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Ear
Human (external) ear

The ear is the organ that detects sound. It not only receives sound, but also aids in balance and body position. The ear is part of the auditory system.

The word "ear" may be used correctly to describe the entire organ or just the visible portion. In most mammals, the visible ear is a flap of tissue that is also called the pinna and is the first of many steps in hearing. In humans, the pinna is often called the auricle. Vertebrates have a pair of ears, placed somewhat symmetrically on opposite sides of the head. This arrangement aids in the ability to localize sound sources.

Introduction to ears and hearing[link]

Audition is the scientific name for the sense of sound. Sound is a form of energy that moves through air, water, and other matter, in waves of pressure. Sound is the means of auditory communication, including frog calls, bird songs and spoken language. Although the ear is the vertebrate sense organ that recognizes sound, it is the brain and central nervous system that "hears". Sound waves are perceived by the brain through the firing of nerve cells in the auditory portion of the central nervous system. The ear changes sound pressure waves from the outside world into a signal of nerve impulses sent to the brain.

Anatomy of the human ear. The length of the auditory canal is exaggerated for viewing purposes.

The outer part of the ear collects sound. That sound pressure is amplified through the middle portion of the ear and, in land animals, passed from the medium of air into a liquid medium. The change from air to liquid occurs because air surrounds the head and is contained in the ear canal and middle ear, but not in the inner ear. The inner ear is hollow, embedded in the temporal bone, the densest bone of the body. The hollow channels of the inner ear are filled with liquid, and contain a sensory epithelium that is studded with hair cells. The microscopic "hairs" of these cells are structural protein filaments that project out into the fluid. The hair cells are mechanoreceptors that release a chemical neurotransmitter when stimulated. Sound waves moving through fluid push the filaments; if the filaments bend over enough it causes the hair cells to fire. In this way sound waves are transformed into nerve impulses. In vision, the rods and cones of the retina play a similar role with light as the hair cells do with sound. The nerve impulses travel from the left and right ears through the eighth cranial nerve to both sides of the brain stem and up to the portion of the cerebral cortex dedicated to sound. This auditory part of the cerebral cortex is in the temporal lobe.

The part of the ear that is dedicated to sensing balance and position also sends impulses through the eighth cranial nerve, the VIIIth nerve's Vestibular Portion. Those impulses are sent to the vestibular portion of the central nervous system. The human ear can generally hear sounds with frequencies between 20 Hz and 20 kHz (the audio range). Although the sensation of hearing requires an intact and functioning auditory portion of the central nervous system as well as a working ear, human deafness (extreme insensitivity to sound) most commonly occurs because of abnormalities of the inner ear, rather than the nerves or tracts of the central auditory system.^[1]

Mammalian ear[link]

Bat pinnae come in different sizes and shapes

The shape of outer ear of mammals varies widely across species. However the inner workings of mammalian ears (including humans') are very similar.

Outer ear (pinna, ear canal, surface of ear drum)[link]

The outer ear is the most external portion of the ear. The outer ear includes the pinna (also called auricle), the ear canal, and the very most superficial layer of the ear drum (also called the tympanic membrane). In humans, and almost all vertebrates, the only visible portion of the ear is the outer ear. The word "ear" may properly refer to the pinna (the flesh covered cartilage appendage on either side of the head). This portion of the ear is very vital for hearing. The outer ear does help get sound (and imposes filtering), but the ear canal is very important. Unless the canal is open, hearing will be dampened. Ear wax (cerumen) is produced by glands in the skin of the outer portion of the ear canal. This outer ear canal skin is applied to cartilage; the thinner skin of the deep canal lies on the bone of the skull. Only the thicker cerumen-producing ear canal skin has hairs. The outer ear ends at the most superficial layer of the tympanic membrane. The tympanic membrane is commonly called the ear drum. The pinna helps direct sound through the ear canal to the tympanic membrane (eardrum).

The framework of the auricle consists of a single piece of yellow fibrocartilage with a complicated relief on the anterior, concave side and a fairly smooth configuration on the posterior, convex side. The Darwinian tubercle, which is present in some people, lies in the descending part of the helix and corresponds to the true ear tip of the long-eared mammals. The lobule merely contains subcutaneous tissue.^[2] In some animals with mobile pinnae (like the horse), each pinna can be aimed independently to better receive the sound. For these animals, the pinnae help localize the direction of the sound source. Human beings localize sound within the central nervous system, by comparing arrival-time differences and loudness from each ear, in brain circuits that are connected to both ears. This process is commonly referred to as EPS, or Echo Positioning System.

The complex geometry of ridges on the inner surface of some mammalian ears helps to sharply focus echolocation signals, and any sound produced by the prey. These ridges can be regarded as the acoustic equivalent of a fresnel lens, and may be seen in a large variety of unrelated animals such as the bat, aye-aye, lesser galago, bat-eared fox, mouse lemur and others. ^[3][4][5]

Human outer ear and culture[link]

Stretching of the earlobe and various cartilage piercings

The auricles also have an effect on facial appearance. In Western societies, protruding ears (present in about 5% of ethnic Europeans) have been considered unattractive, particularly if asymmetric. The first surgery to reduce the projection of prominent ears was published in the medical literature in 1881.

The ears have also been ornamented with jewelry for thousands of years, traditionally by piercing of the earlobe. In some cultures, ornaments are placed to stretch and enlarge the earlobes. Tearing of the earlobe from the weight of heavy earrings, or from traumatic pull of an earring (for example by snagging on a sweater), is fairly common.^[6] The repair of such a tear is usually not difficult.

A cosmetic surgical procedure to reduce the size or change the shape of the ear is called an otoplasty. In the rare cases when no pinna is formed (atresia), or is extremely small (microtia) reconstruction of the auricle is possible. Most often, a cartilage graft from another part of the body (generally, rib cartilage) is used to form the matrix of the ear, and skin grafts or rotation flaps are used to provide the covering skin. Recently ears have been grown on a rat's back and attached to human heads after. However, when babies are born without an auricle on one or both sides, or when the auricle is very tiny, the human ear canal is ordinarily either small or absent, and the middle ear often has deformities. The initial medical intervention is aimed at assessing the baby's hearing and the condition of the ear canal, as well as the middle and inner ear. Depending on the results of tests, reconstruction of the outer ear is done in stages, with planning for any possible repairs of the rest of the ear.^[7][8][9]

Middle ear[link]

The middle ear, an air-filled cavity behind the ear drum (tympanic membrane), includes the three ear bones or ossicles: the malleus (or hammer), incus (or anvil), and stapes (or stirrup). The opening of the Eustachian tube is also within the middle ear. The malleus has a long process (the manubrium, or handle) that is attached to the mobile portion of the eardrum. The incus is the bridge between the malleus and stapes. The stapes is the smallest named bone in the human body. The three bones are arranged so that movement of the tympanic membrane causes movement of the malleus, which causes movement of the incus, which causes movement of the stapes. When the stapes footplate pushes on the oval window, it causes movement of fluid within the cochlea (a portion of the inner ear).

In humans and other land animals the middle ear (like the ear canal) is normally filled with air. Unlike the open ear canal, however, the air of the middle ear is not in direct contact with the atmosphere outside the body. The Eustachian tube connects from the chamber of the middle ear to the back of the nasopharynx. The middle ear is very much like a specialized paranasal sinus, called the tympanic cavity; it, like the paranasal sinuses, is a hollow mucosa-lined cavity in the skull that is ventilated through the nose. The mastoid portion of the human temporal bone, which can be felt as a bump in the skull behind the pinna, also contains air, which is ventilated through the middle ear.

Middle Ear
Malleus Tensor Tympani Incus Stapedius Labyrinth Stapes Auditory Canal Tympanic Membrane (Ear Drum) Eustachian Tube Tympanic cavity
Components of the middle ear

Normally, the Eustachian tube is collapsed, but it gapes open both with swallowing and with positive pressure. When taking off in an airplane, the surrounding air pressure goes from higher (on the ground) to lower (in the sky). The air in the middle ear expands as the plane gains altitude, and pushes its way into the back of the nose and mouth. On the way down, the volume of air in the middle ear shrinks, and a slight vacuum is produced. Active opening of the Eustachian tube is required to equalize the pressure between the middle ear and the surrounding atmosphere as the plane descends. The diver also experiences this change in pressure, but with greater rates of pressure change; active opening of the Eustachian tube is required more frequently as the diver goes deeper into higher pressure.

The arrangement of the tympanic membrane and ossicles works to efficiently couple the sound from the opening of the ear canal to the cochlea. There are several simple mechanisms that combine to increase the sound pressure. The first is the "hydraulic principle". The surface area of the tympanic membrane is many times that of the stapes footplate. Sound energy strikes the tympanic membrane and is concentrated to the smaller footplate. A second mechanism is the "lever principle". The dimensions of the articulating ear ossicles lead to an increase in the force applied to the stapes footplate compared with that applied to the malleus. A third mechanism channels the sound pressure to one end of the cochlea, and protects the other end from being struck by sound waves. In humans, this is called "round window protection", and will be more fully discussed in the next section.

Abnormalities such as impacted ear wax (occlusion of the external ear canal), fixed or missing ossicles, or holes in the tympanic membrane generally produce conductive hearing loss. Conductive hearing loss may also result from middle ear inflammation causing fluid build-up in the normally air-filled space. Tympanoplasty is the general name of the operation to repair the middle ear's tympanic membrane and ossicles. Grafts from muscle fascia are ordinarily used to rebuild an intact ear drum. Sometimes artificial ear bones are placed to substitute for damaged ones, or a disrupted ossicular chain is rebuilt in order to conduct sound effectively.

Inner ear: cochlea, vestibule, and semicircular canals[link]

Inner Ear
Posterior Canal Superior Canal Utricle Horizontal Canal Vestibule Cochlea Saccule
Components of the inner ear

The inner ear includes both the organ of hearing (the cochlea) and a sense organ that is attuned to the effects of both gravity and motion (labyrinth or vestibular apparatus). The balance portion of the inner ear consists of three semicircular canals and the vestibule. The inner ear is encased in the hardest bone of the body. Within this ivory hard bone, there are fluid-filled hollows. Within the cochlea are three fluid filled spaces: the scala tympani, the scala vestibuli and the scala media. The eighth cranial nerve comes from the brain stem to enter the inner ear. When sound strikes the ear drum, the movement is transferred to the footplate of the stapes, which presses it into one of its fluid-filled ducts through the oval window of cochlea . The fluid inside this duct is moved, flowing against the receptor cells of the Organ of Corti, which fire. These stimulate the spiral ganglion, which sends information through the auditory portion of the eighth cranial nerve to the brain.

Hair cells are also the receptor cells involved in balance, although the hair cells of the auditory and vestibular systems of the ear are not identical. Vestibular hair cells are stimulated by movement of fluid in the semicircular canals and the utricle and saccule. Firing of vestibular hair cells stimulates the Vestibular portion of the eighth cranial nerve.^[10]

Damage to the human ear[link]

Outer ear trauma[link]

Auricle[link]

The auricle can be easily damaged. Because it is skin-covered cartilage, with only a thin padding of connective tissue, rough handling of the ear can cause enough swelling to jeopardize the blood-supply to its framework, the auricular cartilage. That entire cartilage framework is fed by a thin covering membrane called the perichondrium (meaning literally: around the cartilage). Any fluid from swelling or blood from injury that collects between the perichondrium and the underlying cartilage puts the cartilage in danger of being separated from its supply of nutrients. If portions of the cartilage starve and die, the ear never heals back into its normal shape. Instead, the cartilage becomes lumpy and distorted. Wrestler's Ear is one term used to describe the result, because wrestling is one of the most common ways such an injury occurs. Cauliflower ear is another name for the same condition, because the thickened auricle can resemble that vegetable.

The lobule of the ear (ear lobe) is the one part of the human auricle that normally contains no cartilage. Instead, it is a wedge of adipose tissue (fat) covered by skin. There are many normal variations to the shape of the ear lobe, which may be small or large. Tears of the earlobe can be generally repaired with good results. Since there is no cartilage, there is not the risk of deformity from a blood clot or pressure injury to the ear lobe.

Other injuries to the external ear occur fairly frequently, and can leave a major deformity. Some of the more common ones include, laceration from glass, knives, and bite injuries, avulsion injuries, cancer, frostbite, and burns.

Ear canal[link]

Ear canal injuries can come from firecrackers and other explosives, and mechanical trauma from placement of foreign bodies into the ear. The ear canal is most often self-traumatized from efforts at ear cleaning. The outer part of the ear canal rests on the flesh of the head; the inner part rests in the opening of the bony skull (called the external auditory meatus). The skin is very different on each part. The outer skin is thick, and contains glands as well as hair follicles. The glands make cerumen (also called ear wax). The skin of the outer part moves a bit if the pinna is pulled; it is only loosely applied to the underlying tissues. The skin of the bony canal, on the other hand, is not only among the most delicate skin in the human body, it is tightly applied to the underlying bone. A slender object used to blindly clean cerumen out of the ear often results instead with the wax being pushed in, and contact with the thin skin of the bony canal is likely to lead to laceration and bleeding.

Middle ear trauma[link]

Like outer ear trauma, middle ear trauma most often comes from blast injuries and insertion of foreign objects into the ear. Skull fractures that go through the part of the skull containing the ear structures (the temporal bone) can also cause damage to the middle ear. Small perforations of the tympanic membrane usually heal on their own, but large perforations may require grafting. Displacement of the ossicles will cause a conductive hearing loss that can only be corrected with surgery. Forcible displacement of the stapes into the inner ear can cause a sensory neural hearing loss that cannot be corrected even if the ossicles are put back into proper position. Because human skin has a top waterproof layer of dead skin cells that are constantly shedding, displacement of portions of the tympanic membrane or ear canal into the middle ear or deeper areas by trauma can be particularly traumatic. If the displaced skin lives within a closed area, the shed surface builds up over months and years and forms a cholesteatoma. The -oma ending of that word indicates a tumour in medical terminology, and although cholesteatoma is not a neoplasm (but a skin cyst), it can expand and erode the ear structures. The treatment for cholesteatoma is surgical.

Inner ear trauma[link]

There are two principal damage mechanisms to the inner ear in industrialized society, and both injure hair cells. The first is exposure to elevated sound levels (noise trauma), and the second is exposure to drugs and other substances (ototoxicity).

In 1972 the U.S. EPA told Congress that at least 34 million people were exposed to sound levels on a daily basis that are likely to lead to significant hearing loss.^[11] The worldwide implication for industrialized countries would place this exposed population in the hundreds of millions. The National Institute for Occupational Safety and Health has recently published research on the estimated numbers of persons with hearing difficulty (11%) and the percentage that can be attributed to occupational noise exposure (24%).^[12] Furthermore, according to the National Health and Nutrition Examination Survey (NHANES), approximately twenty-two million (17%) US workers reported exposure to hazardous workplace noise.^[13] Workers exposed to hazardous noise further exacerbate the potential for developing noise induced hearing loss when they do not wear (hearing protection).

Vestigial structures[link]

This section requires expansion.

Comparative anatomy of primate ears: Human (left) and Barbary Macaque (right).

Human ear (from Descent of Man)

It has long been known that humans, and indeed primates such as the orangutan and chimpanzee have ear muscles that are minimally developed and non-functional, yet still large enough to be easily identifiable.^[14] These undeveloped muscles are vestigial structures. A muscle that cannot move the ear, for whatever reason, can no longer be said to have any biological function. This serves as evidence of homology between related species. In humans there is variability in these muscles, such that some people are able to move their ears in various directions, and it has been said that it may be possible for others to gain such movement by repeated trials.^[14] In such primates the inability to move the ear is compensated mainly by the ability to turn the head on a horizontal plane, an ability which is not common to most monkeys—a function once provided by one structure is now replaced by another.^[15]

The outer structure of the ear also shows some vestigial features, such as the node or point on the helix of the ear known as Darwin's tubercle which is found in around 10% of the population, this feature is labelled (a) in the accompanying figure.

Invertebrate hearing organs[link]

This section requires expansion.

Only vertebrate animals have ears, though many invertebrates detect sound using other kinds of sense organs. In insects, tympanal organs are used to hear distant sounds. They are located either on the head or elsewhere, depending on the insect family.^[16]

The tympanal organs of some insects are extremely sensitive, offering acute hearing beyond that of most other animals. The female cricket fly Ormia ochracea has tympanal organs on each side of her abdomen. They are connected by a thin bridge of exoskeleton and they function like a tiny pair of eardrums but, because they are linked, they provide acute directional information. The fly uses her "ears" to detect the call of her host, a male cricket. Depending on where the song of the cricket is coming from the fly's hearing organs will reverberate at slightly different frequencies. This difference may be as little as 50 billionths of a second, but it is enough to allow the fly to home in directly on a singing male cricket and parasitize it.^[17]

Simpler structures allow arthropods to detect near-field sounds. Spiders and cockroaches, for example, have hairs on their legs which are used for detecting sound. Caterpillars may also have hairs on their body that perceive vibrations^[18] and allow them to respond to the sound.

See also[link]

References[link]

External links[link]

Look up ear in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Ears

• Protein behind hearing
• 3D Ear page
• Details of various ear problems
• Ear wiggling mechanism unmasked
• Cotton swabs can pose serious health risk: coroner from ctv.ca
• Radiology of the Ear Canal from MedPix

v t e Human regional anatomy (TA A01.1) Head Forehead · Ear · Jaw · Face (Cheek, Eye, Nose, Mouth, Chin) · Occiput · Scalp · Temple Neck Throat · Adam's apple Trunk Chest (Breast) · Abdomen (Navel) · Back · Pelvis (Sex organs) Limbs Upper limb Shoulder · Axilla · Arm Elbow · Forearm Wrist · Hand · Finger (Thumb · Index · Middle · Ring · Little) Lower limb/ (see also leg) Hip · Buttocks · Thigh Knee · Calf · Crus Ankle · Heel · Foot · Toe (Hallux · Long  • Third  • Fourth  • Fifth) · Sole General anatomy: systems and organs, regional anatomy, planes and lines, superficial axial anatomy, superficial anatomy of limbs

The Organ was a Canadian indie pop band formed in 2001 in Vancouver, British Columbia. They officially broke up on December 7, 2006, due to illness and personal conflicts in the band.

Biography[link]

Early years[link]

The Organ were conceived in 2001 by frontwoman Katie Sketch, born Katie Ritchie, in Vancouver, BC. Sketch's musical training started at the age of three, when she began classical training on the violin. Her childhood was spent largely in ignorance of the underground sounds of The Smiths, The Cure, and Joy Division, whom The Organ would later often be favorably compared to. "Tiffany and Bon Jovi - that was my take on ’80s music."

Sketch has said of the time of the formation of the band, when she and the band members were in their early to mid-twenties. "I was in a musical lull, I couldn’t stand what I was listening to," naming Sleater-Kinney as one example. “The local scene was also pretty shitty, and of course the radio was brutal. Then, by total fluke, my mom’s friend’s husband, Ron Obvious, hired me to help with the audio wiring for a studio he was building for Bryan Adams.” Obvious introduced Katie to the world of independent music, and what she calls "that ’80s sound." He created mix-tapes of bands he thought she’d appreciate as a violinist (Roxy Music, Ultravox) and singers with an "amazing natural vocal pitch" (Siouxsie and the Banshees, Nina Hagen, Kate Bush)). This job also led Sketch to Tara Nelson, the engineer who would later record the Organ’s first EP.

It was at this time that Katie joined with her friends Sarah "Sketch" Efron (on bass and keyboards) and Barb "Sketch" Choit (Hammond organ, guitar, bass) to form the instrumental trio Full Sketch.

"I met Katie Sketch when we worked morning shifts at a wretched cinnamon bun shop," says Efron, "but we really became friends on a road trip where we ended up breaking down in the redneck town of Hermiston, Oregon. On this trip, we decided to form a band and call it Full Sketch." Katie, though she was already a proficient multi-instrumentalist, decided this would be a good time to try her hand at drums.

"The concept was, 'Let's start a band where you play an instrument that you've never played before.' It was basically drunken ridiculousness, but all of a sudden I felt like life made more sense. Sarah was involved in CiTR, and Barb was big into indie rock, so what started off as a joke got me out going to see shows. The way The Organ began was as an offshoot of Full Sketch—I wanted to take the same sound and do it with singing."

Efron was also the news director at UBC’s CiTR, where she, Sketch and Choit co-hosted a raunchy late-night call-in program called "The Dead Air Show."

After about a year, Barb Sketch left the band to focus on her career as an artist and Full Sketch ended. According to Katie Sketch, "Barb Sketch is now in suburban California. She’s long forgotten her Canadian roots and lives on a ranch with her man and a team of horses." [1] At this point, organist Jenny Smyth (born Genoa Smith), replaced Choit on keyboards. Together with Efron, they founded The Organ.

In 2001, a long audition process began. Eventually, Sketch "tired of auditions," and decided to "just hire some people." After finding a handful of like-minded musicians, Katie assigned them instruments and taught them to play. Taught is a relative term though—Debbie had been playing guitar for three years, and Sketch has expressed distaste in interviews when portrayed as a "music teacher" to the girls: "[The press seems] to think they had a lot of help or something, but mostly it's just the drive to be able to learn the instruments and play them," Sketch said. "[My teaching them] was maybe a half-an-hour, hour process."

[edit] Sinking Hearts EP

The full formation of the band that would appear on their first EP took three years. "It’s not like the five of us got together and spontaneously created this," Sketch once commented in an interview. "Jenny and I had a direction we wanted to go in and then we slowly recruited people. We could tell if someone didn’t get it, which is why we had to get rid of so many players. It’s funny, sometimes people say the band’s moving really quickly, but I feel like I’ve been doing this forever."

The original group eventually rounded out with Katie, Jenny, Sarah, drummer Shelby Stocks, and guitarist Debora Cohen. In summer 2002, The Organ made their debut with the release of the Sinking Hearts EP. The Canadian press and indie publications across America praised The Organ's dreampop-inflected presentation. By January, The Organ was signed to Chad Kroeger's 604 imprint and Mint Records. However, before the year was out, Efron would leave to focus on her journalism career and be replaced by Ashley Webber.

"The rock n’ roll lifestyle wasn’t for me," said Efron, who is currently working for the financial section of The National Post, a conservative Canadian newspaper.

Even with the band finally complete and their first EP released, it would take years before they would release their first proper album; the process of writing and recording (the album would end up being pieced together in four different studios) would take years—two, to be exact, to finish up as Grab That Gun, an album that barely breaks a half hour in length and recycles four of its eleven tracks from Sinking Hearts.

"We knew we had a problem when the album was being mixed," comments Cohen. "When we heard it, we knew that it didn't sound like us. It was too, I don't know, crisp."

After much agonizing, the Organ decided to scrap the Dahle sessions and rerecord the album with producer Paul Forgues, who Sketch knew from her days at the Warehouse Studio.

"It was a really, really hard choice to make," Stocks says. "We had a window where we could have just released something that we weren't totally happy with. There was so much hype at that time, but we were like, 'No way. Let's fuck the hype and start over.' And I think that we ended up with a great album. I know that people who like us for being amateur and really simple are going to get it."

[edit] Grab That Gun

Despite numerous set-backs, their five years of slow going had produced a relatively sizable fan-following, and their new material showed even more promise than their first EP, which had done very well indeed, especially for a record that had gone largely unpromoted. As such, Grab That Gun spent more time on top of the Canadian campus-radio charts than any other record released that year.

That December (2004), Ashley Webber left the band.

"I think it's the usual reasons," explained Sketch in an interview. "I mean, I love Ashley, but we had different ideas. And then she wanted to try being in other musical projects, and we support her in that ... [but our band has] got to be a high priority, I guess that's what it comes down to."

However, with their first international tour looming and no replacement in sight, Webber was asked back and subsequently rejoined the band in the new year.

The Organ began touring heavily across Canada, the United States and Europe. They also produced a music video for "Brother," (directed by Robert Morfitt) arguably the strongest of the seven new tracks appearing on the record. The video consisted of a fairly straightforward montage of the band performing on a moodily lit stage. A fictitious reenactment of the video shoot for "Brother" can be seen during season two, episode two of the Showtime original series The L Word. "Brother" also appears on The L Word's season two soundtrack.

Following the well received promotion of "Brother," The Organ began production on the far more ambitious "Memorize the City" video, which depicted a dizzying tour through a city of sound, light, and color. The higher artistic standard and production quality of this video reflects an amazing amount of growth for the band in a very short period, and is very impressive considering that it was shot at a time when the band was engaged in the biggest tour of their careers. That July (2005) the standalone 7" single, Let the Bells Ring, was released on Go Metric Records. The title track was paired with a remix of "Memorize the City" by Dustin Hawthorne. Later that year, a second remix appeared on the French CD release of Grab That Gun.

During another North American tour promoting Grab That Gun, Ashley Webber left for good. She was then replaced with Katie Sketch's sister, Shmoo, who affirmed that she was "definitely permanent in the band" before it broke up in 2006.

On November 14, 2005, The Organ appeared live on BBC6 Radio with their new bass player. They gave a brief interview and performed live renditions of the songs "Nothing I Can Do" and "Love, Love, Love." On the 27th, a little over a week later, The Organ announced via their website that they had just been signed to Too Pure Records, through which Grab That Gun would be available throughout the world in February 2006.

The album cover was design by David Cuesta at 7th Avenue house, and is based on a grid constructed around the Fibonacci sequence, to match musical scales. He also designed the logo based on sketches by Katie and Jenny.

Breaking Up[link]

On 23 August 2006, the band released a statement on MySpace saying they were canceling the remaining portion of their UK tour which included dates at the Reading and Leeds Festivals. The reason given was illness to a band member and they assured fans the band were not splitting up.

On 7 December 2006 the band released a statement on their MySpace and official site stating that they were breaking up. The statement read:

"We are sad to announce that we're breaking up. We want to thank our friends, fans, and family for all the support you gave to us. Thank you.

Shelby, Jenny, Katie, Debora, and Shmoo."

In an interview on CBC Radio 3 the following day, Jenny declined to discuss the reasons for the breakup saying that there were issues they preferred to keep private but implied that it had little or nothing to do with either geography or Katie's modeling career. "There were," she said, "so many reasons," she "wouldn't know where to start."

Two years later, Katie Sketch would later go on to detail the full story behind the break-up in a 2008 interview:

"When the band ended, I was really burnt out. I thought if I took a few months off then I wouldn't be burnt out, but now, when I think about it, I wouldn't have the energy to do touring right now. I just feel absolutely exhausted with it, and band politics, and all that stuff. I am still writing music, but it's not my first priority any more. [My first priority now is] getting my life back together. We'd been touring for so long and working so hard that I didn't know how to function on a daily basis. So just little things, like, I'm going to have breakfast today, or I'm going to the gym, or I'm going to get a job. I didn't really have any concept of how to do it any more [...] I spent the majority of my twenties wanting to be in a band and it's all I ever thought about. And by the time the band ended I was in really bad health. Like drinking was a problem, and not knowing how to deal with personal crises. I was in bad shape. [...] If a band is really supportive of one another and can help each other through things, it works really well, but at the end we were completely unable to communicate. We'd all become self-deprecating, we were fighting all the time... we were basically just drunk all the time. We had no time to separate, so it was like being in a bad domestic situation, all the time. [...] When you're five girls touring in really terrible circumstances, where you're all in the same van and all sleep in the same hotel room every night, and you're drinking a lot, you have a lot of really fun times, but there's always fighting, there's always something going on. Towards the end, where things were becoming irreparable, it got to the point where we should have been in therapy as a group. And we should have taken breaks. And I knew that, and I was pushing for that. But the way our career had gone, we released the record in Canada, then somewhere else, then somewhere else, touring the same record. It was staggered, so we were always touring where the fanbase was hearing it for the first time. We built it like that, which is how a lot of bands do it, but it was gruelling. [...] We were at that point where everyone in a band wants to get, right where the financial stuff isn't going to be such a big deal, where we'd be able to tour and take personal space, but our relationships had deteriorated so much by that point. [...] It's like, you're doing everything that you dreamed of your whole life, and yet you've never been more miserable. You can't get away from these people. It's like you're married to them, basically. And we had other problems as well. What I consider to be a major part of our break-up is that this whole entire time that we were touring and doing all the stuff, we were never signed in the States. And to not have a record label in the States is to not have a career. We live in Canada so it's right there, but whenever we'd play in the States it would be to nobody. So we worked really, really hard to get a label in the States and when we finally had label interest there, and a label we wanted to sign to, our Canadian record label, who own our record, wouldn't let us go with what we wanted to do. It felt like we'd been busting our asses for however long, and we felt like we had no control. So what was going to happen? We'd finally sign in the States when I was 35, and we'd do gruelling tours then? You know what I mean? That was a major knock-down for us.

[...] By the end, I feel like everybody in the band was mentally ill. [...] Quite frankly, I was not mentally well. [...] I needed to get away from it, or something really bad was going to happen. [...] We really needed a break and the record label, everybody, was pushing, pushing, pushing. And there's always the feeling that you're in financial debt too. The more you do it, the more money you make, and we felt like we owed it to people. And that's how management and the record company played it - "you kind of owe it to us to do another tour right now.

[After the breakup,] I moved to Toronto, had a mental breakdown, then I just got a job working for a doctor [...] I interview people with drug problems, and alcoholics. [...] Jenny the organ player just moved to Toronto and she and I bought a restaurant bar about two months ago. We're renovating it and we live above it in a teeny weeny apartment together. [...] It'll be a brunch place in the day, and we have a liquor license so it will be a bar at night. [Now that Jenny and I live together,] it's constantly like, "Remember the time when we..." and we'll laugh and it's hilarious. So the whole thing wasn't horrible. It's not like I'm saying "don't start a band". I'm just saying, you've got to set your personal boundaries, as far as touring goes. As far as the grind. It's really important to take a break and we never got one." [2]

[edit] Thieves EP

Less than two years after their breakup, the band released one last EP of unreleased material titled, Thieves, on October 14, 2008.[3] In the same October 16 interview where she would finally reveal the reasons behind the band's breakup, Katie Sketch would give insight into the motivating factors which caused the band to reunite in the studio one last time.

"I had heard a rumor that my record label was going to release songs that we hadn't released, from some demo recording we had done earlier. I was not happy with that. At all. Threatening isn't the right word, but I heard they were thinking about releasing it. So I freaked out, and during that freak-out period I realized that I really like the songs. People have been writing us, fans, asking about the songs, so I thought we should record them while we still remember them. [...] I can only speak for myself, but I found that [the recording process for the Thieves EP] was extremely emotionally draining. I made sure we did it under our own terms. I had a friend who engineered it and we did it at my mum's house in BC. She lives on this island, so it was really relaxed. And we did it in stages so the band was never there at the same time, so we couldn't fall back into the band dynamic because "the band" was never there. I gave my friend strict instructions, like, sit in the back seat and don't offer any opinion. We need it to be the easiest session ever, because people are really sensitive, and if one person says, "Fuck this, I'm leaving," then it won't work. So we did it like that. [Having to release the EP on the same record label] is fine. I've really separated myself from the situation. But that sort of thing, being bound by a contract, straight up, that's a major obstacle in my desire to do music any more."

Post-breakup solo projects[link]

Since the band's breakup in 2006, several of the members have gone on to pursue solo projects. Debora Cohen has begun making demo tracks available through her myspace under the name “Lovers Love Haters."[4] Shmoo has gone on to front Vancouver hardcore band, "Keep Tidy", whose EP is available free online.[5] A video of Katie Sketch performing with a new band called "Mermaids" as early as October 31, 2007 has surfaced on the internet. Sketch has publicly stated that she fully intends to release a solo effort, but that legal complications have thus far prevented the band from officially releasing any music. According to Sketch:

"I feel like, OK, so I'm going to write a solo record and pour every part of myself into it, and I won't have control over where it's released in the United States again? [With regard to the possibility of releasing solo material independently,] I'm arguably bound by contract. [...] It's seriously debatable and is being debated and has been for the last two years. I like to think that I'm not, and they like to think that I am. And that stress alone, honestly, keeps me from sitting down and working on music. I have no control over my own career. [...] I can play live, but when it comes to releasing a record, they've straight up said to me, if you release any music you will be sued. And that kind of pressure, after all the work that I've done, really isn't like anything I need in my life right now."

Katie Sketch is now performing with Gentleman Reg and has been seen in some shows at the Gladstone Hotel and the Beaver in Toronto, Ontario.

Discography[link]

Full lengths[link]

• Grab that Gun (2004)

Singles and EPs[link]

• "Full Sketch" (CD, 2000):

  "Picky" — "Cooler Than Clean" — "Steven Smith" — "Soundtrack" — "Sketchersize" — "Ice Fishing"

• "The Organ" (7", 2002):

  "It's Time to Go" — "We've Got to Meet"

• "Sinking Hearts" (CD, 2002):

  "We've Got to Meet" — "I Am Not Surprised" — "It's Time to Go" — "Sinking Hearts" — "There Is Nothing I Can Do" — "No One Has Ever Looked so Dead"

• "Memorize The City" (7", 2005):

  "Memorize The City" — "There Is Nothing I Can Do"

• "Memorize The City" (CD, 2005):

  "Memorize The City" — "There Is Nothing I Can Do" — "Memorize The City [Remixed by Simon Bookish]"

• "Let the Bells Ring" (7", 2005):

  "Let the Bells Ring" — "Memorize the City [Remixed by Dustin Hawthorne]"

• "Brother" (CD + 7", 2006):

  "Brother" — "Love Love Love" (Gideon Coe BBC 6 Music Session 14/11/05)

• "Memorize the City" (CD + 7", 2006):

  "Memorize the City"— "No One Has Ever Looked So Dead" (Gideon Coe BBC 6 Music Session 14/11/05)

• "Thieves" (CD, 2008):

  "Even In The Night" — "Oh What A Feeling" — "Let The Bells Ring" — "Fire In The Ocean" — "Can You Tell Me One Thing" — "Don't Be Angry"

Sources[link]

• / Full Sketch Interview with "The Ubyssey," February 1999
• / Interview with "Discorder," March 2002
• / Interview with "The Ubyssey," February 2003
• Interview with "Straight.com," May 6, 2004
• Interview with "Exclaim.ca," June 2004
• Interview with "Straight.com," December 2, 2004
• Interview with "Cokemachineglow.com," 2004
• Interview with "Sceneandheard.ca"

External links[link]

• Official Website on Archive
• The Organ 5x live videos Nov 2005
• Grab That Gun album review on Sound Generator
• Mint Records
• The Organ at Allmusic
• View "Memorize the City" music video
• The Organ on MySpace
• "Nothing to frown about hammond-heavy new-wave sounds" The Organ in Session at CBC Radio 3; story by Elianna Lev

See also[link]

• List of bands from British Columbia
• List of bands from Canada