by Grady Mitchell | The 1890s were a time of scandal, marked by debauchery, gluttony, and decadence. Honestly, it sounds like they were a hell of a lot of fun, which is also how I’d describe the sound of The Gay Nineties, a Vancouver band who named themselves after the era. They make charged and celebratory music, their sound and attitude underpinned by a suitably playful kind of elegance. If you’ve tuned into The Peak in the last year you’re probably familiar with their song Letterman, or, more recently, Hold Your Fire, both of which are on near-constant rotation.

In fact, on his way to our interview, drummer Malcolm Holt was treated to Hold Your Fire, the latest single off their upcoming record Liberal Guilt, out on January 27th. Even though it’s been nearly a year since the first single, Letterman, was released, the band agrees that the thrill of hearing the first few chords through their car speakers hasn’t faded, and probably won’t. Sending it off into the world also gave them a new appreciation of the song, Malcolm says. “You relinquish ownership over it. It let me stop obsessing over the things that I wish were different. It allowed me to enjoy it more.”

“No reaction is the worst reaction,” says bassist Dan Knowlton. Every band knows that sinking feeling when a beloved project is met with deafening silence. So the Nineties are especially thankful for the warm reception. “There’s been an overwhelming outpour of positivity,” Dan says. “I love hearing the stories about the different ways people interact with our music.”

For Liberal Guilt the band added keyboardist Bruce Ledingham IV. Through his influence they turned down the volume but expanded the sound. “It was a tight scenario to try and fit yourself into,” Bruce says, “a wall of sound from a three piece. Finding room for keys was a challenge. That just caused us to write new songs.”

“We were trying to make as much noise as we could,” says Malcolm of the pre-keys lineup. “When Bruce came in, all of a sudden there was all this texture and tone and space, and we could just play less and create more.”

It brought the band together and honed their songwriting, says guitarist and singer Parker Bossley, with every member contributing to each part. “It’s a testament to growing as a band,” he says.

The Nineties are quick to point out that Vancouver is growing too, musically speaking. They point out supportive institutions like The Peak, the fresh small labels that are popping up, and the roster of new mid-size venues like The Rickshaw, Imperial and The Fox that have replaced lost treasures like the much mourned Richards.

The Fox, in fact, is where they’re holding the Liberal Guilt release show on February 26th. But before then, you can (and should) score the record here.

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