On the corner of Powell and Main, December 13th, on my way to The Liar Fall '07 Launch Party @ Hoko's with my musical correspondent Pearce, we were approached by one of Vancouver's friendlier crack dealers. I mean, he wasn't about to stab me in the neck with a rusty needle or anything! "You guys in the market for any rock?" he said. Sorry dude, not tonight. The name's deceiving, I know, but maybe when I set up That Crack Blog, we'll talk.
The Liar is a student poetry journal published by the Creative Writing department of Capilano College, and in honour of releasing the Fall '07 issue of The Liar, bands Junior Major and Trike, and musicians The Sirens of Titan AKA, Katie GoGo and Larry Stallion all came out to a little sushi karaoke bar called Hoko's to rock the launch party. I'd found out about the show through Meg, an amazing concert photographer I'd met online only days before the event, so it was decided that I'd come out and snap a few pictures. As it turned out, Pearce and I arrived far earlier than we needed to and instead of seeing any bands go up for the first hour, were treated to drunken karaoke versions of "Sometimes When We Touch" and "Hey Jude". It was around then that we ordered a few pitchers and aimed for getting trashed. A few impromptu poetry readings later, ranging in topic from coffee shop boys to painting with semen -- thank you, Matt Hogan -- the show began.
The Sirens of Titan AKA is a solo project of Adam Sabla's, brother to Junior Major's Suzy Q and also her band's drummer, and the band he plays with is a rotating group of musicians. His particular brand of inoffensive indie pop rock isn't usually the type of thing to grab my attention at a rock show, but as I listened, I was able to pick out bits and pieces I enjoyed. Months ago, I had shot an Au Revoir Simone show which a band from Austin, Texas called Oh No! Oh My! had opened and Adam Sabla's vocals reminded me pleasantly of Greg Barkley's. Thin and quirky, but without sounding whiny. Pearce remarked that Adam's riffs sounded a bit like the work of Blur guitarist, Graham Coxon, but I just listened to 'Parklife' not that long ago and I still can't see it. Mind you, Pearce is much more music-savvy than yours truly, so I'll trust his opinion over mine any day. Besides, at this point, I was a few pints into my night as it was.
Katie GoGo was up next and although this photo isn't of her set but of her grooving to Trike, her unexpectedly delicate voice was one of the highlights of the evening. Beginning her set with "If You Rescue Me" from The Science of Sleep soundtrack (which is really just a cover of The Velvet Underground's "After Hours", on which Lou Reed infamously turned over vocals to Maureen Tucker), she lent her portion of the show a melodic dreamlike quality, which was amazing because I could have sworn she was drinking as much as I was. I love going to shows and being blown away in moments when I never expected to be. Remember, the first thing I heard upon entering was a 70's love ballad sang by a couple of drunk chicks who hadn't a hope in the world of harmonizing. Katie GoGo made me forget about all that. Hearing her track "Wounds and Stars" (which can be found on her MySpace) was almost as good as being at a Cat Power concert.
As for Junior Major, I already knew coming to this show that I'd like them. Having heard their music before and very much having a soft spot for female singer-songwriters, my affection for the band was only reinforced by experiencing firsthand Suzy Q's uncanny ability to inject vocal punch and attitude into the simplest, catchiest of melodies. Think Karen O meets Tegan and Sara, if Tegan and Sara didn't suck. Yeah, I said it. I can't stand T&S.
However, with Junior Major, I love hearing how the band has evolved from how they sounded a year ago. Never having found "Surface Socket" to be one of their most successful songs despite it being the one track that carried the band from relative obscurity to the annals of MuchMusic's indie hour The Wedge, more recent tracks like "Lack Lustre" and "Secret" are more indicative of the level that the band is at now. Fully channeling the spirit of the Yeah Yeah Yeahs, vocalist Suzy Q, guitarist Katy Horsley and drummer Adam Sabla reminded me yet again that you just can't beat a good indie show in Vancouver. Junior Major stayed true to their roots too, paying homage to Black Sabbath and The Sex Pistols, even slipping a few lines from "Anarchy in the UK" into their performance of "Knot".
Fuck $20 concert tickets at The Plaza Club. There's so much local talent in this town, you'll never need to go to a real club ever again.
Trike rounded out the night for us as we polished off what must have been our tenth pint. I mean, my writing's illegible as it is but this looks like I crammed a pen up my ass and tried to fart vowels. Luckily, I was able to grab a set list off lead vocalist Stephen P. Taylor after their show so I didn't become completely lost. Setting the tone for the rest of the show with their catchy-as-tuberculosis "The Trikey" (which refers to an invented dance move characterized by left leg forward / right leg back / shake your hips / and wiggle your ass), Trike had the entire joint up on their feet by the end of the first song. A cover of "My Generation" and some pseudo-rap synthpop with "Bring The Shit Back" later, Trike had the crowd eating out of their hands. Hell, it was probably the gallon of beer working its way towards my synapses, but when Steve ran outside in a jogging outfit during the break in "Let's Jog", I was right there with him, camera in hand. Although the blatant immaturity of the band is obvious with closers like "Masturbation" and "Don't Throw Your Heart Away" in which the audience is urged to grab a partner, bend them over and spank them to the beat, Trike's debut album (cheekily dubbed 'The New Album') has a bit of a Jarvis Cocker vibe to it. I imagine that Trike, like most cult favourite indie bands, has two different sets of music for different occasions. In this case, they were called upon to provide a party atmosphere, which they did in spades.
I'd also like to mention that Xania Keane provided some of the most creative backup vocals I'd ever seen in a live show to date. Her percussive shrieks in "The Trikey" made it a track that I haven't been able to get out my head since I saw them last Thursday. Together, Xania and Steve are a bit like The Blow with a speed problem.
Sadly, due to circumstances beyond my control, we weren't able to stay for the last few moments with Larry Stallion, who I understand was partially responsible for organizing the show. I'd love to see him again sometime and give his work the attention it deserves, especially after hearing some of his tracks online and finding his acoustic folk stylings just the kind of thing I'd listen to for a few miles of highway on a cross country road trip. His live show seems more energetic than the recorded tracks would have you believe, but I may just prefer the quiet coffee shop vibe of what you'd find on his MySpace.
Cheers, all. If you ever want to shoot me a line, you can find me under Benjamin Luk on the online social abyss that is Facebook. Also, if you're in a band or a musician yourself, and would like to be reviewed and photographed for That Rock Blog, I can be contacted at benjaminlukphotography@hotmail.com so find me that way.
Happy Holidays and remember, eggnog just doesn't taste quite right without some 151.
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