Gig Review: The Ford Pier Vengeance Trio

Saturday, August 28th at Lanalou’s

Power Trios forge a tough and unforgiving path every time they play live.

There is no safety net. There is no fourth member adding tonal color or texture from guitar or keyboards. There is no lead singer emoting and being the visual focal point.

In a Power Trio, each member has to be entertaining and deliver both music and stage presence. And that is exactly what all three musicians do in The Ford Pier Vengeance Trio.


Drummer Bradford Lambert is the definitive rumbling, thunderous powerhouse driving the band and not letting up for even a split second. His no-compromise and no-nonsense approach ensures every beat counts both in terms of sound and in terms of keeping the attention on the band. No prisoners are taken or spared.

Bass can hang back and groove, or in Eric Napier’s hands the bass becomes all lightning and stormy growls under the guitar and vocals. Equally propelling and driving, bass has to be 100% committed within the Power Trio format, or it just doesn’t work. Luckily for audiences, Eric is far more committed than a mere 100%.

Ford Pier himself is a man of many artistic talents & pursuits – the bulk of which he puts aside to let it all rip on guitar and vocals. Gibson humbucking guitar into a roaring tube amp is usually the most effective, most direct and dynamic way to push a three-piece rock band.

Emotional intensity has no bounds when Ford refuses to be restrained in any way. This makes for a joyous and raucous sound, existentialism existing with all its emotional might.

Together they deliver what three-piece Power Trios do best: rock’n’roll. And when you are in the mood to let your ya-ya’s all out, check and see where and when The Ford Pier Vengeance Trio are playing in your area.

Go for the ride.


Gig Review: Top Men

August 26th 2016 at Seven Lounge on Broadway


Timing could not be better for synthesizer-based bands since the release and success of Stranger Things and its fantastic all-synth music based on John Carpenter’s thrilling soundtracks..

That being said, an all-keyboard band is hard to pull off, live. Luckily, Nanaimo’s Top Men deliver an exceptionally engrossing live show.

There are no bands in recent memory that put their lighting technician on stage with them – but that is precisely what occurred with illumination wizard, Adam Barron, adding another texture of mood to the stage.

Utilizing absurdly inexpensive but effective (and home made) stage lighting, the band would kick into high gear often and the lights would follow. Simple lights percolating along with the arpeggios … then blinding, pulsating big lights along with the powerful crescendos. Very effective.


Dynamics, dancing  and dazzling visuals effectively bundled in a very good presentation.

While the lighting drew the audience in, the musicianship was top notch and the performance of the band was greater than the sum of all parts.

Good music played well by good musicians. The audience was truly captivated.

Drummer Paul Carpenter had no easy task keeping the groove, pulse and percussion dynamics tight among the electronics,  but he does so with passionate delivery and a big sound from a modest drum kit.

Also very smart and thoroughly enjoyable is how Chris Thompson, Brendan Holm and Liam Gibson share synth-bass, synth-lead and chording duties which keeps the sound fresh and changing. Brendan adds bass guitar to many tracks, adding an additional tonal range.

Classic-style vocoder vocals supplied a clear and present melodic narrative that was unusual and compelling.

They know what they are doing, are young and likely going far.

See them live  because they are one live band worth seeing, hearing and throwing shapes to while swaying, dancing and letting yourself become immersed.

Top Men are a very good band. Follow them on social media and catch them live.


Gig Review: Shitlord Fuckerman

Friday, August 26th at Seven Lounge

Preface: the late 1960’s through the late ’70s was a golden age of Art Rock. Those not around to witness legendary shows may not quite understand what all the fuss was about.

Sometimes somewhat less melodic than say, Progressive Rock, Art Rock was not so much concerned with entertaining as it was with shaking things up and sometimes delivering a message.

Often times the visual message and delivery overwhelmed the music but making an artistic statement was central. Often times that turned out to be very entertaining.

Art Rock reached a zenith with DEVO as they made a name for themselves first in live shows and later on via innovative forays into music videos.

As the ’80s progressed and MTV/Much Music expanded, music videos adopted Art Rock visuals but then became much more commercial – basically turning into Commercials for bands, singers, records and tours. Mainstream Art Rock fell by the wayside. 

Which brings us to shitlord fuckerman, summoning the better parts of Art Rock ‘s live music form.


Calling on total commitment and bravery, shitlord took the stage at Seven Lounge on Broadway Friday night and delivered a fantastic, all-in tour-de-force Music Experience.

Songs and sounds  are only one aspect of making live Art Rock music. Putting on a show is essential. And there is where shitlord fuckerman excels.

Words ultimately fail where art and Art Rock are concerned. See for yourself.

Those looking for this kind of “indescribable experience,” both visceral and thought provoking, need to keep tabs on shitlord‘s next appearance.

Well worth attending as she takes avant-garde into new territory.

I shit you not.

Gig Review: The Food, Rash for Life, Parrenthesses and Bad Moon Water Girls bring summer fun back to the WISE.

WISE Hall, August 13th, 2016

On a summer night lingering under sunshine glow, sunset dreams can turn into magic when bands take the stage.

Saturday night was no exception to this – a totally fun night of music that left everyone smiling and tingling after a perfect lineup of bands fell into place naturally.


Anthony Charrette and Andrew Koltek took the stage first, debuting as Bad Moon Water Girls for the first time – a guitar/drums duo covering an intense and diverse sonic palette.

Aided with room-warming Taurus bass pedals, Koltek’s guitar figures ranged from melodic splendor to staccato rage before diving back into ambient wash while bracing for compelling new riffs that followed.

Meanwhile across the stage, Charrette’s radiant Cheshire cat grin simply drew  the audience further into the music as his arms rambled around the drums, coaxing syncopated grooves and dynamic pulses out of a modest kit.

Together the pair opened the evening’s music with a surprising array of flare, fun and melodic intensity. Their natural ease with having fun on stage sparked up the summer tone inside the WISE just right.


Next, Parrenthesses unleashed their denser, long-form conceptual music. A perfect contrast to BMWG and yet stemming from the same Power Duo headwaters. Performed with a deceptively  casual nonchalance, the music of Parrenthesses grew and grew in intensity.

Fans of ambidexterity get their money’s worth witnessing drummer Levi Bakker playing complex piano runs with right hand, while drumming left handed across a full drum kit. Needs to be seen to be fully appreciated because he sounds like two different people playing two different parts … while also singing, no less.

Which in no way diminishes guitarist Elliott Vernon’s masterful fret and pedal prowess as he shifted moods and tones with clockwork precision. His overflowing passion driving home the final narrative of spirituality vs. identity, which hauntingly hung there in the room like a dream.

Their music deserves repeated listening because the sum total of the songs add up to something quite moving and is well worth seeking out.

And just when the summer night seemed headed off into something darker, more serious and more Progressive in nature ~along came The Rash For Life.


The Rash For Life are fun and entertaining, they’re real and they’re fabulous. Smiles crept across dancing faces one and all, each happily succumbing to The Rash’s irresistible onslaught on all things proper and calm.

Benson Musaev knows a thing or two about proper and calm but willfully chooses to eschew both in the name of knocking decency flat on its ass. Bass can decently hold the band together, or can indecently lead,  which is what Musaev does with wild abandon and gleeful aplomb.

No riff is sacred – as it should be when there is this much fun to be had.

And fun naturally beckons Anthony Charrette to join in with his more primal drumming for this band (Spoiler Alert: a Gong is abused).

Which does not mean fun rules out sensitive balladry from a sensitive lead singer. Or maybe it does. You decide when you attend their next gig.

Because singer Patt Skuce reveals all and emotes all things shoutable, while wearing a large mirrorball on his head. A mirroball helmet complete with LEDs on the inside.

Skuce best answers the question: what if Hank Williams Jr. invented rap and fronted The Beastie Boys?

Just go see them at their next gig. You will have fun. You will smile and dance. Music is suppose to be this much fun.


And fun is what The Food bring more of in abundance. Before long everyone in the room is dancing, smiling and having tons of summer fun.

If you have never experienced a live baritone sax section, do yourself a favor and check out the one-two punch of Scott Bristow and Al Norine as they give riffing guitars a run for their money. Together, their interwoven horn arrangements hearken back to the fine soulful pulse found in late ’60s R&B bands.

It’s then up to guitarists Michael Celli and Elliott Vernon to notch out a different set of sounds and comping riffs – which they tidily do while ratcheting up the groove.

Underpinning all: the grounded, bouncing bottom-end lines from bassist Jeremy Evers, punctuated by brisk beats courtesy of Levi Bakker.

Surfing over all this glorious, infectious sound is ring leader/lead singer Joseph Musters and harmony heroine Kimberleigh Roseblade. Partners in crime leaving no audience members untouched by their energy and joy.

(Missing from this performance was oboist Lisa Jensen.)

If fun and dancing be the food of life, seek out any or all of these bands – or follow them online. Go to their next gigs. You will come away satisfied and happy* and, especially for The Rash for Life or The Food, you will have danced your ass off.

*Inexplicably as happy as you feel on a perfect summer night.


How to learn cover songs on drums


Rule 1 – Don’t Listen to the Drums.

Seriously though, you can learn drum parts of a song by listening to the vocal, the bass and the main guitar or piano rhythms of the song you are trying to cover.

Because in effect drums play to, with and between those other instruments.

~ and the vocal most especially

The song’s vocal will have the most memorable, immediate and visceral meter, cadence, and prosody. The bass will underline that, or counter that.

In between the bass and vocal is where the feel of the drums can be, often.


Whenever music is playing anywhere, I am always listening.

What surprises me (a lot) is how a crappy sound system in a fast-food restaurant might really accentuate the hi-hat of a song. Or the kick drum.

Sometimes it can be like hearing the song or drum parts for the first time.

Always pay attention when a song catches your ear in a new environment.


It  is also highly informative to watch drummers when you can. At every live show or by watching any of the hundreds of videos on YouTube – Video of Steve Gadd can save hours of frustrated listening, trying to figure out a part.


One thing to remember is that guitar players often tend to rush, bass players often tend to drag. Not always, of course ~ but where the vocal sits depends a lot on the balancing of the rush and drag, the push and pull.

A drummer in a band might find in rehearsal then, that usually they and the bass player understand how the song works better than the  guitarist and singer. Drummers understand the push and the drag and many times become the center of that dynamic tension.


Drumming on a cover song really is about understanding and unlocking the song’s “feel.”

Unlocking the feel is something that takes a bit more attention.

I am not technically very brilliant, but to me “feel” of a song or genre is more important and every song* has a small part, groove or attitude that unlocks the song for me.

I do homework, reading up on drummers, production of songs or albums and so on.

* every drummer or musician has a feel as well. Ringo for example is left-handed on a right-hand kit and leads fills with his left hand. Knowing this helps to unlock the feel of many Beatles songs and many Ringo parts.

And likewise, listening to Little Richard will help in understanding Led Zeppelin drum parts. John Bonham Influences

In other words, knowing the headwaters of a song or performer will help unlock the feel of a song.

And at a gig, “feel” is what audiences connect with deep down. Feel goes straight to the heart.


I will record myself practicing with the band and listen back. What I try to do is put that microphone or device near to where the singer might be, to hear from their perspective. It can be hard to know what the drums actually sound like “out front.”

Comparing how the band is coming along with a cover song with the original can be helpful. Often times the band’s version sounds better where the feel is down, while not being an exact copy of the original. There is always room for your own feel, your own sound.

Homework is satisfying when the compliments are genuine.