The idea is excellent. Who wouldn’t want to go to a punk show in a decommissioned Cold War bunker? The Diefenbunker is a place that captures the imagination, and it has a certain amount of mystique. The night of punk rock, zines, and crafts at this historic site had been building anticipation for a few months.
Granted, it’s not easy to get there. The museum knows this, and provided a free shuttle to and from downtown Ottawa. No excuses!
Here’s how the night went down:
Back of the bus
30 minutes is a reasonable distance. I’ve travelled longer for a concert.
It’s a similar distance to the Blacksheep Inn in Wakefield, though the countryside offers different things. Outside the window was a rural-industrial landscape—I was particularly taken with the sign advertising “culverts.” It may not be a covered bridge, but it’s arguably more important to be exposed to the outlying areas of a city, especially if you like tap water and well-maintained infrastructure. (I do.)
There was slight miscommunication with the transportation company, which led to the shuttle attendees waiting an extra half hour for the buses to arrive. Still, everyone was very patient. I am not a punctual person myself, which means I’m not allowed to be annoyed when I have to wait.
Finally, a blue wayfinding sign indicated the Diefenbunker was near. The anticipation builds.
It could be the most unique entrance to a venue in this town.
Strolling down the blast tunnel into nuclear safety, I couldn’t help asking the delighted visitor next to me — “Have you been here before?” It was curiosity, not a pick-up line, and she she was literally bouncing.
“This is my favourite place in the world!” she said, “I’ve been here almost ten times.” Her friends confirmed that she does, in fact, talk about the Diefenbunker frequently.
After turning a sharp corner and greeting the staff, we descended 70 feet underground.
The Blast Tunnel. Photo by Shawn Katuwapitiya.
The cafeteria is the largest room in the Bunker, and the linoleum tiles provide a historic ‘50s feel. The hall is quaint and well-maintained.
That evening, visitors could make their own pins, enjoy beverages and $1 pizza, and contribute to a zine being prepared by Possible Worlds, which is a gallery and workshop space in Chinatown. Someone at my table was gluing a picture of a sea mammal to a page. “I came for the zines,” she said to me. “I’ve been reading them for a while but I’ve never made my own.” I later heard from a musician recovering from a knee injury, who also appreciated the alternate activities, because it meant that he didn’t feel any pressure to stand for the entire evening.
I spent some time flipping through the zine library on display, but I admit – I was there for the music.
The Mess Hall. Photo by Shawn Katuwapitiya.
Built to protect the Bank of Canada’s gold reserves in case of emergency, the vault is a safe pretending to be a room. There is a sense of danger and protection while inside. It is metal and concrete, with nothing to absorb sound. The sound technician was uneasy and explained that minimizing the reverb would be a challenge.
For each performance, the atmosphere was unique and exciting. The setting enabled us to suspend our disbelief, and I was pleasantly surprised that each band had representation by grrl rockers. Turns out, punk pairs surprisingly well with both feminism and nuclear destruction.
Bonnie Doon made quite an entrance in hazmat suits, engaging the audience with tight riffs and tales of the outside world. They are fixtures on the Ottawa music scene, but I’d never seen the group before. Their stage presence and accessible melodies will capture the casual listener, and they invited audience members to spray paint them after the show. Would recommend.
They were followed by DOXX, who were more hardcore and also louder. I could feel the sound tech starting to sweat, but luckily I had earplugs. I’m a person who is often drawn in by lyrics, and while I couldn’t identify many words during this set, I still enjoyed it. Punk has a certain rawness that is especially evident during a live show.
Nightshades were up next, and I enjoyed the first song. However, the idea of making my own crafts was at that point more appealing to me than listening to music, and I stepped out of the vault and sought out the button-making station. It was creative magic.
Nightshades make some noise in The Vault. Photo by Shawn Katuwapitiya.
What is it about the intrigue of the Cold War era that feels like a good fit for the Diefenbunker?
I spoke to a self-identified ‘retired punk rocker’, who provided his opinion on the location. “It’s an iconic and triumphant moment for punk rock. We’ve taken over a government sanctuary.”
I further inquired about the philosophy behind the punk movement. According to him, punk is about “not letting anything you are born into – be it race, wealth, gender, not letting that define you. It’s about finding individualism in a world that is trying to tell you who you are.”
A cold Friday night, good friends, an incredible line-up, and an unlikely venue made this show one of the most unforgettable nights. The Legion was nearly empty when I showed up but by the very end of the night, the floor was packed with punks.
The show opened with Tightlip ferociously taking the stage after a screeching sound check. They blew the doors wide open and allowed people to warm up to the vibe that would overtake the night. The band didn’t hold back from bellowing bass lines, frantic guitar riffs, staccato drumming, and vocals that cut through the air in the form of screams. The elements combined all set the pace for the night and brought a rage to the scene.
The vocals were unfiltered, unperfected, roaring, and raw. They were filled with emotion, emitting frustration and anger outwards and filling the crowd to the brim with energy.
The drumming was heavy with use of the snare and cymbals. Each beat came in an extremely quick succession of one another–something that each drummer that night pulled off skillfully. Sometimes the crash of the cymbals and screams were synchronous, adding a layer to the songs played that only contributed to the harsh soundscape. Both the bass and the guitar melded together, having frantic and rushed conversation that squalled back and forth. Outbursts came from both ends, sometimes even so intense that guitar strings snapped.
Tightlip brought a tight-knit aggressive sound that burst with anger and radiated energy. They created this musical mess that dominated all while emanating a frantic sound that the crowd warmed up to and got lost in.
Toxic Thoughtsbrought forth a theme as heavy as their sound. Their music resonated with anger and aggression reflecting the struggles of being in one’s own body. The songs were held up by the drumming and supported by the bass line. Together these two components packed a punch that got the crowd roaring.
The guitar playing and controlled feedback added to the emotion of each song. Following closely with the bass line, the band incorporated it into the mass of pure noise and allowed the listener to really feel the emotions behind the music and vibrate within them.
Vocalist Felix Lahbabi-Granger threw himself around and thrashed about without regard as he bellowed into the microphone. Watching him provided a visual to the lyrics and it showcased a very real struggle that people deal with.
Starting with a slow progression and gaining volume and hostility as their set progressed, Toxic Thoughts kept the crowd stomping right along until the end.
DOXX brought a frantic and sporadic sound to the table, deconstructing the compositions to sew them back together loosely around Jeff Hurter’s bass line. Even the structure of the guitar solos danced around the heavy-handed bass. It’s dirty and messy but with a handle on chaos.
The band played with emphasis, accentuating heavier parts by slowing the otherwise quick pace. Through Kieran’s drumming, in particular, one felt the build-up to the release of tension and aggression. They were absolutely hostile and cold but completely balanced. The smooth progressions between that slow and heavy pace to the quick and bitter rage that overtook it was virtually flawless. Britt’s skills on the guitar kept the emphasis on the ferocity of each song. Even the shifts in pace felt smooth as opposed to feeling forced and out of place. It was an organised mess that added a depth to the songs that one may not expect.
Sof’s lyrics had strong socio-political views but they were delivered in a series of screams that carried a controlled tonal range. A rumbling grit that emerges from deep within and transitions to high pitched—it clawed at us and dragged us in. Her vocals played with the contrast of smooth and gritty but they carried a sound so impactful that you didn’t need to try and listen to it, you just had to let it hit you.
Refreshingly infuriated–that is the sound that Cell introduced to the crowd. It was pure noise with little to no differentiation between the bass or guitar–but don’t get me wrong, this isn’t a bad thing. The bass and guitar turned into a dynamic duo, thundering through the room.
The guitar was ferocious and echoed the bass, loose feedback kept a constant through the set. Through bleeding the guitar and bass line together, the solos really packed a punch and stuck out like sore thumbs. I found that through this technique, there was a deeper appreciation for all the solo work that was done.
The screams came out in bouts of fury. They were careless but well thought out, they progressed from calm to infuriated. It was high energy, fueled by what seems like pure anger with a twist of carelessness. The distorted vocals seemed to tear a sense of warmth through each of the songs. Don’t let that fool you though, the punch was packed into the screams that seemed to paint the room green and overturn the warmth. They held the old school punk feel, creating this nostalgia all while channeling an inseparable aggression and bringing something completely new to the table.
GAZM, a punk band from Montreal, delivered a full-blown performance without a single falter in the energy they emitted. Due to my synesthesia—the ability to see sound as colour—I noticed that GAZM painted the atmosphere all shades of oranges with hints of red speckled throughout. They sent off anger in waves but never burdened the crowd with it. Instead, the crowd too released the deep-rooted emotions, but in the form of a mosh pit. The sound that emitted is abrasive and aggressive but held enough warmth to envelop you in it and draw you in with ease.
The vocals were ragged and torn, ripping through the crowd without mercy. The lyrics, in combination with the cold drumming, the buzzing guitar, and the weighted bass created this burst of looseness and prompt people to open up a mosh pit. You begin to understand how the emotions and tension are released once you get sucked into one.
The quick succession of each drum beat prompted the thrashing and shoving, each instrument building and adding fuel to the fire. There seemed to be a release of anger in it. The band created noise that brought together shrill bends on specific notes that occur almost melodically. GAZM brought a sound to the room that is warm, save for the drumming, and you could hear it in the notes that are played.
They’re a band that can bring out emotion without leaving you with a burden to carry them past the present moment.
Each of the bands were loud, aggressive, and pack a punch which left a positive impact on those who attended. The show itself was one for the books, so next time these punk bands play a show, grab a friend and head on down. And remember, if someone falls, pick them right back up.
Jon Creeden and the Flying Hellfish are back at it, this time with a power-packed full length LP for us to chew on. Jon Creeden has put down his acoustic guitar for now, and teamed up with his three buds to put together a new 10-track album called Stall. We’re also excited to premiere the first track,”Anxious,”off the album below, as well as present the album release party at House of TARG on April 6th along with The Creeps (!), Finderskeeps (!!), and Joe Vickers (!!!).
For those of us familiar with Jon’s music, some of these songs will be very familiar. Whether he played them in a damp basement, in a church at OXW, or one of the many venues in town, Creeden has compiled 10 of his best songs written lately for Stall. Not only that, but the sheer intensity and vigour of these songs translate perfectly from the acoustic versions, and if there’s one guy in town that knows how to write a hell of a catchy punk rock song, it’s Jon Creeden. His band mates add to the fullness of the sound, and while Creeden’s relentless guitar is the backbone, the rest of the guys are the icing on top of the cake.
Newer tracks like “Way Home” have layers of intricate instrumentation in them, and flourishes of guitar that ring out along with thunderous percussion. Songs that we’ve heard live a few times before, such as “Nailbiter,”One Coast to Another,” and “Stall” are refined and tuned to the ear’s content, and sound better than ever.
If there is one fault to find in Creeden (and there aren’t many), it’s that he hasn’t released a damn LP since Beards in 2013… the humanity! Although, in fairness, he’s released some incredible splits with The Flying Hellfish over the past few years which helped to tide us over until something longer came out. Thankfully, that wait is over.
The songs are crafted through the filter of emotion that Creeden so naturally taps into. He reaches deeper than ever to write lyrics that hit the listener right in the gut, and phrased to accentuate the powerful guitar riffs and booming bass lines which carry his words. The album finishes with a bang, as the band brings in some crowd vocals during “Coffee Shops” along with an irresistibly catchy hook in “Sensible Underpants.”
Stall will be put out in digital and physical formats (including vinyl) on April 6th, but the pre-order for it starts on February 13th. Just in time for Valentine’s Day… just saying.
It’s been just a little while since we had some fresh material from Ottawa’s own Shadowhand, and we’re excited to premiere their sultry new track “Split.” The song is the third single off Shadowhand’s debut LP Through The Fog, which will be released on March 10 at St. Alban’s Church.
“Split” is an exciting taste of things to come as we wait patiently for Through the Fog to come out. The band’s airy and restrained approach should not be mistaken for lethargy. Rather, they convey moodiness in a way that is not altogether gloomy, enthralling the listener with subtle flourishes and a wide open sound. It may be sombre, but there is a light that burns and shimmers as Shadowhand wades through the darkness.
Shadowhand’s lyrically rich songs are ever-evolving, and vocalist/guitarist Jamieson Mackay leads the charge for this groups ascension. Over the past few years, his growth as a musician comes both on stage and in the studio, and his songwriting and comfort level seem to have reached new levels. He is propped up by the brilliance of the band around him, which features the stage-hardened talents of Matt Corbiere, Brandon Walsh, and Sean Tansey.
The band will be releasing the full LP on March 10 at our Showbox Concert Series event at St. Alban’s Church. Joining them on stage will be The Heavy Medicine Band and Merganzer, which should make for an altogether dreamy night of local music (event here). They will also be playing Megaphono this Saturday, Feb 10 at Pressed.
The release will be followed by a tour of Southern Ontario and Montreal. The full tour dates are:
I often go into shows with little to no knowledge of the bands that are playing that night. However, upon hearing Deathsticks was playing Pressed, I knew that that was a show not to be missed. Although the show started a bit late, it didn’t have an effect on the length of each set.
Dark Plains, a local band, ripped through the murmurs of the crowd as they began their set. A steady and prominent bass line with a heavy tone dominated the room and the guitar creating dissonant riffs. One of the first things that caught my attention other than the obviously booming sound slicing through the silence was the ability the guitar had for carrying the songs while the drums rattled in your chest. It was almost as if one would take the song apart while the other put it back together and it created a unique dynamic that was easy to get wrapped up in.
Some songs would start out with a drum solo instead of with the bass, and it really set the tone and mood for the rest of the song. The atmosphere was dark but the energy was high in these moments. The uniqueness of the drums struck me, they were loud but in a few places they’d go off beat only to jump back on beat and flow and meld together with what the rest of the band played.
During the guitar solos, the bassline would be the backbone, seeming as if everything would wrap around it and this is a factor that didn’t allow the solo’s to punch you in the face with high intensity. It rather pulled people into it and allowed them to immerse themselves in the soundscape that they were presented with. Sometimes you’d hear notes that were off key but that just pulled you into the intricately orchestrated songs more because it made everything that came after sound that much better.
The vocals are almost a contrast to the music being played. They take a more mellow approach and create an overlay to the aggressive drumming, bass, and guitars; but when unified in harmonies they can pack a punch and emphasise themselves above all else. The combination of vocals mirroring the aggression in the written music got me to move my feet and nod along but it also seemed to get people to lurch their bodies in choppy, staggering, and abrupt motions.
WLMRTburst through with a fiery passion, the aggressive sound making itself present and known despite the songs being relatively short. I noticed people thrashing to it, throwing their bodies into those of others without a care and that goes to describe what the music itself is. It’s an overpowering bassline, reverberated guitar riffs, odd electronic sounds via soundboard, and the drumming that packs punches in quick succession.
Vocals cut right through the medley of sound and it’s something you try to decipher through the reverb – and maybe you manage to, or you don’t, but it’s enough to grasp your attention and drag you in by the collar of your shirt. Shrill when the songs progress and unfold but they’re no strangers to a more melodic approach. Delivered with a twitchy but fun-loving carefree attitude, the vocals really help loosen you up and get you into the weighted sound of the bass, the fuzz of the guitar, and the manic drumming.
WLMRT is a band that smashes everything together in ways that you wouldn’t imagine. It’s like that one weird combination of food that you never thought would work but does. I find that this is because there’s so much going on and because everyone seemingly marches to the beat of their own drum but that’s very far from the case. It’s something that’s so close to old school punk—pure distorted noise that throws you dead centre into the scene that they’re creating, and that’s something that keeps drawing me in.
Don’t even bother trying to deconstruct any Deathstickssong because it’s not something you’ll ever be able to do. The Ottawa band is confusing, aggressive, and beautiful, and brings genuine meaning to the name Deathsticks. By the end of the night, I’m sure only one pair of drumsticks didn’t end up broken in half.
The band sounds like a fully formed band, and I suppose they are, but if you’ve never heard or seen them, you’ll be shocked to know that they’re a duo. Every component of their music is well timed that it shocks the listener, you can’t try to listen to them, just listen, observe, and let yourself be swept away by the aggression and anger.
There’s not a single aspect that seems traditionally composed. Every musical “rule” has been rejected—from the very first song they played, where Matt rubbed the guitar strings with his hand, a technique that is seldom used to the very end of the set. Deathsticks strayed from any rules that would have been imposed and transformed intros into messy white noise.
The drumming is chaotic and the guitar steady but completely unstable. Laura knows exactly what to do and how to keep it in control, almost as if the instrument is just an extension of an arm or a leg. It seems to come as second nature and watching it is mesmerising. The consistent use of the ride and crash cymbals adds a contrast to the deep boom off the bass drum and the rattling of the snare.
Spoken words or off-beat screaming, the duo have seemingly mastered the music. The feedback, crashing drums, roaring power chords and screaming solos, all contributed to something that I had once stated would happen if they were to play in a dingy bar—that’s right, a mosh pit. Not only does the music grow wild but the crowd with it.
The set may leave you wondering “what the fuck was that?” the first time you hear them, but truly the only way to answer that question is with the simple words “controlled chaos”.
So maybe next time that you find yourself in a rut and itching to do something with your night, find a show any one of these bands are playing and let the music drown you. You won’t regret it for a second – not even when you wake up the next morning with your ears ringing just as much as the previous night.
Deathsticks and WLMRT have recently released a split LP with Nushu and Nightbummerz which you can listen to here. Check out the show photos below.
New Swears are pretty fresh off their latest LP called …and the Magic of Horses, released through Dine Alone Records earlier this year to much acclaim. But it appears like they’re bursting at the seams to keep putting out music, as they are showing no signs of slowing down.
For those who are familiar with New Swears’ music videos, this one fits right in. There’s snow. There’s nudity. There’s gratuitous violence. There’s animal costumes. You know, all the regular ingredients. The video features Nick Nofun, the former drummer of the band, going on a wild chase along with an unknown rabbit creature and eventually falling into a pit. Where does that pit lead, you ask? Well, you’ll just have to watch and see for yourself.
The band will be playing a huge New Year’s Eve party at The 27 Club, aptly titled New Swears Eve. Formal dress encouraged, tickets are $3o adv and $35 at the door. Doors at 9 pm.
Watch the video for “Illuminati Knights” below, and support the causes by purchasing the tracks here.
Ottawa’s New Swears are better known for their catchy garage rock and crazy partying on and off the stage than for helping out their community, but this holiday season the boys are giving back and it isn’t even court-ordered!
New Swears have just released two previously unheard songs called “Illuminati Knights” and “Happy Birthday” on their bandcamp website with all proceeds going to local organizations For Pivot’s Sake and Girls + Skate 613. Both of these worthy causes seek to provide access to skateboarding opportunities for the youth of Ottawa through product donations, mentorship, program enrollments, and more. Have a listen to the track below and help support these two great initatives that do a lot in the nation’s capital.
And if that wasn’t enough, staff from the local skateboard shop Birling will be hosting a raffle at the New Swears New Years Eve bash taking place at the 27 Club on December 31. Birling co-owner Adam Wawrzynczak says the raffle will have “juicy prizes” and of course all proceeds will be going to For Pivot’s Sake and Girls + Skate 613. “This charitable aspect of a New Years Eve party is sure to warm your heart and may even soften the blow of a violent hangover to take you into 2018,” added Adam.
Two cool tracks for two great causes and even more giving as you ring in the new year. Well done New Swears.
When the cold Ottawa winds start nipping around this time of year, there’s no better way to escape frozen realities of the north than going to a loud and sweaty show. That was certainly the case on Friday night, but the weather didn’t prevent people from coming out in droves to check out a special show at The Brass Monkey on Ottawa’s west side. Hailing from Brampton, The Flatliners headlined the night and played their groundbreaking 2007 album The Great Awake front-to-back. They were joined by A Wilhelm Scream (AWS) from New Bedford, MA, who also played their album Career Suicide from start to finish, never missing a beat. Both acts were preceded by London, ON’s Single Mothers and Little Junior.
After a lengthy trip from downtown to The Brass Monkey, I made my way into the venue for the first time to the sweet, sweet sound of Single Mothers exploding on stage. Approaching the place, I was surprised to find it located beneath a strip mall. Not exactly what you’d expect, but The Brass Monkey extended the whole way along and was packed to the brim with folks from all over Ottawa. It was pretty impressive to see that many people come together at this out-of-the-way venue for a show like this, but the sound there is known to be one of the best in town and that counts for something.
Single Mothers has been picking up steam since their debut LP Negative Qualities was released into the world in 2014, and gained notoriety for their brash and untethered live performances. This one was certainly no exception, as the band cranked up the energy immediately. The crowd wasn’t quite ready to warm up and get moving yet, but got there by the end of their set. Single Mothers released their second album, Our Pleasure, earlier this year and played a combination of tracks from both of their full length records.
Lead vocalist Drew Thompson channeled the full force of his band with his trenchant vocals in tracks such as “Half-Lit” and “Overdose,” seemingly ripping up his vocal cords with throaty and guttural delivery. But Thompson never relented, as he and the band kept the crowd locked-in with untamed stage antics and infectious punk rock. The group bucked any critics by playing a dynamic set which featured newer tracks such as “Leash” and “Long Distance,” offering us a glimpse into a side of the band that is more than the blunt-force trauma of distortion, but also layered with melodic elements and lyrical prowess.
I wasn’t that familiar with AWS going into this show, as melodic hardcore isn’t really my thing. But I gave their 2007 album Career Suicide a solid listen ahead of the show and was genuinely impressed by the sheer magnitude of the band’s sound. Although it’s not the kind of album I’ll put on every day, I appreciate how well it is composed from start to finish and looked forward to how it would translate live. I should also say that I appreciate that they named their band after a hilarious sounding stock sound effect, a recognizable scream which we’ve all heard in movies before.
AWS exploded into their set with a trio of fast-paced heavy hitters in “I Wipe My Ass With Showbiz,” “5 to 9,” and “The Horse.” Right away the crowd lovingly started belting out each line, word for word, as lead singer Nuno Pereira egged each audience member on with his interactive stage presence. His jugular seemed to protrude more and more with each song, and his liveliness was reciprocated by some of the die-hard fans up front. The onslaught that is Career Suicide continued, and the 15-song tour-de-force was fully realized in this live setting. The band’s tightness is undeniable, as each member seamlessly plays off the others without missing a single beat. Pereira took pause to tell a quick story in the middle of the set:
“It’s hard to believe it’s been 10 years! We got a message from the guys in Flatliners on MySpace asking if we could join them for their record release shows. We said ‘fuck yeah’ and had a great time doing it.”
The only thing that detracted from the music for me was extended guitar solos throughout, as I’m not a big “solo” guy. This detraction is merely preference, and certainly had nothing to do with the skill of the band members. AWS’ tendency to blend old-school So-Cal punk rock with metal and even prog-rock is a bit of a stretch at times for my liking, as the sprawl across styles can be distracting. But there is a definite primal feel to their music, an intensity and attitude that are distinctive and comparable to bands like Propaghandi. The near-perfect live execution of the complex song structures on this record are worth seeing, even for a layman like me who might not be as familiar with AWS’ catalogue.
The headliners of the night, The Flatliners, took the stage last and performed their much-loved 2007 sophomore album, The Great Awake. The band were Canada’s ska and punk rock darlings of the 2000’s, getting noticed by Fat Mike of NOFX’s label Fat Wreck Chords and getting the opportunity to play with well-known bands associated with the label at a young age. My first experience seeing them was in Detroit in 2008, opening for NOFX and No Use For a Name just after the release of The Great Awake, and I have fond (sweaty and bloody) memories of that show. Needless to say, a lot of us at the show were really amped to see the album played live front-to-back.
Right out the gate, the punching percussion of “July! August! Reno!” thundered from the stage and the raucous crowd burst into moshing as expected. “What do you do when doing what you love gets you nowhere? It gets you nothing. These loaded guns are nothing until they’re fired,” is a sentiment most of us endure at some point in our lives, and a powerful beginning to their set. Immediately after, the band transitioned right into my personal favourite, “Eulogy.” The song is a young person’s account of the death of someone close, a friend or family member, perhaps for the first time. This one hits hard for those of use who listened to it in the wake of tragedy.
The set went forward full-speed, and those who love the ska beginnings of The Flatliners got down to “The Respirator” and “Mastering the World’s Smallest Violin” but the band’s turn towards punk rock on this record was as well received in 2017 as it was in 2007. Chris Cresswell’s in-your-face vocals were absolutely mind-boggling throughout, which is a mystery to me since he’s abused his vocal cords for so many years. This album in particular is not a walk in the park, by any stretch.
The band ripped through their set, sweating up a storm and playing highlights such as “Mother Theresa Chokeslams the World,” This is Giving Up,” and “Hal Johnson Smokes Cigarettes.” Scott Brigham backup vocals and guitar riffs enveloped the crowd and kept the energy high until the very end.
The love for the record was felt through everyone that night, and I’m sure many of us had lost our voices by the end of the night. Overall it was a big treat to see all these bands play together, and have a hell of a party out in the suburbs of Ottawa.
Remaining shows on tour for The Flatliners
12/09 Montreal, QC – Club Soda ^
12/14 Long Beach, CA – Alex’s Bar ^
12/15 Phoenix, AZ – Marquee Theatre %
12/16 Las Vegas, NV – Brooklyn Bowl %
01/12 Chicago, IL – Cobra Lounge
01/13 Pontiac, MI – The Crofoot Ballroom #
^ with A Wilhelm Scream
% with Descendents
# with Twin Peaks, PUP
We’re excited to present the first look at Nightshades‘ new video for “Double Vision,” which appears on the recent self-titled album released on November 15th.
The album is somewhat of a departure from their previous EPs, slowing things down and simplifying the song structures while maintaining the sludgy and gritty elements that many of us know and love. While the tempo has slowed a bit, lead vocalist and guitarist Mallory Giles chose to hone her songwriting skills and focus on lyrics and melody over speed and complexity of instrumentation.
“After the ‘Wendy EP’ we wanted to take some time to write a full record. Things came together pretty slow,” she explains. “I had a huge writers block last winter and it was scary. I thought ‘well that’s it. I guess that’s over’.”
“I was grabbing at straws, trying to find inspiration and I ended up borrowing a bass off a friend. I started fiddling around with it and it became this cool new way of looking at music. I wrote a few of the songs off this new album on that bass and transferred it to guitar. Just playing with power chords and slowing things down, developing less complicated structures. Just taking it easy, and focusing on melody and story.”
“I think that’s kind of where we were all at. Just growing up, and chilling things out. And once Dean joined the band, his style of bass playing was pretty relaxed, and we were into it. We still have some heavy songs that Geoff wrote, and I don’t think we’ll ever not be a heavier band, but things are less rushed now. I think I was kind of hiding behind speed before because I wasn’t very good at my instrument. Playing really super fast felt easier and less scary. Now that I’ve developed as a guitarist, and we’ve grown tighter as a band, we can take a step back and just like..go slower. It’s funny, cause we’re still pretty fast, just not as insane as we used to be.
Nightshades channel the fuzzy sounds of 90’s alternative bands such as The Breeders and Sonic Youth, bringing with them punchy and distorted tracks that draw listeners in. Any fans of Kim Deal-era Pixies will surely fall effortlessly into Nightshades as their new self-titled album maintains a fun and upbeat aesthetic throughout, and doesn’t take itself too seriously. However, the songs seem more carefully crafted and it’s obvious that the band took time to put this one together.
Another thing that doesn’t take itself to seriously is the video for “Double Vision.” Directed by filmmaker Rob Bennett, the concept sees Giles going on some terrible first dates which take psychedelic turns.
“On those dates I would see like figments of my imagination like masked unicorns and masked characters and they would try trip me out while I was out with these guys,” Giles says. “IOn the day of the shoot, we were sticking to the plan, but we ended up having fun and trying different shots of us dancing and stuff, and me lip synching… It turned into this whole other thing that we all found really fun, funny, and great. It feels like a real rock n’ roll music video now. Not too serious. Not too much sense made. The original concept was actually pretty dark. I think it’d be cool to write a play or a short out of it one day.”
“Working with Rob was easy. He had killer gear, was a total pro, and had some really great on-the-fly ideas too. Rob is a musical mastermind in his own right and knows a ton about rock n’ roll. So making a rock video with him was effortless.”
Nightshades are set to released their new album on cassette this Saturday at The Rainbow, along with Montreal art punks Smokes, Ottawa heavy-hitters Bonnie Doon, and up-and-comers Slow Dawn. Tickets are $7 and doors at 9 pm, 19+ only. Check out the new video for “Double Vision” below, and stream to the new album online here.
DOXX ripped the stage apart on Wednesday night at Pressed when they opened with “Human Waste CEO” and that set the tone perfectly for the rest of the night. Fast paced, loud, aggressive, and high energy the bass lines Jeff plays are enough to shake the floor. It’s quick, timed, and it dominates. It demands your attention and doesn’t let it go. No two baselines are remotely the same.
Britt’s guitar playing is distorted, messy, and angry much like Sofia’s screaming. It adds a depth and sometimes choppiness to the songs but in a way that doesn’t make a song seem cut off. It completes it instead.
The guitar combined with Kieran’s drumming is what gets the crowd head banging, and moshing to the music. The drums come out as hostile and dynamic with much use of the snare and there isn’t a song that doesn’t use the loud crashing of the cymbals. This creates a balance in each of the songs.
Sofia, lead singer of DOXX, in the zone at Pressed in Ottawa.
Sofia’s vocals are impressive not only because she screams the songs, but because they’re rough around the edges however still maintain a smooth finish to them. She puts all the emotions she can muster into the words and what comes out of her is an incredibly big sound despite her being “short and stompy”. The lyrics hint at socio-political views that tend to be skewed and then rage against them in fashion that isn’t all that contained. The bitterness and resentment is clear but it’s presented in a fun and enjoyable manner that gets everyone eager to hear the next masterpiece that’s to be belted out.
DOXX is a must see Ottawa band that’s sure to kick some energy into you and get you thrown into a pit of punks. They don’t fail to amaze and they certainly bring a certain je-ne-sais-quoi to the shows they play. Ultimately, if you’re looking to enjoy some raw emotion, and a band that can pack a punch within their music, DOXX is the band you want.
John of Radiation Risks going full zombie or passing the mic to a fan to sing with him…you be the judge.
Radiation Risks knew how to play not only their instruments, but the crowd as well. They drew everyone in from the second they stepped on stage, and despite being more behind the scenes when off stage, they own a heavy stage presence. It’s hard not to pay attention to them. They tore open the crowd by getting right into their songs, no elaborate intros, nothing. Raw exuberance flowed through lead singer John and into the crowd. Every scream, every staggered movement fueled the crowd and got them more excited.
The guitar contrasted itself between heavy and light, high and low notes, solo work and chords and this was certainly a key aspect in putting the rhythm in people’s feet. It’s intricate but sometimes sloppy, melding with the deep warm thrum of the prominent baseline. There wasn’t a note that was missed which was incredibly impressive considering Nicky would constantly be moving and jumping around.
The baseline shakes you and you feel it in your heart. It jumps out of the music and stands out, begging to be noticed. There isn’t a single way you could miss the bass. It’s violent in a subtle way and it’s messy, blending in to the noise. The best way to describe it is pounding, and it rattles your heart right in your rib cage really making you feel what’s being played.
The drumming is rushed, slurred but clear. It makes perfect sense and of course there’s the thrashing sound of the cymbals, cool and cold. A variety of rudiments and beats play through one song interchangeably which adds a dimension that isn’t often found and better yet, it helps meld each song into the next. How that could possibly work is up to you to determine when you hear their sweet tunes.
Lead singer of Fried Egg delivering the goods at Pressed in Ottawa.
The last band to take the stage, with much spitting, was Fried Egg. Their sound is heavy and distorted all around and everything flows together to create a harsh edge to the sound produced. The vocals are choppy, fragmented and loud and they fall nothing but short of deep and raspy. The screaming is impressive and it tugs at my curiosity as to how the singer hasn’t torn up his vocal cords. Of course, this isn’t at all what I would have expected from a band called Fried Egg, but I guess everyone gets a surprise every now and then.
Irritated and cold power chords cut through the air and make their way to the ears of those listening. It’s enough to feel it in your feet and to get people trashing around, especially when in combination with the bass and drums. They’re in harmony with the fierce baseline but also tend to veer into their own world filled with pick scratches and wild effects that you’d only find at a show such as this one.
The bass picks up quickly and can only be described as progressive and fiery. It’s heard above everything when it’s being played and it creates a warmth within the song so that it can provide a counter to the cold that the guitar brings.
Setting the high energy and fast pace are the drums. With beats being played and quick and well plotted fills adding space and urgency to the music, the drumming couldn’t get better. The drummer goes hard and I’m surprised that the drumsticks hadn’t broken that night while he was playing. The drumming commands the beat that your body moves to, it’s the soul of the songs.
Whether you’re spectating from the sides or right dead in the middle, you’re going to get at least somewhat thrown into the mosh pit despite your best efforts to steer clear.
All the bands set the standards of punk gigs high and they certainly didn’t disappoint. They all radiated sheer talent that they’ve managed to contain and let out in a constructive and creative way that everybody can enjoy. They wooed the crowd and made every performance intimate and personal and they made a point to get a little too close for comfort. If ever you see the scribble of “Fried Egg”, “DOXX”, or “Radiation Risks” on a poster around town, or on a Facebook event, cancel all plans and make your way down. You’ll probably have a better time with them anyway.