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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.

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.
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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".
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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?

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.