The Jolts | photo by Coleman Ingram

  Real Problems were up next, delivering their greaser-meets-punk brand of rock ‘n’ roll and generating the first mosh pit of the night. They pummeled through a set sounding like Supersuckers-meets-Nashville Pussy, with the occasional breakdown riff and loads of wah pedal. It was also a bit of a red letter day for the band as they announced it was to be the last show for drummer Jonny Two Sticks. Thankfully, it’s not the last for the band.

  Up next were the Jolts who did not disappoint in their Ramones/Hellacopters-flavoured, balls to the wall rock. Turning up the heat in the already hot as hell bar, they ripped through tracks from last year’s critically praised 8%, including “I Wanna Dig” and “The Dabbler,” as well as older tracks like “Gimmie Gasoline” and “The Bar Again.” They also threw in a cover of the Joneses’ “Pill Box” and finished the set with a rollicking sing along of the Stones’ “It’s Only Rock ‘n’ Roll (But I Like It)”. It was a really tight set by a Vancouver staple with swagger and style to spare.

  After a short breather, Jolts members Joshy Atomic and Matt Snakes went back onstage to play with Greenback High bandmates Beardo (of Vicious Cycles) and former D.O.A. drummer Floor Tom Jones. Despite playing to a smaller crowd, the pop-punk supergroup kept things rocking. Influences ranged from Against Me! to the Ramones to Stiff Little Fingers (due in part to the fact that there is no discernible frontman and all members share vocal duties), while always maintaining a kind of ‘90s alt-pop groove. Their lone dedication of the night (“Bombs Away”) was made out to Stephen Harper. At one point I saw two girls having a full-on makeout session before also noticing a couple almost boning near the table behind me. It was a hot night in the city for sure. Thank God, or more appropriately the devil, for rock ‘n’ roll.

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  DJ Tyler Fedchuk quickly engaged the clutch and threw down a thick industrial dance set, cleansing the palette and dissolving any residue left over from the somewhat “out of place” sound of Nucular Aminals.

  Los Angeles’ Jeremy Jay took to the stage next, along with his band, and proceeded to move the crowd with chill summer jams. The band shared the stage with beautiful chemistry, providing each individual with a clean, strong presence, which created a sound that was both familiar and unique. The balance was exposed elegantly during the bands performance of their single “Caught In A Whirl,” where the threading of Jay’s focused and bouncy guitar licks, weaving in and out of the contrasting rigid drum beats and melodic, rhythmic bass lines allowed the soft synth lines to rise from the swell as a floating firework that hangs colourfully and hauntingly in the air.

  Their music almost takes you by the hand, away from the torrential rainstorm that is Vancouver, and into a sunny bike ride through a palm tree-clad Los Angeles Beach Avenue enveloped in summery swagger; a place haunted by synth ghosts. Jay’s original and internally diverse sound is widely accepted, and is an excellent inspiration for even the most left footed of feet.

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Thee AHs   |   photo by Audrey Alexandrescu

  When the next band, Thee AHs, took the stage, the venue was almost jam-packed. Though probably too often described as “cutesy”, it’s impossible to not understand why—Thee Ahs have been gaining a reputation as one of Vancouver’s best bubblegum pop bands.

  Singer Sarah Lowenbot’s delicate voice is reminiscent of songbirds like Leslie Gore or Peggy Lee, and she engaged the audience full of fans between every song. Before breaking into a brand new number, later revealed as “Hockey,” the vocalist implored, “See if you can hear the lyrics and try to guess what it’s about.” Thee AHs’ endearing slow-paced songs often gained momentum plying spooky harmonies with simple song structures, and despite a few technical difficulties, the outfit was well received. When the band announced, “Alright, this song goes out to everyone” and started into “To Laugh at Being Lonely”, more than one person was singing along in the audience, which was pretty impressive.

  The sounds in the Zoo Zhop shifted from sweet melodies to psychotic circus music once Synthcake’s set began. Using synths (obviously), live drums and a trumpet, the quartet’s performance felt like a frenzied video game competition. After one particularly zippy, drum-heavy song that had the crowd losing their shit, the group started offering free download cards, which had people pushing to the front to grab theirs.

  Synthcake’s dynamic sounds comes across like Amy Winehouse fronting a funhouse band, and singer Lana Pitre’s sultry, velvety voice can make you forget all about that deranged clown that’s after you. Perhaps in reference to the band’s latest album, Musicophilia, Pitre asked, “Is anyone obsessed with music so much that it’s, like, not a good thing?” The final number of the night, with its strange sound effects, vocal loops, haunting harmonies and a driving climax, had even the most jaded person in the crowd dancing. Despite Synthcake’s bizarre Big Top vibe, they seemed to be exactly what everyone in the cold, wet little room needed. And nobody went home disappointed.

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  Vancouver locals Manic Attracts were up next. The trio was a bit one-note, with little dynamic variation in their set list. Lead singer/guitarist Clint Lofkrantz delivered some rough vocals that were a tad off, even for a punk band—his vocals were borderline screamo. Luckily, the group had so much infectious energy that by the end of a song you actually didn’t really give a shit about how bad the singing was. They were one-note, but that one note was a burst of energy and badass. Case in point, Lofkrantz rocked out so hard his guitar strap broke.

  Lastly came Vancouver’s best dressed group, the Tranzmitors. The band jumped right into “Glamour Girls” and immediately, you could tell this group has been together for a while. The act was tight and everything about their performance screamed precision. Since the Tranzmitors were promoting their new seven-inch on React! records, the crowd got a taste of some fresh material. The new songs still give the same nods to groups like the Jam, the Buzzcocks and other mod/punk revival groups.

  But, to be honest, the audience was craving the tracks they already knew and could sing along to. During the encore, the already bouncing crowd became more jumpy once the band broke into “Dancing in the Front Row.” As you may have guessed, the audience started dancing in the front row. And, with the catchy “Look What You’re Doing to Me” closing off the night, Pat’s Pub successfully broke out into a mini mosh pit. A clear sign of a good rock show.

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Blouse | photo by Steve Louie

  Recent Captured Tracks signees Blouse took the stage while snow fell outside. Like labelmates Soft Metals and Cosmetics, Blouse balances soft-focus synths sounds from the ‘80s with a ghostly modernism. Charlie Hilton’s vocals were intimate and haunting atop the group’s heavy dusting of drums and pulsing bass lines. The Waldorf’s deep red curtain backdrop somehow lent itself to the heavy tonal landscapes of “Time Travel.” “I was in the future yesterday/ But now I’m in the past,” Hilton sung on the atmospheric track. Other highlights included “Firestarter” and “Into Black,” two tracks that spiralled outwards from the band, swathing the room in a gentle blanket of fuzz.

  That said, Blouse’s set occasionally seemed tense and rushed, especially during “Videotapes,” but despite this, their music evoked a trance-like state within the audience.

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  Man Your Horse didn’t waste much time between songs, rarely stopping for more than a moment before launching into yet another high-energy tune. Their tracks didn’t really feel like complete, thought-out structures—more like loose jams organized around a batch of complicated riffs. Guitarist Julian Marrs gets bonus points for playing through both guitar and bass amps, creating a funky low-end harmonic that helped provide substance to his performance alongside bandmate and skinsman Scott Petrie. Rarely have I seen someone as excited as Marrs to be behind a six-stringed instrument, so I felt a little disappointed whenever he let his hands fall to deliver uninteresting lyrics caked in echo.

  On the advice of a friend, who described closers Bel Riose as coming across “like icicles being driven into your eardrums by sheer volume” (in a good way), I took a defensive stance half-way to the back of the cabaret before they began. I was a little let down, then, when my ears didn’t start to bleed half-way through their “rock concert.” I really, really wanted to like Bel Riose, who are an unapologetically straight-forward rock ‘n’ roll duo, but I just couldn’t get into the traditional verse-chorus-bridge structure that all of their songs adopted. After the previous guitar-wizard-driven bands, seeing frontman Ryan Dolejsi pound out relatively simple songs on a supremely overdriven bass guitar was somewhat of an anti-climax. The brother outfit (sibling Geof plays drums) were sweating bullets by the end of their set, but I was still left scratching my head as to why they were playing with bands that had such a strong focus on technicality. I’d love to see Bel Riose again, but on a bill better-suited to their hard-up crunchy tones.

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  Open mic nights are a great way for musicians to not only showcase their established work, but also to experiment with new songs or works-in-progress. Whether you’re a rising star, an artist who’s starting out, or just wanting to play music for the fun of it, the stage is always open for those who enjoy playing in front of an audience, earning smiles one song at a time. In this issue, we mention some of Vancouver’s well-known open mic spots that are available for your musical needs and pleasure.

The Libra Room
1608 Commercial Drive
When: Mondays from 9 pm to Midnight
Cost: Free
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  Though used to going to the Libra Room to witness highlights from the local jazz scene, I was curious to see how this bar would reinvent itself as host to one of the city’s many open mic nights. Every Monday, this jazz club lends its stage to a structured jam session with various blues, rock, folk and jazz acts. Performers are asked to sign up before 9pm and entrance is free to all. A donation jar did, however, circulate early in the night, which seemed to be both a reasonable and a discretionary option.

  Performers came in a range of numbers and skill levels, playing original pieces and cover songs from such groups as the White Stripes, the Byrds, and the Beatles. Although talent varied, the quality range remained somewhat minimal; worth noting for those who seek out open mic nights as a place of sanctuary for drunken bellowing. Indeed, there seemed to be an element of judgement in this location; a sort of performance standard absorbed in the marble table-top decor and a definite sobriety in the drink prices. Most apparently, the Libra Room is a place you come to support your friends who are musically inclined, or at least a place for a Monday night conversation and cocktail. Although relatively casual, the Libra Room is far from embracing any sort of musical debauchery and conversely succeeds as a reputable location for musicians to mingle and jam in a respectful, fun atmosphere.

— Alexandra de Boer

Corduroy Lounge
1943 Cornwall Avenue
When: Tuesdays from 8:30pm to 12:30am
Cost: Free
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  The Corduroy Lounge is located in the beautiful Kitsilano neighbourhood on Cornwall Street, between the Burrard Bridge and Kits Beach. Hosted by the musically awesome David Morin and a tall, talented guy name Mike, the Corduroy Lounge open mic has a very relaxed, candle-lit atmosphere. You don’t even necessarily need to bring an instrument to the venue, both a piano and a drum kit are available. From a musician’s perspective, the sound system is excellent as they have a good quality speakers and monitors.

  You’ll often see the regulars, including acoustic six-string virtuoso Don Alder and actor/singer Gary Chalk, showcasing their amazing skills and delivering high-energy performances that will blow you away. Definitely a place worth checking out. I’d also recommend you stay for the food and drink specials.

— Eddie Lam

Rowan’s Roof Restaurant & Lounge
2340 West 4th Avenue
When: Wednesdays from 9 pm to Midnight
Cost: Free
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  I showed up at Rowan’s Roof at 7:30, planning to have some tea and get some work done before the action started. As it turns out, it’s not really that kind of place. The large open space, tiled floor, and curtained stage at the front give the restaurant what my pal Mark called “an empty gymnasium feel.” Rather than tea, I took advantage of the good Wednesday night special: $4 draft beer and 40 cent wings.

  Things got started around 8:45. I got the impression that it would be a lot of fun to perform here—the sound quality is good, and even though the crowd is chatty, the ambient noise doesn’t overwhelm the music. Ian, the night’s organizer, is extremely accommodating and helps performers with set-up.

  By 10 the place was hopping and there seemed to be lots of regulars who were happy to back each other up with some guitar or sick beats. Guitar covers dominated the night, interspersed with some hip-hop freestyling now and again. The performers were also almost exclusively men. When I left a little after 11, the first woman of the night took the stage to be Rhianna to her friend’s Eminem on “Love the Way You Lie.” Talented women, here’s a chance to represent and score some cheap wings on a Wednesday night.

— Chandra Martini

Café Deux Soleil
2096 Commercial Drive
When: Thursdays from 9pm to 12:30am
Cost: $5
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  This open mic night needs no introduction at all, but for the uninitiated, Café Deux Soleil is one of Commercial Drive’s iconic hot spots for live entertainment. It’s one of the most packed open mics in town, with a diverse roster of musicians vying to showcase their talent.

  Instead of the first-come, first-serve system employed at many open mics, Café Deux Soleil draws names out of a jug, due to the high volume of musicians that show up. Fifteen lucky musicians get picked per night and get the chance to play their music in front of the spot’s large crowd. Even if your name doesn’t get picked, it stays in the jug, guaranteeing you a spot eventually. It’s a fair way to give a variety of musicians a chance to play.
And from a business perspective, considering the always-excellent turnout, this spot is a great way to increase your fanbase and network with other musicians.

  Additionally, not only do you get a good dose of music, but you also get to buy some yummy vegetarian treats and sugar-coated goodies to indulge your sweet tooth. I encourage any musician and music fan, particularly those who adore Commercial Drive, to come to a place that makes Thursday the new Friday.

— Eddie Lam

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  Next up was Tassels, a.k.a. Sean Orr, who began his set wrapped up in a string of red Christmas lights. More people had arrived by this time and started meandering up to the dancefloor, doing their best to shuffle rhythmically to Orr’s ambient, sample-heavy but slightly discombobulating psychedelia. As he hunched and bounced manically over his laptop, the spiral of lights around his body made him resemble an enormous bobbing
helix of DNA. Later into the set he doffed the decorations and stood before the pale fire of his MacBook, gesticulating his hands through the ether like a sorcerer conjuring spirits from the underworld. All in all, Tassels’ set seemed to be well received by the crowd, but at times it felt like there was so much going on, sonically speaking, that it felt like being simultaneously caught in a tropical monsoon and an arctic ice storm, or like eating steak with ice cream.

  Finally Dylan Gauthier, or RiDylan, delivered uncompromising high-BPM-driven, amphetamine-laced breakcore. There wasn’t a huge amount of people at the Astoria, but pretty much everyone in attendance gathered in and started jiving uncontrollably to the beats, which sounded something like a field recording of an invasion of giant robotic insects from outer space.

  “If you come in closer, RiDylan will play harder for you,” Gauthier said matter-of-factly halfway into his set. With the rainbow spectrum of psychotically spinning lights and lasers transforming the crowd into an undulating dayglo Pollock painting, it was clear that everyone was more-or-less satisfied with the outcome of the evening. The atmosphere was altogether welcoming and non-judgmental, and Black Light Sundays promises to be a fertile garden for idiosyncratic electronic artists to blossom and bear fruit.

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  There was love in the air at the Biltmore Cabaret. However, it wasn’t the love I was feeling over a Phillips Blue Buck, nor for the plethora of angel-headed hipsters all frolicking around in their hand-me-down clothes. The love was a direct result of the music being generated by husband-and-wife-driven indie-pop sensations, Tennis.

  Opener Devon Williams was decent, but nothing made the audience shut up and listen. Maybe it was because of how uncomfortable Williams looked on stage, or maybe it was that he used up all his energy at the rather enjoyable, and much more intimate free in-store that took place at Zulu Records earlier that day. In any case, most of Williams’ set came from his new album Euphoria. His blend of poppy, sun-bleached songs made for good background music while people mingled and got settled in for the main event.

  Tennis began their set with the curtains closed, and came out swinging with the incredibly popular “Seafarer.” The first thing I noticed was that vocalist Alaina Moore looked like an entirely different person without her formerly frizz-tastic hairdo, but her voice is unmistakable. Her control and range was almost too much to handle. This, combined with drummer James Barone’s cymbal-crashing ‘60s pop drumming and the sensational twang of Patrick Riley’s Telecaster, made it impossible not to dance.

  There were two highlights of the night. First was the amount of people that showed up on a Tuesday night, driving Moore to say, “Thank you so much. For a weekday, this is phenomenal.” The second highlight was the debut of the new song “Origins,” which saw the singer commanding the crowd front and center with her gorgeous, soulful vocals. The influence that Black Keys drummer Patrick Carney —who co-produced Tennis’ upcoming Young and Old—had on the new tracks is unmistakable. The sound is less pop, more rock ‘n’ roll, and Moore has definitely excelled in her level of confidence. Her light, day-dreaming vocals will always have a place in the band’s sound, but now audiences are also being introduced to the sultry howlings of a soul-revivalist that’ll bring you up off your chair and onto the dance floor. Old Tennis was good, but their new material is captivating and innovative (Riley was playing a custom built six-string equipped with a bass E string).

  With the addition of a touring session keyboardist, the now four-piece Tennis are producing a fuller, more complete sound. Tennis is far past heading in the right direction; they have already arrived. After closing with “South Carolina,” the Denver rockers left the stage, and we all went home a little bit more happy believing that love does exists, and that it can tear the shit out of a club on a Tuesday night.

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The Lost Lovers Brigade's Elisha Rembold
photo by Audrey Alexandrescu

  “No one really pays attention to the CiTR booth”, a friend told me as I unfolded the table I’d be stationed at, giving away magazines and trying to sell t-shirts for Discorder’s Fit To Print art show. Thankfully, this meant I had plenty of time to check out the collection of Discorder contributors’ illustrations and photography collected at the Interurban Gallery. The art adorned a small stretch of real estate in the otherwise empty spot, but early birds made the space feel as alive and vibrant as much of the artwork did with pastel colours and collage layouts.

  Kellarissa started the musical portion of the evening right on time, just as the flux of Friday night hipsters reached its peak. Though alone on a big stage, Larissa Loyva did her best to fill the tremendous space with lucid synths and airy, transient vocals. Her performance, however, was washed out and lacked definition – each track’s steady tempo and unchanging tone melded into the next. I kept myself busy selling records (I’d somehow taken on full merch responsibilities by this point), but every time I tried to be overwhelmed by Loyva’s far-reaching and harmonic voice, I got the feeling of deja vu instead.

  Shimmering Stars played an equally passable but no more extraordinary set. Jangly surf guitars lent themselves well to what was definitely a dream-pop ensemble, but it was hard to get beyond their innocent ‘50s doo-wop sound and into something more interesting. Lyrics occasionally hinted at a darker and more cynical bent to their shiny tunes, but it never really expanded into something I could grasp onto.

  The Lost Lovers Brigade were the most dynamic band of the evening, with a full-band (including Kellarissa’s Loyva back on keys) really making the most of the big stage inside Interurban. Singer Elisha Rembold knows how to write a good pop song, and, with a talented group of musicians at her side, she did her best to keep the crowd guessing who she’d worshiped on her Walkman growing up. While many songs played out with a distinctly country-esque twang, a few whispery tracks conjured up old R&B and put Rembold to work on serious, dang-that-girl-can-sing vocal duty. An endearing a capella encore won the crowd over, but I scrambled to pack up my gear before the DJ sets started.

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