I recently found an Indiegogo campaign for a former D.I.Y. haunt of mine asking for dough to expand their business, in exchange for potential goods and services if the endeavor pans out.
SUBCULTURE SEPTEMBER
I recently found an Indiegogo campaign for a former D.I.Y. haunt of mine asking for dough to expand their business, in exchange for potential goods and services if the endeavor pans out.
THE MELVINS
milestones and straight up business
by More Betty
With a 30-year career of prolific output and touring, the Melvins are overwhelming to say the least. In a modern sense, the 30th anniversary in America is marked by a diamond, known as one of the hardest substances on Earth. If this sonic yield is a metaphor for their musical affluence, then this track record of ground-breakers and heavy-hitting collaborations is akin to one of the two circumstances necessary for the formation of these diamonds. That is, under intense heat and pressure deep in the Earth's crust; appropriate surroundings for these sludge rockers.
“We usually do between 80 and 120 shows per year, touring is part of the deal. That is how we make a living,” says Buzz Osborne, founding guitarist, adding, “it’s been like that for a little over 20 years.” The other condition for this mineral formation is from the intense impact of a meteorite. Brace yourselves appropriately, for the visceral properties of their live show does just that. “We really have no contemporaries, nobody is doing what we're doing,” he says.
This round they are touring as a four-piece with Buzz Osborne, Dale Crover, Coady Willis and a different bass player because their normal bass player is on maternity leave. Jeff Pinkus from Butthole Surfers will be joining them. Also, the tour support is Honky, featuring Crover, from the Melvins. Buzz calls it an “inbred tour.” With an extensive history, this is their business. “We did it till we could make ends meet on the road,” explains Osborne with astute authority. “My advice to young musicians is to not lose money,” he says. “If you are going to do something that loses you money, then you are going to quit and that’s the end of it.” The same goes for making records.
Their latest album, Everybody Loves Sausages just came out this spring 2013. It features 13 tracks and recordings with guests such as Mark Arm, Jello Biafra, Scott Kelly and Clem Burke. This album includes songs by Queen, Roxy Music, Fugs, David Bowie and Venom. “A tribute to the bands that people might not have realized that we were influenced by,” says Osborne. “Then we have tribute 7-inches coming out for Everybody Loves Sausages, a little 7-inch with an extra song on it.”
These collaborative tentacles have also reached out to legendary U.K. grinders Napalm Death and this split release is expected out any time now. The “Napalm” side being a cover of a Cardiacs song, which Buzz assures us “turned out really well.” This project and series of collaborations came from their live record a few years ago, called Sugar Daddy. “We took each song of that record and made a split with another band that we liked, it didn’t matter if the band existed or not,” he explains. First two were with the U-Men and the Cows. Since those bands have broken up years ago, they will be releasing previously recorded material. They also worked with bands like Mudhoney, Butthole Surfers, Fucked Up, Off and more collaborations to be announced. “I like projects,” say Buzz.
A new album coming out in the fall called Tres Cabrones. “Which is me and Dale our original drummer, the Melvins 1983,” he says.
They do not stop. “You have to evolve or die like the dinosaurs,” he states firmly. “I hate stuff when they say things like the ‘good old days.’ I don’t believe in that. Why look backwards when you can look forwards. I am not into what happened yesterday. I am about what is going to happen.”
And look forward to the sonic impact of the Melvins at the Commodore Ballroom in Vancouver August 19th.
DISTORT VANCOUVER FEST - VOLUME IX
The Final Chapter
Ink September 5th, 6th and 7th onto your wrist and prepare for a raging 72 hours as FOAT and CHARGED//DISTORTED present the final edition of this West Coast punk event, Distort Vancouver Fest.
Unquestionably, the event organizer’s appetite for “Scandinavian punk” fuels Distort and this is conclusive with MOB 47 on-board for this instalment. “One of the first Swedish bands to take on what DISCHARGE created all those years ago, but mixed it with the speed of American hardcore, (ie. DRI, CRUCIFIX, etc) creating something totally insane,” explains Foat. “Hence, raw fucking mangel. Members have been active in such classic Swedish hardcore bands as CRUDITY, DISCARD, one of my all time favourite d-beat bands. More recently, DESPERAT featuring Jocke from D-takt & Ra Punk records. Which, every punk should check out,” he emphasizes. On the bill and that label are WARVICTIMS, ELECTRIC FUNERAL and PARANOID. The last count was thirty bands booked for this fest and with that another highpoint is SUICIDAL SUPERMARKET TROLLEYS, described as “ridiculous beer drinking British punks!”
The eight consecutive fests have cultivated networks. “I will say, over the years, some life long friendships have formed because of the bridges of certain cities/regions of the punk community being built.” Not only has this event brought notice and energy to this city, but also exposed folks to bands they would otherwise not catch live. “I think Distort put Vancouver in league with bigger punk scenes on the coast, and a must stop for any bands touring the West Coast. This was one of the reasons I started doing the fest in the first place,” he says. CHUCK NORRIS was a part of the early fests and this year they will be playing their final show. “They were the first band I put out a record for, they let me roadie for them a bunch, and are dear friends, who helped shape my ideals of punk. It just makes sense for the band to die with Distort,” says Foat.
Distort is certainly an undertaking between three “active” bands, monthly shows, a label, a life and a full-time job. “I think my mission has been accomplished. Vancouver has one of the most thriving punk scenes in the world,” he says, “I can't credit it all to Distort, as there are many punks who make this city fucking awesome. I think it's time to see some younger blood do something similar. Maybe not take on the burden of Distort, but to do their own thing. No matter what, I will ALWAYS be involved in punk, for better or worse, till I fucking die.” And what’s next? “Next summer for the first time in nine years, I will do jack fucking shit! I’m really surprised I’m not bald yet from all my stress, and that's why I keep dying my hair,” he laughs. But this is not the end, still busy with the DIY, practice space and his label, CHARGED//DISTORTED is about to release, the KOSZMAR LP along with RUST AND MACHINE Records.
Surveying this vast collection of handmade event posters, flyers and tickets, they hold their own not only as a record but as “Punk Art.” Foat has created many of these but also credits, Jersey, Laura Lint and Zach from SPECTRES and who is also co-founder of Distort. “I’m just a mega nerd about flyers. These are the documents of amazing or shitty nights. I always put the year on them so punks can remember. I love looking at old flyers on punk house walls, and remembering that time in my life, and the shows I’d go to, and the bands I see.” With the indefinite life of digital content, this handheld artifact has an even greater significance. “I think this get's lost in 2013, I see less and less flyers, and it really bums me out. On top of it all, DIY flyers, posters, and tickets just look cool. And though others will disagree, fuck Photoshop. It is killing punk art! And yes, artwork has almost as much to do with punk as the music,” he adds and, “this is why, while records are being pressed in fewer numbers these days, vinyl will never fucking die, despite the Internet.”
Further kudos and thanks go out to, David and the Astoria, as well as WENDYTHIRTEEN. “But maximum appreciation goes out to all my friends, bands, labels, promoters, and venues that supported Distort and me over the years,” he says and, “I’ve been definitely in the hole, but I’m not complaining. I knew what I was getting myself into, and it's worth it.” A series of shows, fundraisers will lead up to the fest.
“Actually, I can honestly say I am very excited about all of these bands playing the last Distort. So many raging riffs and friends I would gladly take a bullet for from a buncha areas of the world!”
DISTORT VANCOUVER FEST VOLUME IX will be early September at the Anza on the 5th, WISE Hall on the 6th, and the 7th at the Astoria, and keep your ears up for pre/post/night/day/hangover shows put on by friends.
- More Betty
LIFE AGAINST DEATH
life and new breath
by Heath Fenton
The band Life Against Death (LAD) is much like a volcano. Sudden explosions and rapid destruction can move foundations to new landscapes with greater views and wider horizons. Through their ten years of existence, LAD has gone through sixteen different members. The latest implosion occurred when long-time members and partners Brett Roothless and Mya Mayhem went their separate ways, leaving the band in a barren wasteland. But Roothless had other ideas. To him it`s always been about the music. “I’ve always looked at music as an addiction. I have no choice but to do it. I figured if I am going to keep playing music then why should I start another fucking band.” So he dusted himself off and began the process of assembling today’s version of LAD.
The first piece was an old friend and ex-band mate Scott Free, who would be enlisted to play drums. Free had toiled with Roothless in an old band called The First Day and he actually was the original singer in an early version of LAD. Next part would be bass stalwart Steven Huston from another old band of Roothless’ called Last Plague. The only task left was the process of recruiting the elusive lead vocalist.
Enter Twitch from Joyce Collingwood. She had never done the vocal style that would be required to step into an extreme thrash metal band like LAD. But she was more than game and she even went out of her way to approach them herself about the vacant position. “After I heard something had happened I went down to the bar and ran into the bass player at the time and got the scoop from him,” she says and adds, “He told me that Brett was keen on just continuing on and finding another singer. So after a couple of beers deep, I said, 'I’ll sing for you guys!'”
Two years later with a hefty gig list and some new songs under their belt, the next step was to hit the Hive Creative Lab studio and record with engineer Jesse Gander. The result is nine songs and and a 22-minute juggernaut that will be released August 31. The album runs the gamut of what LAD was built on: extreme metal, old school thrash ideologies and wild aggression. “This is not about reinvention, it’s a continuation,” Roothless explains. “Every line-up of this band has sounded a bit different but it will always sound like Life Against Death.”
Join Life Against Death August 31 at Thrashers a.k.a. Funkys for their record release show!
LEGION OF GOONS
by Jason Kolins
Weighted in hardcore punk and crossover, these veteran locals have already made a big impact. “The city was, and still is over run by elitist crust bands, and we wanted to do straight-up, no-bullshit hardcore,” says guitarist and vocalist Mikey Jak. Even in a small amount of time, it’s no surprise that the group has quickly become a force to reckon with working with a sound in the “vein” of Black Flag, The Accused, Verbal Abuse and DRI.
Back in 2010, Mikey Jak and their second guitarist and vocalist, Ben Lightning, came up with the band idea but finally hit jam room this past January. Aaron Foster on bass and Matt Fiorito on drums round out Legion Of Goons.
The word on the new super group quickly turned heads with the combined impressive resume of former bands like Death Sentence, The Excessives, Scum Element, Surrounded By Idiots, Seamen, Powerclown, Burnside Brawler, The Shivs and so on.
Attacks of dual lead vocals, rapid-fire riffs and a pummelling rhythm section command their fast and catchy songs. Both live shows and recordings flow with intensity. Eight songs were recorded in June at Vancouver’s House Of Payne Studio with Adam Payne. It features a cover rendition of “Plastic Bomb” by Poison Idea. “One of the best songs by one of my most influential and favourite bands,” says Jak.
Their lyrical content touches on things we all go through every day, situations, issues and people that piss you off, “definitely things that people can relate to,” Jak describes. The Vancouver Island transplant explains that between the serious lyrics, there is also the balance of more “tongue and cheek” humorous songs like “Lost A Bet To Boba Fett”, which is about the notorious Star Wars bounty hunter. Another called “Reptilian Brain” is written from the point of view of an alligator.
Look for an upcoming vinyl release and summer shows, plus a Vancouver Island trip and hometown show in September with the legendary Death Sentence. The boys are keeping themselves busy and also hope to hit the road to Alberta and the Prairies by fall. Believe the hype!
The Goons join Toronto’s BUNCHOFFUCKINGGOOFS at Thrashers a.k.a. Funkys August 3 and The End Of Summer Thrash Fest, all ages/bar show August 23 at Olympia Pizza, Surrey.
BOB LOG III - BELADEANS
Biltmore Cabaret - July 09 2013
In the Biltmore's dimly lit den of electronic playlist worship, Bob Log somehow plays four ipods at once. Instead of searching menus, pirating music, and spinning knobs, Log found himself stomping three foot pedals, asking us for drinks and furiously plucking his Silvertone “Growler” guitar.Tasked with opening for this spectacle were Vancouver's “the Beladeans,” a talented five piece with two outstanding records and a flair for classic bar blues anthems. They barreled through their set with bravado and charisma, ending on a high note with a rousing cover of "I ain't drunk, I'm just drinking" well before midnight. Immediately following this was the noisiest sound check imaginable, as Log sat testing his works with the sound techs testing for his newly expanded electronic performance.
BLACK FLAG, GOOD FOR YOU, PIGGY, Lié
Chinese Cultural Centre - July 20, 2013
Black Flag's reunion of the Jealous Again era beckoned diversity. It was a who’s who of Vancouver's older punk scene, metal heads and, surprisingly, a healthy crew of ener-getic minors. First up: an excellent female three-piece Vancouver band called Lié. Splendid angular punk riffs and captivating call and answer vocal trade-offs.
WEEDEATER, BISON BC, HOOPSNAKE
Electric Owl - July 16, 2013
Excellent to see Electric Owl hosting some heavy hitting metal bands and with Hoopsnake on the opening slot you knew there was gonna be some weight.
I arrived just in time to see Vancouver’s own Bison BC tuning up and gearing down. This crews' namesake is very appropriate. They are like a herd of bison galloping along the plains. When they play, the ground shakes, you can hear the rumble from miles away, and they destroy everything in their path. They were an obscene mass of sweat, hair and bovine riffage. If you have not had a chance to see Bison BC live, really go and do yourself a favour. They are hands down, the best live metal band this city has to offer. They even enticed us with a new tune that foreshadowed what will sure to be a pummeling new release in the near future.
SUBCULTURE AUGUST
It's tricky to be in this business of being the booking coordinator of a venue without receiving both the kudos or blame of how any given night turns out.... I do my best to try to book the venue according to whatever else heavy is going on in the city.... Invariably, as hard as you try to book in advance and list your show genre early, almost always some other promoter or venue will book against you.... This is progressively getting worse with former hipster haunts suddenly lauding the punk and metal subcultures ... I guess they realize we're hearty drinkers with an abundance of bands to fill a night of live music...
THE OBLIVIANS
turn tables
by More Betty
Photo by Jamie Harmon
There is a bit of a garage punk renaissance every time folks rediscover the Oblivians' records. Turn the clocks forward to summer 2013, the release, Desperation hits the decks. And despair not, as trash rockers Greg Cartwright, Jack Yarber and Eric Friedl still defy any singular explanation with their revolving performances and their first studio album since 1997.
“You are really getting three different perspectives,” explains Cartwright. “Three different singers and three different songwriters. I would play drums on a set, Jack would play drums on a set, Eric would play drums [and we] all take turns on the lead vocal.”
The trio found themselves back in the driver’s seat, after taking their road show out for a spin.
“At first it was fun enough to play those old songs and relearn them and find those grooves again,” says Cartwright. This Memphis band rediscovered their chemistry after a tour in 2009, with their Detroit musical soul mates, the Gories. “Then we realized we wanted to keep playing, but we didn’t wanna keep playing those old songs.” With a tank full of creative fuel, they deliver 14 new vibrant tracks. “I am not afraid to bring new musical ideas I have into the thing. Cause I know, once they are computed into the Oblivians' machine it will come out like an Oblivians song. That’s a really cool thing to have. You can hear some of the Reigning Sound in my songs, some Tearjerkers in Jack’s songs,” adds Cartwright. “We’ve each had our own style of songwriting and, if anything, it’s just grown over the last few years. I didn’t know how much I missed it till we started playing live.”
Mr. Quintron’s “Call the Police” jumped out from a collection of New Orleans hip hop zydeco music. “It’s one of those songs that just burrows into your head and you can’t get it out,” he says. With a twist of fate, Quintron had a live date while the Oblivians were recording in Nashville, so they called him up. “He said yeah, I’ll come over and play on your track if you come over and play with me, the night of my show.
“A happy circumstance,” says Cartwright. “We were at the same place at the same time and we recorded the same song twice. One for his live album and one for our studio album within 24 hours.”
Desperation was recorded with a Scully one-inch eight-track from a '60s Electrodyne console.
“I love the directness of recording on to old gear. The great thing about analog is [that it’s] all tubes,” he says. With a guitar, guitar, drums, and vocals set up, the three just went in and cut it. Working analog to tape as a direct print of the process. “It might not be perfection but the Oblivians are not perfect and it works to our advantage,” he laughs. “You don’t have to second guess yourself. You don’t have any opportunity to change it anyway. There is not going to be any endless tweaking. I wanna mix with my ears, not my eyes,” he explains. “Back in the day, people had to know exactly how a song was going to be played and finished. Now, when people go in to record, it’s a drum track and then endlessly layered guitars and keyboard. I am not saying there is anything wrong with that. It’s a whole other art form that I’m just not any good at.”
Hailing from the musically resilient Memphis, TN, their recordings were noticed much later after the original releases. “It makes me happy. It lets me know that those records have longevity beyond when they were made,” he says. For a whole generation just hearing these for the first time, it’s an incredible break. “An awesome opportunity for them,” says Cartwright. “But an awesome opportunity for us to play for them! We get to run around and pretend we are a rock band even in our 40s!”
Seize this rare opportunity as The Oblivians play the Rickshaw Theatre on July 11.
SNFU
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by Jason Kolins
Photos by Cat Ashbee
Speaking from a toilet stall in Vancouver’s Pub 340, Mr. Chi Pig, the charismatic lead singer of legendary Canadian punk band SNFU, is full of emotion as he discusses his band’s much anticipated new record, Never Trouble Trouble Until Trouble Troubles You. “That title comes from a fortune cookie that I got from the Double Breeding Wonton house,” recalls Chi about his favourite Edmonton “haunt” after band practice. This studio album will be their eighth and first since 2004, a record that many doubted would even happen due to the front man’s very public history of mental health and substance abuse issues.
The bed tracks were done in Vancouver and the vocals were recorded in Chi’s native Edmonton with friend and producer Steve Loree. “I got away from the dangerous distractions of life here on the downtown lower east side. I decided to come to Edmonton. My family and friends are there,” he says. “It made perfect sense.” There, the 51-year-old focused, drew pictures, wrote lyrics and played some live acoustic shows.
“I felt very lively, creative and vibrant and it worked out perfectly,” he says. Chi’s vocals took four 12-hour days to complete and though he felt no pressure. It took hard work and determination. “I‘ve done this for 34 years of my life and it still was a task, but it was a task worth taking,” explains Chi. “When I heard the final product, I was so fucking proud!” Since the SNFU lineup transformed, there have been naysayers who claim that without either Belke brother in the group, it’s not the real deal and just a Chi Pig solo band. However, the vocalist feels differently. “No, it is SNFU. It’s not an egotistical thing, man. There has only been one member that never quit, that never failed and that never gave up. And who is that person? That’s me. I am SNFU. I designed those concepts, came up with the logos, wrote those words, sang those songs and I did it and am still doing it,” explains Chi.
To Chi’s credit, fellow punk veterans Jon Card on drums and Ken “Goonie” Fleming on guitar join him in the current incarnation of the band. Card’s resume also includes DOA and The Subhumans. Goonie was in Winnipeg’s The Unwanted, amongst other notable groups. Not only have both done time in the band in years past, but both have contributed to songwriting as well. Card has played on a full-length and several releases. Second guitarist Sean Colig, though decades younger, is not a new kid to the scene, having played in Minority, Side 67 and Savannah before joining SNFU in the summer of 2012. He adds a bit more perspective to joining the band. “It sucks to listen to people saying, ‘well if Marc’s not in it, then I’m not interested,’” explains Colig. “I’ll give it a chance. When Goonie took over to get Card back in the band, I believe he got Marc and Brent [Belke’s] blessing. I know how they felt. Nobody wants something that they’ve worked hard for all their life to be dragged through the mud and I knew that it wasn’t going to be.” And it wasn’t. With the absolute solid roster of musicians behind him, the unit has recorded an album well worthy of the SNFU name. This time, their characteristic sound, catchy choruses and Chi’s trademark vocals are all present, as are the intensely personal lyrics by Chi. The bulk of these and with songs like “Voodoo Doll Collector” are dealing with his trials, tribulations and his demons over the last few years.
“I included myself into that song. I made a voodoo doll of myself and by the end of the song, I’d tortured myself. [It’s] about self-discovery and that pain… those times when you’re on fucking pins and needles, which I did to myself,” he reveals. “Morley” and others are about friends that helped him and saved his life. “Ashes,” according to Chi, is a very cryptic song. “It’s almost like ‘Fate’ Part Two.” Written about an experience, while looking at a crematorium through a window at class, back in the school days. “The students are looking at their future. And what do they see? They’re gonna see ashes,” he says and “you know you’re gonna die. And you’re gonna wind up right there … you’re gonna be in that chimney and your smoke signal is gonna go up.” Of course there are also some ‘not so serious’ numbers like ‘’Speed Weenie.”
“It’ s about doing hard drugs like crystal meth or speed and you can’t find your dick!” describes Chi.
Don’t miss out, the new album drops this September in Canada on Cruzar Media!
Catch SNFU live at Thrashers a.k.a. Funkys Friday, July 12.
THREE WOLF MOON
set the controls for the heart of the fun
by Heath Fenton
So let’s get this straight. The bulk of new bands that form have members that have come from other bands that have broken up or had someone leave. There are rare exceptions when a band may start from scratch. For instance, when a few friends in high school decide to form a band, but other than that, most bands are comprised by seasoned, experienced musicians. So with that theory, the majority of bands could be affiliated with the term “super group.” However, in the music world those two words do have a dirty feel. And I am guessing it’s because they are used more for media hype for bigger acts. So let’s just call Three Wolf Moon a conglomeration of members from some awesome bands comprised from local heroes such as We Are Machines, Black Wizard, Hugenelk and The Best Revenge. If you are familiar with any of those bands, you might think Three Wolf Moon straddles that line between barnstorming and Oh Henry heavy. It would be a safe assumption, but nothing could be further from the truth. In actuality they are the complete opposite
Coming together at Bullys rehearsal studio in New West about a year and a half ago, Three Wolf Moon also consists of Adam's brother Max Grant on drums, John Sayer also on drums (yes! a two-drummer band!), Evan Joel on bass, and Tyler Maynard on keys. They are just starting to gather speed one show at a time and turning many nodding heads during the process. If people aren't familiar with Bullys, it is a famed New West rehearsal studio that is sort of musical bawdyhouse for local band sluts in the burbs of Vancouver. It provides a natural "buddies basement" type feel with many friends from like-minded bands coming through each day. And it was from this cool brotherhood atmosphere that Three Wolf Moon was born. "We all jam here and it's like family, we all know each other and play with each other's bands," says Joel. It was also the place they recorded their upcoming self-titled debut album that will be out in late August or early September. Will the members then find some time to tour in support? According to Adam they are looking at late summer dates. "We’re working out an August tour and just do an Edmonton, Calgary type thing. This started as a side project but I don't consider it a side project anymore. It would be nice to get it on the road as much as possible.
Three Wolf Moon is simple easy listening with some wacked-out keyboards much like the bands Lucero, Dessert Sessions or Clearlight with excellent grooves and a friendly '70s beached-out hippie approach. So pack your hacky sack in your fanny pack, grab a cooler of beers and come chill sometime with Three Wolf Moon.
Check in for upcoming tour dates and catch a taste of upcoming releases at their Bandcamp
STILL ABOVE SNAKES
Not dead yet
by More Betty
Still Above Snakes unites three generations of hardcore punk. By June of this year, they had their first live show, a completed recording under their belts and five of those songs head straight to an EP release, which is out in the streets and online by July.
There is more to their sound than just a rehash of the old. “The music is a culmination of anger, heaviness, speed, energy and groove,” explains vocalist Jason Kolins. He describes their influences as classic hardcore, such as Cro-Mags, Bad Brains, Agnostic Front and Sick Of It All. But there are many elements including metal and punk. “Thrash metal in the riffing, some leads, separate guitar parts and a bass player that actually plays bass and isn’t just an extra rhythm guitarist,” he says.
Kolins formed this band in March 2012 and his former projects include Burden, Pressure and Abstain. Deon Malloy plays guitar. Stefan Nevatie is also on guitar and hails from Ninth Hour, Self Regime, Cum Soc, and Myopia. Bass player Dan Walters has played in Fratricide, Death Sentence and Head First. The missing piece was a drummer so, by April 2013, Ottawa native Derek Hill joined the group.
Still Above Snakes is a curious name initiated by a phrase found in an urban dictionary. “Above snakes,” explains Kolins: “means ‘still alive’ or ‘not dead yet.’ As all of us have had a lot of years pass since our last bands. It’s been nine years for myself since Burden’s last show and it’s been sixteen years for Dan.” There is a good spread of generations with this group. “Aside from our drummer, who is in his late twenties, we’re all in our thirties, except Dan who is in his forties,“ he says.
The bass player held a noteworthy role documenting Vancouver punk, with a printed fanzine called Terminally Stupid. In 1984, he started talking to local bands by phone. He obtained copies of MRR and Flipside by trade, which led to mail interviews. After Walters’ first punk show with the Exploited, Dayglos, Death Sentence and the Fitz, he would interview touring bands.
“What a great way to learn about this fairly new thing called hardcore,” explains Walters: “All the bands were easily accessible with no rock star bullshit. I’ll quickly say that thanks to Facebook and Kim Kinakin’s file service, a visual account of most of the more memorable punk/hardcore gigs of 1985 in Vancouver [which] will soon be shared with the world. It was a great year for the scene.” The same Kinakin of Vancouver’s post hardcore band Sparkmarker.
“We call this O.G.H.C., Old Guy Hardcore,” jokes Kolins, “but age is just a number!” Walters, the eldest member certainly has a close history with Vancouver HC.
“The only thing that never let me down was playing music and that was missing from my life for too long. I met Jason through his Vancouver old school punk, hardcore and metal group. When I heard he was jamming with some other scene vets, he invited me out. The closest thing to sanity was restored!” exclaims Walters.
Lookout for upcoming Vancouver, Okanagan, Vancouver Island and Alberta dates.
Still Above Snakes joins Vancouver’s SFNU and The Living Deadbeats at Funkys, July 12th
SKELETONWITCH
Skeletonwitch - Biltmore Cabaret - June 10, 2013
It was a Monday night that Skeletonwitch’s headlining tour touched ground at the Biltmore. It was well put by singer Chance Garnette when he yelled into the crowd that it “feels like a fucking Friday!!” And I’d say that judging by the mosh pit’s reaction that the crowd was putting their best Friday foot forward.
PIGGY
punks and rockers celebrate a shake down
by More Betty
With a relentless train of punk rock dates, the only way to catch Ron Reyes was to move fast. Tracking him down to the Black Flag tour van, headed for the next venue. There he brings us up to speed on the terrain of his Vancouver project, Piggy, a rock ‘n’ roll band with a debut album.
“I wanted to do something I never did before and that was lead a band from the position of guitarist,” says Reyes. “So I dusted off an old guitar and started writing [what] would end up as Piggy songs.”
The first sparks flew when he caught Lisa Furr Lloyd playing bass for the East Vamps and she was an immediate recruit. By summer 2010, a landmark birthday fete for Reyes became a catalyst. Not only was there a surprise appearance with Black Flag guitarist Greg Ginn, reuniting old friends, but this event organized by Doug Smith also lit another rock ‘n’ roll flame, igniting Piggy.
Smith did a brief stint as the band’s keyboard player and took on an administration role when they first got off the ground.
“Smith also suggested Craig McKimm on drums and so we had the band, now all we needed was a singer,” says Reyes. After a session of musical chairs with vocalists, enter Izzy Gibson. With a bold leap of faith, the former drummer auditioned for vocal duties.
“That is when the band really came together and that was just over a year ago,” he explains. Smith steps off as keyboardist, now as a four-piece collaboration, they continue to progress and boldly take on challenges.
“For me it was huge. I have been a bandleader in different ways mostly as a front man or a drummer but never as a guitarist,” he adds.
As for the vocals, there were many exceptional singers vying for the energetic spot, but the challenge remained, coming up with the right chemistry.
“A lot of people ask me how I got this gig and I wish it was more interesting, like; I had to battle sexy female robot ninjas until I was the last one standing [and] then I got to be the front woman for Piggy, but in truth, I just auditioned,” humours Gibson. “I was primarily a drummer and guitarist before, but have dabbled in vocals with small bands in the past. The challenge and joy of doing this is playing with different musicians. No one will play the same song the same way,” she says.
When Piggy hit the studio the vocalists had just switched. “My good and long-time buddy Kyle Nixon hooked us up with Jack Endino to do a quick recording in Seattle,” says Reyes. With Gibson just enlisted on vocals, straightaway they carried on with dates. “In true punk rock fashion and followed through with the two Seattle shows and the recording commitments even though we were not really ready.” So, a decision was made to lay down the vocal tracks in Vancouver under the careful ears of Cecil English. “And then he also recorded one of our Vancouver shows live. So we took 'Jealous Again' from that live session to include on our vinyl,” adds Reyes.
The interaction of Piggy members and especially in the songwriting process is a collaborative one.
“Ron comes up with the riffs and we all ‘kinda’ add stuff along the way,” says Lloyd.
“Then we all sort of mash our thoughts, different riffs, beats and lyrics together around it. Sometimes I’ll write lyrics and we’ll jam something out,” echoes Gibson.
“Most of the songs come from demos I have pre-recorded. “Some have lyrics but I don’t like writing lyrics for singers if I don’t have to. That is their job right!? So many of the lyrics come from Izzy,” explains Reyes.
“I was mostly involved in changing the groove and feel from the drum-machine recordings Ron made, altering arrangements, beginnings and endings, that sort of stuff,” says McKimm.
“Everyone contributes their parts and I will seldom if ever force a part or a beat or a line on anyone,” says Ron and “Craig adds a lot of texture and dynamics with his drumming and often suggests some cool arrangements I really love his contributions,” adds Reyes.
The new release Undignified will be out on pink vinyl. “To me that speaks of doing things in a true and pure, ‘not give a fuck’ attitude,’” he states with emphasis. “It is being pressed as we speak and should be available by the time Piggy joins the Black Flag tour in California.”
“Night after night, Black Flag has been crazy and exhausting. The crowds are awesome and playing again with Greg is like a dream come true,” says Reyes.
Both musical projects can actually be more of a compliment in their direct differences. The process of working with Piggy is a relaxed route compared to the focus of Black Flag.
“Practicing with Piggy goes something like this: Hey are we practicing tonight? Show up late, once or twice a week. Talk, talk, talk, take a smoke break, and drink a few beers. Play two or three songs, take a break … then do it again and again for a couple hours and we somehow manage to get things done so it’s cool, he explains. “In Black Flag we set up and practice several hours a day, every day nonstop once we start. It is a totally different dynamic. I love both styles.”
Many of the Black Flag shows we have played in Europe and the States have been all-ages and it just feels right. It was a tall order to pull it off in Vancouver, but eventually the folks at Arrival put it all together for us,” he says.For the bill local punks, lié are handpicked by Reyes and Arrival Agency recruit Vacant State.
“Piggy will offer up an interesting contrast to Good For You and Black Flag,” says Reyes. Not only is this a record release for Undignified, but it is also Ron Reyes’ birthday party.
“The last time we had a birthday party in Vancouver for me, shit started to happen so I am really looking forward to this!” he exclaims.
Time it right and hop that fast train to the Chinese Cultural Centre Saturday, July 20.
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