Photos courtesy of UpfrontMY

As Oye and the Rainbows climbed to the stage, the quickly got to setting the tone light-heartedly, simultaneously garnering and warming up the crowd with twinning vocals and paired melodic saxophones and trombones, with synthesizers subtly complementing the atmosphere. Oye and the Rainbows smoothed the atmosphere for socialites to sip their beers and have light conversation under the hub of his live music.

Cue into their second song ‘Gravity’ as the bassist slides in, picking a groovy bassline, (not something you’d expect of a bassist playing for a Norwegian-influenced reggae artist), something long-time fans of 311 would enjoy and find familiar.

Photos courtesy of UpfrontMY

Erlend Oye is an all-natural performer, displaying cheeky antics onstage, showing himself to be a natural band coordinator. At one point, Oye curtly took a minute off-stage to get his scarf before wrapping it around his head, cheekily pointing to a fan wearing a ‘tudung’ (headscarf for Malay women) telling her he now understands the practicality of the headscarf to protect against cold winds (which were apparently blowing directly unto Oye).

We find couples, hand-around hips and necks, swaying and bobbing their heads to the infectious charisma and energy of Erland’s tunes while he introduced the band before aptly taking off his scarf, perfectly timed before the drummer ended his solo, and heading back to the mic again, impeccably reaching his cue to the chorus. I was personally impressed with his control of the band onstage in possessing the crowd response.

Reverbing synthesizers catch you with a steady, maintained drum-beat cueing the crowd for Oye and the Rainbows’ version of a ‘bass drop’. The crowd got pumped, made space to dance, then a daft-punk-ish guitar riff enters. Erland leads the crowd like a pied piper into imitating his movements. He then breaks into an unexpected scream, inviting a guitar solo before he hops around stage in a musical euphoria, facing the crowd and instigating them to flail their ‘jazz hands’ toward him. Oye even got the crowd to chant a few ‘woop woops’ with him!

Photos courtesy of UpfrontMY

The Rainbows then hit descending musical scales that avenue Oye’s Italian lyrics. The band then ends in a semi-high tone, leaving the stage hungry for an (prepared) encore, to which Oye obliges a few minutes later as he gets back on-stage with an acoustic guitar, kindly requesting patrons in the room to hum the intro guitar line for ‘Rule My World’, a title most Kings of Convenience fans were more-than happy to hum along to.

The first to join Oye in his encore was the drummer, followed by the rest of the band as they hit the first notes of ‘Say Goodbye’. Amidst the twangy-raggae beat, Oye holds a fist and starts pumping toward the crowd, urging solaced fans to slowly crouch and rise to the descending and ascending sounds. Oye then takes to the mic to explain how their music is made as each member takes a few bars each to solo before heading back into a musical frenzy with the rest of the room. Ultimately got 3/4ths of the room to crouch to the ground before they hit their last notes, received their due praise, and descended off-stage as true artists.

By Adriel Chan.

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Since Wild Beasts wedged their way through the indie music industry in 2006, we’ve only had the opportunity to hear them from afar – gradually seeing their progression that led up to their first South East Asian tour debuting Present Tense to a whole new segment of the world. Hayden Thorpe’s (Vocals/Bass) falsetto, Tom Fleming’s (Guitar/Vocals) deep mesmerizing voice, Chris Talbot (Drums) technicality accompanied by Ben Little’s (Guitar/Synthesizers) beats is what really brought this band to the top of the charts.

Drowned in red “like the streets of Bangkok”, the quartet went up unhesitant, instantaneously capturing the scattered crowd to sway along with ‘Mecca’, transitioning to the smooth intricate beats of ‘Bed Of Nails’ from their previous album ‘Smother’. This transition early in the set gives an inkling of range that Wild Beasts could provide, notably through their addition of synthesizers in their new material. Switching around from old and new, content from ‘Present Tense’ dominated most of the set, getting an outing for most.

Though the band was rather stoic in movement, their dark, dirty lyrics speak for themselves. ‘Palace’ was one that really took the crowd – Thorpe’s alluring falsetto delivering the content of his uncompromising lyrics, providing a more mature ambiance cohering with the floor rattling sub bass. Following up with ‘Nature casino online Boy’, which was paid tribute to Batman, quoting that “the biggest man doesn’t always win, nor does the strongest man – it’s the smartest man who wins”.

The final segment of the show was when Wild Beasts letloose, at this point of time their connection with the crowd reached a new height. Thorpe professed that most of the material played was written back when he was 16 in his room while his parents are abroad. Now being the Columbus of his own life, ‘Wanderlust’ opened the encore set accompanied with staggering applause from the audience and the humbling thanks from the band. ‘Lions Share’ – the most let loose song of the night closed it off with a roaring response from the audience.

It was evident at how much this reaction meant to the band. Particularly since it’s their first time venturing out to this side of the world. Gigs like this don’t come by very often, and its refreshing to see how in tune Wild Beasts are with their music, as though each song is a story of their endeavors. That level of progression is what precedes their reputation on the charts, rather than a band fiddling around with instruments trying to make something “work”. Their intricate detailing of sound stands out for most, making them a real prominent act to look out for in the indie rock industry.

Singer and songwriter Jenny Rossander – aka Lydmor – creates music that transports your senses to an ethereal dimension; causing you to lose yourself to the rhythm of her melodic electro-pop tunes paired with an edge of darkness in it’s lyrics. As energetic and quirky in real life as she is on stage, we got to have a chat to this Danish queen of quirk before her first Asian show at the Bee.

We’ve heard about your involvement in the Danish Cultural Institute’s Flikrkus Project, could you tell us more about it? And how exactly would you properly pronounce Flikrkus in Danish?!

Hah! It’s actually pronounced as Fleekush.

It was about 4 years ago when the Danish Cultural Institute were having a jubilee to celebrate their 20 years anniversary. And they started this weird free project, where they rented a bunch of vans and campers and you could use the campers to do whatever you wanted, as long as it’s interactive.

So I basically packed up my whole studio into a van and recorded people. I wasn’t very good at it though. At that point, I just bought my studio and I was still getting a hang of everything, so I would make it ring in their eyes and mix it horribly. But it was a fun experience. And that’s also where I got my name! There was a girl with a flute that they used to call flute mother, so it was there that people started calling me sound mother, which is Lydmor in Danish.

So what’re you looking forward to the most on your Asian tour?

Well as this is my first time in Asia, I’m definitely looking forward to seeing Asia itself and to experience the culture here. I’m also looking forward to see how people will interact with my shows. I mean the audience is definitely going to be different than in Europe. So it’ll be interesting!

You did a ‘trust tour’ last December where people could just hire you to play private shows, as long as they pay for your ticket to the gigs location. What inspired it?

I was bored! I forgot to tell my booker to book some shows and nothing was happening in my music at the time. So I didn’t have any shows to play or anything to do and I was so bored! So I thought, “fuck it! If I can’t play any shows in clubs, I’ll just play in peoples living rooms!”

On an impulse, I just posted a video on Youtube saying “hello, can I play in your living room?” and one week later I had 21 gigs in 4 different countries lined up.

It was incredible though. I played to everyone; from big student parties to a group of 3 teenage girls in a living room.

How was the experience playing to an audience of just 3 teenage girls?

It was so weird. I was sitting on one side of the sofa with my keyboard, and they were just sitting there watching me. It was hilarious as well though because they were in their early teens and wanting to look cool, so they would say things like “Oh we always party in downtown with these guys who are older than us.” I think they really wanted me to think they were cool. Hah!

What was your best and worst moment whilst on the trust tour?

The best would have to be in Holland, I spent like 5 hours just hanging out there after I played just talking to people and getting to know the students. It was so warm and everyone was so open!

As for the worst… It has to be when I was stuck in Hamburg central station without my phone. I’m a bit distraught and lose phones very often, and I lost mine then. There was this girl who was supposed to be picking me up, but she was caught in traffic and had no way of contacting me.

There I was, walking around central station awkwardly with my laptop open trying to find a hotspot, being snubbed by all these German people passing by. And when I finally found a hotspot, I needed to receive an SMS to activate it… But my phone was lost. That was such a bad moment.

I ended up having to go into this really seedy and dodgy net cafe to Facebook message her. I found her in the end though! So at least it ended well.

Would you do a trust tour again?

Yes! Since I started touring internationally my calendar is filling up very quickly, but as soon as I have time where I’m not doing anything, I know I’m going to do another one.

Would you come to Asia on our trust tour?

Definitely, but it’d definitely be very expensive for someone to buy me a plane ticket here. Unless it’s a really rich person I guess!

We’ve read that if you weren’t a musician, you’d want to be a movie producer; so what’s your favourite film?

Mary and Max!

Favourite producer?

Lars Von Trier, he’s very dark, but for something lighter, Emir Kusturica. He makes very special, weird movies.

In one of them, the soundtrack is some weird Balkan music with trumpets and tubas, and the whole time, the band is in the movie. So if the characters are in the car, the musicians would be running along side them, and there’s no explanation.

I guess the directors thought that it’d be so weird to have a soundtrack when the musicians aren’t in picture, so they’d just have them in picture all the time.

If we funded you to produce your own movie, what would your movie be about?

I’d want to make a movie about loneliness; it’s such a complicated feeling that everyone tries to hide. And no one wants to appear lonely. Especially now with social media, everyone thinks that “I have likes on Facebook. I’m not lonely.”

I’d like to make it an art film. Not with a lot of dialogue, but with lots of pictures and some nature shots here and there. Something very visual and surrealist. Loneliness in the context of social media.

Could you name us a few Danish bands the world needs to know about?

When Saints Go Machine, they’re so talented. It’s electro-pop synth heaven. And Helmet Compass, my boyfriend’s band. They’re a mixture of psych-rock and house music. Very 90’s.

(Text & Photos : Adeline H)

Hailing from a land of female electro-pop aficionados, Lydmor is the next rising act. After having her first album, “a pile of empty tapes” release in 2012 and another one in the works, we were privileged to see her live at The Bee, Publika on the 16^th of October as the onset of her first Asian tour.

Lydmor (Real name Jennifer Rossander) kicked off her show with “Electric Mistress” – dauntlessly stepping up the electro-pop flow of the night. Initially the crowd was pretty mundane, having an invisible barrier between them and the songstress. Maybe it was the lack of anticipation from a fresh face in the scene but as soon as Jenny hit the stage, fiddled around with her laptop and sang the first note; raw emotion was simply oozing out through each song. It’s a light pleasure at how Jenny gives a brief description before most of her songs in the set – like a header of a story about to be told. From sad songs about “presents being returned” and “angry songs about angry people” its as though we were stepping into the phase of life when the song was written, and the beauty of it all is that she just adds her own musical chops while cohering them with electro dance tunes, accompanied by her serene vocals, it creates a cozy ambiance where she could connect and have a deeper musical experience together with the crowd.

The deep connection was more prominent halfway through Lydmor’s set as she chilled down and dedicated songs to her boyfriend, Andreas from Helmet Compass.  Covering “Drugs in my pocket” as an acoustic piece. Singing from the heart isn’t an easy thing to do, but when achieved the lyrics go beyond their words, and having Andreas in the room with her made it all more prominent. Picking casino it back up later with “Lampost light”, no longer was the crowd shy as it began, the void between stage and audience was gapped and fancy footwork was seen around till the end of her set. It’s hard not to get captured by Jenny’s eccentric movements on stage as she performs – how she gracefully but yet awkwardly sways her way between synthesizers and keyboard, flailing her arms around synchronizing to the melody of the songs, and how she generally occupies what little of the stage there was.

Wrapping up the night with fan favorite “Youth”, Jenny bolts down from the stage striding across the floor singing parts of it on top of a table across the room, ending her set poles apart from how it began. Her traits as a musician is really what constitutes a great performer, making Lydmor an upcoming act not to be missed and with another album to be released, we’re truly excited to see how far she matures with her music.

Show   Details  

Date  :           16th    October    2014    Time    :      8pm

Ticket    Prices    :       RM   48    (    presale    )    ,    RM    68    (    at    the    door    )

Tickets  available    at    The    Bee    outlets    and    Rock    Corner    Bangsar    Village

The    Bee    

The   Bee   is   a     food   and   drink   hang   out     space   with   two   outlets   in   Jaya     One   and   Publika,   Solaris    Dutamas.    The    Bee    is    far    from    just    a    conventional    eatery    joint,    it    is    also    a    space    for    the    local    arts    and       lifestyle     communities     to     converge,     share     and     promote     their     passion     and     work.     Regular    events     include Comedy   Kao   Kao   -­‐an     open   mic   for   local   comedians,   Feedback   Open   Mic   with    Reza    Salleh,    Lot    36    showcasing    local    and    international    musicians,    Tunes    &    Pints    and    Coffee    and    Wine    Appreciation    nights.

Upfront  

Upfront    is    a    series    of    intimate    live    music    shows    created    by    The    Bee    to    bring    fans    closer    to    their    favourite     bands   on   stage.   As   the   name   implies,   it     is   as   exclusive   and   up   close   as   one   can   get    during       a     live     performance.     Upfront     will     feature     artists     and     bands     from     an     eclectic     range     of    genres,      from    the    indie    to    the    mainstream,    establishing    The    Bee    as    a    hub    for    the    music    and    creative    arts    scene.

Brisbane Indie-Rock set-up Last Dinosaurs took their landing to Malaysia for the first time at The Bee last Tuesday along with their hometown buddies, Dune Rats. The two brought over a little flavor of home to stage, providing a show that was more casual rehearsal-like rather than a polished stage show. It was filled with humor, screaming teenagers and jumping fans alike, making the gig nothing less of entertaining.

Opening the night was Dune rats with their loud eccentric energy. Jolting the floor with their stage antics. Unfiltered at most, opening their set with a song titled “Fuck It”, they definitely didn’t hold back on their crazy all throughout their 6 song set. Straying your eyes away from Danny Beusa’s hilarious drunken facial expressions was something rather hard to do. Complemented with Brett’s full of life movements and BC’s baby like online casino face, the cheeky trio was definitely an entertaining act. From Danny replying himself when professing “Terima Kasih” (Thank you) with “Sama-Sama” (You’re welcome) and exclaiming “WE LOVE VAGINA!” on their last song to the tech crew throwing paper balls on stage, it really felt like an outgoing garage gig.

With an instant change of air after the interval, “Satellites” played over the speakers introducing Last Dinosaurs on stage. The four-piece teenage heartthrob band kicked off their set with “Weekend”, setting a joyful mood for everyone to shake their hips to. After gracing the crowd with a new unreleased track “Zero”, the half Japanese lead, Sean Caskey asked a favor from the crowd for more tequila shots. With his charming voice, it only took minutes before shots came casino online their way. One each, a toast was given as thanks to their fans.

The show became all the more interactive afterwards, with a guitar solo inserted version of “Time & Place” and upbeat “Honolulu”, Last Dinosaurs definitely took back the stage with their self assured confidence jumping their way around the stage, dropping smiles and inviting the crowd to reciprocate their energy. Took only a note before everyone started getting them selves into a groovy dance off. They even took a minute to give tribute to Australia’s rock legends, AC/DC. Having a small pool of songs up their sleeve, it was made clear that they have no encore to give, no wonder they saved their two banger songs “Andy” and “Zoom” for the finale, leaving the crowd wanting more but ending the night with nothing short of sheer amusement. Letting us into their relaxed rehearsal style performance, there couldn’t be more that they could’ve done to make the show a better one. (Photos : Adeline Hong)

Dream pop trio Postiljonen hails from the land that gave us ABBA, The Cardigans and flat-packed furniture: Sweden. Much of Postiljonen’s essence and sound can be described by the title of their debut album, “Skyer”; which means clouds in Norwegian. A band that is able to craft music that’s equal parts dreamy and atmospheric; giving listeners the effect of floating on clouds; with dashes of M83 and Sigur Rós in their soundscape.

A quick look around revealed that the venue was rather surprisingly packed to the brim — an impressive feat for a band that has only released one full length LP. Joel Nyström Holm was first to grace the stage, and was met by an outburst of cheers; with many girls pointing out how good-looking he was. Joel kicked the show off with an intro sample of what seemed to be a Martin Luther King-esque speech. Band mate Daniel Sjörs followed suit and laid on atmospheric chords over the speech with a slow burning beat that gained momentum. Finally, the crowd went into a frenzy cheering as lead singer Mia Brox Bøe joined the band on stage.

In the now dimmed venue, the band kicked things of with the song “Help”, accompanied by dreamy 8mm filtered video snippets playing in the background and strobing lights accentuated the hard hitting points of the song. This created an ambience likened to an art-performance of sorts, using various media to further enhance the overall experience of the audience. As lead singer Mia sang through her reverb drenched microphone, the crowd couldn’t help but to sway to the slow grooves of the song.

The band then invited the crowd to clap along as they entered into the song “Plastic Panorama”. The enthusiastic audience gladly complied with the request and soon the whole venue was united as one, clapping along as they swayed to the rhythm. At the end of the song, the band gratefully thanked the crowd, as they did not expect this many people to turn up; to which the crowd loudly cheered to. Up next was their crowd favourite hit “Supreme”, whose upbeat tune got everybody breaking out into dance as hardcore fans sang along to every word of the song.

Before playing their next song “All that we had is lost”, they took the time to tell the story behind it. The song was in fact a tribute to the late great Whitney Houston. When the news of her passing broke, the band was devastated and wanted to make something in her memory; resulting in this song which contains samples and lyrics of her hit “How Will I Know”.

As the last song drew near, the band ripped into their sax-laden hit “Atlantis” which once again got the crowd moving and grooving. Postiljonen wrapped up their set and thanked the audience once again, but the crowd was hungry for more. Lead singer Mia shyly apologized that with only one LP under their belt they don’t have that many songs. But after much coaxing from the audience, the band returned one last time for an encore of their song “Atlantis”. Ending the night with the crowd swaying and dancing the night away—filled with the joy that their thirst has finally been quenched. (Othniel T / Adeline H)

Postiljonen

This Scandinavian trio is composed of Norwegian vocalist Mia Boe alongside Swedish multi-­‐ instrumentalists Daniel Sjors and Joel Nystrom Holm. After releasing a handful of online only singles in their native Scandinavia (including the heartbreaking interpretation of Whitney Houston’s classic, ‘ How Will I Know’, renamed here to ‘All That We Had is Lost’ ) the trio have managed to create a highly characteristic sound, where ethereal and alluring vocals are interwoven in a mystical, ambient, dreamy and lovable expression. They have been compared to the likes of M83, Air France, Sigur Ros, JJ and Cocteau Twins.

Taking inspiration from old black and white movies, the golden 80s, Balearic scenery, daydreamers, all of which mirrors beautifully within their latest album, ‘Skyer’s’ 10 songs. ‘Skyer’ is summery pop music at its best, made for lazy days and dreamy nights.

Select Press Quotes

‘Gorgeous, mood-­‐lifting beach pop. Air France meets M83’ – The Fader ‘Perfect’ – Gorilla vs Bear
‘Postiljonen take you above the sky and beyond’ – Disco Naivete

‘Expansive and colourful. Frontrunner for song of the summer’-­‐ Pretty Much Amazing ‘Expertly crafted electronic dream pop wih a distinct Scandinavian twist’ – This is Fake DIY

Last Dinosaurs and Dune Rats

Last Dinosaurs produce eclectic indie-­‐rock tunes with a unique blend of tropical beats and ambient guitar riffs. Comprised of brothers Sean and Lachlan Caskey, Dan Koyama and Michael

Sloane, the group has been playing together since late 2007.

“In A Million Years” is the band’s debut album, recorded in Sydney at BJB Studios with JP Funk. Producer Elliot James (Kaiser Chiefs, Does It Offend You Yeah?, Two Door Cinema Club) mixed the album.

Since the release of “In A Million Years”, the band have embarked on successful tours including a sold out Australian tour, performing their first shows in the UK and Europe and coveted festival slots at festivals such as Field Day (UK), Reeperbahn (GER), Splendour In The Grass, Falls Festival, Groovin The Moo (AUS) and Java Rocklin’land (ID).

Brisbane’s Dune Rats debut EP, ‘Sexy Beach’ received praise both nationally and internationally, capturing the minds and hearts of music bloggers around the world. The momentum continued with constant touring, gaining them a reputation for a raucous and energetic live show, gaining them a spot on the Big Day Out Festival and national tours with bands such as The Drums, Best Coast, The Vines, Ariel Pink’s Haunted Graphitti and Cults.

Tickets and Show Details

Postiljonen : 15th May 2014, RM 48 (presale), RM 68 (at the door) 8pm, The Bee, Publika.

Last Dinosaurs and Dune Rats : 20th May 2014, RM 108 (presale), RM 128 (at the door), 8pm, The Bee, Publika.

Tickets can be purchased at both outlets of The Bee in Publika and Jaya One and Rock Corner, Bangsar Village. All shows are 18+ and above only events.

The Bee

The Bee is a food and drink hang out space with two outlets in Jaya One and Publika, Solaris Dutamas. The Bee is far from just a conventional eatery joint, it is also a space for the local arts and lifestyle communities to converge, share and promote their passion and work. Regular events include Comedy Kao Kao -­‐an open mic for local comedians, Feedback Open Mic with Reza Salleh, Lot 36 showcasing local and international musicians, and Coffee and Wine Appreciation nights.

Upfront

Upfront is a series of intimate live music shows created by The Bee to bring fans closer to their

Warwickshire songstress Lucy Rose is making her own destiny and shaping her future like no other new artist. Her heart-stoppingly poignant songs and cracked porcelain voice saw her enter her career with YouTube hits, radio plays and crowds like nobody else out there. Her critically acclaimed debut album ‘Like I Used To’ was recorded in her family home with producer Charlie Hugall and truly embodied the very essence of her personality and honest approach to music and song writing. With album number two on its way in 2014 there is very little holding her back. And to cheer her fans in Kuala Lumpur, Lucy Rose is set to make her debut on March 13th 2014 at The Bee!

Ticket Price:
Pre-Sale RM 68
At The Door RM 88

Tickets Sold At:
The Bee Jaya One & Publika outlets, Rock Corner Bangsar Village 1

Mac DeMarco is a Canadian funny quirky guy with a strange sense of humor. He did things that feels wrong yet he have a heart to apologize for his behavior to his Mum. He is a romantic person, a sweet talker (Kiki is probably will be his last, who knows?!) and a smooth rocker. He”s also a weird skank, and he doesn”t give a shit. We”ve seen him three times last week, so we decided to ask him and his buds some regular stuffs.

How does it feel to have your album receive good feedback from various medias and now you are travelling across Europe and Asia. Did you imagine as a kid that you would grow up and make music, touring the world?

Mac : Feels great. Now we”re in kuala lumpur and people paying us a lot of money nowadays. I get a lot of under aged fans now, which is pretty strange and weird but also good. I’ve known I wanted to do music for a long time, ive been doing music since I was 15/16 and at one point I thought I was gonna be a loser if I didn’t go to university, everybody’s going to university but then I started playing shows all the time and I told myself look at those fu**** jokers going to university. I’ve always wanted to do music but it never seemed like a good idea, but now it seems sort of like a good idea but its still not the best. Whatever, who gives a sh*t anyway.

You’ve been complimented as quirkier version of John Mayer, with a cool taste of music to go with not having many conventional celebs in your inspirations list. How d’you describe yourself in terms of your music taste?

Mac : Like Bruce Wayne, half man half myth [Batman voice]. Nah, I’m just here to write some lyrics and have fun. I do have some conventional musicians in my inspirations list, maybe not John Mayer/Rick Johnson. If you ask me I gotta love the Beatles. Rock & Roll baby! I’d give it to him that motherf**ker can shred though.

Tell us how did you get into Captured Tracks? Did they find you or did you find them?

Mac : I’ve been recording years and years before I ever ran into Captured Tracks. I was with a couple of record labels before that and yea they helped a bit here and there but not as much as Capture Tracks did. With Capture Tracks it was funny. I’ve been touring round the states, meeting kids and yada-yada but I met this kid in Lexington, Kentucky and he ended up moving to Brooklyn. He worked with the guys that owns Capture Tracks record store (Mike). Before that I did put my sh*I up on Myspace, Bandcamp or whatever but it was when my song played at the store, and Mike came in and heard it playing and was like “What is this”. Then I got the weird e-mail from Capture Tracks. Kinda worked in a weird way. I did try to send it out to labels but I mostly sent them out to blogs because I was like ‘I gotta get famous out of this one’ so I mass send em’ out to blogs but it never really works though, they get so many dumb e-mails like that. The plan was pretty stupid. The thing I realized with the whole ordeal is that like, who gives a f*ck anyway. Don’t make the f*cking music if you just wanna put it on blogs. Who gives a sh*t. There you go.

You’re notorious for you wild on stage behavior. You’ve gotten naked on stage once even. So is there anything at the top of your head that you’ve wanted to do on stage that hasn’t been done yet?

Mac : It’s not really about what I want to do, because I’ve never wanted to get naked on stage. I’ve never wanted to do any of these things but they just “happen”. Even the cover sets in our shows, it kinda just happens. We didn’t casino really sit down and decided to cover these classic rock songs. I did have one thing I’ve always wanted to do on stage though, which is take a full piss but my friend Trevor beat me to it at our show in Montreal a couple of weeks ago. He was in his underwear on stage and took like a full-blown piss on stage, a full piss. I’ve always thought that would be really funny but, he did it. He took a piss in front of a thousand people in his underwear. It’s f*ckin weird.

Since that’s been done, what else do you have in mind?

Mac : Drinking a donkey’s cum would be really tight but I don’t know, the thought of blowing a donkey. It’ll be pretty cool if a donkey came in from the roof slowly declining down. Okay, this is how it would have to go. I’ll start with a whaling falsetto while the donkey comes down, already erect and his d*ick just comes in. Yea that would probably be it.

You’ve stormed the Canadian music scene off late. Does Canadian music inspire you to develop your music?

Mac : A lot of Canadian bands do, there’s a lot of great Canadian bands but the great ones are not the ones anybody from the rest of the world would know. I’m not going to bad mouth anybody but the side of music where the giants are is not where I feel like we’re a part of and most of our friends aren’t really a part of. Its weird, the Canadian music industry is weird. There are giant bands and there are really little bands. There’s no middle ground.

So if you could describe the Canadian music scene in one sentence, what would it be?

Pierce : P*ssy Lickin’ Fun.

Mac : That’s great actually yea, or if you want something less explicit I’d say…pretty close to The States.

You apologized to your mom because she saw your video on Youtube. What crossed your mind when she did and did you expect her to see it?

Mac : Yea, she listens to my music. At that point I already apologized in real life, it just gave me something funny to write about. It wasn’t even her that got so pissed off, it was my Aunt that was freaking out. I just thought it would be funny. I don’t think anybody would take that apology seriously. They’d probably take it as some form of bullshit.

You’ve once said in Fact Magazine that you feel as though you have the same effect on young adolescents like Weezer did in the 1990’s. Does Weezer have an influence to your music?

Mac : I like Weezer but I’ve never actually sat down and told myself “Yea im gonna write a Weezer song”. I enjoy Weezer for what it is though its never been something I wanted to emulate. Weezer for me when I was going up was big. Kids all round we’re like “Man this band is cool” but I’ve never actually seen them live. Young kids do treat us like that. They’re just like “Yea! Party boy!”.

 Are there any particular names whom you’ve been dreaming to collaborate with in the future?

Mac : Yea, definitely. Ryuichi Sakamoto, Shuggie Otis, Michael McDonald, Donald Fagen, Bruce Wayne and Bruce Willis. Yeap that’s about it. Bruce Willis will play the harmonica on my next song, check it out, coming out soon and its going to be called “Daddy’s Day Dream”.

When I listened to his albums this summer, first thing in mind was these albums were definitely worth listen. But to be honest I was never really interested to know who is him like in person, I’ve always wanted to surprise my self when it comes to relating music to its creator, let-the-tracks-speak-for-itself kinda thing. We’re about to see him at Pitchfork festival this year but reality brought us back home, so when we knew his doing Asian tour, we just have to see who’s Mac.

We’re lucky enough to be able to review some cool festivals around, including Clockenflap Festival this year. Mac was one of the line ups on the last day, so one thing we’ve noticed was this guy likes to blend with the crowd. After their Hongkong trip, they played in Bangkok, where he and his band buds learnt how to differentiate lady boy with a regular girl.

So, last Saturday night we arrived at Home Club, Singapore when the two Kiwi’s Carb on Carb played their rock setlist, they just directly heated up the stage on the first place. Not long after them 4 piece Filipinos indie band, Bee Eyes, went up stage with their fun rock songs and a bit of pop and slacky style, loosened up the crowd. Consisting of guitarists Julius and Idris, along with drummer and bassist Miguel and Diego they played “Someone Else”, and provide what “The Best Band In The Philippines” had to offer.

Bee Eyes was pretty much impressed us, but since we were excited to see the guy who sings “Ode to Viceroy” we put down our beers and straight to the front stage. Ok not that front, but front enough to have the opportunity to touch his butt (d’uh!). We were totally amazed by how sweet his songs are, yet how crazy he is in real. The only thing on my mind was who the fuck is this guy? Mac alongside with his (also) talented band buds, Pierce McGarry (bassist / Walter TV and weird video maker), Peter Sagar (guitarist / Homeshake) and Joe McMurray (drum) totally introduced us to the wilderness of Canada. Remind us again where the heck Drake comes from?

The setlist was pretty much the same as in the festival or other small gigs like in Bangkok. Which is very nice, it gave the impression that he doesn’t differentiate the crowds. Starting with “Cooking Up Something Good”, continued with “The Stars Keep On Calling My Name”, “Rock and Roll Night Club”, “Ode to Viceroy”, “Annie”, “Freaking Out the Neighborhood” and making funny jokes (while trying hard to make the crowd go wild) with “Baby’s Wearin’ Blue Jeans” and did his thing by crowd surfing in the middle of “Still Together”. The Gig was pretty much chilled out rock n roll night. After the gig we had the chance to chat with the bands. So might as well say saturday night well spent!

Not much different with Singapore, when we headed to The Bee, in Kuala Lumpur. Just face it, nobody likes Mondays. It’s always a day associated with stress, anxiety, and fatigue but this monday wasn’t just any ordinary monday. After our interview with Mac and his buds, we knew today will be the day where fans of Mac DeMarco can remember as the night where they can go back to the rock and roll night!

Bee Eyes was also opening for Mac DeMarco that night. After an eight song set, Bee Eye’s gets the crowd to let DeMarco know that they’re ready for him. And from the moment DeMarco and the band walked up the stage we foresaw the show to be as raw as possible. “We love rock & Roll, and we hope you do too” professed DeMarco to greet the floor. He unhooked the barrier lines and called forward every soul in the room to move up (not forgetting to smoke in the midst) and start rocking to “Cookin Up Something Good”, this time “Rock & Roll Night Club” came next, with an end unexpected to all. Pierce wrapped up the song with a screamo-ish spinoff, engulfing our inner rock demons to claw out. 3 songs in and it’s already a floor-quaking show. DeMarco loves his casual intermissions between songs to interact with the floor, or call it smoke breaks even, they even dedicated the next song to the couture brand, Dolce & Gabbana. Gracing the band with “Ode to Viceroy”, Lead guitarist, DeMarco shreds an intense guitar solo, one of many at least. Jumping across the stage and kneeling down, emotion is well apparent throughout the set.

After playing “Annie”, the venue became an open mic night. DeMarco decides to “Shake it up” and pass the mic to someone in the crowd, singing along to “Stairway To Heaven”. By this point it was like being in their very own garage chilling together drinking beers listening to their music. The lack of boundaries gave the opportunity for the crowd to interact with the band with freedom. “My Kind Of Woman” followed after, relaxing the crowd while they sing to every lyric.

Climaxing the show with “She’s Really All I Need” meshed together with an electrifying guitar solo emulating the greats. From here on, it was full on rock and roll, but with a twist. Pierce announces that there were only two songs left, evidently lying. Stirring things up and not following the rule book is just their style, not to mention the extensive swearing to cherry the feel. Stringing together his song together with a cover of Status Quo’s “Takin’ Care Of Business” slyly changing the lyrics from “You get up every morning/From your alarm clock’s warning” to “Wake up in the morning/Suck my dads cock”. Jumping from Limp Bizkits “Break Stuff” to The Beatles “Blackbird” to a heavy metal scream of “Stairway To Heaven”. It didn’t make sense, but it somewhat did because the audience was just into the whole ensemble reciprocating DeMarco’s humor. Whatever you’d expect to see at a gig is present, but twisted in all sorts and shapes to DeMarco’s liking, ending his set crowd surf during “Still Together”

Justifying DeMarco’s statement at the start, we do love rock and roll. Infused with his slackery, sloppy style of music. He just bled out effortless charisma and charm, turning this not-so-ordinary Monday to a raw, interactive massacre of fun.

By the end of the days, we know now there’s something noteworthy about Canada besides Ryan Gosling, Robin Scherbatsky and Chuck Hughes.

[Text: Dorothy/Zafran. Photo: Dorothy/Kristy Chong]

Mac DeMarco is a Canadian musician born in Duncan, British Columbia. Raised in Edmonton, DeMarco moved to Vancouver after graduating high school. He is now based in Montreal. Formerly recording as Makeout Videotape, he has produced two solo albums, Rock and Roll Nightclub and 2. His style has been described as “blue wave”,or “slacker rock”.He is a multi-­‐ instrumentalist as well as a multimedia artist. The album 2, was received well by critics, garnering a “Best New Music” designation from Pitchfork Media. One of his songs was licensed

Mac Demarco : 8pm, 9th December 2013, RM 38 at The Bee, Publika