Jonny Bones Benefit vs. the Clowns Down the Street: double-booked again

I was double-booked again last night. 

Really, my inclination was to stay at the Rickshaw for the Jonny Bones tribute (which I wrote about here). But I am interviewing Dan Scum later today (and did a pre-interview here), so I figured I should actually see him do his thing (I had only seen Powerclown with a different frontman, while Dan was still in prison). I was enjoying the Rickshaw show a bunch, and am actually more inclined to ska-punk than Maiden these days, but professionalism trumps all, I guess... 

I learned the hard way that I've been away from Maple Ridge a long time. Even despite the graphic of the town's centerpiece mechanical horse, I read the opening band's name as being "Big Shiny Horse Cock" at first. "That's a weird name," I thought. But if you don't know Maple Ridge, swapping the cock for a clock doesn't actually make it make much more sense! 

They were fun. I didn't pay attention to some of the openers (sorry!) and didn't try to document EVERYTHING (because I was mostly there to DANCE), but I liked Big Shiny Horse Clock enough that I snapped a photo, mostly because the keyboard player (who sang a few of the songs) was wearing a bone-suit that I'd seen Jonny in back in 2014 at Adstock...

There's Jonny, with the Rebel Spell behind him, sprinting around the pagoda... compare with the circle pit in the Brasser video below!

I did shoot a clip of Jesse LeBourdais and got a taste of Brasser. Jesse was intense as ever and shared a lot of love for Jonny over the mic, which was a common theme of the night; Jonny came out to watch each person perform and hug friends and so forth (apparently over 500 people came and raised $12,000, which means the average donation at the door was around $25; I am pleased with myself that I paid $30 -- on top of my Gofundme donation). I bought a t-shirt for Ani Kyd Wolf of her old band, which shirt she did not already own; it's small, so probably won't fit her, but it was an excuse to put more money towards Jonny's cause (the t-shirts were all from "his personal closet," as someone said, presumably all printed by his company). Besides: there was nothing my size.

Brasser seemed more punk than ska but gave an energetic enough performance that I was dancing even though I didn't know their songs. 

There was a nice variety of gender representation in the evening. It's kind of become a feature of the youthful punk scene, more than the older one (everyone seemed pretty "cis" at the Powerclown gig). 

But realizing that I'd seen Die Job and Alien Boys before, the latter many times, I decided to zip off to the Waldorf. I ended up spending all too much time there, such that I missed the Still Spirits set. I hear it was fantastic, but... there was plenty of Jonny-love to go around during other parts of the evening.  

I was startled, given that the room was pretty full by that point, to emerge and discover it was still daylight outside the Rickshaw... it was a fast five minute bus jaunt to the Waldorf. Dan Scum was standing on the sidewalk as I approached...

Initially I was worried, given that the Rickshaw was packed, that Jonny  had stolen the entire audience from Powerclown, because on arriving at the Waldorf, with SNFU tribute band Painful Reminder on the stage, it seemed like the venue was basically empty. Uh-oh!

But I needn't have worried: the real issue was that it was still pretty early, and by the time 10pm hit, with Painful Reminder still onstage, the room was filling up. Wendy on the door was posting about how odd it was to be hearing a different band do Chi's songs, but I gotta hand it to them, Painful Reminder did a really bang-up job. I'm not sure any of the members ever played with SNFU -- I would doubt it, but that band had a pretty long roster of musicians. I shot vid of "Rusty Rake," but it was all equally good! 

There were some familiar faces -- Cat, Betty, Dave, Poib -- who had elected to be at the Waldorf instead of the Rickshaw and I said a few hellos. I wasn't actually sure what I was going to make of the Mr. Bungle tribute, Dead Goon; I was heavy into avant-garde jazz and John Zorn and such when that first Mr. Bungle album came out, so I liked some of it -- and of course, Mike Patton and Zorn collaborated a bunch -- but I think it actually might help to have an interest in funk and/ or Zappa, neither of which were my thing back then. Having spent a lot more time with both funk AND Zappa seemed to have prepped me appropriately for the show: I thought Dead Goon was fantastic and now I might actually pick up that Mr. Bungle album for the first time (!). I think the songs I shot are "Slowly Growing Deaf" and "Egg" but I don't really know this stuff at all... 

Sometimes your best photo from a show is also the worst photo. No idea what happened here:

I did catch the first few Powerclown songs, but I think I kinda got a fair idea of what Powerclown is about with their other singer! (I wonder if those were the same shoes). It was fun to hear the "Iron Maiden" theme song sung with "Powerclown" subbed into the lyrics for the band name... Matt's guitar playing seemed singularly intense... it was nice to see that Murray was there... said hi to Wendy... but I left during "Flight of Icarus," with no regrets, and caught the bus back to the Rickshaw....

...where I discovered that I'd arrived just in time to watch Los Furios set up and soundcheck, which took quite awhile! (I also shot their first song). I could have probably seen three more Powerclown songs, but I hadn't had any way of knowing that. Turns out that I got the whole nutty story of Kyle Fury's commute pretty much right in that Straight article -- having flown out here a couple of days ago to prep for the show, he really IS flying back home to New Zealand today to fly back here with his kids on Tuesday. I am humbled by his devotion to Jonny. I promise to learn from it and not bitch so much about my own commuting heretofore!

Even if I ended up missing the Still Spirits set entirely, I did get to see Jonny join Los Furios -- who again, shared a lot of love for him from the stage -- for their final song, an awesome "Together As One," which Kyle talked a bit about in that Straight piece, as exemplifying the band's (and Jonny's) philosophy of inclusiveness, unity and community, particularly as expressed through music. Jonny mouthed the words enthusiastically from the stage; he's still a full-on frontman, stealing the song a bit, even if his voice isn't working now, and the chemistry and the hugging and so forth was all really moving to behold. It is probably for the best that my phone had died before I could shoot that -- some things aren't for Youtube -- but I did catch a song Kyle dedicated to Jonny (and which he'd dedicated to me the second-to-last time they played the Rickshaw), the Clash's "Revolution Rock," which Kyle and I had talked about for Montecristo. It comes as no surprise that Kyle and Jonny share Joe Strummer as a hero (I have occasionally only half-ironically called Jonny "the Joe Strummer of Maple Ridge," though I guess you could call Kyle that just as well!). That song, I have posted video of. 

Then Los Furios finished and 75% of the audience went home and Jonny played the remaining bunch of us Monster Squad. The following art is by Peter Panayis of Evil Eye Art UK and by far the best image I could lift. The Frankenstein monster on the right is played, marvelously, by Tom Noonan (who also played Francis Dolarhyde in Manhunter). 

Was happy to see the Creature -- also on my t-shirt -- represented. Some great Stan Winston work in this movie. 

I've only ever seen Monster Squad once and it was a real treat to see it again, tho' I sat aloofly away from the main seats, a) because they were way far back, b) because the audio wasn't optimized for film and I couldn't hear it from back there, and c) some of Jonny's friends were a bit chatty. I like to actually focus on a movie! Noelle actually came over to invite me to join the party but I stayed put (it was considerate of her, though). At one point Jonny came over and put his arm around my shoulders and I told him it was a terrific choice for a film. We watched it a bit together, and then I figured he might enjoy knowing that I'd interacted with Tom Noonan a little. Noonan and I sent a few emails back and forth when I was considering doing a screening of Wang Dang, one of the films he directed; he actually declined my suggestion, saying he didn't know how he felt about the film (which, to my knowledge, has still never played anywhere). "I would have loved to have asked him about this movie," I said, of The Monster Squad. "It's a bit of an anomalous role for him"-- I mean, you would be forgiven for not recognizing him at all; he's second only to Karloff in bringing pathos to the role, and the stuff that happens with the monster is seriously moving. I don't think I want to explain it -- you'll get it, if you know your original Frankenstein (thinking about it is bringing tears to my eyes as I type, which I guess is kind of weird, but... I'm a sentimental man...). 

Note that if you now want to see Monster Squad -- and you should; it's really sweet -- the version on Tubi is NOT THE RIGHT ONE. I'm sure you can find it somewhere. 

Anyhow, Jonny listened to my comment about Noonan and tapped out for me, "It's been my favourite movie since I was 7 years old." I guess if I had an equivalent -- a childhood favourite that has stayed with me that I still have a lot of love for -- it would be Time After Time, a time-travel movie with Malcolm McDowell as HG Wells and David Warner as Jack the Ripper. But it was really nice to know that this was his fave. Favourites mean a lot. What you love means a lot...

I don't think I'll ever really get to have a seriously satisfying movie conversation with Jonny -- there's just not enough time, and we are different kinds of film geek -- but I sure do plan to be at the Horrorshow next week for Carrie. Could be the last one -- the building is being sold or something. 

Terrific night -- really fun, really moving, really positive. I'm glad so many people were there (but happy that the Waldorf was pretty full, too). 

And now I gotta go interview Dan Scum...! 

From Never Plenty to Jonny Bones: last post for a bit

Photos from last night at the Rickshaw! I had just missed Maneater, coming in from Talesha's birthday. Hillsboro were doing kinda "Dinosaur Jr. meets Shoegaze" on my arrival. They are probably just starting out but are already really powerful and should keep going; they've got a good thing going. Video evidence here. 

And Never Plenty continue to impress me! They were playing without their usual drummer, who was in the audience with a bum flipper or something (= "injured hand," not a flipper on his bum). Shot video here and here; photos aren't so great though. They are pleasingly self-confident and don't really seem to have placed much stock in having gotten a Straight feature, which kind of amuses me (having done one). Was a time a young band would have been excited, but... anyhoo, I wanted to write about them and did... 

Apparently the sell for Emma Goldman is the incongruity between how they present and the fierceness of their shrieking -- take a listen before you see the photos (below). The singer sings with an intensity that reminds one of Eye in vintage Boredoms or Naked City. This is not how she appears; she's just this side of anime cosplay in her appearance. I enjoy this (and bet the Japanese would eat it up). The band will be playing at Trooperfest 2025, coming up next month. If you want to see what the young punk scene in Vancouver is like, these are the gigs to be at! 

Anyhow, I'm not so much into fierce shrieking these days, but there is definitely some cool songcraft in what Emma Goldman does and I could see them developing a loyal fanbase; they're committed and powerful and interesting. Also: not for me! But I can't listen to EVERYTHING. 

Contrary to rumour. I wonder if anyone in the band is actually named Emma?

Not only did Never Plenty not seem to really be all that impressed by having gotten in the Straight (which I'm not complaining about; like I say, I'm more amused) I'm not sure the article reached much beyond their existing fanbase, either. Last night was not, shall we say, well-attended! But it was real nice of Mo to give four young bands a chance to show their stuff en route to Sled Island 2025, and I enjoyed myself. Even danced a little (mostly to "Chatter Box," which is not a New York Dolls cover).  

There may be more writing in the upcoming week, but it likely won't be on the blog. There will be a few must-see gigs (two of them, alas, on the same night) next Friday-Saturday. The benefit for Jonny Bones now has a finalized lineup:  

Meanwhile, down the street, the Dan Scum return gig is happening at the Waldorf, the same night! Ouch! I will probably zip back and forth between shows. It's not optimal! 

Finally, there's the one year anniversary of Matterhorn Records. I get to give James his Godspeed! t-shirt! Plus I get to see Night Court again! (Johnny of Matterhorn will be at the End Times Garage Sale today, by the way, if you want to buy some records. ARGH!! will be there, too).

...but that's all I've got for you. Except: Happy Birthday, Talesha! You make me look like Ed Asner:

Never Plenty in the Straight, and tonight at the Rickshaw

Never Plenty action shot by Allan MacInnis! 

Did a quick interview for the Straight with Max and Jon of Never Plenty, which is (probably? do I need to hedge this?) my favourite local band "discovery" of the past year. Terrific live, and the new album is plenty great too. And what a cover (we talk a bit about it in the Straight piece!):  

I also reviewed them here, last time I saw them live. But apparently I fucked up this time in saying the album is on Jaundice Records: only the tape is! For now, Jon tells me, "the label only makes tapes but who knows what the future may bring. I’ve been meaning to add it to bandcamp just been quite busy since getting back from tour..."

Facebook remains broken when it comes to sharing news, but if you want to share this blog link, it's this: https://alienatedinvancouver.blogspot.com/2025/06/never-plenty-in-straight-and-tonight-at.html 

 And come to the show tonight at the Rickshaw!

Art D'Ecco vs. the Vicious Cycles MC: a Busy Night in a Gig-Intensive Week

Bad cellphone photography by Allan MacInnis

My life has gotten gig-intensive again. Gnick Gnash and the Minus 5 last weekend, then Dead Bob on Monday, and I (sorta) took in *two*  last night, somehow. And I might have two more this Saturday -- the Rocket Revellers are at the Heatley and Never Plenty, who I really dig, is part of a bill at the Rickshaw. They're terrific, a must-see (wrote about them here). More to come about them, possibly later today. 

As for the two shows I saw last night, turns out that Art D'Ecco remind(s) me of 1980s movies where there is a scene where live music is happening and people with expensive haircuts and nice clothes are playing some variant on new wave that involves a saxophone, if you see what I mean. The saxophone player may or may not have a headband, but he will definitely have a suit jacket on (or possibly leather?) and may be played by a young Jason Patric. There could be vampires, or else maybe significant interest in the love life of a young Molly Ringwald, or maybe Michael J. Fox is in it, but the saxophone is kind of obligatory.

You feel like you've seen that scene in a few movies, right?

Well: sorry, Art D'Ecco, it ain't your fault, but I never liked those kinds of movies, nor do I generally like the music that was being played in those scenes. Understand that in the 1980s, I was pretty invested in an oppositional cultural movement, hardcore punk, and that anything that seemed "actually popular," commercially successful or radio-friendly put me off (I even stopped buying some bands' records at precisely the moment they started getting noticed, like the Replacements, X, and Soul Asylum, all of whom had some degree of mainstream attention and all of whom I jumped off-board from at precisely that point). 

And yes, sure, there are some albums from that time (say by the Tom Tom Club or, like, even Cyndi Lauper) that I now realize are absolutely delightful, that transcend and school my objections, but I still have a mild hurdle to overcome when it comes to anything remotely 80s'-new-wavish. (And as for film, I didn't like The Lost Boys much, never saw Sixteen Candles, and spent most of the 80's re-watching either The Thing or The Evil Dead, movies in which NO SAXOPHONES ARE PLAYED).

NONE OF THAT IS ART D'ECCO's FAULT, it's just the "confessions of the asshole writing this," so Art D'Ecco fans have a basis to dismiss my opinions here. There is no denying that Art D'Ecco (the band, not the singer; I refer to them as an entity, with no idea what the proper procedure is) have charisma and talent and that they performed with commitment, creativity and style. It is not a bad thing that I thought, say, of Brian Ferry and Sparks while listening to them (though the comparisons are pretty superficial and possibly transient). They even did one particularly glammy song I kinda liked, which turned out to be (to my surprise) a new one, "I Feel Alive." Also, I shot one video of them in their incarnation last night, "TV God" -- studio version here -- so my friend who gave me the ticket would be able to see what she missed... There was exactly one false note (D'Ecco was a bit "How the fuck are you Vancouver" during some of his between-song shouts, suddenly getting more Guns 'n'Roses than Flock of Seagulls, if you see what I mean... I'd suggest something dryer?). But they are a real band, worthy of real attention... 

...just not from me; they join Destroyer and the New Pornographers on the shortlist of "bands from here who I begrudge nothing but care not at all about"). I only saw about half the set (and Dour's, who were more on the Joy Division/ Cure end of the 80s spectrum, despite being maybe half my age; I guess I'm not entirely clear on young folk's attachment to music of this time?). Dour was down a member (the bassist had to have an operation, I was told, so one of the guitarists was subbing in), but it didn't sound in any way lacking, to me, just also not really my cuppa (tbh I never really did Joy Division, either!). 

I had joined the Rob Frith table (he texted me when he saw me enter to invite me), and sat and chatted next to his friend Ian (of Penticton radio show Sound Explorer, who loves Art D'Ecco). Ian recommends Trespasser, which I did not end up buying, but I bet Robert Dayton has it!

There was also a Doug at the table, who Rob knew, but I did not interact with him at all; apparently Doug has a Youtube channel called Noise from the Cranium (which featured Rob on a show about the rare Beatles demo). So be consoled, Art D'Ecco, because, as far as I can see, those guys ate you up! 

As for me, when Rob Frith suggested we split early to see his son's band, the Vicious Cycles MC., upstairs at the Penthouse -- which is where Tyrant Studios is -- I was, like, "Yeah!" And no progeny of mine are in that band. We ended up in an uber (Rob does not *bus*), made it to the Penthouse yappin' about some band or other, and got there -- having to declare at the door whether we were there for strippers or music -- in time to see a bit of Zafirios, who I have seen in a few contexts now and was glad to see doing his originals; I've generally only caught him/ them at tribute shows. I do not feel obliged to really attempt to evaluate Zafirios, however! But I took a photo. 

...and speaking of photos, here's a funny story: at the Godspeed You! Black Emperor show the other week -- see here and here for my writing on that -- there was a guy waiting to interact with Efrim, at the end of the second night, I think mostly to show off his GY!BE tattoo (his first of many, as I recall). I had been chatting with him and so snapped his photo. I think his name might have been Jason?

Well, I had no idea when I took that shot that he had been the cover model for the new Vicious Cycles album, Get Wrecked. Ben (said Frith progeny/ VC's drummer) laughed about it when I came into Neptoon, while Rob Wright (no, not THAT Rob Wright: the VC's bassist) commented about it on Facebook. Sure enough, that's the guy! 

Looks like a GREAT album cover to get signed by the band, dunnit? The thing is, though, I'd been riding for free all night. I'd been comped into Art D'Ecco, and Rob (Frith, not Wright) comped me into the VCs, so I had hit no bank machines, had no cash. But of course, their merch table was cash only, and though there was a bank machine in the building, I really didn't want to do those stairs again (I was still winded from coming up!). I lamely explained this to Rob Wright, promised (he does actually know me) that I would e-transfer him tomorrow, and (borrowing a Sharpie, too) commenced getting scribbles on the cover: Rob first, then Norman, then Nick (the only VC who had been at the Minus 5, unless I missed someone. You got good taste, Nick!): 

But where's Ben? (Well: I do sometimes see him at his dayjob...). He wasn't manifesting, but on the way up the long flights of stairs to the music-level, I had seen Billy Bones, the VC's singer, on the way down, where (I learned later) he was going to meet his wife and mother (who had come out from Saskatchewan for the show! Billy would introduce her from the stage later in the night, and I would offer her my seat, though she declined). So if I wanted Billy's signature (and I did, I did) I would have to go downstairs anyway. I wonder if there were actually more stairs involved in the experience last night than there were at the Railway? 

Possibly.  Several flights, like this one. Hey, look, that's the ATM, too! Highest charge in town?

This all matters to the evening's most surprising moment: how I gave money ($10) to a stripper for the first time in my life, tucking it into her garter. How did I end up there? 

Well, on the way back up, since I no longer had an excuse of not wanting to traverse the stairs, I of COURSE hit the bank machine, wincing at the $4.75 fee, then promptly brought Rob at the merch table his $30 (running into Ben along the way and getting his signature too, between the... what's that part of the bike called, anyhow? I dunno from bikes). Rob (W) got me change from the bar -- a ten back from two twenties. I took a couple of photos of Billy at the piano, singing a new song to his bike called "Scheduled Maintenance," which involved him apologizing that he hadn't changed her oil or greased her chain in too long -- it was a funny song! But then, as Ben kicked in with a hammering beat, I had an unpleasant surprise: my phone died!

How was I gonna go through a whole gig with no battery?! Added to which, I had to text my wife to let her know when I'd be home (come to think of it, I haven't greased her chain in awhile, either!). So now I was desperate: how could I get some charge on my phone? (I had no cable with me).

While Billy and the sound guy sorted out some microphone issues (we could barely hear him on the first song), I commenced my Quest for Power. 

Bartender upstairs: "No, sorry, try downstairs." 

Stairs again! 

Bartender downstairs: "No, sorry, try the DJ" (points to far corner). I begin to head towards the DJ booth then realize: IT IS ON THE FAR CORNER PAST A NAKED WOMAN, onstage: a cute brunette with a slightly evil glimmer in her eye, who was sticking her thigh into men's faces (and one maybe-woman's? Or possibly gender-unspecified, but she/ they were RIGHT UP FRONT at what my buddies used to call "gynaecology row," AKA, "the meat seats." Nice to see that the audience for strippers has varied a bit; the stripper seemed to appreciate it too, but maybe because, y'know, money is money? She did seem to linger a bit, though). 

Anyhoo, it just felt like it would be gauche to march right by her, so I cooled my jets, sat down, and -- I mean, I probably watched her a bit, but, like, only to be polite (I sure didn't take her photograph. I wonder how strip clubs handle cell phones, these days? I literally have not been in one since I got mine). 

(not my photo; go here!). 

I have no idea what the expression on my face might have been, viewed from the stage. I was sitting at a distance, probably thinking about the Vicious Cycles, when the stripper made eye contact with me and smiled (again, slightly evilly; she looked like someone out of a Jim Thompson novel, maybe, who had a bottle of gin in her purse, a boyfriend in prison, and a profitable hustle in mind): "I know YOU want to put something in here," she called to me (she meant her garter belt).  

I laughed and shook my head.

Then began to feel guilty. I had that $10 in my pocket, after all. I'd considered tipping anyone who, like, gave me a charge. So finally -- she had moved on to sticking her thigh at someone else -- I went, "all right, all right" and walked over to her. 

"Stick it in there!" she said, holding her garter belt open. 

I did as I was told, and she snapped it shut in a way that must have been just a little painful (paying for her sins, maybe?). It was definitely decisive-seeming: THIS IS MY MONEY NOW. In the process, my fingertip briefly touched her thigh (accidentally, I swear!). Afterwards, it smelled vaguely of sandalwood. I mean, you would sniff it too, wouldn't you? (I hope I do not end up in the proverbial doghouse, here). 

But the best part about the whole thing was: I now felt totally empowered and entitled to walk over to the DJ booth and get my phone charged for a few minutes, long enough to run back upstairs to dance around to "I Love My Bike." (I was glad to get one song's worth of dancing in but I think the majority of the evening's exercise was stairs, alas). It's off their first LP, which is my second fave so far (I'm a Bad News Travels Fast man, mostly, perhaps because that was the album I first interviewed them about; we did chat about their next album, too, which is maybe a bit more playful and self-aware, and certainly has a richer palette, but somehow didn't grab me as much?).

Then it's back downstairs to the DJ booth, where I retrieved my phone and peeked briefly at the CCTV images (I guess for security purposes) on the monitors in the booth of the people getting private dances (do they know they're on TV?). Then I ran back upstairs, powering up on the way, and danced to my favourite Vicious Cycles song ("Just a Ratbike," also a song Billy sings to his bike) and shot a handful of photos. I also managed to text my wife, before it all died again! 

I enjoyed much of the set but have nothing cogent to say about it. Billy got up on several surfaces -- tables, what-have-you. He had great interest in the ceiling, for some reason. I would have loved to have gotten video, but I must have only gotten, like, 4% worth of charge on my stripper-adventure. What you see is what I got, kinda. Tyrant Studios, meantime, was small and intimate and fun, very much like the front area of the vintage Railway Club -- seats and tables on the margins, small dance area. Stage was smaller, though... Norman was kinda tucked in the corner...

It's just as well that my battery was dead, though, because I noticed that Rob (F), who'd been drinking wine, had nodded off at the table where he was seated, and I probably would have taken his photo, which would have been ungrateful of me (if funny). Thanks, Rob, for getting me out of Art D'Ecco and into the Penthouse, and thanks to (I guess she'd want to be named?) THE GREAT Judith Beeman for the Art D'Ecco ticket: I appreciated the chance to experience him/them, even if he/ they ultimately wasn't weren't my thing. (Note: Art D'Ecco is a he, as far as I know, I just don't know if he's Alice Coopering his band -- if they have the same name, like? Art D'Ecco feels more like a bandname than one dude but it is definitely his stage name, and the band seems to vary around him. Some people have said they liked his previous band better, but I never saw them).... 

While I am thanking people, though, thanks are also due to Aaron Chapman, who has a Vancouver Vice walking tour this weekend, though it appears to be sold out? I should go on one of those someday. He is also apparently going over to Victoria with Art D'Ecco to see them tonight. 

The upshot of the night is that I came away with this nifty signed record. Ben even asked the spelling of my name, and then (unlike some people I could mention) followed up by spelling it correctly (I've told people A-L-L-A-N and still gotten an ALAN or an ALLEN or once an ALANN: What the hell?). There are two colour variants for the vinyl and copies at Neptoon and elsewhere. Great, fun band! Haven't spun this one yet, but soon, I promise. 

Now as for THIS weekend...