Musician
1995 : Special Ed/Public Display (guitar/vocals)
1997 : Sum41(bass)
1997-2007 : Closet Monster(bass/vocals)
2002 : Avril Lavigne(bass)
After playing in several bands throughout high school, including Public Display and Sum 41, Spicoluk formed Closet Monster in the summer of 1997. They released two cassette EPs and toured Canada twice in their first year. In 1999 Closet Monster released their debut full length, A Fight For What Is Right, followed by the EP Where The Fuck Is The Revolution?. After some lineup changes, the band released Killed The Radio Star, which was their first album to be released in Europe and Japan. Their last release was 2004's We Rebuilt This City. The band used Toronto as a home base, embarking on over 15 tours of Canada coast to coast as well as six throughout the United States, including a west coast tour with Bad Religion and three stints on Underground Operations' Unity Tour, the annual SnoJam Tour, Planet Smashers, Belevedere, and many others. In 2003 Closet Monster trekked across Europe, playing shows with Hot Water Music, Bouncing Souls, Suicidal Tendencies, 25 to Life, Madball, Knut, and Mastodon. During his period with Closet Monster, Spicoluk played bass for Avril Lavigne Spicoluk left Lavigne's band in 2002 to focus on Underground Operations and Closet Monster.
Read more about this topic: Mark Spicoluk
Famous quotes containing the word musician:
“He doesn’t know a damn thing about China ... That’s what makes him an expert. He knows nothing about music, being tone deaf. That’s what makes him a musician ... And he’s batty in the head. That’s what makes him a philosopher.”
—William Carlos Williams (1883–1963)
“Nota: man is the intelligence of his soil,
The sovereign ghost. As such, the Socrates
Of snails, musician of pears, principium
And lex. Sed quæritur: is this same wig
Of things, this nincompated pedagogue,
Preceptor to the sea?”
—Wallace Stevens (1879–1955)
“The mastery of one’s phonemes may be compared to the violinist’s mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor’s renderings indulgently, mentally rectifying the more glaring inaccuracies.”
—W.V. Quine (b. 1908)