The Moonlight Years, Spank Williams and Janky Bungags, November 3, 2023
Photo of the Moonlight Years by Maddy Cristall
Review by Keir Nicoll
Thursday night at the Biltmore Cabaret was an incredible fusion of psych and country music. It was refreshing to see this venue thriving despite the challenges faced by the live music scene in recent years. Kicking off the night were the Moonlight Years, a psych-rock band that can be best described as soft, slow, and dreamy. Their Spotify playlist showcases their mesmerizing guitar arpeggios and almost whispered vocals, transporting listeners to a different era. The band's 60s influence shines through their music, seamlessly blending with the evolving psych genre. The gig was filled with laughter and excitement, emanating from the green room. It was there that I had the pleasure of meeting Randy Kramer, one of the band's vocalist/guitarists. We chatted about the band, and it was only later that I realized he was a lead performer. Randy mentioned that they were in the running to open for the Brian Jonestown Massacre during their recent visit to town at the Vogue. This show was truly remarkable, with Color Green setting the stage with their captivating blend of slow and fast, quiet and loud dynamics.
The Moonlight Years showcased a powerful dynamic with two lead guitarist/singers, an organ, and a solid rhythm section. Randy gracefully played a Rickenbacker while Etienne Tremblay had a unique and distinctive style. Their performance of “Vancouver” began with soaring guitar and organ accompanied by shimmering cymbals. They started with a down-low and spaced-out groove, holding a long sustain with cool, contrasting guitar-lines and interwoven keys and vocals. “No-one knows there,” they sang in soaring vocal strains, as the music got heavy. The next song opened with glimmering, jangly guitar and meandering bass, intermixing with synthed-out keys and a spooky descending tremolo. Like the Brian Jonestown Massacre, they held a dark resonance and had a guy, Miguel, playing the tambourine. They played both “Why'd She Do That” and “Forest Thumping,” two songs they represent with on Spotify, which carried very well live. Etienne switched out for an acoustic guitar, stepping back from the lead-lines a bit, and they sang, “She lies and waits for me,” and “It's only daytime for a while/and that's enough,” while both traded-off solos on the guitars. The last song, “Forever Under,” was a powerful finale to their set.
The latter part of the performance veered away from the psych genre, but according to those I conversed with, it was a natural progression towards country music. One notable link was the unusual saxophone being played on stage with Spank Williams, who embodied a particularly sweaty version of country music. Their approach to roots country had a classic feel, but quickly transformed into punk-rock vocals with a Western-Twang Rock sound that was unmistakable. During their song "Recipe," the band members removed their shirts and belted out loud bro-rock lyrics, singing "I feel like sometimes never change" with a hint of bluegrass. To avoid sounding too heartbroken, they performed the intricate Albertan Boot Dance, which involved two gentlemen tapping their boots together on stage. The second to last song, "Gooseberry Wine," was accompanied by Canadian Club and saxophone shots. As the sax played, the singer asked, "Can a goose talk?" This was a clear connection between psych and country music.
The headliner for the show was Janky Bungags, who was performing in support of his upcoming album release the following day. I had the chance to meet him at the merchandise booth before the show, and he turned out to be a genuinely nice guy. This encounter gave me hope that the show would be enjoyable. He kicked off the set with his song "It's money I can't spend" and followed it up with some stage banter. During this banter, he humorously mentioned that the only reason he likes going to Cochran is because of its first four letters. I half-expected him to make a joke about a ring, but he didn't. Moving on, he performed "The Rocks," a song that fits perfectly within the melancholic and heartbroken realms of country music. The lyrics went, "Baby, meet me at the bottom of the hill, I'm going to the rocks/'cause it's almost 7 o'clock/tomorrow brings pain and sorrow/so I'll sit here and drink all day." He then played a song he had written in just five minutes called "Vancouver Ladies," where he expressed his admiration for the women of Vancouver.
He described them as having tattoos and piercings, while also mentioning that Alberta girls always leave him hurting. This song featured some impressive honky-tonk twang guitar solos. Next up was a song about a famous and iconic figure from Vancouver known as "Rollergirl," which would resonate with those familiar with her story. The lyrics included lines like "I see you walkin' down these neon lights/tryin' to find your type" and "I don't mind the past, can't you see/As long as you let me be." It seemed to be a reflection of Vancouver's street life history. Bungag then rocked out on his acoustic guitar with some distortion for this song, all while sporting a red silk shirt and a white cowboy hat. He exclaimed, "You guys make me want to drink a 2-4 to myself!" Following that, he performed a somber song about the pain of someone leaving, with beautiful lap-steel guitar solos throughout. He sang his song "I've End Up Lonesome/Time and Time Again" and then jokingly remarked, "All right, that was fucking depressing, wasn't it?" He teased the audience by initially claiming he would play a Bob Dylan song but then revealed it was actually Willie Carlisle's "Cheap Cocaine." He sang with a touch of irony, declaring, "I don't envy Jesus."
Afterwards, he warmly introduced the Moonlight Year’s Etienne to the stage. exchanged some impressive bluegrass licks, joined by the lap-steel player. They truly rocked the house! The performance concluded with a 'love song' titled "Cold Beer," featuring a wild gypsy thrash. Overall, the night took the audience on a journey of reverberating and vibrant guitars, accompanied by powerful vocals that lingered long after the lyrics were sung. The crowd was filled with excitement, creating yet another unforgettable evening at the Biltmore Cabaret! These local bands and their fans experienced a trio of captivating musical experiences. If you're seeking something different yet strangely familiar, be sure to explore the music released by these talented acts.