There's not much to say about Handsome Distraction besides them being masters of rock n' roll. It all kicks off without warning with the fantastic Drive Safe. One thing to notice about Handsome Distraction is that Devin Perfect has a distinct style. A lot of the riffs sound chopped up except for when he sings. Drive Safe is a song you won't get out of your head. I was worried after seeing this band so many times live that listening to the record would be a disappointment. That is not the case. It's what you hear is what you get. It was recorded live off the floor anyways. Don't expect any Phil Spector walls of sounds or orchestras. Babes of War featured awesome lead work by Corey Francis right of the bat. A nice feature of this band is that all four provide vocals, so you are always hit from all angles. I am also impressed that I cannot compare Handsome Distraction to any band off the top of my head. They are the epitome of modern rock, and it's any wonder how they couldn't be Zone Band of the Month. Chris Weaver flows through the bass like a crystal clear river. Who Do You Love? starts a bit on the cheesy side with popping bass that may or may not remind you of a porno. Still, they've set a precedent for just really catchy songs. It kinda kills me that it feels like Bryan Reiber is playing it safe on these recordings, because when I see him live, he is amazing. Of course, when it comes recording live off the floor, risks are a bit frowned upon. Mess Before We Met doesn't hold the caliber of the first three songs. You can sing along to it, much like all of their material but it falls flat. Still better than a lot of mediocre Victoria bands I've seen come and go. Dirty Knives returns to the greatness we heard earlier. Highlight of this one is the focus on the bass. I really like the dynamics of this band. This song is as slow as Handsome Distraction gets. It occurs to me that they would be the perfect band for a frat party. It never goes into ballads. It doesn't challenge the listener. It stays pretty upbeat and rockin'. Disappear is a disappointment for me, because it's way better live. There's something about the vocals, as if the mic was too hot. I think with a little re-organizing of the track order, it might have came across a bit better [especially with the three heavy hitters right off the top]. I will credit Disappear as having a good riff, though. There is an element of Revolution N.9 at the end that repeats talking and odd noises in repeated forms. Luckily, it's short. Why is it there? A secret song! It was a song from the last album's session and it didn't fit, so they put it on this one. Now, this is a fucking great song! Why is it hidden? I don't know. Drive Safe, Babes of War, Who Do You Love?, Dirty Knives and this one [Green Light] are very solid songs. So, yeah, Handsome Distraction = great rock band. The only thing keeping it back is that all the songs follow the same road. It doesn't evoke my emotions. It doesn't speak to me, besides signifying that this song is good, this song isn't as good. What's wrong with a slow song? What's wrong with acoustic guitars? What's wrong with stepping outside a genre? Handsome Distraction is great at what they do, but I'd love to see what else they are capable of.
3.8/5
Friday, April 1, 2011
Thursday, March 31, 2011
Shadow of the Gods - Shadow of the Gods
To explain what this CD starts off like can be only described as something being unearthed from the ground. There is no escape from saying this a dark flavoured disc and first track No Honour (Among Thieves) is very promising. It's got such a groove to it, and Ian Sanderson's bass is a definite highlight. You can often find yourself losing yourself in the rhythm. It may not be full of anthems or sing-a-longs, but it's worth it for just the music alone. Chris Buchan's guitar is quite technical but still not over the top. It can, at times, bring on a combination between Tool and Dream Theatre. Shayne Judkins has a Danzing prowl to his voice when he yelps during the choruses. When he goes soft, it's quite pleasing, though, it doesn't come across live [yet]. Sacrifice begins with Judkin's soft deliver, but the song doesn't have the same kick as No Honour and could pass as something from Creed's debut disc. It's a listenable track. I'd also like to mention Geoff Crober's drumming is spot on. Things pick up again with Desolation, the first slow tune, but the guitar is something that'll stick around in your head. I find the band really shines with this one. One of Crober's finest for drums, right here. Half way through the song, they kick it into overdrive only to drop back to the original tempo. It's a great shift. I find that Judkins goes "Uh!" a bit too much. It's not exactly a Rage Against the Machine record. Seduction almost reminds me of Primus. The guitar is a bit too fuzzy and combats Judkins vocals, but the song is another keeper. It's also got a System of a Down vibe to it. Almost like Judkins is doing his best Tankian. There are plenty of solos to be found and they don't feel unnecessary. The Path Not Taken is my least favourite on the CD and is a bit aimless in its essence. It's a pop song, but I find this band does its best work in being dark and brooding. There is also too much going on in this one. I feel Buchan could simplify or cut out completely during the verse so that the song would be less cluttered. It's actually interesting that Buchan seems to always be playing. I'd like to see a lot more dynamics in the future. The best part of The Path Not Taken is the random screams during the chorus, and I find myself wondering who is doing them. Where are they coming from? Honest I Do kicks off like a long lost brother to Metallica's One. It features Cassandra Van Mierlo as the female counterpart. It's a love song. Great track, but seems like a natural closer for the CD instead of being where it is in the order. I do love the exchange between Judkins and Van Mierlo. Very suiting. Little Girl is when Shadow of the Gods goes punk. It's quite catchy and the shortest song on the disc. The perfect length for something like this. Buchan's back up vocals are superb. It's definitely a punk solo in this one. That "no care" attitude. If I could pick a single from this album, Little Girl would be it. Tick is...strange. I find Buchan's singing in the chorus doesn't fit, and that this track would benefit from pure instrumental breaks. The guitar line during the chorus would have done just fine. That's my only problem with this song. So, out of the whole album, I think there are 6 solid songs here with two tolerable ones [The Path Not Taken and Tick]. I'm quite interested in hearing the next disc and how they evolve on stage. I would recommend this CD to fans of alt-metal who are looking for something a little adventurous.
4/5
4/5
Monday, March 28, 2011
The 12 Steps/Shadow of the Gods/The New Colors @ Logan's Pub [March 26th, 2011]
What can one say about Runway Studios besides they are a rising force to be reckoned with? For this Runway Showcase, we had a varied hard rock experience. There were many bodies on the floor ready to mosh, dance and dance-mosh in a combination one could only attribute to intoxication. Yes, these days, almost every up and coming band seemed to take the trip to Sidney to visit Mr. Steven Klipper. I'm beginning to sound like an infomercial, so let's see what went down, shall we?
As The 12 Steps were setting up, people kept telling me they were grunge. I would debate that. Their sound is rooted more in what was before grunge was popular. When you think grunge, you might think Alice in Chains or Soundgarden. These guys don't hold that essence of classic rock that a lot of grunge bands have. This was more Mudhoney, Frank Black & The Catholics [notice I didn't say Pixies? The songs were more post-Pixies] with flurries of Dinosaur Jr ripping solos. Yes, this was the "grunge" that was all about not really giving a fuck. It was raw. It was energetic. The crowd was eating it up. Frontman C.Roy Langford was dripping with sweat almost immediately. He definitely reminded me of Frank Black at points with his vocal delivery and power chord patterns. He'd swing his guitar around wildly. It wasn't about hitting the notes here. It was all like being blindsided by a herd of buffalo. It seemed his favourite thing to do was to go over James Sparkes, on bass, and get in his face. Sparkes didn't share the same kind of energy as Langford, but he was a good bass player. He wasn't showey. Dave Mason wailed on the drums and I admired his attack. These guys are great at what they do, but I definitely felt like I was sucked into a time machine and it was 1989 in the birth of the movement. There was one song that was not very good, which looked like Langford was making it up as he goes since it contained something about rocking out at Logan's Pub. Another song somewhat resembles Weezer could have come straight off the Blue Album if it wasn't for the shouting chorus. If they keep writing songs like Eternity [which is as catchy as 12 Steps seems to get] then I see an excellent future, but who am I kidding? The crowd were losing their shit. What they lack in melody, they make up for with power chord godliness. At the end of the set, Langford lays his guitar to his guitar amp for feedback and thanks everyone for coming.
Speaking of gods...the next band was Shadow of the Gods. It's easy to say things didn't get off to the greatest start and the crowd were confused what to think. Ian Sanderson's bass thundered to the point it could shake the room as he popped and slapped his five string. One thing to take into account is the band's equipment is huge for a bar like Logan's Pub. Did it sound good? Hell yeah, it was clear, but the band was ready to blow us out the door. The band played great as they opened up with the groove oriented number No Honour (Among Thieves). Chris Buchan is a beast on guitar. Geoff Crober made it look it easy. The only person on the floor, though, was someone straight out of a hip hop video doing break moves. It was really strange seeing someone decked out all in baby blue dance to Shadow of the Gods. When the song got heavier, he left pretty quick. The problem was you couldn't really hear Shayne Judkin's voice. I know his microphone was very high, but on the soft parts, he was eaten alive by the band's tones. Only during choruses when he'd give his all when you could hear him. The first couple songs went like this. Fortunately, the band started to get more comfortable on stage and Judkins sang with more passion. As far as vocals go, he has a lot of practice to do. Things got better when he used his on-stage voicebox that made him more audible. Though, it was a flanger, so it did come across as an odd sound. He's got a good stage presence , and you couldn't meet a nicer guy. The crowd were getting back into it. You can't fault the songwriting, which can feel like you are on a cloud in some more atmospheric moments. It seemed like the crowd was on drugs...especially an odd looking fellow with poofy long hair and a mustache that resembled a 70's magician who flailed like he was at Woodstock. Buchan ripped through some vicious solos that employed several techniques such as finger tapping. I would say if the band brought down their volume, it would give Judkins' voice a boost naturally. That's what sound guys are for, afterall. There was just so much power on stage. In time, Judkins can only get better. His voice reminds me of Danzig. There is definitely a Tool meets Dream Theatre vibe to this band. If only they did a soundcheck, but the sound guy looked strung out and said he'd just wing it as the bands went.
There were a few new differences between The New Colors I reviewed before and the band I saw on Saturday. First difference, new bass player Brett Jensen. Second difference is that they've started to litter the front of the stage with old TV sets that are all linked together to display random images on a loop that reference the band. I'll admit it was hard to decide what to look at, but it was a cool idea. Third, the band has decided to further themselves from that nasty sentence "you guys sound like Nirvana". The set was more mellow, but it definitely wasn't pop. For some odd reason, The New Colors make we want to take up surfing. Their songs can sometimes sprawl past that obvious 3:30 radio length to compensate for captivating solos by main man Scawt Polachuk. Sure, he still has the Cobain sneer sneak into his vocals, but I found the first half of the set to keep rather clean. Brett Jensen may not have the sex appeal of their prior bassist, but I learned he was the mastermind behind this TV set up. I couldn't help but imagine the drunken 70's magician twirl into the tower of small TVs, but there were no crowd antics here. There have been some gigs where it's hard for me to hear what rhythm guitarist Brandon Brown is doing, but tonight I could pick up on the little variances he does. That's also thanks to every band tonight borrowing Shadow of the God's gear. Another thing I noticed was that Brad Schaaf was hitting his drums harder, which is good. Due to his jazz training, he would often keep things soft and controlled. I felt he was more rock oriented tonight. He always has the most serious look on his face as if he was diffusing a bomb back there. I enjoyed the set and the banter was pretty funny. There was an ongoing moment started by Shayne Judkins in Shadow of the Gods where the mere mention of a song being in drop D would be met by cheers. This trend went on for one of The New Colors' drop D numbers. I love when there is a run on joke through out the night. I have to say that the new New Colors are becoming their own band. Though, new song Filthy falls into the grunge area that will excite older fans.
A real buzz killington gave the band the ten minute warning. Ouch, this was not what the band had in mind so we were given two song choices. Pretty Smile or Twenty Caps. Seemed like I was the only one to reply, and Pretty Smile it was. This amped up rocker got everyone moving, and Palochuk screamed his face off with much success. Once the song was over...there was no sight of the sound guy and the crowd erupted in a chant "Let them play!". It was deafening. So, of course they played Twenty Caps. It's a real slow burner but is still one of their best songs. Halfway through the track, the lights went on. People started to boo. The band kept at it through the extended jam out that takes place. The sound guy must have gave them a signal and The New Colors complied to finish the song without debate. It was basically over, anyway.
A show like this benefited everyone, and no one came away disappointed. I think that if Shadow of the Gods solved their sound issues and had a proper test, things would go better. They were the most complicated set up on the bill. There was a feeling that people were looking for straight up rock and roll, so the 12 Steps and The New Colors did come across better. Victoria is definitely heading in a direction of a grunge revival, like it or not. Another successful show for Runway Studios. Lepka was supposed to perform but had to pull out. Outside some people with chatting about it being a dick move to put on the lights while the band was mid-song. Ten minutes is ten minutes.
As The 12 Steps were setting up, people kept telling me they were grunge. I would debate that. Their sound is rooted more in what was before grunge was popular. When you think grunge, you might think Alice in Chains or Soundgarden. These guys don't hold that essence of classic rock that a lot of grunge bands have. This was more Mudhoney, Frank Black & The Catholics [notice I didn't say Pixies? The songs were more post-Pixies] with flurries of Dinosaur Jr ripping solos. Yes, this was the "grunge" that was all about not really giving a fuck. It was raw. It was energetic. The crowd was eating it up. Frontman C.Roy Langford was dripping with sweat almost immediately. He definitely reminded me of Frank Black at points with his vocal delivery and power chord patterns. He'd swing his guitar around wildly. It wasn't about hitting the notes here. It was all like being blindsided by a herd of buffalo. It seemed his favourite thing to do was to go over James Sparkes, on bass, and get in his face. Sparkes didn't share the same kind of energy as Langford, but he was a good bass player. He wasn't showey. Dave Mason wailed on the drums and I admired his attack. These guys are great at what they do, but I definitely felt like I was sucked into a time machine and it was 1989 in the birth of the movement. There was one song that was not very good, which looked like Langford was making it up as he goes since it contained something about rocking out at Logan's Pub. Another song somewhat resembles Weezer could have come straight off the Blue Album if it wasn't for the shouting chorus. If they keep writing songs like Eternity [which is as catchy as 12 Steps seems to get] then I see an excellent future, but who am I kidding? The crowd were losing their shit. What they lack in melody, they make up for with power chord godliness. At the end of the set, Langford lays his guitar to his guitar amp for feedback and thanks everyone for coming.
Speaking of gods...the next band was Shadow of the Gods. It's easy to say things didn't get off to the greatest start and the crowd were confused what to think. Ian Sanderson's bass thundered to the point it could shake the room as he popped and slapped his five string. One thing to take into account is the band's equipment is huge for a bar like Logan's Pub. Did it sound good? Hell yeah, it was clear, but the band was ready to blow us out the door. The band played great as they opened up with the groove oriented number No Honour (Among Thieves). Chris Buchan is a beast on guitar. Geoff Crober made it look it easy. The only person on the floor, though, was someone straight out of a hip hop video doing break moves. It was really strange seeing someone decked out all in baby blue dance to Shadow of the Gods. When the song got heavier, he left pretty quick. The problem was you couldn't really hear Shayne Judkin's voice. I know his microphone was very high, but on the soft parts, he was eaten alive by the band's tones. Only during choruses when he'd give his all when you could hear him. The first couple songs went like this. Fortunately, the band started to get more comfortable on stage and Judkins sang with more passion. As far as vocals go, he has a lot of practice to do. Things got better when he used his on-stage voicebox that made him more audible. Though, it was a flanger, so it did come across as an odd sound. He's got a good stage presence , and you couldn't meet a nicer guy. The crowd were getting back into it. You can't fault the songwriting, which can feel like you are on a cloud in some more atmospheric moments. It seemed like the crowd was on drugs...especially an odd looking fellow with poofy long hair and a mustache that resembled a 70's magician who flailed like he was at Woodstock. Buchan ripped through some vicious solos that employed several techniques such as finger tapping. I would say if the band brought down their volume, it would give Judkins' voice a boost naturally. That's what sound guys are for, afterall. There was just so much power on stage. In time, Judkins can only get better. His voice reminds me of Danzig. There is definitely a Tool meets Dream Theatre vibe to this band. If only they did a soundcheck, but the sound guy looked strung out and said he'd just wing it as the bands went.
There were a few new differences between The New Colors I reviewed before and the band I saw on Saturday. First difference, new bass player Brett Jensen. Second difference is that they've started to litter the front of the stage with old TV sets that are all linked together to display random images on a loop that reference the band. I'll admit it was hard to decide what to look at, but it was a cool idea. Third, the band has decided to further themselves from that nasty sentence "you guys sound like Nirvana". The set was more mellow, but it definitely wasn't pop. For some odd reason, The New Colors make we want to take up surfing. Their songs can sometimes sprawl past that obvious 3:30 radio length to compensate for captivating solos by main man Scawt Polachuk. Sure, he still has the Cobain sneer sneak into his vocals, but I found the first half of the set to keep rather clean. Brett Jensen may not have the sex appeal of their prior bassist, but I learned he was the mastermind behind this TV set up. I couldn't help but imagine the drunken 70's magician twirl into the tower of small TVs, but there were no crowd antics here. There have been some gigs where it's hard for me to hear what rhythm guitarist Brandon Brown is doing, but tonight I could pick up on the little variances he does. That's also thanks to every band tonight borrowing Shadow of the God's gear. Another thing I noticed was that Brad Schaaf was hitting his drums harder, which is good. Due to his jazz training, he would often keep things soft and controlled. I felt he was more rock oriented tonight. He always has the most serious look on his face as if he was diffusing a bomb back there. I enjoyed the set and the banter was pretty funny. There was an ongoing moment started by Shayne Judkins in Shadow of the Gods where the mere mention of a song being in drop D would be met by cheers. This trend went on for one of The New Colors' drop D numbers. I love when there is a run on joke through out the night. I have to say that the new New Colors are becoming their own band. Though, new song Filthy falls into the grunge area that will excite older fans.
A real buzz killington gave the band the ten minute warning. Ouch, this was not what the band had in mind so we were given two song choices. Pretty Smile or Twenty Caps. Seemed like I was the only one to reply, and Pretty Smile it was. This amped up rocker got everyone moving, and Palochuk screamed his face off with much success. Once the song was over...there was no sight of the sound guy and the crowd erupted in a chant "Let them play!". It was deafening. So, of course they played Twenty Caps. It's a real slow burner but is still one of their best songs. Halfway through the track, the lights went on. People started to boo. The band kept at it through the extended jam out that takes place. The sound guy must have gave them a signal and The New Colors complied to finish the song without debate. It was basically over, anyway.
A show like this benefited everyone, and no one came away disappointed. I think that if Shadow of the Gods solved their sound issues and had a proper test, things would go better. They were the most complicated set up on the bill. There was a feeling that people were looking for straight up rock and roll, so the 12 Steps and The New Colors did come across better. Victoria is definitely heading in a direction of a grunge revival, like it or not. Another successful show for Runway Studios. Lepka was supposed to perform but had to pull out. Outside some people with chatting about it being a dick move to put on the lights while the band was mid-song. Ten minutes is ten minutes.
Friday, March 25, 2011
DT Jackson, Handsome Distraction, Still Within - Thursday March 24 - Rehab Nightclub
Hello, it's Jeff Bauman. Bassist of Moss Rock and owner of this blog. I don't do much blogging on here. That's usually up to DT Jackson. However, seeing that Thursday March 24 was a DT Jackson show I figure it would be weird if he were to do a review on himself. So I guess I'll just start typing.
The show was supposed to be the three bands that you see in the title. However, Handsome Distraction had to cancel for some unknown reasons. I didn't stick around long enough to see any other bands like Still Within or whoever it is that Handsome Distraction had fill in for them, if it where anyone.
So all I really saw was DT Jackson. His show was WAY better than last time I saw him play. His vocals seemed to be more "on" and he really rocked the stage. This was a side of DT I haven't seen much of. I personally thought it was great and so did my good friend that I had sitting with me. We were surprised on the progress DT Jackson seems to be showing in his music. When you go to the myspace you may think "wow, these recordings aren't all that great". Which is kind of what I think (no offense DT, just a point of view). So when it comes to the live performance, well, it's a ton better than his recordings. Most bands work in the opposite way, the live performance just isn't as good as the recording. However, I feel that with the recordings DT has that there may just be too many vocals on vocals and some vocals are out of time. When it comes to the live show everything is just much more raw and natural. This is the sound I like more than the built up amount of tracks of vocals he has going on with recordings. I hope his new album has this more natural live sound than what he has had in the past. If you get a chance, go see DT Jackson. The live performance rocks.
The show was supposed to be the three bands that you see in the title. However, Handsome Distraction had to cancel for some unknown reasons. I didn't stick around long enough to see any other bands like Still Within or whoever it is that Handsome Distraction had fill in for them, if it where anyone.
So all I really saw was DT Jackson. His show was WAY better than last time I saw him play. His vocals seemed to be more "on" and he really rocked the stage. This was a side of DT I haven't seen much of. I personally thought it was great and so did my good friend that I had sitting with me. We were surprised on the progress DT Jackson seems to be showing in his music. When you go to the myspace you may think "wow, these recordings aren't all that great". Which is kind of what I think (no offense DT, just a point of view). So when it comes to the live performance, well, it's a ton better than his recordings. Most bands work in the opposite way, the live performance just isn't as good as the recording. However, I feel that with the recordings DT has that there may just be too many vocals on vocals and some vocals are out of time. When it comes to the live show everything is just much more raw and natural. This is the sound I like more than the built up amount of tracks of vocals he has going on with recordings. I hope his new album has this more natural live sound than what he has had in the past. If you get a chance, go see DT Jackson. The live performance rocks.
Thursday, March 17, 2011
Band Night Audio [episode 1]: Sons of Nova
Hey gang,
I know, it's been quiet. Too quiet. So, I'd like to introduce a new thing we are doing here at the ol' Band Night blog. Interviews! Luckily, Sons of Nova offered themselves as guinea pigs for this experiment and we still need to work out the kinks of it all. They were a real treat to have over, and I'm sure I sounded like an idiot, but you can be the judge. So, just sway yourself down to http://www.soundclick.com/bandnightaudio and let us know what you think.
I know, it's been quiet. Too quiet. So, I'd like to introduce a new thing we are doing here at the ol' Band Night blog. Interviews! Luckily, Sons of Nova offered themselves as guinea pigs for this experiment and we still need to work out the kinks of it all. They were a real treat to have over, and I'm sure I sounded like an idiot, but you can be the judge. So, just sway yourself down to http://www.soundclick.com/bandnightaudio and let us know what you think.
Saturday, February 26, 2011
Whiteboard Project/We, The Undersigned/This Day Burns/Ninjaspy @ The V-Lounge [Feb. 24th, 2011]
Although the snow was over, it was slowly melting and forming into dangerous ice. The wind chill was alarming. Though, we were faced with a huge Thursday bill. It wasn't going to stop me, because I was ready to rock, but would it keep the crowds away on this solemn Thursday night? I arrive early and rush in [after some meet and greets] to avoid the damnation outside. I rarely find myself wearing a jacket inside the V-Lounge, but it was pretty much a needed necessity. For this show, you'd have to mosh to stay warm. Not planning to get drunk enough for that.
Whiteboard Project was a perfect kick off for the night. They hit hard without warning with intricate riffs that would have you imagine there would be no way there was just three members. Paul Jacobs transfers from screaming, death growls to melodic singing with ease as he amazes the audience with his guitar ability. I just stood there in awe as he finger tapped his way to glory. Yet, on the other side of the stage, was bass player Mark O'Halloran finger tapping in a harmony to Jacobs. I got a definite Mudvayne vibe to this band, but without the mainstream appeal. If you could ever imagine Mudvayne mixed with Meshuggah chugging and time signatures, Whiteboard Project would be in there. My god, the bass playing is amazing in this band. Though, it was the drummer that held my attention for most of the set. Jeff Laird was a definite heavy hitter and he came up with some really complex patterns and fills that could rival many legends. I found it extremely interesting that he had two high hats on either side, which he used depending on what side of the drum set he was favouring. It was something I had never seen before. The songs sprawled with not much repetition. One part would lead into another and then into another, with the possibility of a re-visit to what you could call a chorus. There is a prog element to the band, which is quite enjoyable. Not a band you go to sing along to, but just keep your eyes glued to their ability. Jacobs got us to raise our middle fingers in the air and proclaim "Fuck Shitcouver!". It was not something everyone believed in. If I had anything bad to say about this band, it did drag on near the end of the set only because there wasn't much difference in the songs nor was there a barrage of energy on the stage. More of a stand still and "check out what I can do" kinda deal. Overall, I was thoroughly impressed by this band from up island. Hopefully they come down more often. They passed over their three track CD to me at the show, and it's solid. Recommended, no question.
Then came We, The Undersigned from Fredericton, New Brunswick and they upped the ante. After a short bass related issue, they launched full tilt into their intense set. While not as technically impressive as Whiteboard Project, they had songs that were easier to digest. Though, this was more punk than metal as the lead singer swung his microphone around dangerously [which he explained to me was a game where he sees how close he can get to the guitarist's face]. The group rarely slowed down with piercing shouts. The crowd tonight was having some major ADHD. If the lead singer took a much needed break for some water, the fans would disperse back to the bar or to a table. The use of a guitar solo was rare, but when it was used, it was fantastic as the guitarist reefed on his wah wah pedal. The bassist, somewhat resembling a pirate, head banged his way through the set with determination. Often the guitarist or the vocalist would perch themselves on the bass drum, but it didn't phase the man behind the kit. What I truly enjoyed about this band was their sense of humour. The lyrical content is, more or less, bizarre and they are quite entwined with their band buddies, Ninjaspy in the way where in the blink of an eye, they can pull a 180 and go in a whole new direction five times in the span of one minute. I see great things for this band in the future.
For Victoria's This Day Burns, I felt it was an odd choice for this bill. After a hugely complicated set up that seemed to go on forever, I couldn't figure out who was playing what. Everyone seemed to be fiddling around with the drums. Fiddling with the pedals. Just when you thought they had everything figured out, they'd fiddle with another thing. Then back to the drums. Alright, I think they are done...they all go off stage. I'm just itching for them to go on, yet I'm a bit skeptical of the acoustic guitar they were soundchecking. Suddenly, some ambient guitar doodling cues over the PA and the band make their way to the stage. This better be god damn good for the amount of time they took to get on stage. The band has a few familiar faces, as ex-Saul guitarist Chris Heretic sits behind the drum set and current Funk Vigilante Matt Williams wore his bass with pride. The group is also rounded out by Jon Sinclair on guitar, and frontwoman Jasmine Wietzke with her curious acoustic guitar. That's when things got really really slow. The problem wasn't that the band was bad. The problem comes from having two fast paced bands kick off the night. The band mixed the dreary burn of A Perfect Circle with Lacuna Coil. First things first, I'd like to point out that Wietzke has an amazing voice and all of these musicians are impressive. I just think this type of band would work better with a different line up. Part of which, none of these guys I would call drummers. Heretic and Williams actually switched off mid-set. They got the job done, but we've seen such incredible drumming tonight, it's kind of a write off. There was also an odd buzzing sound that was difficult to pin point. Might have been a bad wire. There was also an Avenged Sevenfold tinge to the music. After a few slow tracks, Heretic switched to bass and Williams went to drums. For what reason? I'm not exactly sure. They played some more slow stuff. Wietzke proclaimed "This next song is a slow song...well, a slower song. I know, a slow song. What the fuck?". She provided , and it wasn't until Wietzke switched to bass and Heretic picked up a guitar, that they injected some energy into the set. It was a welcome change and it got the audience's [and my] attention. She wasn't as good as a bass player as Heretic or Sinclair, but it served the purpose. After that one, they went back to the slower material. This band would do well on The Fox in Vancouver. A work in progress with the working title of "Gibbled Chicken" was another highlight with Heretic's trademark riffs that he was more known for in Saul. It came across as very Avenged Sevenfold influenced. The thing with this band is that they either need to be all slower ambient laden songs or they need to really balance the fast with the slow. I also took issue with everyone switching instruments. In an interview, they say every time they switch an instrument, it brings out a new side of them and you can feel it in the music. I didn't really feel that. What I felt was that I had a preference for each instrument someone was on. Heretic, I found to be a better drummer than Williams. Williams was the best bassist, yet I was impressed by Sinclair's ability as a bassist, as well. Heretic, though, he is a guitar player through and through. If I had my way [zero chance of ever happening], you'd have Williams on bass, Heretic and Sinclair on guitar, with a drummer who lives and breathes drumming.
Ah, but the moment we'd all been waiting for was upon us. If I could sum up Ninjaspy in one word, it's fearless. This band blends sporadic metal with ska at the drop of a dime. It's almost like they operate in their own time signature, or they come from a different planet. I found it had elements of Strapping Young Lad but way crazier. Joel Parent [guitar/vocals] spun around the stage like madman with a microphone headset. Now that may look silly on some, but when you take into count that this guy is all over the stage, it just fits. Tim Parent [bass] was also exciting to watch as he performed some stage dance moves on stage, and at one point he knocked into drummer Adam Parent. Hmmm, I wonder if they are related. Anyway, definite highlight for me was the song Evolution of the Skid. Joel Parent can scream, sing and all out be weird at different points during one song. It doesn't have to make sense in this band. If parts are only performed once, then, that's it. Many times at the V-Lounge when the members were jumping around and twirling, I thought they were going to come in contact with the many flatscreen TVs at the V-Lounge, but I guess they've been at this a long time and have built a sixth sense. I never realized how big this band is. I had seen them about five or so years ago at Lucky's and they weren't even headlining, but that show stuck with me. Now they are on a Japanese label and doing tours around the world. They are set to go to Mexico this year. There was a girl that came in, that was so ecstatic that Ninjaspy was playing that when she touched Joel's hand, she had a minor freak out. Yes, the crowd was wild. There were a few broken bottles and moshing casualties. One man managed to jump on stage and barely land a backflip. Joel seemed rather amused with it as he kept playing. After that, security got a little more serious. The same man then tried to backflip OFF the stage onto the floor...I was screaming "NO!" in my head. Luckily, security pulled him down. God bless drunk people. Adam Parent was a definite whirlwind on the drums and barely broke a sweat. Another cool part of the set was that Joel could control the delay on his vocals with a wah wah pedal. It added a lot of atmospheric disarray to the set. This performance was not light on rock moves. Joel tossed his guitar around full circle at least two times. He also performed some ninja worthy moves. Hell, the guy even brought out a sai to use on his guitar to scratch at the strings and as a guitar slide. He was also quite apt at finger tapping. The lyrical content, much like We, The Undersigned is absolutely bizarre in a Zappa-esque quality. They were eager to involve the crowd in participation with their lyrics. How many times do you get to sing the words "Gone, gone, we're out of tampons"? Tim Parent provided great back up vocals. I would also say there is some Mike Patton in this band. I have to say, this was the best show so far I have seen this year....and none of these bands are my "buddy's".
It was so worth it to do that 30 minute walk over icy sidewalks, and I'm very glad other people thought the same way. If you missed Ninjaspy or you've never even heard of them, there is word of a big Victoria announcement soon. You better get on it, because Ninjaspy rocked my ass off.
Whiteboard Project was a perfect kick off for the night. They hit hard without warning with intricate riffs that would have you imagine there would be no way there was just three members. Paul Jacobs transfers from screaming, death growls to melodic singing with ease as he amazes the audience with his guitar ability. I just stood there in awe as he finger tapped his way to glory. Yet, on the other side of the stage, was bass player Mark O'Halloran finger tapping in a harmony to Jacobs. I got a definite Mudvayne vibe to this band, but without the mainstream appeal. If you could ever imagine Mudvayne mixed with Meshuggah chugging and time signatures, Whiteboard Project would be in there. My god, the bass playing is amazing in this band. Though, it was the drummer that held my attention for most of the set. Jeff Laird was a definite heavy hitter and he came up with some really complex patterns and fills that could rival many legends. I found it extremely interesting that he had two high hats on either side, which he used depending on what side of the drum set he was favouring. It was something I had never seen before. The songs sprawled with not much repetition. One part would lead into another and then into another, with the possibility of a re-visit to what you could call a chorus. There is a prog element to the band, which is quite enjoyable. Not a band you go to sing along to, but just keep your eyes glued to their ability. Jacobs got us to raise our middle fingers in the air and proclaim "Fuck Shitcouver!". It was not something everyone believed in. If I had anything bad to say about this band, it did drag on near the end of the set only because there wasn't much difference in the songs nor was there a barrage of energy on the stage. More of a stand still and "check out what I can do" kinda deal. Overall, I was thoroughly impressed by this band from up island. Hopefully they come down more often. They passed over their three track CD to me at the show, and it's solid. Recommended, no question.
Then came We, The Undersigned from Fredericton, New Brunswick and they upped the ante. After a short bass related issue, they launched full tilt into their intense set. While not as technically impressive as Whiteboard Project, they had songs that were easier to digest. Though, this was more punk than metal as the lead singer swung his microphone around dangerously [which he explained to me was a game where he sees how close he can get to the guitarist's face]. The group rarely slowed down with piercing shouts. The crowd tonight was having some major ADHD. If the lead singer took a much needed break for some water, the fans would disperse back to the bar or to a table. The use of a guitar solo was rare, but when it was used, it was fantastic as the guitarist reefed on his wah wah pedal. The bassist, somewhat resembling a pirate, head banged his way through the set with determination. Often the guitarist or the vocalist would perch themselves on the bass drum, but it didn't phase the man behind the kit. What I truly enjoyed about this band was their sense of humour. The lyrical content is, more or less, bizarre and they are quite entwined with their band buddies, Ninjaspy in the way where in the blink of an eye, they can pull a 180 and go in a whole new direction five times in the span of one minute. I see great things for this band in the future.
For Victoria's This Day Burns, I felt it was an odd choice for this bill. After a hugely complicated set up that seemed to go on forever, I couldn't figure out who was playing what. Everyone seemed to be fiddling around with the drums. Fiddling with the pedals. Just when you thought they had everything figured out, they'd fiddle with another thing. Then back to the drums. Alright, I think they are done...they all go off stage. I'm just itching for them to go on, yet I'm a bit skeptical of the acoustic guitar they were soundchecking. Suddenly, some ambient guitar doodling cues over the PA and the band make their way to the stage. This better be god damn good for the amount of time they took to get on stage. The band has a few familiar faces, as ex-Saul guitarist Chris Heretic sits behind the drum set and current Funk Vigilante Matt Williams wore his bass with pride. The group is also rounded out by Jon Sinclair on guitar, and frontwoman Jasmine Wietzke with her curious acoustic guitar. That's when things got really really slow. The problem wasn't that the band was bad. The problem comes from having two fast paced bands kick off the night. The band mixed the dreary burn of A Perfect Circle with Lacuna Coil. First things first, I'd like to point out that Wietzke has an amazing voice and all of these musicians are impressive. I just think this type of band would work better with a different line up. Part of which, none of these guys I would call drummers. Heretic and Williams actually switched off mid-set. They got the job done, but we've seen such incredible drumming tonight, it's kind of a write off. There was also an odd buzzing sound that was difficult to pin point. Might have been a bad wire. There was also an Avenged Sevenfold tinge to the music. After a few slow tracks, Heretic switched to bass and Williams went to drums. For what reason? I'm not exactly sure. They played some more slow stuff. Wietzke proclaimed "This next song is a slow song...well, a slower song. I know, a slow song. What the fuck?". She provided , and it wasn't until Wietzke switched to bass and Heretic picked up a guitar, that they injected some energy into the set. It was a welcome change and it got the audience's [and my] attention. She wasn't as good as a bass player as Heretic or Sinclair, but it served the purpose. After that one, they went back to the slower material. This band would do well on The Fox in Vancouver. A work in progress with the working title of "Gibbled Chicken" was another highlight with Heretic's trademark riffs that he was more known for in Saul. It came across as very Avenged Sevenfold influenced. The thing with this band is that they either need to be all slower ambient laden songs or they need to really balance the fast with the slow. I also took issue with everyone switching instruments. In an interview, they say every time they switch an instrument, it brings out a new side of them and you can feel it in the music. I didn't really feel that. What I felt was that I had a preference for each instrument someone was on. Heretic, I found to be a better drummer than Williams. Williams was the best bassist, yet I was impressed by Sinclair's ability as a bassist, as well. Heretic, though, he is a guitar player through and through. If I had my way [zero chance of ever happening], you'd have Williams on bass, Heretic and Sinclair on guitar, with a drummer who lives and breathes drumming.
Ah, but the moment we'd all been waiting for was upon us. If I could sum up Ninjaspy in one word, it's fearless. This band blends sporadic metal with ska at the drop of a dime. It's almost like they operate in their own time signature, or they come from a different planet. I found it had elements of Strapping Young Lad but way crazier. Joel Parent [guitar/vocals] spun around the stage like madman with a microphone headset. Now that may look silly on some, but when you take into count that this guy is all over the stage, it just fits. Tim Parent [bass] was also exciting to watch as he performed some stage dance moves on stage, and at one point he knocked into drummer Adam Parent. Hmmm, I wonder if they are related. Anyway, definite highlight for me was the song Evolution of the Skid. Joel Parent can scream, sing and all out be weird at different points during one song. It doesn't have to make sense in this band. If parts are only performed once, then, that's it. Many times at the V-Lounge when the members were jumping around and twirling, I thought they were going to come in contact with the many flatscreen TVs at the V-Lounge, but I guess they've been at this a long time and have built a sixth sense. I never realized how big this band is. I had seen them about five or so years ago at Lucky's and they weren't even headlining, but that show stuck with me. Now they are on a Japanese label and doing tours around the world. They are set to go to Mexico this year. There was a girl that came in, that was so ecstatic that Ninjaspy was playing that when she touched Joel's hand, she had a minor freak out. Yes, the crowd was wild. There were a few broken bottles and moshing casualties. One man managed to jump on stage and barely land a backflip. Joel seemed rather amused with it as he kept playing. After that, security got a little more serious. The same man then tried to backflip OFF the stage onto the floor...I was screaming "NO!" in my head. Luckily, security pulled him down. God bless drunk people. Adam Parent was a definite whirlwind on the drums and barely broke a sweat. Another cool part of the set was that Joel could control the delay on his vocals with a wah wah pedal. It added a lot of atmospheric disarray to the set. This performance was not light on rock moves. Joel tossed his guitar around full circle at least two times. He also performed some ninja worthy moves. Hell, the guy even brought out a sai to use on his guitar to scratch at the strings and as a guitar slide. He was also quite apt at finger tapping. The lyrical content, much like We, The Undersigned is absolutely bizarre in a Zappa-esque quality. They were eager to involve the crowd in participation with their lyrics. How many times do you get to sing the words "Gone, gone, we're out of tampons"? Tim Parent provided great back up vocals. I would also say there is some Mike Patton in this band. I have to say, this was the best show so far I have seen this year....and none of these bands are my "buddy's".
It was so worth it to do that 30 minute walk over icy sidewalks, and I'm very glad other people thought the same way. If you missed Ninjaspy or you've never even heard of them, there is word of a big Victoria announcement soon. You better get on it, because Ninjaspy rocked my ass off.
Thursday, February 24, 2011
Band Night Profile: Trail of Ash
Trail of Ash is a musical project helmed by Devour the Dead's Bobby Destroy-her. Described as Depressive Post-Metal, this onslaught of riffage shreds with no reliance on vocal hooks. It's straight instrumental, and it slays. I got time to catch up with this Accelerating Death Records artist, and here's how it went down.
***********************************************************************************
Where did the idea of Trail of Ash come from?
Trail of Ash is a concept I have tried to bring out in bands for years, but I decided a different approach since I wasn't getting the results I wanted. It's a focus on past events and the depressions that followed, and how there is always something there.
Do you play all the instruments yourself?
I have used a 6 string baritone for the recordings, but will be re-doing all of the tracks with an 8 string i recently picked up. The drums are programmed for now, and the basslines are a slight modification to the baritone. I play all of the strings, however I have asked another guitarist (James from Devour the Undead) to play alongside me for the live aspects and recordings.
Is this a solo project or could it be the start of a band?
It's solo composition, and the beginning of a bastardized compilation of artists, all walking different paths, and all wanting to contribute something to what the project will be. There will be a set number of members for live sets, but a few guests will add to the aspects involved.
What did you think of the initial response when people heard the tunes?
I found people were always asking for vocals, but seemed quite content with the music on it's own. I've had a very positive response, and the ridiculous amount of myspace plays have encouraged me to stay in the vein that I am in.
What is the vocalist situation at this time? Are you looking to have different singers on each song or will you settle on one in the future?
I do have one vocalist who is a permanent fixture and phenomenal artist by name of Sharon Davison. She adds an aspect of vocals I couldn't hear from anyone else, and wouldn't want to hear anyone else try. It's something that this project was in need of, and she fits perfectly.
Have you ever thought of singing on your own track?
I have, and will be doing some vocals.
What was your introduction to metal music?
Pantera.
What do you think of the current scene in Vancouver and how does it relate to Victoria?
Too many bands, not enough venues, WAY too many bullshit promoters. There are a few in both towns that are the real deal, but I've been handed a LOT of lines that I had hoped would be real, and when you find out there's nothing really there and just talk with no walk, it makes you want to believe there's more out there. The music industry is a religion on all levels, it depends how much you trust in something that could be completely false. As Van does as well, Victoria needs more venues, more bars at least willing to take on shows. We need to dispel the myth of the "metal show", more damage and drunken idiocy happens nightly at any top 40 club in both cities.
What would fans be surprised that you listen to?
Khaki King?
Did you shoot a video? And if so, can you explain what the process was like?
Not as of yet (again, believing in something that's just not happening), but I am looking for a director to do something with a track of mine. I'll let you know how the experience was when I have it.
Were these songs initially meant as instrumentals or did you always feel like there was room for vocals?
I always want a song to feel complete, but at the same time I don't want to over-saturate with "the singer". So, yes and no.
Who is your guitar god?
Tosin Abasi
What was the first song you learned on guitar?
Fade to Black
Did you have a music teacher or were you self taught?
Self taught
Who is your favourite out of the "big four"? Metallica, Slayer, Megadeth or Anthrax?
i'll give Anthrax my vote, but all of them have had ridiculously good moments.
Are you ever going to play live with this group?
Yes.
How is Devour the Undead doing? Any news on that front?
Devour the Undead is re-grouping and re-writing some of the tracks. We had quite a few technical issues at our last show at Logans, and watching the show afterwards we realized that we wanted to overhaul a few parts. It makes it easier to spot them when one guitar is cutting out somehow.
How long does it normally take you to write a song? What is the songwriting process?
That's a tough one. Most of these songs have been written in an evening or two, then i sodomize them until i'm happy with the outcome - that can take weeks/months. Essentially, I hit a set of notes that depicts the experience that inspired me to compose, and if it hits right I build on that.
Is there anyone in the music industry you really respect yet think should retire?
No, never. Create until your death, let them listen afterwards.
Any last words you'd like to say that hasn't been covered in this interview?
Yes. If you don't listen, you're missing out. Listen to everything you can, enjoy it for what it is, and don't ever, ever look back. You can always do everything better when you look back on it, but it just wouldn't be "you".
***********************************************************************************
Facebook page: http://www.facebook.com/pages/Trail-of-Ash/147384758612977?ref=ts&sk=wall#!/pages/Trail-of-Ash/147384758612977?sk=info
Myspace: http://www.myspace.com/trailofash
***********************************************************************************
Where did the idea of Trail of Ash come from?
Trail of Ash is a concept I have tried to bring out in bands for years, but I decided a different approach since I wasn't getting the results I wanted. It's a focus on past events and the depressions that followed, and how there is always something there.
Do you play all the instruments yourself?
I have used a 6 string baritone for the recordings, but will be re-doing all of the tracks with an 8 string i recently picked up. The drums are programmed for now, and the basslines are a slight modification to the baritone. I play all of the strings, however I have asked another guitarist (James from Devour the Undead) to play alongside me for the live aspects and recordings.
Is this a solo project or could it be the start of a band?
It's solo composition, and the beginning of a bastardized compilation of artists, all walking different paths, and all wanting to contribute something to what the project will be. There will be a set number of members for live sets, but a few guests will add to the aspects involved.
What did you think of the initial response when people heard the tunes?
I found people were always asking for vocals, but seemed quite content with the music on it's own. I've had a very positive response, and the ridiculous amount of myspace plays have encouraged me to stay in the vein that I am in.
What is the vocalist situation at this time? Are you looking to have different singers on each song or will you settle on one in the future?
I do have one vocalist who is a permanent fixture and phenomenal artist by name of Sharon Davison. She adds an aspect of vocals I couldn't hear from anyone else, and wouldn't want to hear anyone else try. It's something that this project was in need of, and she fits perfectly.
Have you ever thought of singing on your own track?
I have, and will be doing some vocals.
What was your introduction to metal music?
Pantera.
What do you think of the current scene in Vancouver and how does it relate to Victoria?
Too many bands, not enough venues, WAY too many bullshit promoters. There are a few in both towns that are the real deal, but I've been handed a LOT of lines that I had hoped would be real, and when you find out there's nothing really there and just talk with no walk, it makes you want to believe there's more out there. The music industry is a religion on all levels, it depends how much you trust in something that could be completely false. As Van does as well, Victoria needs more venues, more bars at least willing to take on shows. We need to dispel the myth of the "metal show", more damage and drunken idiocy happens nightly at any top 40 club in both cities.
What would fans be surprised that you listen to?
Khaki King?
Did you shoot a video? And if so, can you explain what the process was like?
Not as of yet (again, believing in something that's just not happening), but I am looking for a director to do something with a track of mine. I'll let you know how the experience was when I have it.
Were these songs initially meant as instrumentals or did you always feel like there was room for vocals?
I always want a song to feel complete, but at the same time I don't want to over-saturate with "the singer". So, yes and no.
Who is your guitar god?
Tosin Abasi
What was the first song you learned on guitar?
Fade to Black
Did you have a music teacher or were you self taught?
Self taught
Who is your favourite out of the "big four"? Metallica, Slayer, Megadeth or Anthrax?
i'll give Anthrax my vote, but all of them have had ridiculously good moments.
Are you ever going to play live with this group?
Yes.
How is Devour the Undead doing? Any news on that front?
Devour the Undead is re-grouping and re-writing some of the tracks. We had quite a few technical issues at our last show at Logans, and watching the show afterwards we realized that we wanted to overhaul a few parts. It makes it easier to spot them when one guitar is cutting out somehow.
How long does it normally take you to write a song? What is the songwriting process?
That's a tough one. Most of these songs have been written in an evening or two, then i sodomize them until i'm happy with the outcome - that can take weeks/months. Essentially, I hit a set of notes that depicts the experience that inspired me to compose, and if it hits right I build on that.
Is there anyone in the music industry you really respect yet think should retire?
No, never. Create until your death, let them listen afterwards.
Any last words you'd like to say that hasn't been covered in this interview?
Yes. If you don't listen, you're missing out. Listen to everything you can, enjoy it for what it is, and don't ever, ever look back. You can always do everything better when you look back on it, but it just wouldn't be "you".
***********************************************************************************
Facebook page: http://www.facebook.com/pages/Trail-of-Ash/147384758612977?ref=ts&sk=wall#!/pages/Trail-of-Ash/147384758612977?sk=info
Myspace: http://www.myspace.com/trailofash
Wednesday, February 16, 2011
7 Year Old Poets/Year of the Rat/Handsome Distraction @ Lucky's [Feb. 9th, 2010]
What do you do when the promoter that had "lined up some bands" for a Wednesday night suddenly vanishes into thin air and all you are left with is an empty gap in the week? Well, if you are Lucky's, you get in touch with Devin Perfect of Handsome Distraction who scrambled and succeeded to pull this show together by the skin of his teeth. Normally, it is a day reserved for "The Mod Club". A night where the kids who are too cool for school come to dance. Well, there wasn't much dancing tonight. As the bands tried to coax people in with free shot tickets [got mine], there was a much bigger show in town. Jets Overheard and Maurice played that night, which left a lot of bars vying for the spot of "after party". As I entered the venue, it felt a bit lonely. What can you do besides hope for the best?
Opening the night was notorious local band 7 Year Old Poets [who have come out of hiding]. For a band that hasn't rehearsed for four months, they were incredibly tight. All the members sang in some capacity but it was members Tungsten Shoestepper and Bosma Von David that handled the main duties. This is a group that wears their influences on their sleeves. When Bosma was on deck, the songs came across as very Modest Mouse. He yelped like he stepped on a bear trap and the songs definitely had that vibe with the arrangement and layers. Shoestepper, on the other side of the stage, was more of a Wolf Parade sound. It was a grittier element of the band. It was almost a who's who of early 2000 indie. If you closed your eyes, you may hear The Constantines or for one song, The Libertines. Seamus Knuckles moved freely with his bass and I got the feeling he could play it in his sleep. Ching had some early problems with his kick pedal placement, but he contributed a solid beat throughout the show. The great thing about this band is that they thoroughly enjoyed playing together again. I'm sure their lives are in much different places right now than six years ago. The chemistry is still their and all the instruments mesh together in a genius way. They closed the set by feeding off some feedback from their amps. It made me think, why is this band opening? Well, they chose to. I go to receive my free shot, and the bartender says it's not redeemable. She rips it up in front of my face.
The middle spot went to Year of the Rat. A band I have seen many times around Victoria, but from the get-go, something was off. It seemed like half the band was asleep as they ran through their catalogue of favourites. Not that they were missing notes. It was just a sloppy performance that I know they could do much better with. An odd thing happened...the crowd 7 Year Old Poets brought had emptied out besides a few, and the band went bi-polar. Coll menaced over his keyboards and his voice bellowed out. Stringer planted his feet firmly on the stage with bass in hand, letting the notes ring out with passion. McNeil created thunder when his sticks met the snare. He is a heavy hitter [yet I've never seen him break a stick!]. Sanderson made it look easy with his flavourful leads, which really suite the songs and never come across as "hamming it up". Basically, they became the band I knew and steered away from being that band I used to know. They are set to work on their new EP, and a lot of the songs I am familiar with at this point. In fact, it's almost crazy that I would have assumed all the songs were just on The Code EP, but it looks like they've held back really strong material for the follow-up. The band stayed away from covers this evening and stuck to strong songs like Harder Than Knowing and Every Night a Vampire. It was a fine finish for the band that has been quite busy these days.
Remember that free shot debacle? Turns out the manager just didn't inform the bar staff. The situation was rectified by Mr. Devin Perfect, who just turns out to be the frontman for Handsome Distraction. Here they are now! Upon stage, they gazed out into the sparse crowd. Handsome Distraction is a band that maintains a high standard of playing. I've never seen them play a bad show [even two years ago when they played the Cambie in Esquimalt with a different roster and no bass player]. They have hit a definite mark on their performance level, and I would hope, if there is any justice in the world, that their star power rises in this little town of ours. Blowing through tunes like Dirty Knives and Who Do You Love?, the band was firing on all cylinders. Although all the band members sing, they aren't much for harmonies. It's all about beefing up the vocals, which works. It's really hard to say anything about this band that I haven't already said. The guitars intertwine between Francis and Perfect without overpowering eachother. Each member plays to their own strength. I don't see any big egos on stage or stereotypical rock stars. Weaver's bass flows to the beat. Reiber is still one of my favourite drummers in Victoria. Serious, Handsome Distraction is a band I would recommend to anyone. If I could suggest anything to take it to the next level, would be to entertain the idea of harmonies more instead of just doubling/tripling/quadrupling. It's hard to really put this gig down because it was so last minute.
All in all, it was a good night for music. It doesn't come often that I get to see a band that I haven't seen before. Seems like a lot of the same bands keep grouped together so they are always sharing a bill, or does it just say something about the current Victoria scene? Is this basically it? We have a little bit of this and a little bit of that? It's a close knit community with these bands. It would be nice to see someone really shake up the bills around town....or more people making bands. Yes, MORE BANDS! They aren't making any new Guitar Hero games, how about you try a real instrument?
Opening the night was notorious local band 7 Year Old Poets [who have come out of hiding]. For a band that hasn't rehearsed for four months, they were incredibly tight. All the members sang in some capacity but it was members Tungsten Shoestepper and Bosma Von David that handled the main duties. This is a group that wears their influences on their sleeves. When Bosma was on deck, the songs came across as very Modest Mouse. He yelped like he stepped on a bear trap and the songs definitely had that vibe with the arrangement and layers. Shoestepper, on the other side of the stage, was more of a Wolf Parade sound. It was a grittier element of the band. It was almost a who's who of early 2000 indie. If you closed your eyes, you may hear The Constantines or for one song, The Libertines. Seamus Knuckles moved freely with his bass and I got the feeling he could play it in his sleep. Ching had some early problems with his kick pedal placement, but he contributed a solid beat throughout the show. The great thing about this band is that they thoroughly enjoyed playing together again. I'm sure their lives are in much different places right now than six years ago. The chemistry is still their and all the instruments mesh together in a genius way. They closed the set by feeding off some feedback from their amps. It made me think, why is this band opening? Well, they chose to. I go to receive my free shot, and the bartender says it's not redeemable. She rips it up in front of my face.
The middle spot went to Year of the Rat. A band I have seen many times around Victoria, but from the get-go, something was off. It seemed like half the band was asleep as they ran through their catalogue of favourites. Not that they were missing notes. It was just a sloppy performance that I know they could do much better with. An odd thing happened...the crowd 7 Year Old Poets brought had emptied out besides a few, and the band went bi-polar. Coll menaced over his keyboards and his voice bellowed out. Stringer planted his feet firmly on the stage with bass in hand, letting the notes ring out with passion. McNeil created thunder when his sticks met the snare. He is a heavy hitter [yet I've never seen him break a stick!]. Sanderson made it look easy with his flavourful leads, which really suite the songs and never come across as "hamming it up". Basically, they became the band I knew and steered away from being that band I used to know. They are set to work on their new EP, and a lot of the songs I am familiar with at this point. In fact, it's almost crazy that I would have assumed all the songs were just on The Code EP, but it looks like they've held back really strong material for the follow-up. The band stayed away from covers this evening and stuck to strong songs like Harder Than Knowing and Every Night a Vampire. It was a fine finish for the band that has been quite busy these days.
Remember that free shot debacle? Turns out the manager just didn't inform the bar staff. The situation was rectified by Mr. Devin Perfect, who just turns out to be the frontman for Handsome Distraction. Here they are now! Upon stage, they gazed out into the sparse crowd. Handsome Distraction is a band that maintains a high standard of playing. I've never seen them play a bad show [even two years ago when they played the Cambie in Esquimalt with a different roster and no bass player]. They have hit a definite mark on their performance level, and I would hope, if there is any justice in the world, that their star power rises in this little town of ours. Blowing through tunes like Dirty Knives and Who Do You Love?, the band was firing on all cylinders. Although all the band members sing, they aren't much for harmonies. It's all about beefing up the vocals, which works. It's really hard to say anything about this band that I haven't already said. The guitars intertwine between Francis and Perfect without overpowering eachother. Each member plays to their own strength. I don't see any big egos on stage or stereotypical rock stars. Weaver's bass flows to the beat. Reiber is still one of my favourite drummers in Victoria. Serious, Handsome Distraction is a band I would recommend to anyone. If I could suggest anything to take it to the next level, would be to entertain the idea of harmonies more instead of just doubling/tripling/quadrupling. It's hard to really put this gig down because it was so last minute.
All in all, it was a good night for music. It doesn't come often that I get to see a band that I haven't seen before. Seems like a lot of the same bands keep grouped together so they are always sharing a bill, or does it just say something about the current Victoria scene? Is this basically it? We have a little bit of this and a little bit of that? It's a close knit community with these bands. It would be nice to see someone really shake up the bills around town....or more people making bands. Yes, MORE BANDS! They aren't making any new Guitar Hero games, how about you try a real instrument?
Tuesday, February 8, 2011
Moss Rock/Sons of Nova @ Monty's [Feb.6th,2011]
Sex, drugs and rock n' roll is a basic cliché to live by in the business of musique. Well, Monty's offers two of those things and one you need to supply yourself. These are bands I've seen on more than one occasion, but this was the first time I've been to Monty's - the venue. It was a night to be remembered. A night that the crowd upstaged the bands themselves.
First up was Moss Rock. This three-piece are a band I've often confessed should be more popular. The songwriting is there. It's a pop rock formula but not one that is watered down enough to be in heavy rotation on Much. Nate Ripley demanded attention on stage as he sang with conviction. He holds a lot of restraint as he rips through solos on his guitar. I'm a little bit indifferent about his furry guitar strap. Every time I see it, I want to laugh, but if you ever see this bands profile picture on Facebook, then you'd understand this band doesn't take themselves too seriously. Bryan Reiber is a monster on drums and played yet another precise set. Every drummer I have talked to that has heard Reiber wail have all paid compliments to his flawless style. Jeff Bauman was a lot less "in-your-face" than the last time I saw them play at the V-Lounge, which I described as if he thought it was a Slayer concert. Bauman and Reiber were matched up dress wise with ties and vests. It would have been nice if they sent Ripley a memo to do the same, as he was wearing a simple black t-shirt. One thing I noticed right away was the vocals sounded a bit strange. Not because Ripley was singing off-key, but if you close your eyes, you might imagine him singing into a soup can on a string. I can't blame the venue's speakers, because when they pump out Guns n' Roses or Poison, the sound is great. So, there must be some sort of funky happenings with the EQ on the PA. Although Moss Rock played a solid set, it was the crowd that was more exciting than the band. Two or three songs in, a man had climbed on stage to dance. I don't know what he was thinking, but he started taking off his shirt. Was it to impress his girlfriend? That is unknown. What is also unknown is how the bouncers could just stand around as this man knocked Bauman's microphone off the stand. He continued to dance, and finally security tries to talk the man down from the stage. "Let's hear it for Chuck Norris", calls Monty's DJ Jayme Black. Finally he complies, and puts his shirt back on. A minute later, a woman from his table is now on stage doing some sort of striptease, getting on all fours and jiggling her ass. This is a crazy group! She steps down, and here is Chuck Norris again taking off his shirt. At this point, I'm not even paying attention to the show...but it looks like they are getting ready to leave. Ok, they are heading for the door. Moss Rock has already blown through favourites like Cop and My Heroin. Suddenly, everyone's attention shifts and there is a catfight by the door. I miss it, as everyone had seemed to be thrown out by the time I swung my vision. Yes, it was the same group, if you are wondering. Their last song is announced as a song that isn't finished yet, which is very familiar, because when I saw them last year, they had this song and they made up the lyrics on the spot. Ok, so it's a bit tighter than last time, but I don't know why in the span of two months or more this song wouldn't be finished now. I'm not sure what the song is called, but all I can picture is Bauman going "Wha wha". I guess that part stuck, even though it would be more suited to a Jay-Z song. It was a short set, and I couldn't help wonder, with all the troublemakers gone, will Sons of Nova be as exciting?
Before that all, yes...a stripper. I will mention it was the same girl about an hour ago. Interesting format. The crowd at Monty's is more there for the girls than the music. People like me went for the intention of seeing bands, so I knew what I was in for, but for those that pay cover to see naked chicks, being interrupted by a band on stage may be seen as a nuisance. If only there was some way that the bands could play with the strippers at the same time. Something off to the side. I wouldn't say to put the girls directly in front of the band. People go to a sports bar to watch sports. The same way people go to the strippers to see women. Monty's is a tough sell, but it's always great to have another venue for local bands in this town. So, I really can't complain.
Without further ado, here was Sons of Nova. This band played as good as I've ever seen them and didn't waste any time with banter. It was song, song and song after the other crammed into the thirty minutes they were given. Aram Heinze, on bass, blasted through I Wanna Fuck You with his gritty vocals. I'm so glad to see them so cohesive. The last time I saw them at Logan’s [which was fun, yet a bit sloppier than what the band is capable]. When this band is on, they take no prisoners. Codine Vandal is an excellent guitar player. Maybe even one of the finest in Victoria, and he makes it look so easy with a big smile on his face. He was on top of his game vocally. Vandal and Heinze traded off duties as frontmen with ease. Guitarist Rex Gielfeldt hit his marks and crossed his t's without a misstep to the equation. Adam Griffiths hammered the drums like they owed him money. There was no crowd interference this time. I just saw people bob their heads while they drank from their six dollar beers. The band ran through their old favourites with the highlight being awesome rocker "It's On" with its epic intro and dance beat. Grand finale, Slo Burn's "July" is a firestarter. It may not be a recognizable tune for the stripper crowd, but if anything, it will turn people onto one of the more obscure stoner rock bands of the late 90's. It has certainly perked my interest. As the same with Moss Rock's set, it felt too short. Though, I bet they feel lucky all the troublemakers had been herded out of the building.
Was it a good night? Sure it was. It was nowhere near such places as Logan's, Lucky's or Sugar, but it was decent enough. All in all, I think Monty's would need a major overhaul if it wants to be a contender for a venue. The stripping part, well, they have that mastered.
First up was Moss Rock. This three-piece are a band I've often confessed should be more popular. The songwriting is there. It's a pop rock formula but not one that is watered down enough to be in heavy rotation on Much. Nate Ripley demanded attention on stage as he sang with conviction. He holds a lot of restraint as he rips through solos on his guitar. I'm a little bit indifferent about his furry guitar strap. Every time I see it, I want to laugh, but if you ever see this bands profile picture on Facebook, then you'd understand this band doesn't take themselves too seriously. Bryan Reiber is a monster on drums and played yet another precise set. Every drummer I have talked to that has heard Reiber wail have all paid compliments to his flawless style. Jeff Bauman was a lot less "in-your-face" than the last time I saw them play at the V-Lounge, which I described as if he thought it was a Slayer concert. Bauman and Reiber were matched up dress wise with ties and vests. It would have been nice if they sent Ripley a memo to do the same, as he was wearing a simple black t-shirt. One thing I noticed right away was the vocals sounded a bit strange. Not because Ripley was singing off-key, but if you close your eyes, you might imagine him singing into a soup can on a string. I can't blame the venue's speakers, because when they pump out Guns n' Roses or Poison, the sound is great. So, there must be some sort of funky happenings with the EQ on the PA. Although Moss Rock played a solid set, it was the crowd that was more exciting than the band. Two or three songs in, a man had climbed on stage to dance. I don't know what he was thinking, but he started taking off his shirt. Was it to impress his girlfriend? That is unknown. What is also unknown is how the bouncers could just stand around as this man knocked Bauman's microphone off the stand. He continued to dance, and finally security tries to talk the man down from the stage. "Let's hear it for Chuck Norris", calls Monty's DJ Jayme Black. Finally he complies, and puts his shirt back on. A minute later, a woman from his table is now on stage doing some sort of striptease, getting on all fours and jiggling her ass. This is a crazy group! She steps down, and here is Chuck Norris again taking off his shirt. At this point, I'm not even paying attention to the show...but it looks like they are getting ready to leave. Ok, they are heading for the door. Moss Rock has already blown through favourites like Cop and My Heroin. Suddenly, everyone's attention shifts and there is a catfight by the door. I miss it, as everyone had seemed to be thrown out by the time I swung my vision. Yes, it was the same group, if you are wondering. Their last song is announced as a song that isn't finished yet, which is very familiar, because when I saw them last year, they had this song and they made up the lyrics on the spot. Ok, so it's a bit tighter than last time, but I don't know why in the span of two months or more this song wouldn't be finished now. I'm not sure what the song is called, but all I can picture is Bauman going "Wha wha". I guess that part stuck, even though it would be more suited to a Jay-Z song. It was a short set, and I couldn't help wonder, with all the troublemakers gone, will Sons of Nova be as exciting?
Before that all, yes...a stripper. I will mention it was the same girl about an hour ago. Interesting format. The crowd at Monty's is more there for the girls than the music. People like me went for the intention of seeing bands, so I knew what I was in for, but for those that pay cover to see naked chicks, being interrupted by a band on stage may be seen as a nuisance. If only there was some way that the bands could play with the strippers at the same time. Something off to the side. I wouldn't say to put the girls directly in front of the band. People go to a sports bar to watch sports. The same way people go to the strippers to see women. Monty's is a tough sell, but it's always great to have another venue for local bands in this town. So, I really can't complain.
Without further ado, here was Sons of Nova. This band played as good as I've ever seen them and didn't waste any time with banter. It was song, song and song after the other crammed into the thirty minutes they were given. Aram Heinze, on bass, blasted through I Wanna Fuck You with his gritty vocals. I'm so glad to see them so cohesive. The last time I saw them at Logan’s [which was fun, yet a bit sloppier than what the band is capable]. When this band is on, they take no prisoners. Codine Vandal is an excellent guitar player. Maybe even one of the finest in Victoria, and he makes it look so easy with a big smile on his face. He was on top of his game vocally. Vandal and Heinze traded off duties as frontmen with ease. Guitarist Rex Gielfeldt hit his marks and crossed his t's without a misstep to the equation. Adam Griffiths hammered the drums like they owed him money. There was no crowd interference this time. I just saw people bob their heads while they drank from their six dollar beers. The band ran through their old favourites with the highlight being awesome rocker "It's On" with its epic intro and dance beat. Grand finale, Slo Burn's "July" is a firestarter. It may not be a recognizable tune for the stripper crowd, but if anything, it will turn people onto one of the more obscure stoner rock bands of the late 90's. It has certainly perked my interest. As the same with Moss Rock's set, it felt too short. Though, I bet they feel lucky all the troublemakers had been herded out of the building.
Was it a good night? Sure it was. It was nowhere near such places as Logan's, Lucky's or Sugar, but it was decent enough. All in all, I think Monty's would need a major overhaul if it wants to be a contender for a venue. The stripping part, well, they have that mastered.
Wednesday, January 12, 2011
Year of the Rat/Handsome Distraction/Sons of Nova @ Logans [Jan.7,2011]
It was destined to be a triple CD release party presented by Runway Records. Unfortunately, Shadow of the Gods had to pull out of their two back to back shows for medical reasons. My heart goes out to the members of the band and I hope everything is well. So, stepping up to bat for them would be Year of the Rat, and they hit a home run.
I promised the boys I wouldn't copy and paste my review from the night before with just a venue name change. I couldn't anyway, because this night was an improvement on what was witnessed at the Fort Street Cafe. A lot can be attributed to Logan’s Pub. First, the stage is bigger and the band could channel their energy to the full extent of its measures. Second, there is simply more equipment. I forgot to mention that at the Fort Street Cafe, guitarist Michael Sanderson didn't have a microphone. Back up vocals are very important in displaying and exploring dynamics. Gladly, Logan’s has more microphones than you could shake a stick at [if you are into that kind of thing]. Samuel Coll and Sanderson's vox compliment eachother much like salt does to pepper. Coll is a lower than average register, which some people have unfairly wrote off as Joy Division. I would say Coll puts more passion into his vocals than Curtis did. Of course, Ryan Stringer thumped his bass strings through several effect pedals without being distracting. He has definitely found the right balance. New drummer Tylor McNeil is still learning the ropes in his second show with the band, but does he ever hit hard. He was wailing the drums tonight. Another additional missing link was Samuel Coll's use of the vocoder. It brought a Kid A essence to their set. Remember when I said the band pledged to retire their cover of Zombie? Well, jokes on them. The guy beside me was shouting for it. Practically begging for it. When I broke the bad news, he was crushed, only to have his heart light back up when the group launched into the mentioned gem [for the last time?]. I can't say much about these guys than I already have. Not sick of them yet. Props for the drum solo.
Then we switched over to Handsome Distraction after being introduced by the same guy who was heartbroken/repaired by the Cranberries cover. I'm not too sure if he just wandered up on stage, but the guys in the band didn't cause a fuss. Devin Perfect on rhythm guitar/vocals never missed a note as the sweat beamed off his skin. If the man wasn't singing, he was doing a mix between hopping and jumping, which may just be the Devin Perfect signature rock move. Bryan Reiber, with stylish hat, beat his drums with precision [as always] and is one of the finest guys that can sing behind a kit. Bassist Chris Weaver was fun to watch because he makes it look easy. Out of all the band, he seems to be the most stoic. It's not a negative slag against the man. The important thing is he doesn't look bored. Corey Scheiding, lead guitar, always has a smile on his face. You may mistake him for the Matthew McConaughey. He's just on stage doing leads and having a good time. Like, if North Korea launched a nuclear missile, he'd still be cool with it. It might have been where I'm standing, but I found it hard to hear Perfect's guitar [and he hates when people say that after a gig]. I asked around, and people said they heard it alright. So, either I was just in a bad spot or I'm technically the male Helen Keller. A sweet moment was when the band wished Sarah Butcher a happy birthday complete with traditional song. The set was pretty solid, but I think they were a tad....and I mean like a SMIDGE better when I saw them at V-Lounge. That all comes down to opinion. I guess that's why I write reviews.
It was time to get dirty with headliners, Sons of Nova. Of course, they were here to perform some news tracks off Night at the Boneyard. From the get go of Oh Yeah [IWFU], you know what you are getting into. We are talking down and dirty sleazy stoner rock with progressive elements. You will find yourself singing along to some of the most ridiculous lyrics you have ever heard. It's quite a satisfying encounter singing "I wanna fuck you" or learning that women can also get hard ons. You have the roughness of Aram Heinze on bass. I sensed a lot of Lemmy from Motorhead tonight. Dude also busts a rad bass solo. I think there should be more bass solos in rock n' roll. The only thing missing from Sons of Nova's set is a drum solo. For the first two bands, there was plenty of dancing. That was over when Sons of Nova hit the stage. It got pretty crazy to the point I was not really sure what people were doing. Jumping against each other and just letting go, basically. Codine Vandal amazed the crowd with his command of the guitar. You can tell he always has fun over there. The guitar tone is very much Josh Homme but his voice is pretty different. Like, a lot of artists just copy other people's tones or quirks. I don't find that with Vandal. On the other side of the stage was Rex Gielfeldt, who I had never seen sing back up before and I liked the added dynamic of it. The only problem with three mics is it makes for more banter on stage when people crave for the group to kick into the next rocker. Adam Griffiths was going through drum sticks like a termite infestation. It seemed like after every song he was throwing remnants of wood to the side of the stage. I've seen him play better than tonight, but the dude's human...at least I think he is. I can't say enough about new tune It's On. A drugged out Walk This Way with a heavy set of balls. It's sure to get the party started. There was a contest during their set to give away a free shirt. Two guys got up on stage and it was their task to give their best pick up line. "How you doin'?" started things off and the crowd weren't impressed. I forgot what the other guy said, but it wasn't good enough either. So, they brought some ladies up on stage. Finally, we had a winner with the ol' "party in the pants" line. I've always been a fan of "Is that a mirror in your pants? Because I see myself lathering my dick in peanut butter and skullfucking your corpse". I mean, if any girl goes for that, you know she's the one!
It was a very loose performance. The guys are pretty comfortable playing as a band. I would say the prior bands performed better, but Sons of Nova had the most fun and so did the crowd.
It was another successful Runway Presents. Runway Studios is slowly [but surely] taking over Victoria, and I hope you all attend the next one at The Fort Street Cafe. The band and I will be performing with Madd/Love and Secondhand Habit. It promises to put hair on your chest. If you are a woman, it promises to put hair on your breasts. Until next time, Victoria.
I promised the boys I wouldn't copy and paste my review from the night before with just a venue name change. I couldn't anyway, because this night was an improvement on what was witnessed at the Fort Street Cafe. A lot can be attributed to Logan’s Pub. First, the stage is bigger and the band could channel their energy to the full extent of its measures. Second, there is simply more equipment. I forgot to mention that at the Fort Street Cafe, guitarist Michael Sanderson didn't have a microphone. Back up vocals are very important in displaying and exploring dynamics. Gladly, Logan’s has more microphones than you could shake a stick at [if you are into that kind of thing]. Samuel Coll and Sanderson's vox compliment eachother much like salt does to pepper. Coll is a lower than average register, which some people have unfairly wrote off as Joy Division. I would say Coll puts more passion into his vocals than Curtis did. Of course, Ryan Stringer thumped his bass strings through several effect pedals without being distracting. He has definitely found the right balance. New drummer Tylor McNeil is still learning the ropes in his second show with the band, but does he ever hit hard. He was wailing the drums tonight. Another additional missing link was Samuel Coll's use of the vocoder. It brought a Kid A essence to their set. Remember when I said the band pledged to retire their cover of Zombie? Well, jokes on them. The guy beside me was shouting for it. Practically begging for it. When I broke the bad news, he was crushed, only to have his heart light back up when the group launched into the mentioned gem [for the last time?]. I can't say much about these guys than I already have. Not sick of them yet. Props for the drum solo.
Then we switched over to Handsome Distraction after being introduced by the same guy who was heartbroken/repaired by the Cranberries cover. I'm not too sure if he just wandered up on stage, but the guys in the band didn't cause a fuss. Devin Perfect on rhythm guitar/vocals never missed a note as the sweat beamed off his skin. If the man wasn't singing, he was doing a mix between hopping and jumping, which may just be the Devin Perfect signature rock move. Bryan Reiber, with stylish hat, beat his drums with precision [as always] and is one of the finest guys that can sing behind a kit. Bassist Chris Weaver was fun to watch because he makes it look easy. Out of all the band, he seems to be the most stoic. It's not a negative slag against the man. The important thing is he doesn't look bored. Corey Scheiding, lead guitar, always has a smile on his face. You may mistake him for the Matthew McConaughey. He's just on stage doing leads and having a good time. Like, if North Korea launched a nuclear missile, he'd still be cool with it. It might have been where I'm standing, but I found it hard to hear Perfect's guitar [and he hates when people say that after a gig]. I asked around, and people said they heard it alright. So, either I was just in a bad spot or I'm technically the male Helen Keller. A sweet moment was when the band wished Sarah Butcher a happy birthday complete with traditional song. The set was pretty solid, but I think they were a tad....and I mean like a SMIDGE better when I saw them at V-Lounge. That all comes down to opinion. I guess that's why I write reviews.
It was time to get dirty with headliners, Sons of Nova. Of course, they were here to perform some news tracks off Night at the Boneyard. From the get go of Oh Yeah [IWFU], you know what you are getting into. We are talking down and dirty sleazy stoner rock with progressive elements. You will find yourself singing along to some of the most ridiculous lyrics you have ever heard. It's quite a satisfying encounter singing "I wanna fuck you" or learning that women can also get hard ons. You have the roughness of Aram Heinze on bass. I sensed a lot of Lemmy from Motorhead tonight. Dude also busts a rad bass solo. I think there should be more bass solos in rock n' roll. The only thing missing from Sons of Nova's set is a drum solo. For the first two bands, there was plenty of dancing. That was over when Sons of Nova hit the stage. It got pretty crazy to the point I was not really sure what people were doing. Jumping against each other and just letting go, basically. Codine Vandal amazed the crowd with his command of the guitar. You can tell he always has fun over there. The guitar tone is very much Josh Homme but his voice is pretty different. Like, a lot of artists just copy other people's tones or quirks. I don't find that with Vandal. On the other side of the stage was Rex Gielfeldt, who I had never seen sing back up before and I liked the added dynamic of it. The only problem with three mics is it makes for more banter on stage when people crave for the group to kick into the next rocker. Adam Griffiths was going through drum sticks like a termite infestation. It seemed like after every song he was throwing remnants of wood to the side of the stage. I've seen him play better than tonight, but the dude's human...at least I think he is. I can't say enough about new tune It's On. A drugged out Walk This Way with a heavy set of balls. It's sure to get the party started. There was a contest during their set to give away a free shirt. Two guys got up on stage and it was their task to give their best pick up line. "How you doin'?" started things off and the crowd weren't impressed. I forgot what the other guy said, but it wasn't good enough either. So, they brought some ladies up on stage. Finally, we had a winner with the ol' "party in the pants" line. I've always been a fan of "Is that a mirror in your pants? Because I see myself lathering my dick in peanut butter and skullfucking your corpse". I mean, if any girl goes for that, you know she's the one!
It was a very loose performance. The guys are pretty comfortable playing as a band. I would say the prior bands performed better, but Sons of Nova had the most fun and so did the crowd.
It was another successful Runway Presents. Runway Studios is slowly [but surely] taking over Victoria, and I hope you all attend the next one at The Fort Street Cafe. The band and I will be performing with Madd/Love and Secondhand Habit. It promises to put hair on your chest. If you are a woman, it promises to put hair on your breasts. Until next time, Victoria.
Sunday, January 9, 2011
Radtrux/Year of the Rat/Made in Bangs @ The Fort Street Cafe [Jan.9,2011]
There were two choices tonight. Synapse was playing at the V-Lounge. They are a former Zone band of the month. I hear they are pretty good, but I decided that I was much more in the mood for electro weirdness. Made in Bangs has always been a band on my radar, and it was time to see what their live show represented.
Before all that, we had Radtrux. This a band that borrows a lot from Death From Above 1979 to the point you could almost call them a tribute act. With Darren Spears on drums and Pat Cousineau on bass, their set ignited with their opening tune. If Death From Above 1979 had ever put out a second album, this would be it. Cousineau had Jesse Keeler's bass tone perfectly. That's when the covers started. Radtrux launched into Romantic Rights. I was psyched...but I don't know if it was the nerves or stage rust but Spears was struggling to remember the lyrics to the point of not singing at all. The music was there, but to put a dead stop on the vocals is a serious issue. It's better to improvise than to not sing at all. Most people won't even know the difference. After Romantic Rights, they launched into Black History Month. It set the tone for the rest of the set. As much as I like Death From Above 1979, they played too much of it! I think the final count was four songs from them. I really wanted to hear originals or maybe a new spin on a song broken down to just drum and bass. Their own songs had an Iron Maiden twist on the DFA 1979 format. It definitely struck me as a bit of power metal. Cousineau took over vocals for their finale, which they said was just for fun: Motorhead's Ace of Spades. His voice overpowered the microphone as he yelled out the lyrics, but that's the kind of stuff I want to hear. If you are going to have the DFA 1979 sound, you don't want to be confused as a tribute act. I also think the vocals weren't as strong as they could be and that maybe a third member would be an idea.
Year of the Rat has been a band I have seen numerous times. In fact, I also saw them the following night [stay tuned for that review]. There was a new addition to Samuel Coll's set-up. A nice new Korg keyboard. What's great about this is now the band can play without the benefit of a laptop. If you haven't seen the band before, they used to have pre-recorded bits that sometimes would work or sometimes they would malfunction. Now that Sam has the benefit of two separate keyboards, the band is free to feel the music. That's not all that was new this time around. New drummer Tylor McNeil shined during his first show that stepped up the complexity of the group's beats. He is still learning, but I am excited to hear what the band has come to be in six months times. As for the other band members, there isn't much to say. They've achieved flawless accuracy and no one can say a bad word about their stage presence. They dress well, which promotes a professional look. Even on a small stage like the Fort Street Cafe, they put their hearts into it. They played favourites like Harder Than Knowing, Every Night a Vampire and what was said to be their last performance of The Cranberries' "Zombie". Yes, they told the crowd that it was time for a new cover, but that's easier said than done. More on that in the next review. Seriously, though, the band is air tight. Check them out; they will grow on you like a fungus.
When I took a look at Made in Bangs, I was quick to dismiss them as hipsters. Daniel Becker [keyboardist/vocals] was supporting tight red pants and haircut that would make Flock of Seagulls blush. Shane Steinke [guitarist/vocalist] was clad in a wooly sweater that either contained moose or caribous on it. Taylor Byers [drums] had on a wolverine t-shirt and a red bandana. I didn't know what to expect, because they came across as an experimental Vampire Weekend. The first song saw Becker break away from his keyboard to blow on a horn at intervals. Why? I guess, "why not?" is the method of Made in Bangs. Though, as the set went on, I found a very talented band that may have seemed weird in the beginning, but once you get over the shock, they are a breath of fresh oxygen. Becker and Steinke traded vocal duties. I wouldn't pick one over the other. They both had their own quirks. At one point in the set, Becker did some sort of shimmy. Byers wasn't a kind of drummer that shows off. He sticks to the beat and leaves no room for error. A highlight for me was their unique take on Radiohead's "The National Anthem", though I was surprised not a lot of people recognized it. By having no bassist, the keyboard acts as the low end as well as high end. I'm not sure how to properly describe Made in Bangs but if you like bands such as The Unicorns or XX, you will probably dig on Made in Bangs.
All in all, after a sketchy start of the story, the night turned around. I'm sure if Radtrux practice more, they will match the caliber of Year of the Rat and Made in Bangs. I cannot say enough how great an establishment Fort Street Cafe is and it may be the best place to get local beer in the city.
Before all that, we had Radtrux. This a band that borrows a lot from Death From Above 1979 to the point you could almost call them a tribute act. With Darren Spears on drums and Pat Cousineau on bass, their set ignited with their opening tune. If Death From Above 1979 had ever put out a second album, this would be it. Cousineau had Jesse Keeler's bass tone perfectly. That's when the covers started. Radtrux launched into Romantic Rights. I was psyched...but I don't know if it was the nerves or stage rust but Spears was struggling to remember the lyrics to the point of not singing at all. The music was there, but to put a dead stop on the vocals is a serious issue. It's better to improvise than to not sing at all. Most people won't even know the difference. After Romantic Rights, they launched into Black History Month. It set the tone for the rest of the set. As much as I like Death From Above 1979, they played too much of it! I think the final count was four songs from them. I really wanted to hear originals or maybe a new spin on a song broken down to just drum and bass. Their own songs had an Iron Maiden twist on the DFA 1979 format. It definitely struck me as a bit of power metal. Cousineau took over vocals for their finale, which they said was just for fun: Motorhead's Ace of Spades. His voice overpowered the microphone as he yelled out the lyrics, but that's the kind of stuff I want to hear. If you are going to have the DFA 1979 sound, you don't want to be confused as a tribute act. I also think the vocals weren't as strong as they could be and that maybe a third member would be an idea.
Year of the Rat has been a band I have seen numerous times. In fact, I also saw them the following night [stay tuned for that review]. There was a new addition to Samuel Coll's set-up. A nice new Korg keyboard. What's great about this is now the band can play without the benefit of a laptop. If you haven't seen the band before, they used to have pre-recorded bits that sometimes would work or sometimes they would malfunction. Now that Sam has the benefit of two separate keyboards, the band is free to feel the music. That's not all that was new this time around. New drummer Tylor McNeil shined during his first show that stepped up the complexity of the group's beats. He is still learning, but I am excited to hear what the band has come to be in six months times. As for the other band members, there isn't much to say. They've achieved flawless accuracy and no one can say a bad word about their stage presence. They dress well, which promotes a professional look. Even on a small stage like the Fort Street Cafe, they put their hearts into it. They played favourites like Harder Than Knowing, Every Night a Vampire and what was said to be their last performance of The Cranberries' "Zombie". Yes, they told the crowd that it was time for a new cover, but that's easier said than done. More on that in the next review. Seriously, though, the band is air tight. Check them out; they will grow on you like a fungus.
When I took a look at Made in Bangs, I was quick to dismiss them as hipsters. Daniel Becker [keyboardist/vocals] was supporting tight red pants and haircut that would make Flock of Seagulls blush. Shane Steinke [guitarist/vocalist] was clad in a wooly sweater that either contained moose or caribous on it. Taylor Byers [drums] had on a wolverine t-shirt and a red bandana. I didn't know what to expect, because they came across as an experimental Vampire Weekend. The first song saw Becker break away from his keyboard to blow on a horn at intervals. Why? I guess, "why not?" is the method of Made in Bangs. Though, as the set went on, I found a very talented band that may have seemed weird in the beginning, but once you get over the shock, they are a breath of fresh oxygen. Becker and Steinke traded vocal duties. I wouldn't pick one over the other. They both had their own quirks. At one point in the set, Becker did some sort of shimmy. Byers wasn't a kind of drummer that shows off. He sticks to the beat and leaves no room for error. A highlight for me was their unique take on Radiohead's "The National Anthem", though I was surprised not a lot of people recognized it. By having no bassist, the keyboard acts as the low end as well as high end. I'm not sure how to properly describe Made in Bangs but if you like bands such as The Unicorns or XX, you will probably dig on Made in Bangs.
All in all, after a sketchy start of the story, the night turned around. I'm sure if Radtrux practice more, they will match the caliber of Year of the Rat and Made in Bangs. I cannot say enough how great an establishment Fort Street Cafe is and it may be the best place to get local beer in the city.
Thursday, January 6, 2011
Sea-Sekshun - Tidal Cut
Sea-Sekshun are a local Victoria band that describe themselves as Ska-punge [a mix of ska/punk/grunge]. There's Jake Sunstrum on guitar/vocals. Tyler Swagar on bass. Ross Hobbs 2nd guitar. Tom Gracie rounds out the band on drums. If I'm not mistaken, Tidal Cut is their first EP which is produced by David Fraelic of Saul/Dead Eyes Open fame. Well, as much fame as you can get while keeping moderately known in BC.
Flyers comes across as a Metallica tinged grunge rocker. The sound is crisp and Sunstrum's snarl is very aided by Fraelic's skin tight production. It does have potential to be a single. That is, if we are ready for a grunge revival, which seems like Victoria is on track for. Many have attempted the Kurt Cobain and failed. In saying that, there were predictions Victoria could be the next Seattle. That prediction was made ages ago. We'll have to get out of the shadows of Vancouver in order to do that. With bands like The New Colors around, who knows what can happen.
A La Ska is a complete 180. It's a very fun song, and it's short. Tyler Swagar's voice is hard to pin point. It kind of passes you by. Suddenly it's over and you aren't too sure what has happened. It's such a wild card on the disc, it doesn't really have a point. I really enjoyed this song live and I have nothing against multiple singers, but it doesn't mesh with the disc. The song before contained no ska nor really any punk. It was almost all grunge. This one has ska and punk, but no grunge. Do I hate the song? No. If Sea-Sekshun wanted their EP to sound like a compilation of different bands, then they succeeded rather than presenting themselves as a cohesive band.
Cue-Kay starts with drums reminiscent of Tea Party's Temptation. The riff sounds a bit like L7's "Pretend That We're Dead" also. It's more in the vein of what the band represents. It has the same grunge sound as Flyers, but more in an Incesticide kind of fashion. It's nice to listen to, but it doesn't stick out. The way the drum mics are hooked up, it's quite powerful. You can almost feel the bass drum pump into your skull. You definitely understand its place on the disc and its purpose. Everything must have a purpose, afterall.
Her Story would be the ballad? Gone is the snarl. Sunstrum's voice sounds great on record. Better than it did live when I saw the band open for Weak Patrol. The song has that Green Day American Idiot vibe. The chorus is hooky. Could do well as a follow up single to Flyers. The back up vocals really do well to highlight the melody. Also, the best solo on the EP. It will definitely come as a shocker to the listener. Much like A La Ska, it's an awkward cut. You find yourself questioning if it is the same band or not. Unlike A La Ska, though, this is the difference between an alright one and something I would describe as ear candy. I just wish there was more bridging the gap. The EP comes across as a kid with ADHD that needs his Ritalin. On the upside, the band has shown what they are capable of. I can't help but feel they are trying too much at once. Trying to re-invent the wheel. This song has no grunge. No punk. No ska. It's pop rock. So, what exactly is Sea-Sekshun? A walking talking mixtape? This would make a better demo, than an EP. To show to labels what they can do.
I also felt like I wanted to hear more of the bass. I found the album to be fairly mid-level. Fairly equal. Nothing seemed to pop out. It sounded great, that's for sure. The vocals soared. All in all, I'd say it was a good listen. They've done something they should be proud of. The jigsaw isn't into place quite yet, and I hope they find the road they want to travel with it. Again, who are Sea-Sekshun? Because I've just listened to three versions of the same band clashing with eachother.
3/5
Flyers comes across as a Metallica tinged grunge rocker. The sound is crisp and Sunstrum's snarl is very aided by Fraelic's skin tight production. It does have potential to be a single. That is, if we are ready for a grunge revival, which seems like Victoria is on track for. Many have attempted the Kurt Cobain and failed. In saying that, there were predictions Victoria could be the next Seattle. That prediction was made ages ago. We'll have to get out of the shadows of Vancouver in order to do that. With bands like The New Colors around, who knows what can happen.
A La Ska is a complete 180. It's a very fun song, and it's short. Tyler Swagar's voice is hard to pin point. It kind of passes you by. Suddenly it's over and you aren't too sure what has happened. It's such a wild card on the disc, it doesn't really have a point. I really enjoyed this song live and I have nothing against multiple singers, but it doesn't mesh with the disc. The song before contained no ska nor really any punk. It was almost all grunge. This one has ska and punk, but no grunge. Do I hate the song? No. If Sea-Sekshun wanted their EP to sound like a compilation of different bands, then they succeeded rather than presenting themselves as a cohesive band.
Cue-Kay starts with drums reminiscent of Tea Party's Temptation. The riff sounds a bit like L7's "Pretend That We're Dead" also. It's more in the vein of what the band represents. It has the same grunge sound as Flyers, but more in an Incesticide kind of fashion. It's nice to listen to, but it doesn't stick out. The way the drum mics are hooked up, it's quite powerful. You can almost feel the bass drum pump into your skull. You definitely understand its place on the disc and its purpose. Everything must have a purpose, afterall.
Her Story would be the ballad? Gone is the snarl. Sunstrum's voice sounds great on record. Better than it did live when I saw the band open for Weak Patrol. The song has that Green Day American Idiot vibe. The chorus is hooky. Could do well as a follow up single to Flyers. The back up vocals really do well to highlight the melody. Also, the best solo on the EP. It will definitely come as a shocker to the listener. Much like A La Ska, it's an awkward cut. You find yourself questioning if it is the same band or not. Unlike A La Ska, though, this is the difference between an alright one and something I would describe as ear candy. I just wish there was more bridging the gap. The EP comes across as a kid with ADHD that needs his Ritalin. On the upside, the band has shown what they are capable of. I can't help but feel they are trying too much at once. Trying to re-invent the wheel. This song has no grunge. No punk. No ska. It's pop rock. So, what exactly is Sea-Sekshun? A walking talking mixtape? This would make a better demo, than an EP. To show to labels what they can do.
I also felt like I wanted to hear more of the bass. I found the album to be fairly mid-level. Fairly equal. Nothing seemed to pop out. It sounded great, that's for sure. The vocals soared. All in all, I'd say it was a good listen. They've done something they should be proud of. The jigsaw isn't into place quite yet, and I hope they find the road they want to travel with it. Again, who are Sea-Sekshun? Because I've just listened to three versions of the same band clashing with eachother.
3/5
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