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Saturday, October 30, 2010

Liquid Tuesdaze/The New Colors/Year of the Rat @ Logan's Pub [Oct.28th, 2010]

By the time I post this, it'll be Halloween...so, happy Halloween folks. Don't blow up your pet with illegal fireworks.

It was a great turn out for a Thursday night for this Runway Studios showcase. Expect more showcases down the line as Steven Klipper's band roster keeps sprouting like a weed, but a weed you mysteriously don't want to die. One of those fantastic good weeds you never hear about, but ENOUGH RAMBLING. On with the show...

Liquid Tuesdaze soundchecked a song that sounded a bit like a Bad Religion. It was a song that got me excited that this was going to be a great night for music, even if Raw War was exiled from the bill for being too young. The sound check was quite misleading. Their real set started with an instrumental, which some people I talked to thought it was a poor way to open the show, but I have no problem with an instrumental intro as long as the next song is worth the hype. Well, what I can say about Liquid Tuesdaze is that I felt like I was in some sort of daze of confusion. The music is decent. The musicians had chops. The reason for my confusion was there were three different singers seemingly fronting three different bands. I wish I could address them by name, but they don't have a website for information. The overall feel was definitely rooted in classic rock. The main vocalist handled the bass, and you could feel like he was enjoying himself. That's very important. The drummer also was visibly feeling the music. Yet, one of the guitarists did 100% of the banter. Why is this? Is it a System of a Down scenario? Is he the Daron Malakian to his Serj Tankian? The guitarists stayed in their designated area playing along during the set. No one seemed to communicate with each other. It was like "Hey, yeah, I'm in a band and I'm waiting to play my song". The frontman's tunes were what you'd commonly hear on the Q or Jack FM. More 60's or 70's oriented but with an alternative twist. Linguinti [lead guitar], on the other hand, played one song and it was more of a Hendrix piece with that soulful guitar vibe. It was nice. The other guitarist performed his song that was the most rock of the set. He was shouting his lyrics, more than singing them. Out of all three of them, I am glad the bassists carries the major portion of the set. Don't get it twisted, I'm not saying the other guys can't carry their weight. There just needs to be some sort of common ground that they can all enjoy equally. They have a track that is an ode to BC, which they state is the greatest place to live. I do agree with them, but it was a bit too over the top patriotic for me. Their greatest moment was their final song, that was a delicate homage to Pink Floyd. Talking with the guys after the set, I learned that the song was primarily written by the shouty guitarist. See, there's nothing wrong with writing songs and just letting the frontman sing. This band would be better tailored to the college crowd. I could tell a lot of people came out for some heavy rock n' roll. Perhaps these fellows were a bit too clean cut for the Logan's crowd. The other two members are more than capable of branching out in their own bands. In fact, on Nov.16 at the Fort Street Cafe, Gio Linguinti is playing a solo set. I am very eager to hear what his own material sounds like.

The first time I saw The New Colors was in September at the V-Lounge opening for Year of the Rat [deja vu]. Anyone who has seen this band will always think the same thing: Nirvana. Though, before you count them out as copycats, you should know there is much more than that connection as far as sounds go. I would equate it to those who listen to Muse for the first time and say "it sounds like Radiohead". I was sure one of those miserable human beings, until I listen deeper, which is exactly what you must do for The New Colors. Two members of the band got in the festive spirit [the bassist and the second guitarist], by dressing up. The bassist had a dress fashioned out of newspaper, and the guitarist came as the mad hatter. Almost makes you wish the other two followed suit, but this isn't a costume competition, it's a rock show! This band is amazingly tight. Their set was flawless. There's definitely that grunge underlay, but you will also find influences from the likes of The Doors and Tool. One riff in their arsenal, I could have sworn was a Tool cover when I first heard it. That song in question proves that they are also capable of different time signatures. All the songs are catchy, but heavy. Frontman Scawt Polachuk can scream his face off. He definitely has that Kurt Cobain delivery as far as vocals go, but he screams like Frank Black. I suppose some people can say Kurt Cobain copied Frank Black so, in reality it would be a Frank Black delivery. Well, shut it, I'm trying to write a review. This isn't question/answer period. Drummer Brad Schaaf is a trained jazz drummer [as I understand], and he is as solid as they come. Though, I get the feeling he thinks I'm a bit weird, but that's ok. Maybe he is more accostumed to being in the background. Guitarist Brandon Brown rocked and swayed to the music. His role is rhythm, while Polachuk rips through solos. Then there is bassist Cat Deighton, who was earlier concerned about her newspaper dress falling apart and showing something unintended. She is definitely a popular woman to the drunk male demographic. When I saw them at the V-Lounge, there was an individual we dubbed as Cowboy Steve [or something like that]. Clad in a cowboy hat and way too old to be there, he seemed transfixed on her. In the smoking area, he made his move with the tactic we like to call "flattery". Yes, female bassists get a lot of attention. Sometimes for all the wrong reasons! Deighton is a very capable bassist. She knows her way around a fretboard. Another aspect of this band, oddly, is psychedelia. Yes kids, drop that acid, because for one song, you can pretend you attended Woodstock '69 [at least for the intro]. It's that kind of experimentation that will do well for The New Colors. They really need to shake off the Nirvana comparison. It may haunt them.

Who have I forgot? Surely not Year of the Rat. I cannot stress enough that this is the kind of band that should be Zone band of the month. They were the most commercially accessible group of the night, and I see great things for them. They've got the shirts. They've got the cds. They've probably got their name on your grandmother's underwear! Their brand of music is deemed "hard wave". That would be a mix of hard rock and new wave, if you are wondering. That label definitely fits. Samuel Coll's vocals are hard to pin point the influence, but I feel there is some Ian Curtis [Joy Division] in there, but unlike Curtis, it's not deadpan. No, Coll is a spitfire of energy. He also proves he knows what goes into a great solo. Samuel Coll switches from guitar to keyboard and can also excite the crowd without an instrument at all. There's also guitarist Mike Sanderson, who compliments the music at every moment. It's good to know there is someone out there that knows when to play leads and when to just double up the riff with an extra punch. Ryan Stringer, bassist, uses a variety of pedals that add a more electronic feel to the music. Drummer Clint Plett follows the groove with dance-oriented beats that will make you want to bust a move. When I first saw Year of the Rat, at the V-lounge...the one with Cowboy Steve, it was an unimpressive fare. A band not at their best, riddled with sound issues. Coming into this gig, I wasn't expecting much....but I was really blown away by an almost perfect set. The only misstep was a loss of pacing during one number, but Year of the Rat is the kind of band just to laugh it off. There is a use of pre-programmed pieces on Coll's laptop. At one point, Ryan Stringer turned off the impending doom, because it wouldn't have matched up with what they were going to play. When the beats work, they work well. That is the tough thing about relying on machines, they are unreliable and do not match up with adding a human player. Ghost players definitely take away from the live experience. It seems to really work with Year of the Rat, though, and is used tastefully. This seems to be a band that grows on you. They closed the set with a cover of Zombie by The Cranberries. It's a great take on the song. Much better than their other cover of Depeche Mode's Enjoy The Silence [just because Depeche Mode is hard to top]. I guess the only complaint is that the two shows I've seen there has been mistakes. You'd think a band that's been together this long would be able to play them in their sleep.

Oh, and to the girl who told me after the show I almost pulled her shirt down, I'm sorry. It definitely wasn't intentional and everyone was bumping around, since it was a rock show [which I was told you've never been to before]. For the future, you may want to stay a bit further away from the stage when Year of the Rat is playing, because there is definitely going to be some jumping and pushing.

Saturday, October 23, 2010

Rotterdam/Devour the Undead/Rotten Rails/No Other Way @ Logan's [Oct.22,2010]

Logan's Pub was crawling with plenty of metalheads ready to let loose. With every second coming closer to the show, you could feel the pent up energy begin to boil while Slayer blasted through the PA. It's always a good sign when people are head banging even before the show has started. Of course, there was a birthday tonight of local promoter Master Joda, who you may also call Joe. Props to this man, because he really knows what goes into organizing and promoting a show.

No Other Wa
It all started with the Ottawa band, No Other Way, who have set up base in Vancouver. Out of all the bands tonight, they were the most serious. You may ask, what that exactly means? Well, I'm not saying it as an insult to the other bands, but these guys had a table full of t-shirts and CDs ready to spring on the audience. These young guys are full of confidence and vigour. Their image is immaculate. You can gather that from a look at their myspace. It spoke a level of professionalism, but did the music match up? I sense some unearthed potential in this band. They certainly know how to shred their instruments. Playing to the crowd with every finger tap on the guitar. Every fill on the drums. The musicianship was all there, but what was lacking to take it to the next level is the songwriting. They were decent tunes, but perhaps these guys haven't found their voice yet. They transfer between Avenged Sevenfold to 80's power metal to more of a pop-punk sound. No Way Out seem like a band that would be good for throwing a party. Hell, they even covered Eye of the Tiger just to show you how accessible their music can be. With a little focus, this band could be as big as their merchandise portrays.


Rotten Rails
  Next up was Rotten Rails, and that's when things got really insane. This was much heavier than No Other Way and it seemed what the crowd was waiting for, because the mosh frenzy that ensued was the biggest of the night. These guys have perfected the chugging guitar style, and it matched up nicely with Dylan Jackman's thunderous double bass. I couldn't help but get a distinct Superjoint Ritual vibe. Vocalist Rob Taylor screamed his face off, and the audience screamed back. There was great crowd interaction with these guys during the tune What The Fuck, and you've never truly lived until you've screamed those words during the chorus along with the band. These guys aren't much on solos. Neither are they on image. In fact, even after the gig I barely remembered what they looked like. I just remembered the music. Not because I was drunk, but because they don't exactly have a look. Of course, image isn't the primary principle of music. I just have a feeling if you combined the look and marketing of No Other Way and the music of Rotten Rails, you'd have something. Though, I may eat those words, because there was a huge chant from the crowd after their set. No frills. No gimmicks. No hamming it up with solos. Just a take no prisoners onslaught of brutality.


Devour The Undead Dancer
Bring on the dancers for Vancouver's Devour The Undead. In terms of sound, these guys were less about the chugging guitar and more about speed. At times it was like being caught in some sort of metal hurricane. The vocalist was a madman possessed, grunting along the lines of the band Kataklysm. It was a wall of noise. The guitarists traded off solos and showed that they really know their stuff. Overall, the band was tight. This is a group I will have no trouble remembering. The band were dabbed with fake blood and two girls danced upon speakers on each side of the stage. I've been noticing an influx of bands in the Victoria area that are taking in dancers. It sure adds to the overall enjoyment of the show, but you don't want the dancers to overshadow the music. Luckily, the band did have the chops not to be upstaged. Highlights included an instrumental, which sounds odd to say, where the singer took to the pit and went wild. There seemed to be a lot of lost energy after Rotten Rails, and I think he did a great job to keep the crowd motivated. This happened once again when a guest vocalist from Reaver took over the vocal duties for a song. What I'd like to hear more from Devour the Undead is variety. There were very few moments of breathing room, but I'm sure there are hardcore fans out there that would deem that as "selling out".

Rotterdam Singer: Steve Migliarese

Last up, the headliners Rotterdam! First look of the band, the lead singer may look like a serial killer that would eat your corpse post-mortem. Funny thing is, he is a really nice guy and they dedicated their set to a friend, who if I remember correctly, was suffering from diabetes. There's a reason why these dudes have been around for so long, they slay. In ways it's more of a throwback to the heavy metal of the 80's/early 90's, but we aren't talking hair metal. We are talking more like Anthrax, Down [which they covered], Megadeth, Corrosion of Conformity and Entombed. It wasn't a wall of noise like Devour the Undead, it was more of a slow burn kind of metal. Definitely the heavy sound, but with some room to breath. Still rooted deep in southern rock, they really took control of the crowd and tore the roof off. The stage banter was well humoured from Vocalist Steve Migliarese. At one point he requested a barrel of vodka to be brought to the stage. This isn't a band that makes things too complicated. The riffs are actually quite simple. They present rocking tunes with exceptional solos. These guys, through all their experience, have learned it's about complimenting the music, not showing how good you could play. I bet if you challenged any of the band members to a musical duel, you'd be running home to mommy. The crowd was exhausted at this point, but there was a nice little rush near the end of the set. I guess people were realizing it was almost over and if there was any time to thrash around, it was now. As the last note rung out, we cried for an encore, but the lights had already come up to cap off a wicked gig.

So, the show as a whole was phenomenal. There weren't any shit bands. No one fucked up. No one was too drunk or high to play. There was something for everyone, and I suggest if any of these bands are playing, you should check them out. Also, keep track of any of Master Joda's productions, because his shows are selling out fast.

Oz and Da Instrumentals @ Fort Street Cafe - October 19/2010

I witnessed something on Tuesday that went criminally without notice. Greenlaw's Oz and Da Instrumentals took the stage live at the Fort Street Cafe. I don't blame you for not being there. Upon looking for something to do, the name just flared up my interest. Why not? It's always a thrill to see live music.

When I arrived, they were already a half hour deep. I was introduced to a brave combination of jazz, hip hop, funk and dub. Problem: I was the only one there. From what I understand, Oz and Da Instrumentals is a two man group. Oz himself seems to rotate between pounding the keys to ripping up the bass. He also DJs around the Victoria area. In fact, I think this guy has a project every day of the week.

There wasn't any slow prodding music here. Everything was in place to initiate a dance party. The drummer was amazing. He made it look so easy without breaking a sweat, and I'm not talking about some simple AC/DC drumming, no, this was all over the map. You could tell these two have been playing together for quite a long time. There were other players in this equation that would sway in and out depending on Oz's instructions. There was a pianist and a trumpet player [which I was told, they all had never played together until that night]. Later in the set, they were joined by a female vocalist which gave it almost a Zero 7 presence. You could tell that everyone was improvising and they did it well. Her voice was great. Very jazz oriented, but points off for dropping the cliche "the revolution will not be televised", but that's just nitpicking. The best part of the show was the sudden impulse call outs for solos. Whether it was a bass solo, a piano solo, a drum solo and the smooth solo of the trumpet that handled itself like a vocal line until the vocalist came in. Since there wasn't really anyone there, there was a freedom to just have fun with it. At one point, with Oz on keyboards, the band rallied into a drum n' bass groove you'd most likely here at a place like Hush.

It was great to see a band not get bummed out by a low turn out and see it as an opportunity to let loose. The show itself ran for two and a half hours with breaks. There were a few people that did trickle in, which I am glad for, but here's to hoping the next time you hear about Oz and Da Instrumentals, you'll be dancing to their unique blend of music.

Written by Dylan Jackson

Monday, October 18, 2010

Friday October 15/2010 - I, The Hunter, VonBones, SON, and Lust Boys - V-Lounge Show

I, The Hunter did an awesome job warming up the crowd. They mixed technical proficiency with an all out bomb blast of metal. The lead singer could shatter glass with his vicious growls. Everything about this band was dead on. The solos were out of this world...and the guy did them while wearing sunglasses. The drummer was crisp. Unfortunately, the crowd were not up to the task yet to truly let loose, but I, The Hunter definitely got everyone's attention. We were all staring in awe, if anything else.
Sons Of Nova
Taken By: Steven Klipper of Runway Studios

Next was Sons of Nova. After a blast from the Lust Boys past, they launched into their stoner-heavy set. The only way I can describe these guys is a mix of Queens of the Stone Age and Black Sabbath. You can tell they were having a great time. Their songs were catchy and the vocal trading added a lot to the dynamic. They've added some dancers to their stage show, so even if you aren't into the music, you have some eye candy. Things really exploded when they launched into a cover of War Pigs.

VonBones was heavier than I expected! They really tore the place a new asshole. I'd say they were definitely the most punk-oriented of the night. The pit was insane during their performance. Some idiot decided it would be cool to smash a glass on the stage, but luckily no one was hurt. The lead singer has quite an intimidating howl. The band played like a well oiled machine. I love the stage presence and the banter. There was a lot of confidence presented, and they backed it up ten fold.

Last but not least, the Lust Boys brought the sleaze. One thing you need to admit about a Lust Boys show is they live the rock n' roll stereotype to the fullest and love every minute of it. A definite recommendation for anyone that loves the hard rock/metal of the 70's/80's. Vocalist Jayme "Gypsy" Black had the crowd in the palm of his hands. The band did their part as well, with the quick shout out lines in the choruses. If you liked the eye candy of the Sons of Nova show, there were even more women on stage. The band played off the dancers, and made them part of the show. They finished the set with a couple covers, and I don't think there was a single person in the V-Lounge not singing along.

No, I'm not some sort of idiotic fanboy. This was a well put together show from start to finish with four distinct sounding bands that set the place ablaze. Well done.

Written By Dylan Jackson