'm going to Vancouver to record an artist in September, which is exciting. I'm going to Dawson, Yukon for the second time this year with Keith Hallett, which is exciting for me. And yeah, Cape Breton. It's not a crazy busy summer for me, but that's okay. I moved around a lot the past two years, and it took a while for Beat to come out. And And I'm kind of settling into new studio space and stuff like that. So I have a few projects on the go. It's a chill summer, but I'm excited for it. But there are definitely some things I'm working on. Some things that are not announced yet. But, yeah, we, yeah, I'm working on moving my studio right now. That's really exciting So producing is a big part of my life and recording artists and beat was something that I struggled with. Putting it out? Not putting it out? Am I going to do it? Am I going to do vinyls? And so it's finally out and I'm trying to let it speak for itself. And people seem to be digging it. It's a little bit of my return to touring. I didn't tour a lot the past few years because I was recording so many records, so I'm kind of settling back into that lifestyle.

EP: All right, I have one last question for you, Mike. I ask this of everybody I interview. What's the coolest thing you ever came across at a merch table? I'll give you an example. Mine are some cufflinks I found at a Joe Jackson concert that say ‘Steppin’ Out’ on them. I thought that was pretty rad. 

MT: That's wild. And I can't remember who, but I remember ashtrays one time. And I thought that I was pretty hip. I mean, I'm not a smoker, but I have an affinity for vintage ashtrays, just for the memorabilia's sake. And I remember thinking that was pretty rad. 

EP: Well, Mike Trask, I want to thank you for taking the time to speak to us today. And I wish you nothing but success moving forward with this new release. It's an exceptional record.

MT: Thanks so much and thanks for pushing the East Coast. There are so many artists out here that work so hard. And it's great for someone that’s living in Montreal who that feels the need to help. Expose East Coast music. It really means a lot. And I see a lot of people you're playing. They're friends of mine and we all appreciate it.

EP: Great to hear. Thanks, Mike. Take care.