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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2009-02-01

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 ^     # that 808 magazine from CiTR 107.9 FM ^
february 2009
February 24th, 8:00 p.m.
Pit Pub, UBC
Tickets: Ticketweb, Zulu, Outpost
$13.00 advance
Plants & Animals
March 18th, Biltmore Cabaret
Tickets: Ticketweb, Zulu,
Scratch, Red Cat
Great Lake
with Kate Maki
March 29th, St James Hall
March 30th, Norm Theatre
Tickets: Ticketweb, Zulu, Outpost
$15.00 advance
JsmiPBb iaK& ____wS3_i
Ambleside Bookstall
#115-1425 Marine Drive
2016 Commercial Dr.
604-253-7453   JM
Banyen Books
3608 W. 4th Ave.
Beat Street Records
439 W. Hastings St.
The Bike Kitchen
6139 Student Union Blvd.
(or, free for station members)
Canterbury Tales Books
Flaming Angels
1990 W. 4th Ave.
644 Seymour St
Devil May Wear
198 E. 21st
Full UK Tuesdays
@ The Republic
958 Granville St.
The Eatery
3431 W. Broadway
Hitz Boutique
316 W.Cordova
The Fall Tattooing
644 Seymour St
Hot Box
2560 Main St.
The Kiss Store
2512 Watson St
Lucky's Comics
3972 Main St.
People's Coop
1391 Commercial Dr.
Red Cat Records
4307 Main St.
R/X Comics
2418 Main St.     v;^;.
The Regional
Assembly of Text
3934 Main St.
Saje Natural Wellness
2252 W. 4th Ave
1291 Robson St
Scratch Records
726 Richards St.     *
Slickity Jim's
Chat and Chew
2513 Main St.
3467 Main St.
Twigg & Hottie
3671 Main St.
Vinyl Records
319 W.Hastings
VOZZ Boutique
2855 W. Broadway
A Friends of CiTR Cord scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101.9 IM. Show it when you shop!
discorder magazine Editor
Jordie Yow
Art Director
Nicole Ondre
Production Manager
Debby Reis
Copy Editors
Alex Smith
Colin Throness
Melissa Smith
Brock Thiessen
Miranda Martini
Graeme Worthy
Ad Manager
Catherine Rana
Under Review Editor
Melissa Smith
RLA Editor
Brock Thiessen
Layout + Design
Nicole Ondre
Debby Reis
Graeme Worthy
Bryce Dunn
Leanna Orr
Colin Throness
Dan Fumano
Andy Hudson
Mel Mundell
Nafisa Kaptownwala
Brenda Grunau
Simon Foreman
Becky Sandler
Shannon Gross
Gerald Deo
Gord McCullough
Mark Richardson
Stacy Thomas
Amy Scott-Samuel
Nathan Pike
Alex Hudson
Mine Salkin
Mark Paulhus
Jonathon Evans
E. E. Mason
Aaron Goldsman
February Calendar
Lindsey Hampton
February Cover
Stiched map of Vancouver
by Caroline Ballhom
Photo & Illustration
Caroline Ballhom
Aja Rose Bond
Aisha Davidsoti
Denver Lynxleg
Michelle Mayne
Colin Moore
Amy Scott-Samual
Ryan Walter Wagner
Program Guide
Bryce Dunn
Luke Meat
Peter MacDonald
CiTR Station Manager
Brenda Grunau
Student Radio Society of
discorder magazine
the finding things issue
February 2009
Riff Raff
Finding vinyl
Film Stripped.
Finding movies
Textually Active
Pitchfork's 500 / Finding books in town
11 J|
Program guide
Now a pull-out with the calendar on the other side!
by Lindsey Hampton
Real Live Action
Under Review
features o_^	
Transmission Test
Brenda Grunau speaks to music industry insiders about
their newest testing ground—China—and Mine Salkin
takes a look at the shows that were part of the event.
The Music Blog
Finding music on the Internet: where to go to find new
music in this digital world we live in.
Tight Solid
The tightest solidest friendship this side of the universe.
Miningyour Musical Lineage
Simon Foreman visits with some local music whizzes to
discuss how to find "new" old music to listen to.
Leanna Orr chats with Pusha T about the group's new album Till the Casket Drops and their ignorant intelligence.
Take a look at the venues in this city of ours, from dingy
dives to the big stadiums. Plus drink prices!
Her Jazz Noise Collective
They're not a band. They're a posi-core community.
Editor's Note
Dear Discorder: "%-'^^E
I have a friend who, upon hearing really
good music, says it makes her feel like she is
dying. When I hear really good music I say
it makes my chest feel funny. She has a tendency for overstatement in conversation and I
have a tendency towards understatement.
Bon Iver's album For Emma, Forever Ago
makes my chest feel funny. I tell you this
because in our last issue, the last issue of the
year, we did not have much in the way of
"Best of" lists. We did this for a few reasons:
first and probably most importantly, we forgot, second, everyone else did them anyways
so we didn't really need to except to indulge
our own obsessive compulsive desire to list
things. Still, my desire to list things is so
strong that I feel the need to tell you that, if
I had made a list, Bon Iver would have been
near the top of it.
There is a third reason we didn't make
any "Best of lists, which as the editor of a
music magazine I am a little loathe to admit.
I didn't listen to a lot of new music last year.
Most of the new music I listened to last
year was old music. Old music that made
my chest feel funny, but it wasn't from 2008.
Last year I revisited the music of long ago.  ^Kl
Bruce Springsteen, Bob Dylan and Orchestral Manoeuvres in the Dark It doesn't look
like I was the only person to do so. Pitchfork
released the The Pitchfork 500: Our Guide to
the Greatest Songs from Punk to the Present in
which they give a good look over music dating back to the late '70s. You can find Leanna
Orr's review of that book on page 5—follow
her advice and grab the torrent. In this issue
Simon Foreman explores the idea of finding
new-to-you music by looking at the old
bands that influenced your current favourites
(page 10).
As you may have guessed from the cover,
this issue is all about finding things. Sometimes the hardest part of finding is figuring
out where to look. We hope to help you out
by showing you where you to find music on
the Internet (page 8), in film (page 4), on
stage (page 16) and if you've got a record
player, on vinyl (page 4).
I command you to enjoy this issue and
hope it takes you motherfuckers back to
Until next month,
Corrections to the last issue:
Nicole would like to apologize for wrongly giving credit to Zach Ingram on the December
calendar. The art was actually done by Micheal Leon. You can see more of his work at: "%r^^f
In Mark Richardson's article on Nu Sensae, we incorrectly claimed that Kat Bjelland was a
member of Le Tigre, therefore implying that Andrea Lukic sounded like someone singing in
Le Tigre. Lukic does not sound like any of the members of Le Tigre when she sings.
The Discorder referred to Lykke Li as a "Songstress": A songstress is in fact, a female singer
who sings other people's songs, not her own. Lykke Li is better referred to as a singer. The Discorder deeply regrets this error and will shortly be emailing Ms. Li to appologise, but wanted
to get this off our collective chests here first. Sorry everyone... sorry.
a photo:
The cops shut down the Emergencey Room on its last official night as a venue. Read about
it on page 21. Ryan Walter Wagner photo.
©DiSCORDER 2008 by the Student Radio Society of the University of British Columbia. All rights reserved.
Circulation 7,000. Subscriptions are available and cost the current rate of postage. To subscribe email editor. To write for Discorder, e-mail Ad space is available for
upcoming issues and can be booked by calling (604) 822-3017 ex. 3 or emailing discorder.advertising@gmail.
com. Ad rates are available upon request. To distribute Discorder in your business, email distro.discorder@gmail.
com. If you send us anything and it gets broken, lost, scratched, mishandled, eaten, damaged, popped or explodes
in any way, we cannot replace it or reimburse you. Discorder is published by CiTR, which can be heard at 101.9
FM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at (604) 822-2487, CiTR's office at (604) 822-3017 or CiTR's news and sports lines at (604) 822-3017x2.
Fax CiTR at (604) 822-9364, email CiTR at or pick up a pen and write #233-6138 SUB Blvd.,
Vancouver, B.C., V6T 1Z1, Canada.
february 2009 finding
guide to
Riff Raff
by Bryce Dunn
Since we need to keep to the theme this time out, my
editor has instructed me to reveal to you, dear readers,
the hip joints around town that sling those things we
like to call 7" records.
Before we get to the nitty-gritty, however, we can sneak in
a couple of reviews, namely some holdovers from the holidays
courtesy of Sweet Rot Records. I think label president and all
around swell guy Jeff Greenback might be baiting me again
(readers may recall that I was less than kind with regards to
a past release), so when I put the needle to A.H. Kraken's
newest noise fest, I can't say I was totally surprised by what
I heard. What is it with these French dudes, anyway? Both
tracks pummel the listener with guitars that sound like they
were made from a swarm of bees instead of strings, caveman-
ish drumming, atonal *ainging"—-^okay, okay, I get it! It's actually not all that bad. I preferred the A-side, "Gianna Michaels"
(apparendy a star of the adult film world), to "Je Suis Ton
Marecage"("I Am Yova Swamp"),but both songs remind mc
of The Hunches' early stuff, who also layer sonic dissonance %
with hints of tunefulness. While I can lis ten to this sparingly,
I'm thinking a full record would produce the mother of all migraines. Apparendy, they're the new kids on the block over at
In The Red Records, with a full length that's getting attention
left, right and centre—at the time of this writing, all copies
of the Sweet Rot single are long gone. If you want one, you'll
have to pry it from my cold dead fingers... or offer me a few
. bucks, whichever you like.
Wisconsin's Dead Luke (Sweet Rot Records: myspace.
eom/sweetrotrecords) is one of those ingenious bedroom-
balladeer types: the kind of guy who probably doesn't get a
second look at the local hipster gig, but who's secredy soaking in everything he sees and hears around him like some
superhuman sponge and feverishly plotting the music industry's demise. Armed with only a guitar, synthesizer and drum
machine, Dead Luke's new wave tendencies can be likened to
contemporaries Digital Leather, due to the neo-gothic vocal
delivery and song structures. I'd even go out on a limb and say
that in the current musical climate of everyone and their dog
making remixes, if someone had the balls to try their hand
at the tune "Critical" (which has a pretty sweet synth line
bolstering the melody), then half the battle would be won in
understanding what Dead Luke is about. You might just earn
some cool points too.
Where do I find sweet musical treats such as these, you
ask? Look no further than places like Scratch Records, whose
7" bins (new & used) are, in my humble opinion, unrivaled
in diversity of stock and price points. Red Cat Records is a
close second—-while slighdy less stock is carried, it's still diverse enough to warrant a look-see whenever you visit. Zulu
. Records frustrates me with how few 7" records are carried
compared to their full-length vinyl selection, but maybe that's
just not what side their bread is buttered on, if you get my
drift. It's been a long time since I made the trek to Audiopile
over on the Drive, but as I recall, their 7" collection is fairly
Film Stripped
by Daniel Fumano
Every month here at Discorder, we cover some fantastic
(as well as some less-than-fantastic) films about music.
But these titles can be difficult to find if you don't know
where to look. So how does a music fan find copies of these
movies to watch at home? Or discover a new movie about a
favourite band?
In keeping with the issue's theme, Ave wanted to shed some
light on ways to find titles that you read or hear about, here or
elsewhere, as well as how to discover new music-related films
that you hadn't heard about previously. V O
video stores:
Blade Dog Video has two locations, one East Side, one West,
both with great selections of music videos, concert movies, music documentaries and more. Just ask for the music section.
3451 Cambie St    • ><*fat5Kun.«   '->        4&SiBWk\
1470 Commercial Dr.
Limelight Video and Videomatica also have separate n
is worth checking out.
1855 West 4th Ave.
Limelight Video
2505 Alma St. '?
(604) 228-1478
record stores:
Zulu Records has a selection of music movies for sale, with
new ones regularly coming in.
(604) 738-3232
Scratch Records has some movies for sale behind the counter, including some more esoteric titles that you might not be
' able to find anywhere else.
726 Richards Sfct /sjpll
(604)687-63850 •-'/.'
HMV has a. pretty massive and varied selection, and if you
can't find what you're looking for at an independent store,
- you mighf want to <ake a look at their flagship location
. 'WWWRhin^f^t%^^^%^^^^^i3£^g:^!%
well maintained, with both new and used goods. Dandelion
Records (which only carries vinyl) has a pretty sweet selection
of garage, punk and like-minded genres with some surprises
in store for the scrupulous collectors among you. In addition,
I've been told by close sources that Dandelion's soul and R&B
section is worth the time and efFort to scrounge through.
The one visit I've made to their Broadway and Main location yielded some interesting finds, and I'd go back in a flash
to see what else I could find. Neptoon Records handles predominantly older vinyl and even though occasional re-issues
pop up, if it's '50s rock and roll, '60s pysch or '70s classic rock
you're hankering for, they'd be the place.
I've purposely left out any shops outside the GVRD, the
semi-annual Record Fairs, the bookstore/record shop combos
and other similar locales just for the sake of time and space
limitations here, but if you feel strongly enough that I should
mention a particular store in future columns, write me a letter
(care of Discorder) and I'll give credit where credit is due.
See you next time! jffjk--
headsouthta    Vancouver
m 7
main&20th   '4.
main&26th    ***?
Pacific Cinematheque has a diverse and interesting program
of films, which often include music-related films. In recent
months, they have shown music films ranging from ANVIL!,
the story of the seminal heavy metal band, with band members in attendance at the screening, to 32 Short Films About
Glenn Gould, the classic film portrait of the legendary Canadian pianist.
Keep an eye on their schedule at www.cinematheque.bcca.
1131 Howe St.
The Vancouver International Film Festival brings a lot of great
movies to the Vancity Theatre every year, and for 2008, they
had a whole section of music movies. Throughout the rest of
the year, they show an interesting selection of films.
Vancity Theatre    \ -fjj*%thi'2
1181 Seymour St.
(604)685-0260 ii_f_t_l£^^_!_ljt &_?__%_*
online: *
Pitchforiotv, a website launched by Pitchfork Media just
this past year, has made it very easy to watch great music videos, features, interviews and even movies on your web browser.
The site displays an array of video content, including its "One
Week Only" feature, where each week the Pitchfork editorial staff chooses one feature-length music film, that can be
watched streaming online for free. Past "One Week Only"
features have included films about GG Allin, Johnny Cash,
the Pixies, and the Silver Jews.      |fe|2M%   ^^^i^lSfetasr-.-sfc v
Happy Hunting!
discorder magazine illustrations by Colin Moore
maps by Nicole Ondre and Graeme Worthy
Pleasantly Patronizing:
The Pitchfork 500
Ed. Scott Plagenhoef
and Ryan Schreiber
by Leanna Orr
Pitchfork Media is like the Pope of the indie rock world;
their judgments on albums have the power to determine the ultimate destiny of a band or artist. Since the
website's inception in 1995, critics have maligned the dramatic prose and pretentious attitude of the writing. Nevertheless,
Pitchfork is more successful and influential than ever, and has
recently released The Pitchfork 500: Our Guide to the Greatest
Songs from Punk to the Present.
Organized chronologically into nine chapters spanning
three years each, the book is as unabashed in its opinions as
it is well organized in structure—that is to say, very. As with
most guides, Pitchfork 500 is not built to be read from front
to back. Instead, sit down with iTunes and Youtube for some
serious exploring. Better yet, download the "Pitchfork 500"
torrent off of Pirate Bay and keep the book in your backpack
for bus rides. ^?*§P
Pitchfork 500 is certainly a better book when snacked on
and served with the music it discusses. Like the website, the
writing is a little too rich to make an entire meal of. After a few reviews, the hyperbolic descriptions begin to wear
thin. Although a skilled wordsmith, Ghostface Killah is flattered by a portrayal as "part James Joyce, part Al Capone."
Of course, the writers never claim to be preaching anything
other than their (not so) humble opinions, but these opinions are often overzealous.
If anything, the writing in Pitchfork 500 is more energetic
than that found on the website, and fortunately also less abstract. It focuses more on history, with each song description referencing the cultural and musical milieu at the song's
time of release. In the opening chapter, Stephen Trousse
provides vital background for the Sex Pistols'"God Save the
Queen." He writes, "Released in May 1977, as the U.K. was
gearing up for the twenty-fifth Jubilee of Queen Elizabeth
II, the song saw the group seize its perfect pop moment."
Most Pitchfork readers are of a generation that missed out
on this piece of "epoch-making art," and a little background
is pleasantly informative.
Although certainly not for everyone, there are many coffee
tables that would welcome a copy oi Pitchfork 500. The writing
style is slightly different, but the book is best for those who
have read and enjoyed the website. Also, the music-history
angle makes it an illuminating read for someone interested
in filling in his or her musical knowledge. In particular, the
introductions provide an excellent overview of eras during
which many younger readers may have been busy wetting
themselves to Sesame Street. For anyone with the knowledge
to write their own "Top 500 List* however, all this book will
do is aggravate them.       fQSB
Textually Active supplies a guide to
local book shops
by Andy Hudson
f you're interested in tracking down the Pitchfork 500, or
any other fine reading material, may we suggest one of the
following locations:
READ Books
Charles H. Scott Gallery (Emily Carr)
Top choice for new and notable.
Zulu Records
1972 W 4th Ave.
A shelf of select titles, like histories of Swedish prog.
Scratch Records
726 Richards St.
Similar to Zulu, books sent by record distributors and local
punk writer, Chris Walter.
Sophia Books
450 Hastings St.
Lots on world music, some jazz, some in other languages.
Biz Books
302 W.Cordova St.
A lot of how-tos, band-making business.
Sikora's Classical Records
432 W.Hastings St.
Used classical. Mozart biographies.
Pulp Fiction
2422 Main St.
3133 W.Broadway
Random but healthy choices.
Spartacus Books
684 E. Hastings St.
Very small selection of used, plus music politics.
People's Co-Op
1391 Commercial Dr.
Dylan biographies. Folk traditions. Transmission 2008
Transmission is Vancouver's annual "boutique" music
conference—an elite gathering of execs from music
and related industries. After begging admission, Discorder had the opportunity of listening to an eclectic cross-
section of people representing artists, labels, Internet
providers, publishers and digital media. In little rooms,
these people hashed out issues in the industry—artist
development, downloading, and new business models.
People had found their toe-holds and were experimenting with new ways of surviving in the competitive music
industry. Oddly enough, the conference held a fascination with China, and Western labels were looking East
for new ideas.
A lesson in China
By Brenda Grunau
China offers a huge growing middle-class ready to purchase entertainment and other perks of life; these billion people'have been tantalizing Western businessmen
for years. However, there's an additional hurdle for labels—no
one pays for music in China.
Transmission co-founder Tyl van Toorn comments, "China
and other developing nations iii Asia have a ways to go before being recognized as result-bearing markets for copyright-
dependent businesses." No one knows when or how this will
evolve, but van Toorn believes "the wave will be very big and it
will be very fast."
At Transmission two very different approaches to creating
value in China were presented.
Canadian copyright expert Paul Hoffert is experimenting
in China on university campuses. With three patents in the
works, Hoffert's licensing company, Noank, has developed
the technology to track content usage on personal computers.
Last July, this system was put to use on a university campus
in Hong Kong. Here's how it works—students pay an annual
fee, and can download and reproduce anything in the Noank
library at no cost. Noank tracks usage and funnels royalties
back to the artists. The fee is charged by the internet service
provider—the company that provides connection to the content through the Internet via a computer, iPhone or Blackberry subscription.
"The trick is to find a business model where you align the interests of content providers with that of the ISPs," said Hoffert.
Noank plans to launch this system on every post-secondary
6 discordermagazine
campus in China, offering educational and entertainment content to 20 million students. Why China? Not only can Noank
avoid the staid-Western music industry, the population density
provides the critical mass for such an experiment. Additionally, Chinese music companies own all rights associated with
an artist—easing the red tape and the number of negotiators
in this pilot project.
"In China, they're all 360 [degree] deals," Hoffert explains.
"It is much easier to implement this system."
"I don't revel in the nostalgia of the good
old days," said Jackie Zubeck, president of
Footprint Worldwide. "We need to embrace free content."
Zubedcs company, based in Los Angeles
and Beijing, delivers 'branded entertainment', aligning brands such as Bacardi and
Converse with large-scale entertainment
events that target upscale Chinese youth. "Before, the label was
your bank," Zubeck said. "Now the new bank is brand." With
her is Kelly Cha, Chinese songwriter and TV and radio host.
Together, they're figuring out how to reinvent the industry.
"Labels can't break bands anymore," asserts Cha. In China
launching artists has become the sole domain of reality television, and Cha admits that being a musician is a struggle. However, Zubeck believes that Cha has got the formula right—
using brands and multiple platforms to access an audience.
Cha also provided a point of connection for Western artists
and Chinese audiences. During her radio program she plays
Western music, performs Western, covers, and interviews international guests. In spring, Cha will be touring 20 Chinese
universities supported by Apple Computers.
In addition to bringing China to Transmission, Trans-
There's an additional
hurdle for labels—no
one pay&for music in
Photos by Michelle Mayne
also went to China. In May co-founder van Toorn
organized a four-day trade mission, conference and music
showcase, bringing along 29 Canadian delegates. Those on
the j>lane to Beijing represented Warner Music Canada, Nettwerk Records, Paquin Agency, Arts and Crafts, Frontside
Promotions, the Canadian Music Centre, Paper Bag Records
and a few others. Vancouver's own Dani Vachon was in attendance, managing You Say Party! We Say Die!, one of the
bands chosen to showcase at the event.
"The trip was about learning about the
Chinese market and how Canadians can
break into it. And all the Chinese people
were trying to figure out how to break their
bands into Canada." More than this, Vachon added that the trip was about cultural
learning, and how networking is completely
different in China.
Survey results from Canadian delegates were overwhelmingly positive, and van Toorn is gearing up for Transmit
China 2009.
"A successful trade relationship with China will take an ongoing, multi-year effort," van Toorn added. "It was also clear
that Transmit China should grow into a pan-regional trade
initiative that connects Canada to all of Asia."
x With revenues in the industry declining, Western labels and
promoters need to expand. China's terrain is so foreign, it is the
ideal place to discard old assumptions and test out new ideas—
tearing down old models, and rearranging the pieces. Zubeck
is removing the content from her business model; Hoffert is
charging at a different point in the chain. As Simon Wheeler
from Beggars Group remarked at Transmission, "You have to
be in the market to learn." \P/ Two of Three Nights at
Transmission Festival
December 3rd & 4th
By Mine Salkin
The first night of the three-day Vancouver rock show took place at the Biltmore
Cabaret. Two years ago this was probably
the most depressing, dilapidated bar along the
Kingsway corridor, but since the renovations, it
has been hosting some of the hottest bands on
the local music scene.
Twin Crystals started off the show with their
huge, bombastic electro-heavy sounds. The
digital punk-rock trio hybrid are best described
as the kind of band that crafts tunes catering
to an ADD-riddled generation—fast, catchy,
and loud as hell. Drummer Jordan Alexander
pounded his set with a superhuman like determination, while frontman/keyboardist Jesse
Taylor repeatedly screamed "Go to sleep! Go to
sleep!" before languishing in a pool of psychedelic, distorted sound waves.
Sandwiched between two heavy acts, Said
the Whale came on quickly and entreated the
audience to a warm plethora of sounds that
were both soothing and invigorating. Playing
fresh tunes from their re-released album Taking Back ATbalonia, the indie quintet brought a
late summer glow to the show. Caught somewhere between the coolness of the Shins and
the spiritual ferocity of Broken Social Scene,
Said the Whale was the best act of the night.
Ladyhawk was the most anticipated act at
the Biltmore, but afterwards there was a sense
of disappointment. In the alleyway leaving the
'     ■ i
show one could overhear the conversailf|j||i
amongst the hipsters, one of whom was deV
scribing Ladyhawk's performance as "a huge
plaid beardo brodown."
Day two was tremendously impressive. More
flavour and variety of sounds were played at the
gutted-out Storyeum basement in Gastown.
Aside from being a bigger, newer space, the
venue had two stages going on either side of the
building which allowed for smooth set changes
and less waiting time.
Prairie-raised Wendy McNeill played music
for the heartbroken, rising a variety of unusual
instruments ranging from the accordion to tiny
music boxes. McNeill's free spirit filled the dark
venue as she sang songs about deception and
illusion, begging the audience with thoughtful,
voyeuristic lyrics such as "Tell me what it's like
/When no one's watching," while polishing off
her experimental indie folk sounds with the
clear "ching" of a triangle.
Another memorable act of the evening was
Pacifika, an alternative rhythmic Latin group
that incorporates subtle undertones resonating
from their acid-jazz influences. Adding tremendous sensuality and softness to the blend,
the trio combined dub, electronica and heavier
beats while sweeping through the eclectic
sounds of Latin America over nylon-stringed
guitars. Anchored by Toby Peter, a rather dominant bass player, singer Silvana Kane's voluptuous voice added balance and feminine intimacy to the set list.
On the other hand, Woodhands' performance was blistering, deafening and amazing.
With just two bodies on stage, the electro-pop
duo filled the second stage space with relentless
energy and impressive musicianship. Vocalist
Dan Werb showed his mastery of two electric
keyboards, synths and drum machines, while
intermittently dancing around the stage without the slightest indication of fatigue. "Chocolate" Paul Banwatt drummed demoniacally,
adding more depth and fervour to the huge
electro, heart-thumping beats.
Despite its quasi-corporate sponsorship,
Transmission succeeded as a celebration of
independent and local Vancouver artists who
decorate the music scene across the whole gambit of genres. From the high strung, teched out
electro fiends, the plaid-sporting greaseballs, or
the quiet, bookish types, this three-day show
had something for everyone.      \J-y
ANTi Available 3.3.09
february 2009 finding
The music blog:
haven for the new music addict
by Colin Throness
illustration by Colin Moore     1|fei
You stand on tbe street in tbe told outside tbe music sbop, gaze in at tbe warm scene inside.
The customers' heads bob and shake, their foreheads furrowed in contemplation. They
browse and peruse at random, perhaps following leads, perhaps just cover shopping,
hoping for a jackpot. You contemplate; fiddle with the crisp 20 in your pocket, your last for
the week. They look so happy in there, headphones on, wallets out, ready for the thrill of the
No. You can't afford it. Really, you can't. But wait, maybe you could just take one. Run!
Shoplifting? No, you have options. Your laptop awaits you at home. You could just download
it for free. Just this once, and from someone you don't know—it'll be exciting. We've all done
it. Get that Radiohead discography while you're at it—it'll be yours. All yours. No one will ever
know. We want it. We need it! Precious! We don't walk home, we fly.
It's a tough life, isn't it? These small dilemmas that torment us day in and out can quickly
morph into insidious monsters. They whisper, they gnaw, they chew; we weaken. It's all part of
the greater struggle, the existential angst within. Are we still good people? Are we punishing
our muse—the poor half-emerged indie artist who struggles like us just to put bread on the
table, unsure of what tomorrow will hold?
There are more options out there; loop holes and compromises. People out there who want to
help us, online writers and communities who share our pain and offer guidance in our search for
new noise. They're blogs. Music blogs, or MP3 blogs, are like havens, safe places that offer free
downloads and wisdom for our music-collecting adventures. The authors put a track or two that
piqued their interest for you to grab and Usten to. They also put out their identities so they aren't
anonymous like peer sharing. They provide informative and enthusiastic posts about emerging
bands; and, most importantly, blogs offer many artists exposure they wouldn't otherwise get.
Even the labels can make good use of blbgs in their own talent scouting and often leak tracks
to bloggers to spread bands they want to push to the masses.
Music blogs range in specificity and quality, but for most of the Internet-adept generation,
mining out the good ones is easy. Among the pioneers of the audio blog are Fluxblog and Ste-
reogum. You might also want to check Seattle radio station KEXP's blog and Obscure Sound
out of New York The music blog aggregators Totally Fuzzy, the Hype Machine and
are particularly good as you can see what's got bloggers all over the place buzzing. A couple of
good local music websites-are From Blown Speakers and Chalked Up. And if you're interested
in learning more about the legal piracy controversy, you can find some blogs specific to the issue
such as The Recording Industry vs. the People or Canadian copyright activist Michael Geist's
blog. If you want a more immersive experience you should check out web activist arid filmmaker
Brett GaylOr's new doc, RiP: A Remix Manifesto.
While the blog may not always offer you the entire album you were seeking, it does provide
a variety of samples for your tasting pleasures—food for hungry ears. And from there, you can
make that integral decision with more confidence and certainty. Y>u can choose to,say yes, this
purchase is worth the pain—we want it, need it! Or you can opt to do "the dirty download" if
you feel you need some more time to decide if you'll be in attendance at this band's next show
to support them in person. And don't you worry, it'll be nice and toasty warm in there.
tight solid
by Nafisa Kaptownwala
photo by Ryan Walter Wagner
The two of them looked at each other intently. One pulled tbe smoke off bis lips and banded
it to tbe other. Ryan Walter Wagner (drums) and Burnside (guitar and vocals) tripped
over one another's thoughts, finished each other's sentences as they brainstormed one
night in a scuzzy Vancouver dive bar in 2002. The two Langley souls had known each other in
high school but were never friends. That night, Burnside was accompanied by one of Wagner's
elementary school buddies and he approached Wagner enthusiastically, hoping to recruit him as
a new musical confidant. For the past six years they have been crafting Burnside's pop melodies
and cathartic lyricism with Wagner's forcible percussion. The result is Tight SoUd.
After Burnside parted with his project Treacherous Machete last summer his musical drive
was. hindered: "I hung out and jammed with a couple people, but nothing panned out. I was
bummed about playing music in a band."The prospect of playing solo didn't last long.
After thek meeting, Wagner made some room between his side projects with Dylan Thomas
and Jody Glenham to jam with Burnside. "We knew this was going to be something fun," said
Wagner. "We enjoy being together. It's been easy and that's been new. Burnside brings the song
that he's written and together we make the song."
"It's pretty different stuff," said Burnside. "Never has anybody added to the song."
The material Burnside brings to Tight SoUd is unlike the material he wrote for Treacherous
Machete. He dropped the blues back splash and has undertaken raw rock and pop sensibiUties.
"He was playing a bunch of blues stuff, so I was caught off guard," said Wagner. "It's nice to see
your friends get better."
After hanging out with the guys for a couple of days, I gathered their inadvertent objective
is just to have fun, whether they're busting out Run-DMC's "It's Tricky" at a karaoke bar or
playing a gig at the Cobalt on a Tuesday night. "I Uke playing with Burnside because we Uve to
play music, have fun and hang out with our friends," said Wagner.
Tney said it best: "We didn't name our band. We named our friendship," and proceeded to go
into a dorky, wdl-rehearsed hand shake.
The duo certainly banded at a good time in Vancouver, the music community itself has been
so encouraging lately.
"Three years ago it was hard to find a place to play," said Wagner. "A lot of [new] spaces have
opened up out of desperation." •^'^ISrN
"I'm optimistic about Vancouver," said Burnside. "So many wonderful-hearted people, you
want them to succeed. As long as I get to play music with people that I like and have fun with,
I don't see it stopping." llpllrP*^
Tight SoUd is playing a show on Feb. 7 at the Cobalt with some of their favourite local acts
White Owl, Terror Bird and Japandroids.      \T\j
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Mining Your Musical lineage:
With Help fromVancouver's
Music Community
j    W^J
by Simon Foreman
Hunting for recently-released music you haven't heard
before is all well and good, but it's important to make
sure that you're not missing out on a far richer endeavor: hunting for old music, those foundations upon which
the artists of today have built their styles and sounds. There is
a wealth of gems from the past that you may never discover if
you dismiss the tunes of yesteryear as outdated or irrelevant.
People of all musical stripes can attest to the doors you can
open by examining and then seeking out the influences ,of
artists you already listen to.
Start small
Sometimes, starting with a single band can be an effective
"gateway into the past. For Quinn Omori, of Discorder fame,
who blogs at From Blown Speakers, that band was Pearl Jam.
"I got really into music when grunge was sort of at its peak,
so Pearl Jam, when they were still new, were a big deal to me,
and that fandom got me into a ton of older music. They're
big on covers, and through those I was moved to check out
everything from Neil Young, to the Dead Boys, to the Las,
to"Otis Redding, to the Who."
Jeff Knowlton at Dandelion Records began by trying to
find out what the Stooges had been Ustening to. "That was
it for me. Basically, once you get into '60s garage rock, it's a
bottomless pit."
Often, you can be exposed to whole new subgenres through
the artists you know. When I was speaking with Jeff, a customer piped in: "I remember I was into the Sir Douglas
Quintet, which was garage rock, but it also had a real Tex-
Mex slant on it, which got me into a lot of southern roots
stuff as a spin-ofE" .
CiTR's own music director Luke Meat points to Stereolab, who "never had any problems with wearing its influences
on its sleeves ... They were the first band to talk about Neu!,
Faust, and these kraut-rock bands, but also all these lounge-.
pop guys like Gilberto Gil."
Shaun Cowan at Scratch Records drew connections between early '90s punk rock and seminal hardcore groups like
Minor Threat and the Cro-Mags. A personal eye-opener
for me was recently discovering the whole Scottish neo-pop
phenomenon of the early '80s, with groups like Josef K and
Orange Juice, through its effect on Franz Ferdinand.
Work forward
Gaining this knowledge about artists from one time period
can work fo enhance your appreciation of the music of other
eras, including the present day. Cowan noted that a much
deeper understanding of modern punkers the Gaslight Anthem is possible once you can recognize the similarities to
lyrical and song ideas from Bruce Springsteen.
Lasse Lutick at Red Cat Records pointed out how much of
Paul Simon's guitar style you can hear in Vampire Weekend,
and Luke Meat supplied a particularly interesting example,
by discussing tbe Flower Travellin' Band, a progressive, sinister Japanese band that was an unknowing contemporary of
Black Sabbath. "[Their sound] is like a staple of anything in
-kkfi Jbta
S 7 <ydb
terms of Japanese heavy rock. You can hear it in stuff like
Guitar Wolf, you can even hear it in tbe Polysics and stuff.
like that. It's kind of an incredible record. "But the funniest   —-
thing is, I was Ustening to it and was Uke, T know I've heard
this one song. How do I know this?"' He eventuaUy reaUzed
that Superconductor, an early '90s Vancouver band started
by Scratch Records founder Keith Parry, had covered the song     »     . s~
(without crediting it). HAXL^L-._^ ^f\JUu)
This kind of "a-ha!" moment, with its recognition of some
kind of hidden Unk between the music of different times or
places, is one of the most thrilUng things you tan experience
as a music lover—and becomes more and more possible as
your historical purview expands.
Tinding the traces
But how can you go about diving into the vault and uncovering the influences of your favourite artists? Cowan pointed
to thank-you Usts and Uner notes as a source of information. If
documentaries are available, they can also be quite educational—Meat mentioned the recent Kraftwerk and the Electronic
Revolution film as providing background on what influenced
Kraftwerk and other German groups of the time.
Interviews and articles about an artist are a valuable resource, too. Mike Andersen, a friend whose knowledge of
music is approaching encyclopedic levels, recounted a story
he read about how tbe Pixies found their bassist. "They wrote
this ad looking for someone who Uked Hiisker Du and Peter, Paul and Mary. That showed-that Hiisker Du was a big
influence on them, and that brought me back to those SST
It's detaUs like this—or reaUzing that, say, Pretty Girls
Make Graves was named after a Smiths song—that can clue
you into something great you've been missing.
Get off the internets
Of course, the Internet is a fantastic tool for this kind of
thing. Sites Uke Wikipedia or Allmusic aUow you to trace
back a Icing chain of influences and end up finding out about
some very early pioneers. "I love Ustening to Chuck Berry
and Bo Diddley records," Knowlton at DandeUon said. "I
mean, they're every bit as vital now as they were then. That
perspective comes clear because of the Internet. One human
being can Usten to aU of that and see how it aU fits in, and
enjoy an album for what it is, instead of having the prejudice
of the current pop culture against older pop culture things."
Lutick advises against being tfio Web-reUant, though. "A
lot of it is stul, beUeve it or not, coming into a record store and
asking [about music]. The Internet's changed that a lot, but
you can't just be glued to your screen the whole time. There's
community involved in discovering music that goes beyond
looking at a screen."
However you go about it, investigating the points of reference of your favourite artists can only enrich your musical palette, and might even introduce you to a new favourite
band. As Knowlton said, "It's a rabbit hole you can faU down
forever... [but] it's very rewarding."
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ON O H g pore'  :
by Leanna Orr
illustration by Aisha Davidson
For a hip-hop duo that is relentlessly pursuing commercial
success, CUpse focuses on the quaUty of their music to the
extent that it is almost ideaUstic. Pusha T, the younger of
the two Thornton brothers who make up CUpse, declares that
the new album, Till the Casket Drops, wiU "bridge the gap between the underground fan and the mainstream guys." In the
same breath, he refers to the album as "a great body of work,"
sounding more Uke a curator than a coke sUnger.
Casket wiU be the third studio album for brothers Terrence
and Gene Thornton, a.ka. Pusha T and MaUce, respectively.
Both brothers were born in New York and raised in Virginia
Beach, a pedigree that is never far from their lyrics and production style. CUpse, along with rapper Ab-Liva, are known as
the Re-Up Gang. The trio released Clipse Present: Re-Up Gang
last year, and boast three volumes of the We Got It 4 Cheap
tape series. CUpse is best known for their lyrical prowess and
defining the "coke rap" sub-genre. The duo's seemingly incompatible claims to fame create CUpse's unusual but rightfuUy
earned reputation as blow-pushing poets.
In a Feb. 16 telephone interview, Pusha T explained the false
dichotomy of CUpse's music.
"I caU it ignorant intelligence. Like, even at our most ignorant,,
the most shocking things that we can say, there's a level of intelligence in it and the parallels drawn are probably drawn from
something that's very inteUectual. It's not att just dumb. To me,
it's ignorance that's articulated intelligendy," he said. Although
the rags-to-riches, drug-dealer-turned-rapper story has been told
coundess times in hip-hop, CUpse is narrating that story with uncommonly clever wordplay and impressive lyrical aptitude.
Tnis "ignorant intettigence" has certainly resonated with
critics and music geeks (read: enthusiasts) of all sorts. Hell
Hath No Fury, CUpse's 2006 sophomore release, received unprecedented critical admiration and blog attention. The album
''It's amazingness"
was the sixth in the history of XXL magazine to receive an
"XXL" rating and given a 9.1 by Pitchfork Media. With critical accolades flowing in from serious hip-hop magazines and
highbrow Internet pubUcations alike, it is somewhat mystifying that Fury sold a disappointingly modest number of copies.
Pusha and Mattce have pubUcly blamed this on poor marketing by Jive, their former record label.
With Casket slated for release within the first quarter of
2009, CUpse is taking no more chances. There has been significantly more pubUcity surrounding the release of this album
than the previous one. The Re-Up Gang recently dropped a
hype-building mixtape entitled Road to Till the Casket Drops.
Additionally, CUpse have just launched a clothing Une called
Play Cloths and are playing a tour surrounding it. It will certainly not be due to lack of marketing if the sales of the upcoming album fall flat "It's amazingness," said Pusha. "Every-
"I call it ignorant intelligence, like, even at our most ignorant, there's a level
of intelligence in it and the parallels drawn from something that's very
intellectual:.. To me, it's ignorance that's articulated intelligently"
body go get that thing.".
During the interview, one had the sense that this multi-
pronged aim at commercial domination is not the path that
CUpse would ideaUy Uke to follow. Instead, they seem to pine
for localized stardom, a fame that is financially profitable but
non-corporate. During the interview, Pusha laments the reaUties
of the music business in Virginia. "I envy the South, and I envy,
let me tell you, I envy the Bay Area. The independent husde that
those guys get to have is so amazing. For whatever reason, those
markets are set up for that and I don't know why mine isn't."
By the sounds of it, Pusha would like CUpse to be able to succeed
off the strength of their work alone. Unfortunately, Fury proved
that within their market, exceptional music just isn't enough.
"A lot of people say 'Hey, I'll just put my music out and I
don't give a damn about a label and all that, and I'll still make
this type of money and blah, blah, blah.' A lot of people say
that, but a lot of people don't mean it," he continued. "But the
Bay Area, they mean it. When they really are releasing two,
three and four and five albums and they really are seUing 70
and 80 thousand, and they're releasing issues back to back to
back, it is the most impressive thing in the world to me. Love
it. I don't know why they get to do that."
Hyphy envy aside [ed. Hyphy refers to the up-tempo San Francisco Bay area rap genre.], CUpse has clearly made the decision
to court the mainstream market and branch out of their current
blogger/hipster/hip-hop head fanbase. With respect to their
music, however, the Thornton brothers are unlikely to dumb it
down in pursuit of the mass market, a la Kanye West. When
asked if he ever feels the pressure to release an album every year
with a couple of hyped singles and some filler, Pusha repUed "I
reaUy don't feel it. I don't really know how to make records Uke
that. I just know how to make what feels right."
If CUpse's Jan. 21 show at Richard's on Richards is any indication of the strength of the upcoming album, Pusha can be
beUeved that Casket will be hot. CUpse opened, fittingly, with
the intro from the mixtape Road. An engaged crowd knew the
sharp-edged lyrics, ("It's the hood's Obama, shovelling McCain / Out the project windows, the drama's insane,") and
rapped along appreciatively. Although the pubUcity machine
is certainly in motion, the not quite sold-out show still felt remarkably intimate. Of course, if all goes as planned for CUpse,
by the time they play Vancouver again, it will be to thousands
at GM Place. Ironically, their performance was tight enough to
exclude the possibility that Pusha and Mattce still practice the
lifestyle that they preach, so to speak The roughest point of the
concert came from the over-zealously remixed beat of "Grin-
din"', a poor judgment call that made CUpse's first hit nearly
unidentifiable to the well-versed crowd. Overall though, the
song choice was excellent and played like an anthology of the
"coke rap" sub-genre. Judging by their albums and Vancouver
show, whether it is pushing 'caine or making music, Clipse is
focused on trying to show y'all who the fuck they are.
february 2009 ^SPI^hotographedyMRyan Walter Wagner
Surveying Vancouver's VerMes
a guide to finding live T^^^m^^,fi.^ctty
by Shannon Gross
and Becky Sandler
Seeing a band live is a complete
sensory experience. Though much
of what reaches your'ears is the
music, the rest of the sounds, sights,
smells, touches and tastes that surround an evening result from the
venue. Thus, when planning an evening, the venue you visit is almost as
important as the band you see.
Even though the following list may
seem daunting, it is not complete.
Vancouver has more venues than can
be named, but not enough to fulfill the
needs of a city this large. Where appropriate we have listed drink prices.
If we didn't list it, the drink prices either change day-to-day or they don't
always serve. We've attempted to sort
the venues into three different categories. There's some overlap in each
one, but we have done our best.
On Tour:
These venues tend to be bigger, glitzier
and more expensive. Tne shows have
promoters, roadies and earlier start
times. Although sometimes quite corporate,
these venues are great for attracting touring
bands and pop stars that otherwise wouldn't
bother crossing the border.
BC/GM Place
777 Pacific Blvd./800 Griffiths Way
$6.50 Pint of Canadian
These are the gigantic stadium venues.The JT/
Rolling Stones/Nickelback venue. The tickets
are expensive, but you generally get to see a
whole circus when you come here. There is not
just music, but all sorts of other entertainment
going on up on stage. Buy a weiner and watch
the show! Usually all ages.
The Commodore Ballroom
868 Granville St.
Since 1930, the Commodore has been charming Vancouverites with its classic good looks.
Add a light show, fancy sound equipment and
999 of your friends and you're having a great
time. Just be careful of the Granville crowd as
you exit.
The Orpheum
398 Richards St.
As a true concert hall, the Orpheum has some
i the city. It is a beautiful
of the best sound
in themselves. You have to sit or the people
behind you get mad, making the whole experience kind of Uke watching television. Sometimes they open up the floor, which would be
chaotic, but more fun. Usually all ages.-
The Plaza
881 Granville St.
$6.25 Highball
Other than a band on stage, there isn't much
about the Plaza that makes it a venue instead
of a club. The expensive drinks and early end
times remind showgoers that the Plaza
The Vogue
918 Granville St.
One of few theatres remaining in Vancouver's traditional theatre district, the Vogue is
a true classic, though it shows its age. History has its charm, and the theatre design has
great acoustics and views from every seat.
space to enjoy music of all types as long as you
don't mind watching from your seat. The Vancouver Symphony Orchestra offers student
tickets for $10 to many classical shows, so it is
also one of the least expensive places to spend
a night out.
Pacific Coliseum
2901 East Hastings St.
$6.50 Pint of Canadian
As far as stadium shows go, the PNE's Pacific
Coliseum is about as small as you are gonna
get. You could see the stage even from a faraway seat, and probably even the musicians'
faces. Sound is loud and proud, as stadium
shows tend to go. Not the venue for bands
with lots of antics, pyrotechnics, or dancers;
the bands that play here are usually the act
clubbers first. The crowd always seems misplaced, like a tour bus headed for the Peace
Arch let its travelers out there instead. But, if
you stand just close enough to the stage, it is
still possible to get lost in a love song.
Richard's on Richards
1036 Richards St.
The best part of Richard's is that you can hear
some of the best sounds in the city and see the
band no matter where you are standing. The
downside is that drinks are expensive and they
won't even give you water for free (asking for a
cup of ice and fitting it from the bathroom tap
is a good way around it).
For the young (and young at heart)
For music fans, the best memories of
high school are. often from seeing a
great all-ages show. In Vancouver, few
places are open to youngsters regularly so it
is lucky that so many great shows are held
at the venues below. Each venue has a very
particular sound and audience, but when
you are just getting into music, watch these
places and try a few out.
Anza Club
3 8th Avenue West
Every show here feels Uke a big house party!
The sound is better than you would expect-
and the bar at the back isn't exactly stocked,
but the basics are available. The atmosphere
is flexible—the room could just as easily host
a bar mitzvah as a garage show. The Anza
has an open layout, with a lot of standing
space in front of the stage, which enables
good Ustening/dancing, and makes it easy to
find your friends or make new ones.
Peanut Gallery
Secret Location plOOT^
and other underground venues
In the back of dark alleys and the bottom of
long staircases, there thrives a crowd of perpetually broke musicians and equally broke
followers. The hidden spaces that exist today
are part of a long history of the City of Vancouver forcing music underground. There is
a charm in being in on the secret that helps
you wade through the fuzzy sound that is
typical of these venues, as most are Uttle
more than cement boxes. If you go to one be
prepared to stay since nights continue to the
early morning.
discorder magazine
I Hoko's
362 Powell St.
$3 Pint
Hoko'$ makes it easy. You can have dinner,
sing karaoke, and see bands in one place in the
same night. Though the acoustics aren't the
| best, it is a great place to meet new friends
and see new bands. And if you are a new band,
you can easily book your own show.
Punk Houses
These gems are scattered throughout the East
Side. They are often transient. As they are just
people's homes the sound is terrible, but the
experiences are golden. Here is your chance to
catch up with friends, see the newest bands
play, hang out in spray-painted basements or
get a stick-and-poke tattoo. A community
^. first, then a venue. Always good times to be
had, provided you can get an invite.
Little Mountain Studios
195 E. 26th Ave.
Adjacent to a small gallery featuring a rotation
of local artists, Litde Mountain fosters a community around a softer, folkier blend of music
than other Vancouver staples. The homey atmosphere perfecdy compliments the music and -
makes it an easy place to relax and enjoy the
St. Andrew's-Wesley
1022 Nelson St.
Music is glorified by the acoustics and ambience of this church. They always book shows
that sound good in a church. When a concert
is booked at St. Andrew's-Wesley, you should
always buy a ticket and show up early to get a
good pew.
The Sweatshop Upstairs/Downstairs
1945 E. Hastings St.
A skate park during the day, the cavernous
downstairs of the Sweatshop is somewhat intimidating as a venue. It regularly attracts an
overwhelmingly large crowd—often people
unseen at any other venues. The sound bounces
off ramps and concrete, amplifying the grunge
of most of the bands that play here. Sometimes
this is perfect—just avoid the bathrooms.
The Upstairs spends its days as an art gallery.
Sometimes a room for respite or a secondary
dancing room during a busy downstairs event,
smaller shows are also booked separately there.
The dark boxy room is a surprisingly comfortable place to enjoy music. Couches Une the
watts, allowing for a rest between sets, and DJs
are usually present to fill in the blanks.
Ukrainian Cultural Centre
805 East Pender
Croatian Cultural Centre
3250 Commercial Drive
Cambrian Hall
215 E. 17th Ave
These vary gready depending on their size and
what bands are playing. Rarely full, sound is
testy at best. The best part is standing outside
talking to your pals. Shows end early so the
kiddies can go home.
Hometown Heroes:
Though this list is longer than the rest,
most of the venues below are always
in precarious positions of survival. It
should be noted that all of these arc located
east of Granville and are the strongholds of a
•long history of closings, regulation wrangttng
and persistent harassment. Yet, these are the
venues where much of Vancouver music develops its flavour and grit.
The Astoria
769 E. Hastings St.
Though out of commission for a few months
(thank you City of Vancouver), the Astoria is
rumored to reopen soon after this is written.
The venue has a great stage, passable sound
quattty and a neighbourhood ambiance. Utilizing great bookers and many free dance
nights, the Astoria picked up much of the
slack after this summer's shift at Pub 340. It is
the mixture of touring bands, local bands and
dancing that keep the reopening of the Asto-
' ria an event to await, and that maintains its
position'as a great venue, even as it isn't fresh
in Vancouver's memory.
The Backstage Lounge
1585 Johnston St.
Located on the edge of Granville Island, the
Backstage Lounge is a great place to see your
friends' bands. It isn't too big, too loud or too
busy, just a simple bar that hosts a wide variety
of music. It is a good place to meet up, play
pool and gaze at the city across the water.
The Balmoral
159 E. Hastings St.
$3.25 Pint of Pac^Hc
Always the last resort of a band organizing a
show, the Balmoral's decrepit facade matches
its interior. Even the best band can be warbled
into fuzz by the sound system and there is no
warmth of atmosphere to make up for it.
The Biltmore
395 Kingsway
After a long time as a total dive, the Biltmore
recently unveiled red velvet, deer heads and a
.brand new sound system. Thanks to diverse
booking, the Biltmore is a soUd choice almost
any night of the week, keeping Uve music a
strong priority. There is a lot of floor space to
inspire dancing, but be wary of jumping too
high as it is easy to forget you are in a basement. After ^ome troubles with the City, it is
almost understandable why their bouncers are
The Bourbon
159 E. Hastings St.
$3.25 Pint of Pacific
Despite  the  Bourbon's  rectangular layout,
which can make it hard to seethe band from
Ryan Walter Wagner
Peanut Gallery
photographed by
Ryan Walter Wagner
certain vantage points, the stage is high enough
and the sound good enough to compensate.
Including a good sized floor, pool tables and
plenty of sitting space, the Bourbon is good
for the dancers, the casual watchers and the
drinkers. There is a whole back space sometimes dedicated to art shows or make-outs.
The Chapel
The Grace Gallery
Main and 3ri Ave
1965 Main
Art spaces sometimes get booked for musical events which is a pretty good excuse to
check out some local art. There are too many
to name, but the Grace's consistent support
of unique events and the Chapel's auditorium
make those two especially worthwhile. VIVO
is also worth a visit if you are interested in music of a more experimental nature. These,are
often all ages.
The Cobalt
917 Main St.
$3 Pints
Vancouver's resident punk bar lives up to its
reputation. It's dark enough in there to hide
all the slime and beer stains left by its regulars. The Cobalt is one of the only places to
host Uve music almost every night, and will let
pretty much anyone play, which is awesome.
The bathrooms are unspeakably gross, and I
would drink out of bottles only. The sound is
good, though very loud. Home to Vancouver's
most famed bartender/aspiring municipal
leader Wendyl3, the Cobalt is an institution.
The Gallery/The Pit
UBC Campus
Shows at UBC are catered to students. The
Pit hosts rowdier crowds and often has free
shows that are sponsored by big beer companies. A quieter setting, the Gallery is an intimate place, usually welcoming smaller touring
bands and every so often showcases some local
music. The best part about trekking to UBC to
see the shows is that you can come visit CiTR
in SUB room 233.
455 Abbott St.
Honey is definitely not a club meant for Uve
music. It is a dance venue, butthe lack of yen-^
ues in Vancouver has forced bands into any
space available. The decor is nice in there, with
lots of comfy seats and pretty chandeUers.
But no stage and okay sound give the whole
experience a strange vibe. Most bands that
play there tone their performance down. The
bar takes center stage, which is really too bad.
More bands have been holding shows there
lately, so I guess we have to bite our Ups and
take it.
Media Club
695 Cambie St.
A very personal place to see touring bands.
Sound is great. It can be really hard to see the
band at times due to the extremely small space
and the stage's lack of height. Sometimes, the
crowd has the annoying habit of sitting on the
floor in front of the band, inhibiting dancing
and other fun. Why?
Pat's Pub
403 E. Hastings St
$3.75 Sleeve of Pat's, $1.75 Glass
Tiny stage, even tinier dance floor. Lots of
tables and sitting space. So gritty, there is a lot
of fun to be had in this bar. Pat's hosts a lot of
rockabilly events, but the decor doesn't quite
fit The sound is alright, nothing special. Pat's
special brew always gets us into trouble.
Pub 340
340 Cambie St.
With a packed house, Pub 340"s cheap pints
and central location could make it one of the
best venues in the city. The dark and dingy
pub has a classic character and a raw sound,
topped off by an ample dance floor and (former) smoking room that remains a good place
for conversation. Yet, a staffing turnover this
summer changed the types of bookings being
made at the pub and it is now rare to find a
good reason to go there other than to see the
bands 1/2 Alive books on Fridays.
The Railway Club
579 Dunsmuir St.
Music belongs at the Railway Club. Though
shaped like a barbell, experienced sound engineers have perfected the sound quality in the
area around the small stage. With a mechanical train overhead, a dispenser of hot nuts and
the best selection of beer of any Vancouver
venue, the Railway remains true to its long
history as a comfortable downtown gathering place for those weary of the working week
Become a member for $10 and get $2 off every
show, a great value as the Railway hosts good
music almost every night.
Red Room
398 Richards St.
An unexpectedly big space that is quite dark
with lots of lounge space. The stage is great,
easy to see from anywhere in the room. It
has a bit of a Top 40 vibe, making rock and
roll shows there seem kind of silly. Multiple
bars are open on some nights. A good place
for stage theatrics, as the Red Room is well
equipped. Shows can end fairly early here so
they can put on dance nights afterwards.
The Royal Uni
147 E.Pender St.
The Royal Unicorn has longevity going for it.
It randomly hosts bands, sometimes to success, often naught. The atmosphere is great
for dancing, especially when they drag out
the lighted disco floor, but the poor Overhead
lighting dampers the mood at musical events.
The Waldorf
1489 E. Hastings St.
Unfriendly to" bookers because of high mini- .
mum bar sales, the Waldorf is sparingly used
as a rock venue. It's not uncommon to see
bouncers patting down a patron heading into
an event as you pass by, but it is better bet to
keep walking unless bar goers are headed into
Vancouver's only Tiki Room, hidden in the
february 2009 mMM
"we are the
Interview by Mel Mundell
Photos by Denver Lynxleg
Art from posters by Aja Rose Bond
Tho  mixes  blanket forts
and band practice, hand
holding and harsh 'noise,
circuit bent toys and dis-
\ sonant solos, feedback and the female voice?
Her Jazz Noise Collective.
T^sl Her Jazz is a group of self-identified (trans inclusive) wom-
yP en who are sound artists, noise musicians and those eager to
i^S§* learn in Vancouver, and more specifically, the Coast Salish
rjfv Territory. Not in fact a band, Her Jazz is "a radical, posi-core
Pj^g community interested in dialogue about equality, privilege,
£|P gender, powes and personal experience," according to their
\_S__ mission statement.
Founding member Aja Rose Bond (of Diadem, In Flux and
DJ Tapes) said Her Jazz Noise Collectives' s original inception
was inspired by "a lack of women making noise in Vancouver."
Named in reference to Huggy Bear's British Riot Grrrl anthem, 'Her Jazz' the collective hold the same motivations as
early '90s American riot g^rls who formed bands in response
to the male-centric DC punk scene
'As far as we knew there were no other ladies making noise
in the city," stated Bond and band mate Erin Ward (of Shearing Pinx and Les Beyond), who had been making noise in
project In Flux for roughly four years. "There were ladies at
our shows, there were ladies buying merch, so why were there
never ladies on the stage?" Bond said.
" Iii Flux members joined forces with Ora Cogan, Larissa
Loyva (of Kellarissa, the Choir Practice and P:ano) and ArUe
■ y^i-ijloyle (of Burrow Owl and the Internet) to form Her Jazz,
but the spring after the collective began they were faced with
the tragic death of a young audience member, musician and
collective-friend. Although Her Jazz was already in action,
they couldn't help feeling they had come too late. "What difference would a group of really supportive women peers do?"
Bond recalled wondering at the time.
"There are less women in noise than other genres, especially
harsh noise," said Amberle|^ft Forsyth (of Red Clover and
Dawt). "Noise is pretty much a dude fest." Bond, who has a
habit of tallying the gender ratio at noise shows, agrees. "It is
one to 10 female to male performers on stage consistendy,"
she said.
Rachael Wadham (of Attn: Diamond Shoppers and Brooch
Post) had never played with women prior to joining Her Jazz.
"[There is] a connection that woro&rjhaye with one another,"
she says she's found since joining jpfej really creates a soUd
ground to stand on.*- !&§;'{£
"There really wasn't any women to look up to," Ella Cottier
said when asked about role models in the noise movement
when she was growing up. The group agrees. Yoko Ono as well
18        discorder magazine
as contemporary Finnish based Islaja, Bay area artists Grouper
and Eva Incaore, and now defunct UK all female noise collective Leopard Leg, have att been sources of inspiration, however. Almost att the members cite each other as major influences
in sound, too. Although Her Jazz has received negative backlash for not admitting men into their primary membership,
the collective encourages men's involvement in other ways and
chose to "focus on the people that do support us" according to
Bond. Collective member and Fake Jazz Wednesdays co-producer Anju Singh (of Ahna) has received a lot of interest from
men attending workshops, for example, in the use of contact
microphones, and welcomes their involvement.
Held at VIVO in conjunction with the VAG's Wack] show
on Dec. 12 'This Summer's Going to be a Girl Riot'showcased
Her Jazz Noise Collective collaborating, DJing and making
some fucking noise. Collective members Forsyth, Bond, Col-
Uer, Singh and PrOphecy Sun sat on the floor in a circle facing
one another. Each equipped with a microphone, they generated sound by manipulating their voices through effects pedals,
loops, amplifiers and mixers. Distorted, at times magnified,
and almost always partially looped, the statement "We are the
majority, so where are we?" is repeated. Her Jazz performances
are present \Wth intensity, communication and curiosity, not
volume wars. It's like the soundtrack of an abstract painting
that one would stand in front of for hours, absorbed.
Since spring '07, the collective have tripled their membership and organized a busy schedule performing 15 shows
since their inception. They started a record label and produced
three international/Canadian spUt cassette and CD noise re-
leases. HerJazz has also curated shows featuring female-noise
experimenters Jenny Hoyston (of Paradise Island and Erase
'^Bife)sand Portland-based visual artist and musician Tara
Jaiie O'Neil. In addition, they began a weekly jam session/
ikftKsjSare as well as conducting regular monthly meetings.
Perhaps their highest achievement to date is the successful
curatorial hosting of six interdiscipttnary all-female art events
1 entitled "Women's Studies," which have been held at VIVO since last March. According to
Her Jazz's blog, "Tnis series has featured over 20 all female acts, many of which were debut
performances." Shows vary and often incorporate improvisation, movement, video, installation and even wine glass orchestration. ^-.^SIPIs
Her Jazz Noise Collective have become part of VIVO's official events programming for
2009 and they will be co-curating with sister collective Dance Troupe. Installation and performance artist PrOphecy Sun said she holds membership in both collectives "experimenting
with movement and sound" and is pleased to "encourage an exploration to open up in different
mediums". An exciting interdisciplinary season Ues ahead, beginning Saturday, Feb. 7 with
performances and work by Ora Cogan, Dance Troupe, Her Jazz and more!
If you are stoked about submitting a proposal for the upcoming matting Ust, need news
about events and group practices or can't wait to donate a practice space to the collective you
can get on the matting Ust by emaittng There are three levels of
membership on a scale of totally involved to the occasional update for you to choose from.
For further radical information visit:
it -
Album available r%b«iiV IflSuriqp
plus over 40 guest perforr
february 2009 Mint Xmas s4^\fe£0-
Cambrian Hall
Mint Records decked out the Cambrian Hall with Ughts, tinsel
and one delightful spread of appetizers to welcome us all to the
second night of their Ridiculously Early Xmas Party. Combine
the above with copious amounts of Giant Pocky (which Uves
up to its name) and the crowd was set for the best ridiculously
early Xmas they'd ever seen, courtesy of the fine bands of this
fine homegrown label.
Sadly, I missed Vancougar, so the first band I caught was Bella.
They did a great job getting the crowd moving with exuberant
synth pop and a couple of Hneup switches. After one of several
power outages, the Awkward Stage rocked the stage, and completely did not live up to their name. Their delightful indie rock
and witty lyricism filled up the Cambrian, and a stunning rendition of "Heaven Is for Easy Girls" had the crowd clamouring for
more. Young & Sexy was up next, with a far noisier sound than I
remembered, with such tracks as "Turn on Your Weakness" moving from a dettcate waltz to a feedback-laden rock song.
Edmonton's Hot Panda took the stage after a short break and
stole the show. Combining deft lyricism and tight musicianship
with starry-eyed charm, the out-of-towners took the crowd by
surprise, and the news of an upcoming album only left us wanting more. The Pfimftrtin' ^..mlmilliifTrrr'fir-T act once getting onstage was to get everyone in the audience to take one big step
forward, all the better to hear their spaghetti western surf rock.
Novillero launched into a coyer of the Peanuts theme song and
didn't let up, closing out the night with a strong set.
As Novillero finished up their last song, the Ughts came up but
the crowd kept wanting an encore that the venue's curfew just
couldn't allow. The crowd exited into a rainy December night,
ready to face weeks of stodgy fruitcakes and dull seasonal music,
buoyed by the memories of an Xmas party worth revisiting.
— GeraldDeo
litde Joy  .-^jj^^
Ihe Plaza   J&$^gj
December 12 0j__wM&
Before Little Joy hit the stage at the Plaza, I overheard a young
lady swoon, "I can't wait to see Fab [Moretti]! He is so hot—
way hotter now without Drew [Barrymore]." I suspect that
was one of the main reasons people were at the show—Stroke
20       discorder magazine
sighting. This claim was strengthened by the gaggle of dudes
who turned up with their leather jackets and tight pants who
were rettving their first foray into hipsterdom in 2001 when
that too-cool-for-school five-piece saved rock'n'roll. I am one
of those dudes so I should sound less sardonic (plus Fab is way
hotter since he and Drew spUt).
But enough about the Strokes—the night was about Little
Joy. I was compelled to attend this show primarily because I
think their self-titled album is one of the strongest of 2008.
With each song sounding Uke a cover of a touchstone classic
song from the late '50s/early '60s, it was a record that I couldn't
stop playing over and over again. Indeed, a time-cramped early
show at the Plaza was not an ideal setting for a band that I
want to play my dream beach wedding, but in their 45 minute
set, they managed to keep people's feet tapping.
-One of the finer moments of the show was the Binki Shapiro-led tune "Unattainable," which brought focus to the relatively unknown singer's coo (which sounds Uke Alma Cogan,
if Alma Cogan was a cigarette smoked by Bridget Fonda's
character in fackie Brown). "Brand New Start" and "Keep me
in Mind" were strong numbers in the succinct set, the former
being one of the finer songs of last year, and with the latter's
Rodrigo Amarante vocals sounding alarmingly Casablancas-
like. But enough about the Strokes.
— GordMcCullough
Pacific Cinfmatbeque
December 15 ^^f^*?.:*
Pacific Cinematheque, home of Vancouver's most thoughtful -
program of art-house, foreign and experimental cinema, played
host to a rare night of Uve musical performance this winter.
HooUganship, a Portland-based "multimedia dance duo," performed in the theatre for the last night of the "Cartune Xprez
2008 AMRCAN Fall Tour," a collection of short animated
videos that, according to the website, celebrates "the wilderness
of imagination through motion pictures." After HooUganship's
Peter Burr introduced himself and his partner Christopher
Doulgeris, the duo performed in the front of the theatre and
made use of a specially constructed stage set-up that included
a stairway, allowing a bass-playing Burr to walk up in front of
the screen while interacting with the fantastic animated scenes
unfolding behind him. Doulgeris, meanwhile, mostly stayed
put down on the floor in front of stage left, but he was no less
animated, jumping and dancing around behind his keyboards,
and busting out some high kicks as he belted out a few notes
on the recorder.
As a strange narrative about a journey involving scary giants and
tons of garbage carried out behind them, both Burr and Doulgeris brought an infectious enthusiasm to their performance, which
combined video game synths with angular post-punk guitars.
After HooUganship finished, they showed a program of 11
short animated features from different directors, which ranged
from "Wow, how did they think of that?4' to "Oh man, why
am I watching this?" Highttghts included Muto, a visually entrancing animation unfolding in graffiti on the walls of Buenos
Aires and Baden, Germany, from the Italian artist known as
Blu, and Adventure Land Fun Balloon from Vancouver's Crys-
talbeard (who Was in attendance that night), which combined
the grotesquely cute with the cutely grotesque and featured
music by Chad VanGaalen.
- The event was presented as part of DIM, a monthly night of
avant-garde cinema, intended in part to help fill the void in the
local scene left by the closure of the Bunding Light Cinema.
DIM takes place the third Monday of every month at Pacific
Cinematheque. Check out for upcoming
shows and events.
—Dan Fumano
Gang Violence ^ttws*,-..
' Biltmore Cabaret
December 29
The slippery conditions of the black-icy streets down to the
Biltmore were appropriate: two very promising local bands
were slotted to warm up the stage for what was hailed as a Uve
act that never failed to turn a venue upside down—Tel Aviv
rockers Monotonix.
With Twin Crystals'live performance certainly living up to
the hype and Gang Violence's meeting all satisfaction, the stage
was set and the Biltmore Cabaret was abuzz. But Monotonix
never actually took the stage that night. Instead they set up in
the middle of the dance floor and let the audience gravitate
around. Though gravity had nothing on these three:.the mayhem we'd all been anxious for was upon us—literally. Front-man Ami Shalev, clad in Uttle more than a speedo,
spent most of the show hanging from the ceiling or surfing the
crowd. I'm certain everyone in the bar helped pass this little
man along at one point or another. Even the drum kit was
hoisted several times, with a seated Haggai Fershtman hovering nearby and doing his best not to crush the brave audience
members underfoot. Bassist Yonaton Gat took a few turns too,
but for the most part did well to stay put and keep the garage-
y guitar chords pumping during the inevitable periods of unplugged mics and scattered drum equipment.
"We're all about having fun," Shalev told me as he crazy-glued
a beat-up drum kit after the show—always a good sign of a great
Uve rock show. You could say he achieved that, if ceiling climbing
and crowd surfing in nothing more than a speedo while belting
at the top of your lungs is somewhere in your definition of fun. I
had to shake this man's hand. Yes, that's right, I too touched Ami
sShalev that night, but not in the bathing suit area.
— Colin Throness W<^M_p&
Sex Negatives
White Owl
No Gold
Emergency Room
January 10
On a night that would prove to mark the ER's ultimate end, it
was rather fitting that No Gold too played a set advertised as
their last. Yet for Vancouver's answer to Vampire Weekend, it
turned out this wasn't the case. Later on, the band announced
on their website that their rumoured breakup had been a ruse
to get people dancing — a move that worked in spades, as the
news of No Gold's demise got the crowd more than just a Utde
moving to the group's Fela Kuti beats within an already bustling ER. You could argue it was their energetic set that got the
job done, but in the end you couldn't argue with results.
White Owl may not be a staple in the ER scene, but they've
practised in the space for most of its brief history and even
played the odd show there. Tne four-piece, fresh off recording
an album with Greg Ashley of Gris Gris infamy, played a loud
and mesmerizing set. Their unique brand of Spacemen 3 funnelled through the melodic-yet-pummeUng edge of early '90s
post-hardcore eventuaUy won over the crowd, many of whom
had probably not seen or heard of them before—something
that's hopefully about to change.
Sex Negatives followed with one of the best sets they've ever
played, which is saying a lot because the band seem to be playing
more shows with each ensuing month. They eschewed their tendency for long, tense build-ups and instead played short messes
of jagged skronk, which quickly erupted into furies of assaultive
punk uppercuts, causing the crowd to bubble over in excitement.
The trio instinctively knew that the jig was soon to be up and
that this was their chance to help tear the ER down.
Wett, they guessed correctly. Within minutes of Sex Negatives
finishing their set, and with Nu Sensae about to hit the stage, the
poUce finally showed up, demanding the place be shut down. The
trusty ER DJs quickly responded with the Dicks punk anthem,
"Hate the Police." The cops finally shutting down an ER show
in mid-swing was a sad but somewhat fitting end to the illegal
venue. But if the pottce think that this is end of alternative ven-
" ues in Vancouver, I have to say, "Not in my city."
— Mark Richardson and Jordie Yow
Falcao and Monashee
Fine Mist _„ '^i>^
Pat's Pub
January 15
. You know how you get a bunch of kids together these days, and
it's impossible to get them to move, or do anything? This show
was not Uke that. Fine Mist were amazing. The members, Jay
Arner and Megan McDonald appear to be a couple, and once
were, but are no longer involved beyond their musical partnership. They emitted a '70s version of futuristic sound as they
sang sweet melodies to each other. The spacey, dreamy, dancey
synthesizer sounds got everybody moving. Fine Mist's female
half was entrancing. I could write an entire article about her
teal vintage dress.
The next set was from Falcao and Monashee, a two person
band from Nelson. A furry man played the drums while his
girlfriend rocked out on a selection of folky instruments, creating an epic, gothy sound which brought to mind the Cure or
Joy Division. A complete surprise. They told me their songs are
meant to be uplifting messages of positivity in the world, but
I found myself thinking about the end of man and the wars of
the Romans as I Ustened to them play.
I should mention the first act, which I missed. But it ettcited
some real Ufe gushing from a real Uve cute girl, who described
Chris-A-Rific and Attson Therriault's show as "a tidal wave of
love." She said that. She really did.
— Stacy Thomas
citr 701.9 fm charts
Strictly The Dopest Hits Of January
CiTR's charts
reflect what's   i
been spun
the previous   .
Rekkids with
they come
from this great
Most of these   j
can be found
at finer (read:
find 'em
Luke. If you
ask nicely he'll
to git 'em. To
find out other
check out
j    1
Apollo Ghosts*
\ Hastings Sunrise
The Moondoggies
\ Don't Be A Stranger
;    2
Shearing Pinx
1 Ultra Snake
| Endless Latino^^pf^
j The Waking Eyes*  ' r
Holding Onto Whatever-It Is
; Coalition
1    3
1 The Gruesomes*
\ Gruesomania
j Ricochet Sound
Land Of Talk*
I Some Are Lakes
! Saddle Creek
j    4
Fucked Up*
j The Chemistry Of Common Life
j Matador
Isobel Campbell & Mark Lanegan
i Sunday At Dirt Devil.
| Fontana
1 Heirloom
; Independent
\ Cult Figures: Electroacoustic
I    6
! The Maynards*
j DateS Destroy
! Independent           j
j Various*
\ Musicworks 102
; MustcWorks Magazine
|    7
I sit
| Trendsetter
Arrington De Dionyso
| / See Beyond The Blade Sun    ■
i    8
j 777
j Independent
: Various*
i Just West Of SamethingtBig   \
! CFRU 93.3 FM
i 9
j The Bicycles*
-Ax^ No It's Love
| Fuzzy Logic
Brian Eno & David Byrne
| Everything That Happens
\ Todo Mundo
\   10
i The Bronx
| Distort
One Night Band*
i Hit & Run
I Stomp
I n
I The Tranzmitors*
\ Live A Little More
\ Deranged
The Organ
\ Thieves
j Mint
;   n
\ Woman*
.i-'-jrfttezasr •
I Endless Latino
Menahan Street Band
j Make The Road By Walking
Jeremy Jayj^O. ~&t
\ Love Everlasting
Menace Ruine*
l3fc&'$e% Cast
1 Alien8
\ Nu Sensae*
\ Onesided
j Isolated Now Waves
I NoJoTheNitp/Tprn To Pieces
f Nominal *-.■•."
Jenny Omnichord*
i Pregnancy 'P
\ Independent
Absolute Value Of Noise* \
1 n^gnet/c focus
\ Independent
j Safety Show
j Blackwater
| Independent
Sir Finks     \
j (Tres Mexicanos) "DelSorQfitsfas"
•f-:4a*tWfe-;-i ••
{&#■ Vt3^«pj
| Peggy Lee Band*
\ New Code
; Drip Audio
Fire On Fire
[The Orchard
; Young God
}  W-
\ Max Richter..
\ 24 Postcards In Full Colour
j Fat Cat
\ (K)no(w)here
\ Jagjaguwar
|   19
The Emeralds
\ Love is Rolling
i Australian Cattle God j
PhilipGlass'-. Ifcs^^t
\ GlassBox
j Nonesuch
|   20
\ Animal Collective
IMexriweather Post Pavilion
] Domino
Bison B.C*
| QuietEarth
s Metal Blade
| The Stolen Minks*-
I High Kicks
1 Stairway To Hamilton  -
- • j Moderate Rock «
| New Romance For Kids
Brutal Knights*
Waylon Jennings  fi
\ Living By Yourself* Bonus-.,
j^k&Frdm AustinT^^H
'• f^orjinriori                  . i v^^f-^.'^a
B.A. Johnston*
Margaret Thrasher*
! Just Friends
j New West
Lords Of Ahamont
\ r/»A/tam<wrt?SiBh;^^^g
; Gearhead*^s^!j^
Crystal Antlers
| Touch And Go
Koren HoJtkamp
Field Rituals
1   2S
The High Dials*
\ Goldstripe
i Creative Sources
february 2009              21 under review
New releases critiqued by Discorder's music aficionados
Animal Collective
Merriweather Post Pavilion
(Domino) l!p«iiis
Listening to Merriweather Post Pavilion is Uke
chancing upon a dusty old suitcase, crammed
with the photographs, curios, and handwritten letters of a young and dreamy-eyed lover.
It's Uke finding a lost journal tucked beneath
your seat on the bus, and guiltily pouring
over the pages of a stranger's most intimate
and heartfelt secrets. It's like tapping into the
night-time dreams of Avey Tare and Panda
Bear, with each song offering an honest and
raw portrayal of love, of life, of a fleeting moment or an object of desire.
Merriweather Post Pavilion proves to be just
as visionary and heartbreaking a masterpiece
as previous albums Uke Strawberry Jam, Feels
and Sung Tongs. The collection of 11 songs
provides a euphoric and exotic mix of celestial
beats, primal chants, tribalesque drum rolls,
and spasmodic, blissful noise bursts. It's all
layered over a multitude of heavenly vocals—
oftentimes wailing, other times screaming
or cawing like crows in song. It might be a
Uttle less crazed and raucous than their previous work, but it's as much of an ethereal and
nirvana-inducing experience, albeit veering
towards a more gentle, accessible sound. That
being said, Animal Collective still come out
top trumps, for this band of magical songsters
cannot help but woo and inspire with their
epic, heady and woozy concoction of oh-my-
God-I-must-be-dreaming songs.
—Amy Scott-Samuel
Chariots of Eggs
Chariots of Eggs
(Northern Electric)
Local trio Chariots of Eggs take their name
from an SCTV sketch from the '80s. This fact
informs the Ustener of what to expect from
the band, with quirky, often witty musings on
pop culture deUvered in Matt Caruso's overly
earnest lyrical style—at times in high contrast
to the accompanying instrumentation. Drums
are an often overlooked instrument, but Eric
Napier's talent is evident throughout the al-
22        discorder magazine
bum, particularly on "Can't Live on Love" and
"Waistcoat Willy," the latter accompanied
successfully by Mike Kenney's very funky
Stand out tracks are "Robert Ludlum," a
song about a man whose partner is more interested in reading best setters than putting out,
"Buffalo Bill," which opens with a punked up
beach party sound and includes the lyrics "Jesus he was a handsome man," and the dettght-
futty named short instrumental surf track, "All
My Friends Are Robots."
Chariots of Eggs sound more Uke a Mint
band than the usual rockabilly tinged offerings
from Northern Electric (admittedly there are
a few other exceptions) and perhaps represent
a broadening repertoire of artists for the burgeoning local label. It was a clever addition to
the mix as this baker's dozen of songs does not
include a cracked one in the bunch.
— Melissa Smith
Holy Ghost Tent Revival
So Long I Screamed il&»@P^
From Greensboro, North CaroUna, comes
Holy Ghost Tent Revival offering their debut
album titled, So Long I Screamed. From top
to bottom this album pays homage to a-time
when music was simpler in form and plenty
of fun, when the cream of the cool would
gather in smoky jazz halls to take in the hottest sounds of the day. This is a taste of music's
Deep-South golden days with a colourful and
modern twist.
Riding the rails of big band and New Orleans jazz, HGTR breaks down ideas of genre
by injecting folk, ragtime, bluegrass and even
some punk rock ethics into their arsenal,,
switching gears with quick precision and absolutely shining with big-time talent. Take
for example the super fun nod to Dixieland
jazz on "Getting Over Your Love" complete
with heart racing pace, simple breakdown and
steady rise to an explosive finale or the vocally
strong, rock tinged booty call of "Love Emergency." There's a Uttle something for everyone
here and it's played with an authoritative voice
that urges you to get off your seat and onto
your dancin' feet.
With great vocal arrangements, skilled playing and a respectful borrowing from the genre
pool, HGTR is like a New Orleans jazz band
broken free of musical restraints. Coloured
in with a Uttle old time rettgion and rock-out
seasoning. They make for a very enjoyable and
holy revival indeed.
—Nathan Pike
Hot Panda
Volcano... Bloody Volcano!
(Mint Records)
Clearly, the folks over at Mint Records have a
penchant for keyboard-heavy power pop. The
Vancouver label found a winning formula in
the New Pornographers, and have striven to
replicate that success with subsequent signings
such as the Awkward Stage and Immaculate
Machine. Latest in Une is Hot Panda, whose
gritty guitars and goofy synthesizers make the
Edmonton four-piece sound Uke the quintessential Mint band.
When describing Volcano... Bloody Volcano!,
the operative word is "fun." Opening track "Cold
Hands/Chapped Lips" emphasizes the group's
quirkiness,with its cutesy yelped choruses ("Yeah
yeah yeah yeah!"), music-box glockenspiel, and
sudden bursts of random synthesizer squall. VocaUst Chris Connelly sings in a half-shouted,
punkish slur, but rather than sounding imposing,
it merely adds to the overall air of silliness.
Occasionally Hot Panda's wackiness can get
a touch exhausting, most notably on "Afraid
of the Weather," with its absurd carnivalesque
organ and umbrella-condemning lyrics. On
the rare moments when the group gets serious, it is with outstanding results - the guitar
jam that makes up the final two minutes of
"Gold Star Swimmer" is the highUght of the
album, sounding a bit Uke a rocked-out take
on die Cure's "Let's Go to Bed." Hot Panda
has the sound, the personaUty, and the label
support to do great things; now all it needs is
that "Combat Baby"-sized hook to make the
move from cult band to "next big thing."
—Alex Hudson
Lucie Idlout
(Sun Rev Records)
Hatting from Nunavut, Lucie Idlout's album
Swagger is fiill of sweet contradiction. She's
one of those singers who can pull off the most
soulful Unes while sounding rougher than a
train wreck—a sort of midnight whisky rasp
that sounds uniquely feminine. Laden with
predominandy heavy, distortion-rich guitars,
Idlout manages to maintain harmonic integrity
despite the harshness of her instrumental entourage. When she croons "Drunk last night /
and got into a fight" in the track "My Shine,^it
brings to mind a pretty girl with soft hair who's
much tougher that she appears. After a while,
this album begins to sound a lot Uke late Alice in Chains, as both Idlout and Layne Staley
both have the voice of a 300-pound trucker despite their deceivingly slender builds.
The album peaks -at "Belly Down," where
Idlout tells a commonplace, but compelUng
story of attenation. Watting Unes Uke "She
once was a beauty queen / in a small town
world / she shattered all her dreams / hanging
out with big city girls," our character becomes
a junkie in a gritty industrial grotto. While
Idlout has the technical skill and a fantastic
voice, her lyrical integrity leaves much to be
desired. Drinking and fighting certainly has
its merits, but even in the world of rock and
roll those aren't always enough.
— Mine'Salkin
Last Plague
Last Plague
Last Plague is 20 minutes of strategic nuclear
warfare, with each track meticulously crafted
to melt your face off. The sound pours out
of the speakers like a swarm of bees, as the
deep buzz of guitars dip, rise and swirl around
your head. The rock soUd beat pounds through
the floorboards, pulling the music into your
neighbours' dreams and turning them into
nightmares. Heath Fenton's guttural vocals
explode throughout this EP, escalating the
confrontation to a full on assault. His growls, howls and machine gun chattering will send
any Radiohead loving roommate running for
cover. With every track you'll find yourself
turning it louder, the clack of the tin can snare
drowning out the sound of an eviction notice
being nailed to your door.
■ These six songs create a dynamic sound by
merging heavy riffs and melodic breakdowns
which pay homage to the many faces of *90s
hardcore, from more mainstream acts such as
the Deftones and Korn, to underground etttes
Uke Botch and Fugazi. With years of knowledge and an arsenal of great influences, Last
■ Plague is not the work of zit faced, power cord
peddUng kids; but intricate and intelligent hardcore played by decorated veterans and complemented by the supreme production expected
from the staff at the Hive Creative Labs. From
first exposure, Last Plague will prove to be not
just another rash, but a full-blown infection.
— Mark Paulhus
(Codify Recordings)
After the Mutators recent breakup, rumours flitted about that they might just be going through
a lineup change: Though it seems pretty unlikely
to anyone familiar with the bands' history Would
know that it would not have been the first Liane
Morrissette previously fronted the band before
LeifHall was brought on board. Around the time
the Mutators started dissolving for the final time
Morrissette was bringing back a record from
their past According to the press release accompanying KillMe, Morrissette, along with drummer Justin Gradin and guitarist/loopist Brody
McKnight recorded several songs in Mushroom
Studios in 2006. Shortly after, Morrissette left
the band with some ill wttl felt Upon hearing
some sounds from those recordings showing up
in newer Mutators songs, Morrissette decided to
put together a 13-track album of the Mushroom
recordings as they were "originally written and
meant to be heard." It was released by Codify
Recordings late this fall, two years after the fact.
Mutators' music has always Uved in the realm
of aggression, chaos and tension and although
this album doesn't stray from those themes in
the slightest, it's impossible to carry the energy
of one of their urgent live performances. The
tracks on the album are short and sweet, with
McKnight's looping providing atmosphere for
Gradin's skittering drum beat, and the vocals are
a lot clearer than anything the band has played
Uve. Morrissette's vocals are less screamy than
Hall, but Gradin and McKnight's noisey backing is as soUd as it is on any other recordings the
band have put out. What is noteworthy about
this album is that it might be their only release
that isn't vinyl For the first time, fans who don't
own a record player can listen to the band outside of a venue. While this album may not be a
swan song for the band that just broke up, it's
an excellent document; of a point in their past.
If you have trouble finding it at even the local
record stores, you can get in touch with the label
direct by emailing
—Jordie Yow
Ihe Psychic Ills
Mirror Eye
(The Social Registry)
The dreamscape has become a cttche for electronic music purveyors, who rightly sense the
genre's affinity for conveying the often unset-
tttng feeUng of modern Ufe, resulting from
the cottision of self with the wired world. But
most auteurs fail to see the cul-de-sac they're
leading the Ustener down; dreams are reflections of real Ufe, are a part of Ufe, but are not
the thing itself, and such ^ui approach is un-
suited to exposition. How many iterations of a
"dreamy" feeUng can there be? And how many
can the Ustener put up with?
In any case, New York's the Psychic Ills
have released their new electronic album Mirror Eye. As the title suggests, this is an album
that looks both inward and outward, and In
such a context the irregularity of the patterning makes sense. "Mantis," the album's first
track, opens with an eerie, pulsing wash, and
from there, songs just seem to happen; they
drift in and out of each other, sometimes with
a regular rhythm that you can keep the time
by, but sometimes not. Structure and feel are
at home with one another on this album, and
that's a rare feat. Mirror Eye is not necessarily
a landmark in the evolution of electronic music, but it manages to get things right
—Jonathan Evans
Brent Randall & his Pinecones
We Were Stranger? in Paddington Green
(Endearing Records)
In the Uner notes of his debut album, We Were
Strangers in Paddington Green, Brent Randall
is depicted sporting a cheesecloth shirt and a
goofy walrus mustache, looking strikingly Uke
a Sgt. Pepfer's-eia. John Lennon. Musically
speaking, however, Randall shares a lot more
in common with Paul McCartney than John,
as his theatrical cabaret pop leanings recall
McCartney's mid-to-late '60s output (think
the chirpy horns of "Penny Lane"). And Uke
Sir Paul, he doesn't shy away from schmaltz or
camp, with ornate instrumental arrangements
that feature strings, horns, and marimba,
among many, many others. The Uner notes Ust
25 backing musicians (yes, I counted).
It's a lushness that borders on gaudiness,
but Randall has one major factor working in
his favour: his voice. Unlike the gende crooning of most cabaret pop singers, Randall possesses a tense quiver that sounds distincdy like
Devendra Banhart. It's an oddball voice, and
the perfect vehicle for Randall's piano pop
songs. Best of att is the opening track/lead single "Strange Love (Don't be Lazy)," a vaguely
tropical-sounding groove with dreamy harmonies, sweeping strings and free-association
lyrics that vividly evoke the surreaUty of the
Hollywood lifestyle. It's the ideal opener, leaving a warm afterglow that resonates throughout the entire album.
—Alex Hudson
Miranda Lee Richards
Light of X
Miranda Lee Richards refers to her musical
genre as "PsychedeUc Chamber Folk Rock."
While this moniker does indeed provide the
potential Ustener with a rough idea of how.
Light ofX sounds, it does not hit the mark entirely. The songs are a blend of'60s folk vocals,
but married to a sense of angst still hanging
on from the Cobain years. And while a few
tracks do have a sUghdy psychedeUc sound,
there is a fair bit of country to be heard as well.
Not to mention the pretty piano on opening
track "Breathless." All of these colUding influences may suggest an audio experience that is
discongruent at best, yet Light ofX is actually
a very chitted out listen. It is easy music that
makes no demands and brings to mind warm
fall days with sunlight dappUng through the
trees and creating patterns on the ground.
With the exception of "Early November,"
Richards wrote all the songs herself, and the
references to nature which permeate the lyrics recall her hippie Upbringing in San Francisco. While Richards has relocated to L.A.
and now counts members of the Dandy
Warhols, Brian Jonestown Massacre and
Metallica as friends, her sound is very much
her own. And oddly, this is where the album
stalls, as the disc could use a bit of variety.
The final track, "Last Days of Summer," is a
spoken word piece which demonstrates how
a Utde auditory diversion makes for a much
more interesting Usten.
— Melissa Smith
Ruby Jean & the Thoughtful Bees
Ruby Jean & the Thoughtful Bees
(Youth Club Records)
Let's b6 honest: There's nothing more irresistible than a great big sizzttng sUce of dirty electro. Halifax's RJATTB know it, and they're
out to remind us with this debut album packed
with shamelessly infectious layers of beats, melodic synth and grungy guitar hooks matched
pace-for-pace by Rebekah Higgs' versatile
vocals. Although there's nothing thoughtful about this album, luckily, words Uke "effortless," "uncompUcated," and "fearsomely
danceable" might spring to mind. Comparisons with Daft Punk or Rhinocerose aren't
too far off the mark, while the track "How To
Win Friends And Influence People" sounds
Uke Moloko at their best.
The band have already logged plenty of experience in other groups and acts, and it shows.
From the high-decibel dance-floor dettghts of
"Trustfund" and "Danse Danse Resolution"
to the loose trippy lounge of "Not About To"
and the immaculate '80s styUngs of "The Best
of All," RJATTB never put a foot wrong. The
album kicks the Ustener up and onto their feet
straightaway with the assertive opener "You
Don't Miss Me" and just goes on getting better
and better, finally playing out with the sweaty
and mesmeric "A Thoughtful Letter." In fact,
this album is so addictive it should come with
a health warning. And if the rumours are true,
they're even better Uve...
— E.E. Mason
Treasure Library Canada
On their sophomore release, Calgary-based
folk-pop band Woodpigeon find styustic firm
ground while exploring themes of loss and
movement through melody-rich, lush and
sometimes surprising instrumentation. Singer
Mark Hamilton's hushed choirboy vocals are
reminiscent of Sufjan Stevens, and while
Woodpigeon may incline towards ornate production, they seem to avoid the pomp of Stevens' orchestral pop in favour of a more intimate, folk-rooted sound. Despite the banjos,
violins, glockenspiels and other now-familiar
indie pop accessories clamoring at the edges,
most songs are built on the foundation of
Hamilton's acoustic guitar. In keeping with its
thematic focus, the album plays with the sense
of the famiUar that comes along with the singer-
songwriterly strumming, veering off from time
to time into stylistically foreign territory. This
tendency seems to pop up more often as the
hour-long record goes on; the mournful violin
introductions of "I Live a Lot of Places" and
"The Hamilton Academicals" eventually giving
way to whole tracks of departure, like the Latin
jazz of "Emma et Hampus" and the baroque
choral arrangements in "Bad News Brown."
The album appropriately ends with a confused
sequence of distorted electric guitar riffs and
feedback, the different directions pulling on it
throughout finally putting it apart. Despite a
tendency towards cttched sentiment, Treasure
Library Canada is able to make the famiUar
strange and new, which is perhaps the most we
can ask from any folk-pop record.
—Aaron Goldsman
february 2009 SEQUESTERED IN SILENCE NO MORE Zulu answers thu call.
The Eraser Remixes
Those arriving late should take care
to come bearing gifts, as a wise
man once said. No doubt that sage
would be stoked on this deluxe
Japanese import ot the complete
remixes of Thorn Yorke s 2007 solo stunner, The Eraser. Collected here
ail on one disc are the diverse efforts of the cream of the contemporary
electronic crop: Burial, The Bug, Modeselektor. Four Tet, The Field,
Various Productions, and Christian Vogel all appear, and virtually without exception, they transform Yorke's songs of elegant alienation into
entirely new and compelling compositions. Burial's version of "It
Rained All Night" works his trademark dubstep shuffle into a paranoid
bass banger, Four TM retools 'Atoms for Piece" with his usual subtle
genius into an even-more-leftfield electro-pop heartbreaker, and The
Field trances "Cymbal Rush" into a hypnotic deep-space exploration
CD 16.98
Meniweather Post
Pavilion CD/2LP
ased on the stunning success of
Roses 9.99 A Dozen CD
Skin of Evil CD
Prog Eyes frontman Carey Mercer has always been principally known
I as kind of a lunatic. His feverish delivery often earns him comparisons to Pere Ubu's David Thomas - beyond that, few rock vocalists
sound anything like him; you have to turn to carnival barkers and
speechifying dictators for parallels. When he's playing with his band,
they add chaos to chaos, piling layers of racket on top of Mercer's
prophetic orations. Blackout Beach is his solo project, though, and it's
a bit of a different animal: accompanied only by his guitar and the
chilled, martial crackle of canned drums, his infernal interior flames
emit a cold heat. The elements of his songs have never been so clear or
so spare; his guitar playing is icy and devastating, carefully picked and
processed in a manner reminiscent of the the Durutti Column; his
singing has never been so controlled or so intense. Haunted and obsessive, Skin of Evil tells the cryptic story of one woman and her doomed
lovers with an anti-rock sense of theatrics only matched by Scott
Walker (obviously a major influence). This is scary good.
CD 14.98
Get Guilty CD A
ii new have the luxury of B-sides /
I I've gofbudtetsiull," Mew
Pornographers singer- guitarist Carl
i", and he's not kidding:
between his solo output and his work
with the New Pornographers Carl Newman has turned out five records
in six years — pretty prolific for a guy who seems to^spend loads of
time crafting his songs. There's no doubt about it he's a finely-tuned
pop machine. Like Bob Pollard, but ever so much more sweet and
lush, Cool Hand Carl can cast and polish the catchiest hooks in seemingly infinite qualities, pausing only long enough to set them to gnomic
verse. Borrowing a page from that even more arch and cryptic scribe,
the educated imp of American letters,
named Get Guilty s hit single the Palace at Four A.M."
's best stories. Cheeky!
CD 14.98
Tonight CD
well as the unprecedented 9.i
taste making online music authority
Pitchf orkmedia, we are lead to believe
that this release is easily the most anticipated new release of the year!
Add one seriously coot psychedelic postering campaign as well as one of
the more controversial insider trading music leak scandals of recent and
it all points towards Animal Collective taking the next big step ahead in
their plan to shake up modem music. Merriweather Post Pavilion has
already been discussed on ABC News as a definite example of direction
the next generation's music is going, as with Boy Scout bewilderment.
A.C. combine campfire bongo jams with house party art rock jams to celebrate the liberating possibilities of music making. Uke a welcoming
storm to get lost in, Merriweather Post Pavilion is a dizzying hurricane
of sounds that seems more magical, beautiful and upWting than disorienting or haunting! Animal Collective too much!    -*" "■
CD 16.98   2LPZ7.98
The Ciying Light CD   j
The Crying light is the highly antici-    j
pated full-length follow-up to I Am a   I
Bird Now. Here, Antony shifts the the-     j
matic focus and explores his relationship j
with the elemental and natural world; and
the intimacy of the Johnsons' sound is enveloped by subtle symphonic
arrangements. The first moments of "Her Eyes Are underneath the
Ground" set the stage, conjuring an animist worid with enigmatic lyrics,
TWifnwSclarBSet ffiws, and a lilting piano that cradles the listener over a
menacing quarry of strings. The spiraling waltz of "Epilepsy Is Dancing*
and the joyful ricochets of "Kiss My Name" are to follow. The record's
centerpiece, "Another World* traces despair in the face of a vanishing  L
landscape. The hypnotic vocal on "Dust and Water unfurls like smoke,
and the track "Everglade*, co-arranged with Nico Multly, concludes the
album. Here Antony realizes that his "...Limbs (have) stopped Crying for
Home..." and falls into a musical reverie that seems inspired in its sense
of pastoral abandon by the legendary Butoh dancer KazueOhno, whose
eerie portrait graces the cover of The Crying Ught. Not to be missed. '
Oh, Maria CD
Scratch your heads friends... jog your
minds and youjtf'tremaraber the^ .
boozy days spent here in at the local.
haunts listening to this fine young croon-'
er lead his juicy band through the paces
between Tonight's The Night and Days
in The Wake. Well, the wait is over as Jon-Rae comes out from his dark
days exile with this amazing new release for Weewerk Records - home of
eastern troubadours Great Lake Swimmers! Featuring JO new songs that
speak of a more matured songwriting confidence, a relaxed'vpcal delivery
and increasingly more and more ornate instrumental arrangements, Oh,
Maria is Jon-Rae Fletcher at his finest. Capturing a sort of Kg Pink
wonderment is extremely hattf fold, but for Fletcher and his fellow
Canadians the "sing your heart out direct to tape* aesthetic means that
music this good cannot lie and the natural beauty of his songs is laid bare
for all to see. A must have!
Tonight Franz Ferdinand is music
of the night: to fling yourself around I
your room to as you psych yourself for
a night of hedonism, for the dancefloor, flirtation, for your desolate heart- j
stop, for losing it and loving losing it,    I
for the chemical surge in your bloodstream. Ifs for that lonely hour
gently rocking yourself waiting for dawn and it all to be even again.
Tonight is Franz's boldest attempt at a full-on disco record. The synths
on "Twilight Omens' recall Giorgio Moroder, while the bass line on
"Can't Feel Anymore* is straight outta Larry Levan s Paradise Garage.
But because the dance floor is far less interesting when couples pair off
and leave, Tonight is all about the art of the extended flirt Like all fleeting hookups, the pleasure comes not only from the consummation, but
also from the knowledge that the whole process can start again tomorrow night.
CD 16.98
CD 14.98
Hastings Sunrise LP
You only get one chance to make"a first impression! Vancouver's best
kept secret, Apollo Ghosts, have done everything right to make a lot
of noise in a short time! This, their debut release, was pressed in a limit-,
ed run of 300 copies and captures the band in their formative ragged '
glory - the songs have an Jrtteeious energy that comes across as both
uplifting and liberating for both the players and the lispnJrs- Rock and
roll today lacks immediacy, instinct and impulse - all things this young
band have in spades! While most young hungry rockers take years planning out their course to fame, fortune and that all important first record,
Apollo Ghosts have jumped the cue and 'fearlessly forced their way into
the kingdom ofSBfigs. Awesome stuff and we haven't even told you what
it sounds like yet!
LP 6.98
A confessed self-taught piano virtuoso, the infamous
Vancouver session cat Jason Zumpano is a real force on
the ivories and, by extension, throughout some of the more
notable highlights of our local musk; scene. His signature
keyboard chromatic slides have pushed the crescendo peaks
of the likes of Vancouver's baroque footnote Zumpano, classic period Destroyer, as well as a host of others. But today, we don't speak of Jason's
envy-invitin' past catalog, no, we focus on his solo piano legacy and the arrival of another
extremely limited release on taste-making blog-label Catbirdseat records!! Complete with
collectable local art from Shayne Ehman, this latest offering furthers Jason's nimble,
Guaraldi esque flourishes. 12 solo piano compositions - a perfect dozen!
CD 12.98
Noble Beast CD
The cult of Andrew Biro" has recently taken flight and
soared to a lofty stratosphere! Gracing the Vancouver
stage at last summer's Stanley Park Singing Exhibition, the
sole Mr. Bird did everything sonically imaginable to steal the ]
show with his trusty violin in tbwJ. His deft use of tape
loops, pedals, strings plucked and bowed, organs and whis- !
ties creates an unmatched, highly evocative atmospheric songbird that floats between folk,
jazz and global hues, all while singing in the key of indie pop. The result is an idiosyncratic
sound that, while first cemented on his lush and serene 2007 release Armchair
Apocrypha, here, becomes the building blocks for an even more engrossing sonic architecture. Noble Beast is one of more ambitious records you wilt hear this year and perhaps
on this measure alone it becomes one of the rarest birds of aft.
Blood Bank CDEP/1Z'
Ever once in a while a band comes out oinowhere to
deliver one of the most startling releases of the year and
with it renews everyone's belief that incredible music is possible outside of the main milieu, Bon hrer's Justin Vernon
spent three months in a remote cabin in Wisconsin recording his debut For Emma, Forever Ago and then released it
quietly to his local indie scene. When uber-cool label Secretly Canadian heard mis magnificently intimate folk rock release, they instantly recognized it as a daring document of tranquil isolation a la the celebrated opuses of Elliott Smith and Iron and Wine. The rest is, as
they say, history and. try now Bon hrer's loyal fanbase have worn out their copies - are you
thirsty for a new batch of crimson-hued maudlin melodies? Vernon's Blood Bank is open
for business. Worth the price for "Woods" alone, as Vernon puts a new twist on the auto-
tune craze with an all-acapelfa stunner.   'ssfj^jyiStj
CDEP/12" 12.98
To Willie Q^
Drank! High! Outlaw! Willie Nelson has been labeled a number of things over the
course of his revered career. His legacy is firmly cemented'as a man who did what he
wanted, when he wanted and how he wanted. Like fellow country pioneer Johnny Cash,
Willie has recently enjoyed a crossover appeal as his songs speak to a younger generation
of listeners growing more and more disenchanted with the current music and socio-pouti» _
cal climate. Enter Zulu fave, Phosphorescent a.k.a. Matthew Houck, who himself being no
slouch when it comes to penning a beautiful ballad, has now turned his attentions to the
venerable Willie Nelson songbook!! Like Glenn Gould, Houck does a masterful job of
interpreting not prilyThe.songs themselves but also more importantly Nelson's particular
vision. Taste these songs again for the first time as one of the finest voices of the new
Ijiraration'does this drunk-high-outiaw legend a magnificent service!!
Colossal Ite-CharWi^Bis Thaw CO
King Khans BBQ Show- Animal Party 7"
Zero Bens-Wstory 01 reissue
Zero Boys-Vicious Circle reissue
Ben lee-The ReWrth of Venus
Casiotofte for the Painfully Alone- Advance Base
Sale prices in effect until February 28,2009
'Friends and Family"
January 15 -February 28
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232


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