Sometimes you just get floored by the unexpected. It happened to me during 2003's NXNE festival. I was at the Bovine waiting for the shows and this band comes on and they start to play some pretty beautiful instrumental music. I think to myself 'what is this? This isn't a Bovine band' but listen intently for more sounds. I fell in love with the band! That band was the Vulcan Dub Squad and they play some of the best music I had heard, they also have the best show I have seen from a local band. So this is where I end up - going to every show I can, owning all the discs and two t-shirts (one in red one in black). And if that doesn't make y'all sit up and wonder just who these guys are...well then...poof!
Deanna: Sorry for the lame questions I'm going to have to ask you guys but there isn't a whole lot out right now about The Vulcan Dub Squad. Can you tell us about the members, how you all got together?

Ranbir Gundu: We originally got together as a three-piece in '96. At first it was just Andy Hunter (1st drummer) and I. It was funny because Andy wanted to be in a band with me and play drums . Of course he didn't haaaaaaaave any drums, so we both said we needed to find a bass player with a drum kit too. A week later Andy had found Jason Doell (an old high school friend of his) to play. And that was or original line-up. We recorded an album and also found Graham Wilson and David Croft along the way. '99 I think. Both David and Andy played drums on our second album, and Graham filled out the guitars. After that, somewhere down the path, Andy left in a mutually agreed parting which left us four: myself on guitar and vox, Jason on bass, Graham on guitar, and David on drums.
Deanna: How was it (or who was it) that mainly influenced the direction of the Vulcan Dub Squad sound? You guys have this semi-emo thing and then this brilliant post-rock thing going at the same time. What bands/influences do you have and share? Alternatively, how would you describe your sound to someone who hadn't heard you play yet?

RG: There are a lot of bands that we all really enjoy, but there are fewer shared loves than not. Everyone really has varied tastes-- which helps, but can also cause some gagging. I know Jay and I have a shared respect for a lot of 60's soul/bossa nova, jazz, and British 80's bands etc. And with Davi we're all up on 90's shoegazer bands and other recent things…and the three of us all lurve 70's rare groove, funk etc…..but, in all honesty, I know more their genres than bands anyone draws influences from, as it seems to be changing all the time, and I never really ask.



Trying to describe our music to others has always been the hardest question. I'm glad it's difficult, but also see how that won't get anyone to check us out. The human mind needs reference points. Nothing seems to exist seperate from what we have already experienced or are familiar with. Too bad. Our press kit says that we are a harmonious blend of shoegazer, 60's garage-psych fairytale and lush orchestral pieces that combine grandeur with Syd Barret sensibilities, though.

Deanna: What is the strangest pairing up you have had for a show and how did it turn out?

RG: Strangest? I dunno really. They all end up being strange in the end. I can't say because I don't think too much about the bands we're playing with unless I know them ahead of time. And I don't know a lot of bands. I'm willfully ignorant in that way.

Deanna: You guys ended up being a fill in for a band that had backed out of a NXNE slot. Is that right? I should also mention that DJ barbie loves you guys and is a huge fan! How did you get hooked up with the Bovine and Barbie?

RG: - Yeah we wouldn't have played last years NXNE if the border hadn't held up a NY band. In truth I find it rather loathsome that a festival in Toronto ends up allowing more foreign (i.e. out of southern Ontario) talent the opportunity to play to Toronto crowds when there are so many hungry local bands dying for a healthy audience. It probably helps with tourism and the notoriety of the festival itself so maybe music isn't part of the equation. I mean, you yourself said it - when you saw us you thought "this isn't a Bovine band" and maybe we're not. But the likely hood is that the promoters didn't listen to our disc/promo package, and instead saw our masks and said "Freakshow!" and just put us in a Bovine filler slot. Sad and shallow, but a possible scenario. DJ Barbie? Well, aside from checking out the NXNE gig, she was waitressing at the 360 and she said she really liked our stuff and that she'd like to give us a Bovine gig, which she did. Ironic isn't it?
Deanna: For people who don't know, the Vulcan Dub Squad come on stage in matching jackets and hoods. Truly a unique experience. How did that all develop and what are you going for there? What is the Vulcan Dub Squad philosophy?
RG: The current look is something that has evolved over the years. We've had different costumes/outfits but a consistency that’s been kept, is in maintaining anonymity. The reason for the masks and costumes is varied. There are about 8 answers that we usually respond with as, understandably, this is the most commonly asked question we get. But...I'm starting to think that whatever WE think we're doing...the reasoning that is, may be lost as individuals at a show subjectively try to rationalize/understand what's occurring. So it's a moot point whether or not to give a specific answer to this question. The same applies to the Vulcan philosophy. There is one...I'm sure there's more than one...but the only one that's real is the one that an individual interprets for themselves.
Deanna: Apart from the brilliant music, you guys seem to me to be pretty caring people - doing benefits and so on. That is incredibly admirable. What drives you crazy in this world and what makes you feel good?
RG: What drives us? A few things. Society, culture and the world around us. The people, the places, the directions we choose, or are forced to take. Specifically, Canadian experiences. And yet there's a desire to create dialogue and to respond to these things, comment on them, put our two cents in. That this avenue allows us to be creative is paramount too. There is a strong drive to manifest the creative impulses. Not for glory or the sake of art, but rather that we/I can relax and rest that it's been done. It wished to be born, and then was. It relieves me that tasks attempted/considered/dreamed become reality. I don’t really ‘get happy’ when this happens…I kind of breathe a sigh of relief. Of course there's a conflict which often upsets us (Reality vs. Original concept) but that's a part of maturing as a creator. Oh. and social responsibility. This is big driving factor.
What makes us feel good? On the business side of things, accomplishing our goals as close as they were imagined. Continually making progress in a saturated market without losing our essence. Watching our friends/ peers also do the same.
On an artistic level…wow. I have to say touching people. I mean it in earnest. It feels tremendously good to know that in turbulent times, you’ve held fast to intangible qualities that are needed/desired in our social consciousness, and actually offer them to people in a way that is above and beyond base superficialities or aesthetic trappings. Catching people, sometimes despite themselves, with feelings, emotions, sounds and a sense of more…true reality? That’s one way of putting it.
Deanna: Your shows are so absolutely entertaining - from the songs to the crazy stage banter. What do you guys do for day jobs? Certainly there is someone with an acting/comedic slant in the band?



RG: I’m unemployed. I used to have a ‘job’ job, but it destroyed me and I couldn’t do it. Now, I only want to work in my field of interest…but no one’s hiring me. Or giving me any money. David’s in the same boat. Jay is a hard worker, and although he holds the same belief, he is a waiter at the Left Bank on Queen out of necessity. Graham’s the only one with a job really, he works for a freight shipping company. Acting/comedy…well, I love doing/being theater, but I don’t have any real experience. Blame my dad, John Ritter and Richard Pryor for anything that entertains at a show via the mic.
Deanna: The people who have seen your shows appear to be hooked immediately (I know I was). I was wondering how the reaction is at most of your shows from the people/ Have you played outside of Canada and are their plans to do so in the future?
RG: Reactions have almost always been positive, encouraging and beneficial. Most of the headway and opportunities that we’ve had have come as a direct result of our live shows. Unfortunately we’ve only played across Canada once, and so have no plans to play outside of her just yet. That’s not to say I’m not bugging my pen friends in Chicago and Sweden to set us up with a gig though.
Deanna: What about label interest, airplay, videos, anything of the sort? Who does the promo for the band and how do you prefer to sell yourselves (or not) in this crazy land of indie music? Is their label interest and if so what ideals will you be holding that label to?
RG: No label interest as yet. We’ve sent out some good press kits and asked them to come and check us out, but it hasn’t really worked, so we’ve decided to change the focus. If they want to come, they will. If not, then we just soldier on doing our thing. We’ve gotten airplay from some of the Uni radio stations but only to coincide with our album release last year. Nothing consistent, but that makes sense. No major station plays indie music besides 102.1 and they’ve never responded to us, and no one does our promo besides us and other peoples’ mouths (or in this case, others websites). My cousin did say he’d like to shoot a video for us upon his return from India. That’d be fun.
We’d prefer to sell ourselves to indie music with a reputation for quality. Quality shows, quality music, quality merchandise…just quality and attention to detail all the way down the line. I want us to be synonymous with it. I don’t want any genre hopping, I don’t want any definitions on what we do, or how, or why. I just want ‘it’ to be respected for its value and social relevance.
A label would have to be in the same head space I imagine. This is really Jason Doell’s department, but if I were to answer I’d say they’d have to be interested in both our business goals as well as support our artistic bends…but it would have to be in a conjoined vein. They would WANT to be socially responsible. They would WANT to change the musical state. They would WANT to pursue goals that took time in acquiring…and they’d want to do it with us. And closely. None of that “we signed you, now you’re on your own” crap.
Deanna: What band would you most like to tour with (any band - as long as they are alive) and why? Where would you tour and how would you prefer to travel?
RG: when I first read this question I started thinking about the larger more influential bands in my life like My Bloody Valentine, The Cure, The Stone Roses etc., but I realized that these bands exist on another plain (and yeah, two have since disbanded), but perhaps they’d be too…far from us? Maybe we’d be better off touring with our friends The Junction. We’re both in similar stages of our careers, we all get along famously and there would be a sense of…hunger? So yeah, give us a Ken Kesey bus with electric kool-aid, the true north strong and free, and off we’ll go. Roadies and merch people would be a welcome bonus.
Deanna: Since your music is so unique and unconventional in this current state of music affairs how do you manage to keep the music such a way? How is the song creation process and how much is everyone involved?
RG: Up to this point, I’ve usually written a song and brought it to the boys. Then, collectively we’d orchestrate all our pieces to better the song. Sometimes this means stretching out parts and minor editing, other times it means moving giant chunks around and tossing parts out entirely. The boys are finicky!---so it’s not easy. I usually have certain flow ideas I wish a song to have and usually hum one or two additional melody lines, Jay does the bass, Grimm does guitars, and Davi on drums, but everyone’s into everyone else’s business. A lot of theory arguments/debates go into the songs before they reach the final arrangement. I usually put vocals on last.
The music stays unique in that I’m a bit of a stubborn fellow and don’t listen to modern music. Or rarely at least. Its 50’s, 60’s, 70’s, 80’s and early 90’s for me. I have almost no interest in current popular music. Indie music I listen to, but I don’t pursue it. Surprisingly, nothing we do sounds dated. Probably cuz the others aren’t dated like me. They’re more open to the modern, and listen to very different genres as well. We’re all pretty ravenous for music and inspiration… and since we all travel to different lands, when we do congregate and compile stories they invariably sound unique.
Deanna: Your music would appeal to such a broad cross group of people (punkers, post rock lovers, stoner rockers, etc.) How do you account for this?
RG: This is an area I study, so…..let me get scientific for a minute. 1,2,3! Subcultures, by their very design have a certain rigidity in them. Earmarks that denote allegiance to the subculture exist both materially and within it’s championed forms of music. These expressions are linked to the subculture and run commonly throughout the bands within the genre. Since the four of us listen to varied forms of music, and none of us share too much in common, we can take elements of these cultures…subconsciously mind you, and put them together in a way that creates a new hybrid with no name, no allegiance, and no owners. What this means is that listeners from different genres can hear certain parts of their ‘style’ incorporated with others so that there is a point of reference for almost everyone to start from…where it ends up though is what’s exciting----the land with no name or borders. It’s very exciting and alluring, but if strictly dealt with in clinical terms it can be scary. Cue the acting and comedy.
Deanna: For the musicians out there - what gear do you use to get your sound?
RG: I play an ’83 Rickenbacker 330 series using the Boss DD-3 delay pedal, and the Boss Superfeedbacker distortion pedal. I use Hohner harmonicas. Jay plays a ’78 Rickenbacker bass with some modifications on it in conjunction with a volume pedal. David plays a shiny new Gretsch drum kit with Zabian cymbals, and Graham tortures a pair of fairly new Fender Strat’s while squeezing sounds out of his Boss GT-6 floor processor.
Deanna: I read that you had a 3 song promo you had done with some Cure covers on it. Is that still available?
RG: You know about The Cure EP? You really are a fan/friend! Well, they were handmade only last week and we made 55 of them. They were personally constructed and painted so that each sleeve is unique. They were intended as a little something to be offered to our friends/supporters at our last show, but it got snowed out, so yeah, it’s still available. We cover three Cure tracks that we recorded and mixed ourselves in three days. The whole process was done in a week. They’re hand numbered to 55, and once gone we’ll not make them again. You should grab one on the 21st Deanna—only $5! I was really happy about them. One, because we tribute The Cure, and two, because I’ve never been able to hand out so many of my paintings before.
Deanna: What are the upcoming plans for The Vulcan Dub Squad? Tours, new album, etc.?
RG: Our upcoming plans are as follows: we’re going to redesign our web page, get our electronic press kits ready in mass quantities and use it to try and get distribution nationwide along with trying to contact labels we think might be sympathetic to our ways. We’re going to try and set up a tour during the summer (hopefully with The Junction), apply to as many music festivals as we can get into this year, get a permanent practice space, have six new tracks by the end of march, have an EP ready before the tour, design some new shirts, see what Factor grants we can get, expand our playing field beyond the GTA and ultimately, present the Vulcans to as many new people as possible.
Deanna: What books are you currently reading/ What are your favorite movies? What is playing on your stereo right now?
RG: I’ll do you one better. Instead of trying to connect via things that already exist in culture, I’ll just tell you about some of the things I’ve considering lately. Here we go… 1. Battles now exist in our heads. While walking the street recently and trying to block out the media blitz (it’s everywhere, eh?), I imagined what/how I would prepare my children to combat a hyper-commercial world in the future. If things continue to escalate as they are…how would the kids of tomorrow resist, repel, or respond? If all physical space is taken up, used/abused, then the citizens will likely have to find solace within. Battles will be fought in our heads for space, sanctity, individuality etc.. How do we train people for this?
2. If our culture is reference based—clothing/music/media/literature etc., and all we do is suck the marrow from bygone pop culture entities (decades, movements, cartoons etc.) in hopes of commodifying them…then the periods of creation grow shorter between the times of revival. If you keep having revivals and an atmosphere of renaissance, then when are the new ideas to be created? When are tomorrow’s revivals to be made? You’ve got to plant these seeds and not just clear-cut past cultural totems or the well will run dry. What cartoon emblems are going to be put on tomorrow’s teenagers?



3. Nothing is sacred. A tangent off the above notion. In subcultures, there are certain icons and symbols of value, and people in subcultures (myself included) often cling to these tenets of style religiously—but as I’ve found, popular culture will devour ANYTHING it can. It can turn something you’ve always believed a beacon or bastion into a weekly fad. It can render symbols of power impotent and meaningless. How frightening! That ‘thing’ you’ve always considered ‘YOU’ can be picked up next week and within hours can be put on the backs of every other Johnny Lunchpail on the block. There’s no points for being first, or being creative, or a trendsetter or anything!----because the lines of creator and follower are so quickly erased. Nothing is sacred. Not braces, shoes, shirts, accessories, hats, coats, hairstyles----STYLE! But. If material items will not serve as flags, and are powerless, then what has merit? I hope it’s the inside/substance of the individual---but how would we get to it?
Deanna: I wanted to thank you much for doing this interview for the site. I love The Vulcan Dub Squad and can't wait for the Jan.21st show. Any closing words of advice for up and coming bands in the indie scene? Any mistakes you have made and wisdom learned you care to pass on?
RG: My pleasure. Thanks for asking us for an interview Deanna. Sorry it’s a bit long winded…I’ve been writing this out by hand, and my girlie girl (god bless her), has had to transcribe it with me wringing my hands and barking orders in the background…poor dear!!…but, I figure, if it’s worth asking, and it’s going to have my name on it, then it better have some ‘me’ in it---- and me is long winded. Advice? I think there is a lot I could give, but I think I’ve said more than enough. Besiiiiiiiiides, silly…. musicians don’t really like to listen to lessons others teach them--- they’d rather live their own.

Deanna St.Croix

The Stoner Rock Ckick in Canada