Staked Plain

Formed in Edmonton, Alberta in 1993..
Originally known as Pinokio, Lonely Orphan.

The Band played various shows in the Vancouver and Northwest area throughout the 90’s. They’ve shared the stage with groups such as Sun City Girls, Noggin, Irving Claw Trio, Jackie-o Motherfucker, and in Texas with Harry Pussy when they where on their final tour in 1997. While in Texas Staked Plain hooked up with Bobby J records who the next year releases a Lp of material they had recorded from 1993 to 1996. The groups first show was in Vancouver in 1994. Staked Plain has hours of unmixed recordings for some future releases, of course when they have the time to dig through it all.

BC Scar has been working on various art projects over the last number of years as well as with his Rap groups “Knob Central” and “Grassy Knoll.” Joshua Stevenson has been performing solo as Magneticring and also with groups Samara Lubelski, Von Bingen, , Jackie-o Motherfucker, Land of Kush, and others. And Zoltan is back in the woodlands of Alberta raising a family.

Staked Plain – Lp – 1997 Bobby J Records


Excerpt from the Old Reliable, Staked Plain Show Review 
July 30th 1999 City Media Club Edmonton, Alberta, Canada

..Which opened with Staked Plain, a trio of improvisational neo-rockers
who created this wiggly sonic climate that Old Reliable could only seem
incredibly staid in comparison to. Staked Plain’s first show in a couple
of years, playing to probably 30 fans and a bunch of people hiding in
the bathroom, started with a possibly improvised vocal jam on the topic
of Alice Cooper and Mini Golf (on a day that was rife with dinosaurs
of rock sightings) and built through some ambitious electronic and
electric musical vaccilating. Chronic, repetitive, improvised, enthusiastic,
awkward, and fascinating describe them loosely, and a full set would
have been interesting. They played avant-rock with the comfort of
friends who know each other well musically, with the eagerness to make
up new rhymes and shock with new sounds and express themselves.
It wasn’t danceable and they made Old Reliable seem pretty conservative
comparatively, and it was skating around musicality, almost carelessly.
Do it again.

Review by Gabino Travassos “mote magazine”