Discorder CITR-FM (Radio station : Vancouver, B.C.) 2009-05-01

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 May 2009
fWi free.
that slow fading of memories magazine from CiTR 101.9 FM
the history issue:
discorder feels nostalgic, gets a history lesson.
in this issue—the western front, luv-a-fair and stories
from Vancouver s defunct once-wonderful venues, rich in
lore and history; a trove of tidbits for conversations about
music, and all the regular stuff (also a mention ofM&istl)
women tit.. UlaadscM. dvw, Jou^
Tickets: Ticketweb, Zulu, Outpost
i The Biltmore Cabaret
with Dog Day
June 14th, Biltmore Cabaret
Doors 8:00 p.m. - Show at 9:00 p.m.
Tickets: $15.00
Ticketweb, Red Cat, Zulu & Outpost
Justin Haynes
Ryan Driver
Friday May 8, 2009 SPM
Ainch tLondon
Charlotte Hug "Anderwelten'
ThuK$tayMay28,20098PM .;        fc.
rSSE"    OO-rl     p,r:P,eiOO    .-*"; I
Ambleside Bookstall
#115 -1425 Marine Drive
2016 Commercial Dr.
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
1990 W. 4th Ave.
917 E. 17th Ave.
Devil May Wear
198 E. 21st
The Eatery
3431 W. Broadway
The Fall Tattooing
644 Seymour St
Flaming Angels
644 Seymour St.
Full Tilt Tuesdays
@ The Republic
958 Granville St.
Hitz Boutique
316 W. Cordova
Hot Box
2560 Main St.
The Kiss Store
2S12 Watson St
Lucky's Comics
3972 Main St.
People's Coop
1391 Commercial Dr.
Prussin Music
3607 W. Broadway
Red Cat Records
4307 Main St.
R/X Comics
2418 Main St.
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 Mam St
Vinyl Records
319W. Hasttags v
VOZZ Boutique
2855 W. Broadway
A Friends of CiTR Cord scores you sweet deals
ot Vancouver's finest small merchants and
supports CiTR 101*9 FM. Show it when you shop!
discorder magazine TJ
Jordie Yow
Art Director
Nicole Ondre
Production Manager
Debby Reis
Copy Editors "
Liz Brant
Miranda Martini
Debby Reis
Alex Smith
a Smith
Ad Manager
Marie Benard
Under Review Editor
MeUssa Smith   k|f|l||
RLA Editor
Alex Smith
Layout + Design
Nicole Ondre
Debby Reis
Gerald Deo
Pyra Draculea
Bryce Dunn
Jonathon Evans
MeUssa Foye
Darren Gawle
Alex Hudson
Justin Langille
Tamara Lee
Miranda Martini
£. £. Mason
Gord McCuUough
Quinn Omori
Leanna Orr
Nate Pike
-Debby Reis
Becky Sandler
Amy Scott-Samuel
Jeremy Stothers
Chad Thiessen
Calendar Listings
Melanie Coles
Discorders of the past
26 years, damn.
Photo & Illustration
Bev Davies
Gerald Deo
Audrey Egeland
WiU Hay
Tamara Lee
Steve Louie
Nathan Matthews
MicheUe Mayne
Quinn Omori
Nicole Ondre
Debby Reis
Amy Scott-Samuel
Jill Southern
Program Guide
Bryce Dunn
Luke Meat
Peter MacDonald
CiTR Station Manager
Brenda Grunau
Student Radio Society of
May 2009 • www.discorder.ca
________w&_wk$ik_\ %.
discorder magazine
1 &%c***$t*^
This was one of the original alternative dance nights,
and now it's back for a special event.
7. Goonies
This new gallery does more than just display art.
8. Copilots
Indie rock gone postal with the knobs twiddled ever so
Marco Bozenich's obsession with the end of the world
inspired his bands newest album, Fin du Monophone.
9. Women
Women's Pat Flegel discusses how his band manages to
succeed while making no effort to connect with fans.
The Afterbeat exemplify the history of ska music
16. Defunct:
A Very Abridged History of Vancouver Venues
A look at venues lost long ago, including the Cave, the
Smilin' Buddha Cabaret and the Town Pump.
18. The Western Front
Leanna Orr takes a look at the struggle between the past
and present at this historic artist-run centre.
editor's note
4. Riff Raff
Miesha & the Spanks / Pizza Records Party Pack / The
Bash Brothers / Lover! / Vacant State
Textually Active
Punk Rock Fun Time Activity Book
5. Venews
The Astoria / the Rio Theatre / Goonies / Funky
Winkerbeans / Noise Complaints
11. Program guide
12. Calendar
by Katrina Dombsky
19. Real Live Action
Acid Mothers Temple / AIDS Wolf/ Art Bergmann /
Bonnie Prince Billy / The GZA / Mirah / Search Parties
21. Charts
22. Under Review
Bob Mould / Casiotone for the Painfully Alone / Clues /
Copilots / Cryptacize / Cycle of Pain / Fridge / gr8-2000
Immaculate Machine / The Kettle Black / Paper Moon /
The Reds/ The Western States
Dear Discorder:
It is important to remember that what goes on
today doesn't happen in a vacuum. What we
do now wiU effect what wiU happen in the future and what people have done before effects
us now. To some degfe,e_ everything we write
about is a rehashing of the past, it's usually the
recent past though. What we're trying to do
this issue is look back into Vancouver's music
history and talk about things that have shaped
our city.
Our cover this month is a smaU sample of
the magazines from our archives displaying
our own history. We've existed for 26 years
now, many of Vancouver's current music writers have written for us at some point or another, and most of Vancouver's successful bands
have been mentioned in our pages. While
pouring through those old issues it is great to
see that for aU the mistakes we've made (and
we've made some) we've also been constantly
striving to improve Vancouver's scene through
commentary, reporting and criticism. We've
changed a lot over the years (we used to print a
rap magazine caUed Elements!), but our goals
have remained roughly the same: to inform
people of great music. In this issue we've attempted to document some of the old going
ons that have relevance today: Debby Reis
takes a look at three landmark venues that
filled major roles in Vancouver's past (page
16), Pyra Draculae takes a nostalgic look at the
return of Luv-a-Fair to Vancouver's club scene
{page 5), Leanna Orr discusses how the Western Front struggles with their desire to both
preserve their rich past and keep building a
new future {page 18). In music history it's nard
to ignore punk's important role in reshaping
our musical landscape and we take a look at
that in both the Afterbeat's interest in the his
tory of ska music {page 10) and an irrever-
ant look at the highUghts of punk in the Punk
Rock Fun Time Activity Book {page 4).
Though we are discussing some history this
issue it would be a shame to note that we are
also doing our best to make some. Discorder is
going to start throwing regular concerts at the
Astoria. On May 6 come down and check out
Nu Sensae, Petroleum By-Products and gr8-
2000. Five bucks! Cheap drinks!
Switching to the future, the summer festivals are coming! Music Waste is one of our
favourite music festivals and in our next issue
after the lineup has been announced we'U be
printing a guide to heh) you plan your tour of
the June festivaL You are going right?
We wiH also be foUowing two other new festivals that will be happening this year in our
city. OUo Festival is a brand new celebration of
music, comedy and the arts that wiU be taking
place this August It's being organized by some
fairly experienced promoters around town,
and they are modelling the event on South
By Southwest. It will take place over four days
with each day focusing on a series of events
in a neighbourhood of Vancouver. The lineup
hasn't been announced yet, but I've been told
that we can expect some announcements in -
Another fest coming up for those with more
specific tastes is Fake Disco. Being put together
by gr8-2000 it's going to showcase the makers
of diy. electronica in the area. If you're into
that sort of music, thai this is something you
should check out
See you at the party!
Jordie Yow
Say it to our face.
Did you know Discorder holds monthly contributor's
meetings? In fact, the next meeting isTuesday,
May 5 at 7 p.m. in the CiTR lounge.
Bring a friend if ydu feel nervous about coming
alone, we know all about that. Bridge mix?
More information? production.discorder@gmail.com
©DiSCORDER 2009 by the Student Radio Society of the University of British Columbia. Alt rights reserved.
Circulation 8,000. Subscriptions are available and cost the current rate of postage. To subscribe email editor.
discorder@gmail.com. To write for Discorder, e-mail editor.discorder@gmail.com. Ad space is available for
upcoming issues and can be booked by calling (604) 822-3017 ex. 3 or emailing promotions.discorder@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
or1 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 CitrMgr@ams.ubc.ca or pick up a pen
and write #233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1, Canada.
May 2009 IF  H
^Mr7UALLY active
by Debby Reis
rl«w MMp H a rtfmbjr gi'dVa
Punk Rock Fun Time Activity Book
by Aye Jay | ECW Press
In the introduction to Punk Rock Fun
Time Activity Book Steven Blush of American Hardcore writes, "Punk successfully articulated the need to simplify, to strip down and
go back to the drawing board, to blow shit up
and start again.'' Perhaps he's right.
Perhaps punks helped destroy the values
placed upon them (and us) by the mainstream.
But now they have babies. Maybe they feel that
their babies need to know about punk's legacy or need to prove to their babies that they
were cool once. Giving their kids this colouring book could be an attempt to prove these
On the other hand, the book may just be an
excuse for everyone to act Uke a kid. After aU, it
is fun to draw tattoos on Henry Rollins.
mk imtd cot* p»t* $mh
Greetings readers! Missed you last month, but I want
to make up for it with a jam-packed column of good
grooves. First things first though, I would be remiss if I didn't
offer an apology by way of my way-faring seniUty to Miesha
& the Spanks for somehow leaving my review of her debut 7"
hanging off a cliff without a rope to climb down. So here, in its
entirety, is that review:
Miesha has got issues—you see, she wants her "Bedroom
Back," and no boy on this planet is gonna change her mind,'cuz
they're "AU The Same." She's learned her lesson and she's about
to "Drop The Anchor" on aH these fools as her "Heart Knows
Better" and she's doin' it aU on her fittingly d.i.y. debut, amplified and countrified for aU to hear. With a determined spark in
her voice and a crack band at her side, Miesha could hold her
own with roots-rock contemporaries near and far. A Utde more
time and some Uquid courage would help. Just cancel the failed
relationships. She's had enough of those.
I just received a four-song party platter of Calgarian contingents in the mail, caUed the Pizza Records Party Pack, that
makes me feel just a bit nostalgic for my hometown. Kicking
off side one are the recently-disbanded die Funfuns, who
give us "Zoo Creepers," a spunky punk tune with a keyboard-
drenched melody anchoring the proceedings. Think the Brent-
woods sparring with the B-52s and you've got the Funfuns in
a nutsheU. Then, worshipping at the altar of powerpop we have
the Hazard Lights. These guitar romantics give us their best
Beatle-bop with "She Moves Me," a sHghtly sloppy but amply
sassy song that only takes a couple minutes to drive the message home with its scrappy guitar, bass and drums workout.
FUpping over to side two, the Ostrich drop "Don't Rock" and
by Bryce Dunn
leave us choking on a cloud of dust. Listening to this I was reminded of a much beloved Calgary combo of yore, Color Me
Psycho. Supercharged garage rock with just a hint of new wave,
the Ostrich possessed the same quaHties before they caUed it
quitsviUe, but if you manage to score a copy of this single you'U
be sold on this track alone. Thee Thems have the honour of
closing out the. side with "Oh Shit!" They sound Uke the Spits
without the vocals (which is a good thing) and, much Uke the
Funfuns, have the organ calling the shots with everything else
bowing to its command. This record is stuffed in a pizza-box
styled sleeve with complimentary napkin and money back coupon included; I'm stuffed just Ustening to this and trying to save
room for dessert.
Lucidly the Bash Brothers provide some temporarily sweet
reUef. Most likely being force-fed a steady diet of Lemonheads
[ed. the candy not the band] and Hot Tamales is how these
cheekily monikered gals (not actuaUy brothers) came to bash
the heck out of their instruments on the five songs contained
therein. Songs Uke "Party Hat" and "Modern Day Robbin Hood"
do some devil-may-care damage on the dentures, but it starts
to go a Utde sour by the end of side two with "Bigger Trux" and
"Rat Jacket" when the bass and drums crash to a halt in a had of
laughter. Perhaps I missed the point but I think there needs to
be more fibre in that feast of tunes. StiU, this is good for a while
until the BratmobUe-influenced buzz wears off.
A different kind of buzz wiU surety be had with Lover! a.k.a.
Rich Crook and his newest slab of acid-casualty pop. If the
drugs don't kick in on the wah-wah-inflected wizardry on "I'm
Not a Gnomo" or the fuzzed-out "Ronnyf they will by "Left Behind" with what sounds like a wood whisde adding a dizzying
twist to what is akeady an amazing tune. like his compadre
Jay Reatard, Lover! cranks out more hits than you can shake
a stick at, so reaUy anything you pick up—including this—will»
be gold.
Lastly, providing a cold slap of reaUty to the face is Vancouver's
Vacant State, with a tightly wound four-song bUtz of hardcore
punk with just a hint of street rock for your Ustening pleasure.
Not the kind of band to mince words, aU the songs from "Tight
Grip" to the EP's tide track "State of Confusion" are about as
brutaUy plaintive and honest as they come, but this invokes
an intensity that matches the breakneck pace with which the
tracks are played. Fans of Negative Approach, Poison Idea
and first wave UK acts Uke One Way System or Menace will
surely dig this. With a second single rumoured for release on
Deranged Records on the way, this band will be something to
watch out for.
And I'm spent. See ya next time!
Miesha & the Spanks:
Pizza Records Party Pack:
The Bash Brothers:
Tic Tac TotaUy Records: http://tictactotaUycom
Vacant State:
638 Hawks Ave., Vancouver BC V6A 3J1
discorder magazine
get ready for time travel
by Pyra Draculea | illustration by Jill Southern
"I'm going to be DJing the
same set that I did almost 30
years ago. 30 years, yikes!"
—Steven ft Gilmore
just wasn't paying attention, the
Luv-a-Fair was Vancouver's iconic
alternative/new wave club. Opening in 1975 as a msco-spinning gay
club, by 1980 it had switched to
new wave. Vancouver's burgeoning
alternative scene coalesced around
the Luv-a-Fair and members of
not-yet-legendary bands Uke Skinny Puppy could be found hanging
out with other musicians, scenesters
and artists.
Next month, a couple of the old
DJs are coming home. Skinny Puppy's CEvin KEy and artist/designer
and former Luv-a-Fair DJ Steven
R Gilmore wiU be spinning classic
tracks popular at the club between
1980 and 1985 at a special Luv-a-Fair
club night at Celebrities Nightclub.
"I was speaking with [former
Luv-a-Fair regulars and servers]
Rick Forde and Joanne Denis about
the club, noticing aU these people
still talking about the Luv-a-Fair,"
said KEy. "I thought it would be a
cool thing to mention that Steven
and I had made a Ust of some of
the classics. The next thing, I heard
back from [promoter] Vernard [A.
Goud], who was excited for us to
spin it for the Luv-a-Fair events."
"I had never heard songs Uke
'Ricky's Hand' by Fad Gadget or
'Warm Leatherette' by the Normal
or'Empire State Human' by the Human League," KEy said. "I was so
inspired by the music I was hearing
that I had to work there—mainly
so I could know who aU the artists
Luv:a-Fair closed in 2003 but the
club is stiU remembered fondly. Re-
cendy promoter Vernard A. Goud
has thrown a series of Luv-a-Fair
club nights, inspired by his Face-
book group dedicated to the Luv-a-
Fair scene. "In a matter of a month
I had 1,000 members," Goud said.
"A lot of them said, 'Why don't you
throw an event?' Three months later
I threw my first one. It was meant
to be."
DJ Pandemonium has been involved since the first new Luv-a-
Fair night. His first thought when
he heard of the concept? "Hot
damn! I have to check this out—
and weasel my way into a guest DJ
spot! Anywhere I can check out an
Art of Noise or Nena Hagen 12",
surrounded by people appreciating
it, is Uke a dream gig!"
He added, "You'd have an even
mix of mainstream and coUege
kids and straight out alternatives
and freaks. Whether you personally Uked every single song was
beside the point: by the end of the
night, everyone would be partying
together. I haven't seen that before
or since."
Gilmore laughed and added, "As
egotistical as this may sound, there
are a number of clubs here in Los
Angeles that play music from that
time period and I have always
thought that I could easily do the
same job or better. Now I'm going
to have an opportunity to put my
inflated ego to the test!"
Gilmore DJed at the Luv-a-Fair
for five years in the early 1980s and
he got started with some help from
"The manager at the time, Kenny, asked me what I thought they
should be playing in the club and
he hired Michael Wonderful to DJ.
,One night Michael quit unexpectedly so Kenny threw me into the
booth. I had absolutely no experience as a DJ so I was scared shitless.
CEvin was the Ught man at the time
and he gracefuUy helped me."
So what we can expect? "The
same music I played between 1980
and 1985. Joy Division, Cabaret
Voltaire, the Cramps, the Stranglers,
Liquid Liquid, Wire, Gang of Four,
Siouxsie & the Banshees, Bauhaus,
the SUts, et cetera." said Gilmore.
"I'm going to be DJing the same set
mat I did almost 30 years ago. 30
years, yikes!"
KEy added, "Steven and I compiled a Ust based on what we could
caU classic Luv-a-Fair tracks. It will
be our treat to spin them in their
original form as it was in the day.
. So get ready for time travel!"
Luv-a-Fair wiH be back with Skinny
Puppy's CEvm(KEy and Steven R.
Gilmore plus special guest DJ Pandemonium. 9 pm. May 28, Celebrities
Nightclub. Tickets at Flaming Angels,
Zulu, Little Sisters, Priape and online
at ClubZone and litvngraceaffdir.com.
by Jordie Yow
$5 cover, $5.75 for a double gin and tonic, $3.75 for a Pilsner, and
$3.25 whiskey shots.
With all this talk of venues it's about time that Dis-
corder got into one and had a concert. With the Astoria
reopening and getting back into the swing of things we thought
it was a good idea to do just that. Clear your schedule on May
6 to come down and see Nu Sensae play with Petroleum By-
Products and gr8-2000. $5 cover, $5.75 for a double gin and
" tonic, $3.75 for a Pilsner, $3.25 whiskey shots.
The host of many an open mic night, Wired Monk got their
Uve music shut down after coming to the attention of city haU
for not having the proper Ucensing to host music. After speaking with a staff member who preferred not to give his name, it
sounds Uke 'Wired Monk will be going through the long process
to get the permits to host music again, but until that paperwork goes through, the KitsUano singer-songwriter crowd (and
Trike) wiH have to find a new place to play every week. This
problem seems to have a lot in common with what happened to
Hoko's. The owners of smaU venues in town are getting caught
breaking laws they weren't aware they were breaking. It's hard
to say whether these incidents are simply bound to happen
from time to time in a big city Uke Vancouver or whether this is
the sign of a bigger problem of awareness. In either case it's unfortunate that venues that have built up successful nights have
to lose aH the business they were relying on when it's found they
don't have the proper paperwork.
The Rio Theatre at Broadway and Commercial has started
booking events, and it came to our attention with the Ice Cream
Socials screening of A Hard Day's Night foUowed by a Uve performance by fhe Ice Cream SociaHtes. By the time this issue
goes to print, Fake Shark Real Zombie wiH have played there.
It looks like this place may be getting going as a soUd place for
events and it's a viable option for att ages events.-
Goonies will be hosting the occasional music night, though
A number of small off-the-radar locales have been stepping
in to fill in the gaps in Vancouver s music scene since the closures of the ER and the Peanut Gallery. If you are running one
of them or attending one of them you should bear in mind that
underground venues often get shut down because of noise.
After spending an hour pouring over the VPD procedural
'.    manual (available to the pub-
...Available to the public on [the VPD] website,
relevant sections are "1.6.23 Liquor Offences,"
Uc on their website, relevant
sections are "1.6.23 Liquor Offences," "1.6.27 Noise Control
By-Law;" and "1.6.32 Rave and
Late Night Dance Parties") on
1.6.27 Noise Control By-Law, and   1.6.32 Rave how the poucego about deal-
.        n ing with underground con-
and Late Night Dance Parties certs, the best advke that we
can give is to not bother your
they're doing a lot more than that It's nice to have something
running on the legal side of things and with the place's seven
year lease it will be existing in some capacity for quite some
time. There's no need to get into too much detail here as there is
a profile on the new venue on page seven.
In a follow up to last month's mention of No More Strangers
at Funky Winker Beans, they witt be stepping up their game to
a weekly night If you haven't been in that place before, it's surprisingly nice inside, though bands don't have anything raised
to play on, which would gready improve ft as a venue.
neighbours. Keep it indoors, the muffling effect of walls can
keep noise levels from bothering the neighbours, and it's the
neighbours that will get agitated and complain to the pottce.
Even if you've gotten yourseU a Special Occasion License to allow dancing and drinking for your event, it can still be shut
down if its breaching the city's noise by-laws (which are quite
easy to breach). The loud sounds of a concert can still bother
people even if you keep it indoors, but ft comes down to how
much your neighbours care about what's going on, and whether
or not they'll complain about your loud party.
May 2009 5 give   wm
tie hmv gift card
piay hmv
discorder magazine Goonies
by Jeremy Stothers \ photos by Nicole Ondre
"I think, in this city, people
just need a venue!*
Vancouver's newest art space is a fitting remedy to
this city's no-fun reputation.
The brand new Goonies GaUery, located in the Downtown
East Side, is a lot more than the paintings that hang on its
stark white waUs. Monthly Ping-Pong tournaments, Monday
movie nights, deUcious vegan desserts and local music aU
bring people into the art space for a good time.
Gallery founder Merida Anderson, along with seven other
artists—aU women—use a curtained-off space in the back for
their work, which is mostiy designing and sewing clothing.
But the front area is where aH the action is.
"It's a space where people can do anything," said Anderson.
"I think, in this city, people just need a venue."
The gaUery opened on Apr. 17 and has already hosted an
evening of bicycle films, a blob-drawing workshop and an
evening of tea and dessert with relaxed music from Andy
Dixon (of Secret Mommy and Ache Records) and singer-
songwriter Chris Smith. Currentiy the gaUery is showing the
Goonies' first group show which focuses on the movie, the
Goonies, and the colour of oxidized copper.
"I want this place to be always different, always changing,"
said Anderson. S3%|SSk
She's planning many interesting events and workshops, including a moccasin making workshop with Andy Dixon.
And it aU happens at 108 East Hastings'St, in the heart of
the Downtown East Side, between Insite and Pigeon Park.
There hasn't been a new for-profit business opened on the
100-block of East Hastings for over a decade, until now.
"I think it's good," Anderson said. "People walk by and stop
to take a look. They tell me 'I haven't seen this place open in
Uke, 20 years.""
This gaUery was a bit of a surprise for Anderson. A year
ago, she was designing and sewing clothes for her up-scale
fashion company PaperBird Clothing.
She ended up here almost by accident; it was the culmination of a year of bad luck for Anderson that made her start
She broke her arm in a cycling accident last summer, keeping her from sewing anything at PaperBird. Soon after, at a
wedding, she was accidentaUy pushed and feU hard—breaking the other arm and re-breaking her injured one. Then a
design deal for a Gastown boutique feU through. And finaHy,
she lost her old art studio on Kingsway in Vancouver.
After so many setbacks, it seemed like PaperBird Clothing
had run its course. She started looking for something new,
and found the studio on CraigsUst.
Local developer David Duprey had leased an abandoned
budding and was renting renovated artists' studios for cheap.
Goonies' spacious storefront is 75 cents per-square-foot
about a quarter of what some single room occupancy hotel
rooms in the area cost.
"For me, the key is to fight greed," said Duprey. "I've got
a seven year lease—even if condos spring up on either side,
those rents aren't going to change for«even years?
So, hopefuHy, this gaUery will be around for a long time.
Check out www.goonies.ca to see what's going on.
H   o *_,
m   o r
im g-tite-J* -£.
^_;   Q; _;   _;_J
May 2009 <(We're going to lure people in
the pop stuff, vocal
harmonies and all that jazz
and then once people start
listening to it they'll think
'Whoa that's weird!"
—Marco Bozenich
Post-Apocalyptic Pop
by Jordie Yow \ illustration by Nathan Mathews
The end of the world isn't pleasant
to think about. Whether through
nuclear war or global pandemic it brings
to mind uncomfortable feelings. So
what do you get when you try to make
the apocalypse sound happy? Victoria
band MeatDraw's second album Fin Du
"It's a juxtaposition sort of thing. It's
reaUy super upbeat and clap-a-long sort
of music and the lyrics are aU... different
views on how an apocalypse might happen and different ways to deal with it,"
Marco Bozenich, lead singer and songwriter for the band, said on the phone
from Victoria.
The album is what Bozenich would
describe as their attempt at making a
"pop" album, and the album in question is very pleasant sounding. The first
song, "Are We Gonna Die?," sets the tone
for the album and has Bozenich singing
from the perspective of a survivor of a
nuclear blast who finds new meaning in
Ufe after the bombs drop. "Are we gonna
die / hows it gonna end?" he sings along
with the rest of the band—made up of
his brother Stefan Bozenich, LUy Fawn
(of Hank & LUy), Marek Tyler, Megan
Boddy and WUl "Barracuda" Koltai.
"We're going to lure people in the pop
stuff, vocal harmonies and aU that jazz
and then once people start Ustening to it
mey'H think'whoa that's weird,'" Bozenich said.
Bozenich grew up in the waning days
of the Cold War and the end of the world
mentaUty had a big effect on the music
he writes now.
"I know a lot of people in my age
group—I mean the Cold War was a
pretty long period—but growing up in
the '80s I noticed it and thought about it
even as a young chttd... Nuclear war was
sort of there and it seems ridiculous to
think back now ... but at the time it felt
Uke maybe it was a possibility when you
were nine years old."
Bozenich keeps the music accessible
not just through it's poppy acoustic
sound, but also by narrowing the scope
of the songs.
"Almost every single one of [the
songs] doesn't look at things on a grand
scale," Bozenich said. "They're aH looking
at individual characters personal per
spectives, day-to-day sort of stuff.... Uke
how to deal with this crush you have on
a person in a bomb shelter."
MeatDraw are playing at the Media
Club on May 1 as part of their tour from
their hometown of Victoria to Montreal.
If you've already missed that Vancouver
date, do keep an eye out for them in the
future. They are dedicated performers
and their Uve set is heavy on emotion and
theatrics. They don't play often, though it
would be wonderful if they did.
Their performances are less than frequent as the band has given up on their attempts to make a career out of MeatDraw.
"This isn't our fuU time thing. We have
no delusions of trying to make money
off [being a band]," said Bozenich rue-
fuHy. "We've come to terms with it."
They have been getting some regular
play on CBC Radio 3 and through a Radio 3 showcase in Edmonton were able
to land some help with distribution. The
album had a smaU local release in February, but had an official release Apr.
14. You should be able to find it at Zulu,
Scratch or Red Cat.
A talented family
by Nathan Pike | photo by Tamara Lee
COPILOTS VIBRATE ON A DIFFERENT FREQUENCY, sounding a bit Uke indie rock gone postal
with the knobs twiddled ever so sUghdy, rendering them difficult to compare to anything else.
Quirky and unpredictable, tight but relaxed
and largely coUaborative, CopHots reflect the per-
sonaUty and musical background of its players.
Though some members may credit their time at
Vancouver Community CoUege as a fine-tuning'
point in their musical careers, it is more likely the
years of playing music with a lot of people and exploring genres that makes this band truly unique.
Just beneath the surface of CopHots' core sound
is a mass of influence and learned playing abiUty
that ranges from jazz and funk to hardcore and
punk which aUows them to confidentiy shift between weird psychedeUc hard-folk to full on atmospheric rock in a heartbeat. CopHots reek of '
top-notch talent and with four years under their
belt and the soon to be released fantastic second
album, Escape Through the Trees, it appears that
they have truly hit their stride.
Talking with CopHots singer/guitarist Skye
Brookes, I couldn't help but share his excitement
over the band recently signing with the eclectic
and creative Drip Audio label, founded by local
music veteran Jesse Zubot Brookes wasted no
time in expressing his enthusiasm over Zubot's
clout within the Vancouver music scene.
"Jesse is so good at making things happen,"
Brookes explained. "He manages to release stuff,
iWjsj^T- discorder magazine
that sounds reaUy good with amazing artwork
and great production. He gets your music out to
the right people and it ends up getting reviewed
aU over the world! The guy is a hero to me!"
CopHots came together in 2005 when Brookes
approached local guitarist Chad MacQuarie
about starting a band. A couple of members from
Brookes' previous band were looking to reimagine
their former musical project with a more punchy
and melodic edge. Revered by many, including
Brookes, to be one of the city's best guitar players,
MacQuarie was exactiy the force needed to make
this vision reaUty.   'W$0_%
"Chad changed the face of the band entirely
with his energy, stage presence, everything"
Brookes said about the gifted guitarist's immediate fit "We reaUzed the possibilities were so much
more. He lifted us up a notch and helped get the
band rolling as things kind of feU into place. We
started collaborating more and members even
started writing their own songs."
It is clear in the dynamic the band shares—
both on stage and off—that these people are close,
and share plenty of history. Their love of playing
together is obvious. And creatively, the band is
largely a shared experience.
"We love working on each other's songs and
helping each other out" Brookes said. "It's basically Uke a famUy band of sorts. [Drummer] Dylan [Smith] and I are brothers. [Pianist/vocalist]
Karma [Sohn] and I are a couple. [Bassist] Pete
[Schmitt] and I grew up together in Mission B.C. and were roommates for years.
And Chad, whom Fve known for 10 years,
is one of my favorite human beings on the
Also a prolific drummer, Brookes has
amassed quite a resume in the 15 plus years
he's been in the city. He's toured the world
in a staggering array of great local acts in- .
eluding the Veda Hille band, Inhabitants
and Fond of Tigers. It is obvious that the
passion for music and the respect he holds
for his peers is what drives him forward
and that CopHots are a very special oudet
for him.
"One of the main reasons that I play
music is because of the fantastic musical
relationships that develop," he shared. "A
great musical relationship is a unique and
intimate experience and I am blessed to
have many, many of these relationships in
my Ufe. Copilots reaUy represent this type
of relationship for everyone in the band."
CopHots celebrate the release of their
second album and debut on Drip Audio
records on May 14 at the Biltmore along
with Himalayan Bear and the Ford Pier
Vengeance Trio.
Doors at 9 p.m. Show at 10 p.m. sharp. Women
Connecting in spite of
by Gord McCullough \ photos by Steve Louie \ drawings of women by Audrey Egeland
fiN, I got reaUy nervous. The band, made up of
Flegel, his brother Matt, Michael WaUace and Christopher Refiner, have done enough interviews that
one can only assume he doesn't care anymore. When
asked about this though hisiresponse is mixed.
"Haha. Are we sick of this shit? Whatever man, I
don't know. No. It's Uke the fucking people who ask
us questions that can be answered by reading our
bio—that is stupid. Like 'So, you're from Calgary?'
But ultimately people are just trying to help us, so
For guitarist and vocaUst Flegel it is part of the
5 job,but he is quick to point out his own reticence.
"It's not Uke I pursue interviews. I never initiate
them. I don't reaUy get why people want to talk to
For Women's audience, this is a large part of their
appeal. An article in Plan B magazine hit the natt
on the head, suggesting that "attempts to demystify
Women are poindess; it's their mystery (if anything)
that defines them." Flegel agreed, citing that the
aforementioned article was one of the few that got
it right.
"It is interesting that you pointed [Plan B] out I
think it's definitely one of the best [articles about us]
out there."
Much has been made about Women and their interactions (some would say their lack thereof) between
themselves, the media and also their audience.
"We have never been the 'Hey, its Saturday night,
how's everybody doing?' or 'We're setting merch in
back of the bar' band. I have faith people wiH be able
to find our merch without me telling them where
the fucking table is. Or telling people to come closer
to the stage if there is a gap. If people want to fucking stand in the back, let them, I don't care, we just
want to play the songs and have them sound good. I
don't feel Uke telling people what to do."
ParadoxicaUy, despite this lack of interaction,
Women's ability to connect has been extraordinary
and has been made possible through constant touring. By Flegel's rough math, they have played 150
times over the last year. I was curious if anything felt
different on the most recent leg of their tour, which
saw them play Vancouver's Wise HaU on Apr. 5.
"We feel comfortable and feel good about it how
it sounds," he said. "That's one thing we have gotten
better at is knowing what sounds good."
Their attention to detaU has matured and their
knowledge of what sounds good has considerably
improved without pandering to their audience.
They have learned some things that they could improve on though.
"One thing that we would Uke would be a sound
guy. Like our own sound guy who knows how to
set everything up. At first we were reaUy awkward
sounding but we have learnt about monitor mixes
and mic-ing our drums right so they sound thin.
Not mic-ing the high hat. We have had sound guys
who mic the drums super loud so that they are the
loudest thing and it sounds Uke shit. We are getting
better about knowing what to ask for and demanding it basicaHy?
Matt Flegel, Women's bass player, recently lamented that whUe the band is touring, they don't
have that much time to rehearse or jam—something
the band loves to do. Curiously, they have been able
to churn out the new song "Diamond Boy? which
may be the best song they have written. For Pat lament is too strong a word.
"We do love touring," he said. "We love recording
the most probably, but we still love touring."
Indeed the band has been on a seemingly nonstop tour of the world since their self-tided debut
was released in 2008 and has seen the band play
with several of their equally impressive contemporaries including Abe Vigoda, who can be likened to
Women in many ways. They are both made up of
four guys who are friends who Uve to play music
together, and have been, unfortunately, mutually defined as creators of "rich sound tapestries."
"Those guys are fantastic and we had so much
fun," Flegel said. "We can, I think, call them friends
now. Yeah. No man, they are great and their latest
EP is rad. We are similar in that same kind of SST
[Records] spirit or ethic—constantiy putting out records and touring."
The Internet is something one might hesitate to
mention since it's been a source of consternation for
the band. Because of their name, many of the articles written about them are extremely difficult to
find. IronicaUy the Internet is the main reason they
have been able to reach so many people. In this case
it is something I am excited to mention because in
my preparation for the interview, I found a discussion forum where the lyrics of Women's music were
being debated.
"Fuck off. No way. How. did they get the lyrics?"
Flegel said, amazed.
Women don't print their lyrics in their Uner notes.
The online discussion is about trying to figure out
the lyrics, which shocks Flegel.
"What? ReaUy, that's... that's... wow. WeU hey,
that's nice I guess."
The effect of Women's lyrics, despite them being
cryptic or inaudible, is profound. They function as
part of the aural experience as an additional instrument. Some of the reason for this, Flegel added, can
be traced back to the Jesus fir Mary Chain.
"I used to Usten to Psychocandy a lot. Not that
much anymore... Fuck that, I will probably Usten to
it in a half hour. But their lyrics, I could rarely hear,
but that doesn't matter."
Women's busy summer schedule is further evidence that the band—regardless of their muffled
lyrics—has made a significant connection with
people. They're performing at the Primavera Festival in Barcelona before returning to North America
for more festivals. After that they'U head to Calgary
to record their foUow up album.
Pat comments that all of the experiences so far
have been great. "Man it's awesome. We are really
looking forward to Primavera. I want to meet Thurston Moore^[of Sonic Youth] and NeU Young. That
would be great. Or David Yow [of the Jesus Lizard].
Yeah, I am going to take a shit in front of David
"Fuck off. No way. How did
they get the lyrics?" Flegel
said, amazed. words and photos by Tamara Lee
finding their place in the history of ska
The scene was completely raw. The bar was dimly Ut and
smetted Uke the regulars who.sat around in the shadows. I
stood in front of a feeble attempt at a stage, only one foot above
the floor. When I moved my feet I noticed they were sticking
to some mystery puddles, which I hoped was beer but maybe
was—I tried not to think about it.
This was Pat's Pub and I was there to see the Afterbeat, a six-
piece ska/punk band from Winnipeg. They were playing their
first show on a cross-Canada tour. As I surveyed the crowd, I
observed a strange mixture of punk-rock seniors (stUl in skinny
jeans and mohawks from the '80s), some classic rockabUly folk
(Bettie Page pin-up girls and '50s greasers), and those^Jtrusty
regulars, still enjoying their 2 p.m. beer break. Pat's has the air
of the Ivanhoe. This means bad carpeting and rickety wooden
chairs, with an overarching bathroom smeU. The only thing
missing is random cheese sales by the customers.
However, I was soon able to forget the whole sordid scene,
which became insignificant once the Afterbeat took the stage.
The music began with a slap to our coUective cheeks, and within notes they managed to punch the entire crowd into a frenzy.
At first verse, they laid out a high-energy foundation with a
bouncing guitar Une atop some funky base. The rhythm had a
powerful reggae swing to it. Just when we were aU bouncing on
the baUs of our feet they kicked it into double time and came
over the top with the chorus, sweeping up anyone who had
not been moving. The lead vocals rang out about "rude boys"
and "changing the system," backed up by~aH the boys and their
"woah ohs." And the final icing was the sweetiy added sounds of
harmonic horns, energizing the chorus with bouncy trombone
and trumpet.
And I thought to myself, this is ska punk in its purest form.,
It was nothing Uke the commercialized punk of Sum 41, Good
Charlotte* or FaU Out Boy. There is not the predictable mass
marketed punk style, with its not-so-dangerous high school
rebelHons and angst about girlfriends and Math 10. If we shed
away aU of todays pop-punk cHcliis, then we're left with what is
before me: something closer to the core roots of punk rock
Current day pop-punk has deviated so far from its roots
that it is barely recognizable. During the mid '70s,
Rancid and Reel Big Fish to bouncy Californian surfer punks,
like NOFX, 311 and Sublime.
Throughout the years, punk rock music passed through
many changes and styles. About the mid'90s, punk finaUy went
mainstream. It might be harsh to say that No Doubt or Green
Day are responsible for this new turn, as they were likely just
on the crest of some inevitable, wave. But in 1994, when Green
Day's album Dookie sold a record-breaking 15 rnilUon copies,
the changes were certainly set in motion.
An edgy, blue-haired garage band became the next mass-
marketable goldmine. Before long, the sounds of punk were in
pop production. Oi was lost to unoriginal power chords. Less
abrasive sounds became prominent and eventuaUy we found
"punk rock" filling the top 40 charts. Somehow, what began as
Television, the Ramones, the Clash and the Sex
Pistols were maldng waves in New York and Lon- ^ similar mUSK StyU that
don. These original punkers gamed popularity as s
a reactionary counter culture to the era's prob- QOntUVned SOmetHng eXtrtt WaS
lems. The songs contained social and/or political <■>
commentary wrapped up in an angst ridden punk />/£&*>*£ Up Where PUnk left Off. This
rock package. x ox x J       JJ
Asinmarmusicstyiethatcontainedsome^ sound had a certain energy and
extra was picking up where punk left off. This oy
soundhadacertamenergyandbouncetoitusu     frOMCe tO U, USUOlh ttCCOmpUmed by
aUy accompanied by horns and a little flavour of « s *■ '
^^j^^^^^^zLxy^^t horns and a little flavour of reggae.
birth of punk rock m Britain, there was another J J <">o
musical movement coming across the sea from	
Jamaica in the form of ska.
I caught up with Mike Reis, singer and guitarist for the After-
beat. We talked a Uttle about the birth of reggae and ska.
"Back in the '50s in Jamaica, one drummer began to hit on
the second beats of the rhythm instead of the first," said Reis.
"It's a simple change. But this emphasis on the off beats made
a whole new sound entirely. [Ska] was born as music was buflt,
around the afterbeat."
That idea was the driving force behind ska. Born in the '50s
by a culture of rebels known as the Rude Boys [ed Rude Boys
was a slang term for juvenile delinquents in Jamaica]. The music
gained popularity in Britain's mod scene in the '60s with artists Uke Prince Buster and the Skatalites. With simUar rebellious roots and direction, there was a logical union between
the sounds of ska and punk, and a new sound began as artists
re-released older ska classics in new punk-fusion style. This
was named 2 Tone ska after the British record label many of
the bands who pioneered it were signed to. Some wett know
artists on this scene were the Specials, the Beat and Madness.
The influences of the 2 Tone ska bands continued to affect
newer styles of punk rock that evolved into the late '80s and
'90s. Ranging from heavy ska-styled sounds of Operation Ivy,
an edgy and reactionary counter culture, ironically transitioned
into simply, culture.
In this move to the airwaves, ska was left behind after the relatively brief popularity of No Doubt's edgier original sounds.
Nowadays it can be challenging to find punk music with the
original styles and sounds, or to find ska music at all, although
it is out there. The Afterbeat is part of this remaining tribe, and
has toured with kindred bands, such as Bedouin Soundclash,
Bad Brains, the SkataUtes (who reformed in the '80s) and Catch
22. They have also been highly praised by Ska-T's Scenic Drive
on CiTR as a rare gem of the genre [ed. available every Friday
morning 10 a.m. to noon on GiTR 101.9FM].
Their name is a suitable tip of the hat to the music that
they clearly love. And this affection translates into producing
great genre music. That is exactiy what the Afterbeat gives us,
wrapped into a fun, high-energy show.
Just when I had thought that punk music had been swallowed by giant record labels and spat out at teenage masses, I
am relieved to find that in some dingy bar's shadows, ska punk
is still being created in its pure form. Thank you Afterbeat
10       discorder magazine ._*
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Tickets also at Wireless Box Office™,
Zulu, Red Cat, and Scratch Defiincf^	
A Very Abridged History of Vancouver Venues
The Smilin' Buddha in its heyday. Photo by Bev Davies The Smilin' Buddha today.
Photos and words by Debby Reis unless otherwise noted.
Tltie recent venue closures in Vancouver are nothing new. Irak
fact, it seems to be a Vancouver tradition that concert goers
just have to deal with. This collection of venue histories, whichm
names just a few of the many many places that have closed overm
the years, reminds us of that, and hopefully will inspire new
mghtlifevetttMres. - g
The Cave
The 600-block of Hornby Street used to be the hub of Vancouver's
nightlife. Jack Wasserman visited those cabarets in search of stories
for his Vancouver Sun column, which ran from 1949 until his death
in 1977, when the mayor decided to name the block Wasserman's Beat.
One place Wasserman visited was the Cave Theatre Restaurant.
The Cave opened in 1937 as a vaudeville theatre. A few years later it
became a known bottle club, where people brought their own booze but
paid for mix and ice. Mitzi Gaynor, a movie musical star, perfected her
stage routines at the Cave year after year, as did other Vegas acts. These
were the Cave's primary entertainments. Tony Bennett, Ella Fitzgerald
and Louis Armstrong all performed there. Jayne Mansfield was too
drunk to remember her own lyrics there and Bette Midler flipped out at
a heckler, threw his "refunded" money at him and demanded he get out
"But it was what was unique about this place that made it special. It
had been constructed todook like a cave (duh)," Will Hay of the Painted Ship, wrote in an email. "When the band first walked in and we saw
the stalactites pointing down at us, our Troglodyte hearts skipped a
beat. HOME!!!"
Initially Hay was reluctant to play the Cave due to its dress code and
cover charge, but after making arrangements, to limit these rules, the
Painted Ship ended up playing for an extra week in July, 1969. "The
Who and Herman's Hermits came down to see us," Hay wrote, recalling
one performance. "At one point they decided to storm the stage and we
all collaborated on a raucous, punked-out version of'Satisfaction.'"
By 1976 business had slowed, prompting Stan Grozina, the owner at
the time, to have Celebrity Revue, a TV variety show, film there to help
cover costs.
Before closing and being torn down in 1981, the Cave auctioned everything in the club off. Even the stalactites went for 20 bucks a pop.
16       discorder magazine
The Smilin* Buddha Cabaret
Formerly located at 109 East Hastings, the Smilin' Buddha Cabaret
opened in 1953 as a dinner and dance club. In 1961 Lachman and Nancy
Jir, the longtime owners, took over, and booked Tommy Chong's the
Shades. Throughout the '60s the Buddha showcased R&B acts, includ
ing Ike and Tina Turner, and was Vancouver's "mod" hang out. Apparently Jimi Hendrix was fired for being too loud.
By the late '70s, however, the Buddha had turned into a skid row bar.
And that's when the punk scene took over.
"It was like a clubhouse. You knew everybody that was there, and if
you didn't, you found out who they were pretty fast," Tracy Brook, singer
for the Hip Type, recalled. Brook used to go to the Buddha regularly
from '79 to '83. Although she was underage, she paid her cover with a
roll of nickels and was let in the front doors. Nevertheless, underage
kids Often hung out in the back alley. "That's where the police would
come... they would confiscate belts, they would confiscate wrist bands,
they would confiscate if you had a dog collar on, they would confiscate
anything. And boy oh boy, god help you if you got caught with a beer."
Scott Beadle, who's currently writing a history of Vancouver's punk
scene, played the Buddha with the Bingo Chickees before he was 19.
There was a line flush with the stage that young performers had to stay
behind, but that didn't prevent the owner from being paranoid when
the cops appeared.
"Lachman [the owner] would come running back and herd us all
into the kitchen ... that was the band room ... and lock the door. And
one time, when the cops came in and he was more nervous than usual,
we were used to the drill, he came into the kitchen and there's like a trap
door, underneath to the beer cellar, and [he] lifts it open and he's like 'go
in, go in."' Beadle remembered.
At a Subhumans' show in 1979, the cops raided and arrested people
for being drunk and disorderly. Joey "Shithead" Keithley was beaten and
choked unconscious by police. The next day he appeared on The Vancouver Show, a prime time news show, displaying the welts left on his torso,
prompting an internal investigation.
The infamous raid also spurred many bands to write songs about the
A plaque on Hornby Street honouring Jack
At a Subhumans'
show in 1979, the cops
raided and arrested
people for being drunk
and disorderly, foey
"Shithead" Keithley
was beaten and
choked unconscious by
police. event, including the Young Canadians'"No Escape."
In November 1983, a fire eviscerated the Buddha. Jir
promised to reopen it, but wanted to move away from
punk and showcase strippers instead. By then the punk
scene had mosdy moved on, although the odd show
was scheduled.
Vancouver Archive's City Directories lists the. The
Smilin' Buddha's address as vacant in 1990, meaning
they closed down in 1989 or '90. The neon sign, however, landed in the hands of 54-40, who took it on tour
to promote their 1994 album, Smilin'Buddha Cabaret.
Later, they donated the sign to the Vancouver Museum.      pBlipl
The Town Pump
In 1996, my friend won tickets to Moist's CD release
party for their album Creature [ed. Nooooo our credibility as a music magazine!], at the Town Pump. We
went to 66 Water Street (currendy Fabric Nightclub),
where they didn't even check our fake IDs! We were
inches away from David Usher as he performed on the
stage in the centre of the long smoky room with exposed brick. What a thrill! But we were at the tail end
of the Pump's glory days.
The Town Pump appears in Vancouver Archive's
City Directoriesin 1973. At this time it operated as a
restaurant with Uve music. By '83 the owner, Bob Burrows, was booking Uve music and leaving food service
behind. That same year, Tom Harrison, a Province columnist, wrote that the Pump was one of the few places
where new music could be heard. Nirvana, Pearl Jam,
and the Counting Crows aU played there before they
were popular. And the Pump hosted 99.3 The Fox's indie showcase, Demo Listen Derby.
"The first [show] I remember seeing there was
Suede," Darren Gawle, host of CiTR's Stereoscopic Redoubt, recaUed. "That was nuts because it was totally
sold out and that was the only time that they played
and it was just a reaUy great show, reaUy magical."
As a member of Daytona, Gawle played a Christmas
benefit at the Pump and saw Joan Jett dressed down
during thesound check. "When she came back later,
she was done completely up in leather from neck to
ankles and seemed to need her manager's help standing up in the platform stilettos she was wearing," Gawle
Besides taking risks on new music, the Pump took
another risk and became Canada's first non-smoking
nightclub in June 1991. Their sales dropped by 70
per cent and they were back to smoking after only a
In 1997, the then owner, Ray McLean, put the Pump
up for sale, citing the pubUc's preference for dance clubs
over Uve music as a major reason. It was reopened as
Sonar, a dance club, by its new owners soon after.
The Who and Herman's Hermits join the Painted Ship on stage at the
Cave. Photo courtesy of Will Hay.
The Pump took another risk and became Canada's first non-smoking
nightclub infune 1991. Their sales
dropped by 70 per cent and they were
back to smoking after only a month.
Poster promoting the Painted Ship at the
Cave. Courtesy of Will Hay.
Recollections ob Venues of Yore
"It was a coffee house, however, if you sort of knew what you were doing, you could order a'dark'
coffee or a 'special'coffee'..^ Wefre aili sorry that it died because there was a unique atmosphere in
there, very music friendly. 1 mean people really came there to listen. It was never hassled by cops or
anything because ifu was a coffee house.... You couldsit there and play jazz and listen to the music."
0-"G*vmWAlKERo/CirjR*$ The Jazz Show remembers The Classical Joint
*ft was on Granville Street when Granville street was stitt pretty down and out rough. It was before
the entertainment district was created and it turned intsdouche bagfrat boy rough. [The Sugar
Refinery] was just unlike anyplace Yd gone....There were birdcages turned into tightfixtures and
yam fries and I was pretty new to concert going and this place just seemed like a Utde oasis."
—Duncan McHugh. <)f Duncan's Donuts on CiTR remembers The Sugar Refinery
"Some jackass in the corner kept yetting out requests for Skynyrd josephmary [of Compulsion} told
him to go fuck himself, and [the jackass] threw a full pint glass at the stage, smashing it against the
drum hardware. Well that was it. Jospehmary went through the audience like Moses through the
Red'Sea. Not Uke he knew exactly who threw the glass to begin with. Their guitar player went after
him, swinging his Les Paul around his head Uke a club, except it was still plugged in so he broug/k
his stack down with him." -. .
—Darren Gawle of CiTR's Stereoscopic Redoubt, remembers a night at The Niagara
"TheSubhumans played their last gig there. So hot, when I stood ana chair my camera fogged up
for about five minutes, all glass. That is where I learned that Brad Kent and Randy Rampage spent
most of their time in the girls washroom at the Windmill, at least that is what they said when ItrUd
to throw them out of the Acadian Halfs prls' washroom." «
—Bev Davies punk and concert photographer, remembers The Acadian Hall  jj
May 2009 ThefWesfern
Wrot^^ ihe evolution of Vancouver's first artist-run centn
^_by Leanna Orr \ photos by Amy Scott-Samuel
Inside of a rambling turn of the century building on East Third Ave.,
artists create some of Vancouver $ most avant-garde arid experimental ■
art and music. The Western Front Society was onevfCanadasfirw^
artist-run centres, established in 1973 by d^ymi^artist^They
banded together with the goal of making a space to explore and create
j new art forms: a place where the artist was boss and risks could be taken.
The centre continues to operate with the vanguardist ideals on which it
wasfounded.     ^|ig^|l|§     ^#o
Tot only is the Front a space for creation, but also a place
i for demonstration and exhibition. Concerts and performance/visual art shows occur frequendy, and as a matter of
poUcy, every one is recorded and saved. As a result, the centre
has amassed a valuable and impressive archive of material.
Finding a balance between the organization's Ulustrious past
and the society's experimental philosophy is a chaUenge the
centre is constantiy struggling with.
"I'm conflicted," said D.B. Boyko, the curator of the Front's
New Music programme. "We work with living artists and if we
put out aU of the archives, we risk turning it into a museum."
The collection includes over 1,100 original video and sound readings, many of which have become seminal pieces in Canadian
art. Though exhibiting the coUection would likely prove lucra-
' k   -'-'■ -.'■ ', . Q five and attract international attention,
—_l '111 ^e Western Front aims to create new art,
1 here are secret passages, special shelves    not rehash the past. The rich history of the
r fa. ,    f ' ~*^s3t' --j  .11     i     Front is not to be taken Ughuy, though.
JOr COffin StOrage Und dOOrS With Shielded "The Westerns Fronts history is a part
i     i -r    ~ i i        r rt       i        «-r*y      i of me centre's fabric, and we-waot to keep
peepholes. In the words of Boyko, Its the   reworking uaswego,-said Boyko
r     *      1 r ..        ,, Since becoming music curator, Boyko
perfect place JOr artlStS.       "&&>( has avoided any laurel-resting and main
tains the Front's place in the vanguard of
contemporary music. She has introduced
Fake Jazz Fridays at the Front's Grand Luxe Theatre, an event
that goes hand in hand, with the Cobalt's Fake Jazz Wednesdays,
a weekly showcase of experimental music. The 120-person theatre is one of the best independent venues in Vancouver, with
high ceilings, exceUent acoustics and archaic reUgious ironwork, a touch courtesy of the Knights of Pythias. Even during a
show that includes an artist performing a fake blood orgy and
a harsh noise band (as did a recent Fake Jazz Friday), a sense
of history permeates the Western Front in the decor of the old
building.    J^||S&?f
To house themselves and the organization, the founders
bought a rambling wooden budding in Mount Pleasant. Built
around the turn of the century, the budding was originaUy a
lodge constructed by the Knights of Pythias, a "Fraternal Order dedicated to Universal Peace through beUef in a persorial
Supreme Being." Some called it a cult, others a brotherhood,
but either way, their old home makes a unique space for the
Western Front to operate from. Staggered over four floors, the
building boasts a gaUery, concert halt recording booth, dance
studio and several apartments. There are secret passages, special
shelves for coffin storage and doors with shielded peepholes. In
the words of Boyko, "Its the perfect place for artists."
In the early days, many of the founding members Uved in
the space, along with an endless stream of visiting artists and
friends. Though there are fewer occupants now, founding member Hank Bull stiU Uves on the upper story and runs Centre A,
which Boyko described as a non-profit dedicated to keeping
"a sense of longevity for the foundation." The Front also maintains an apartment dedicated to an artist-in-residence. Since
inception, Uving space at the Front has slowly transformed into
working space, and the centre currendy operates with a staff of
ten—plus interns and volunteers.
The gradual increase in employees is a reflection of a growing
budget, mainly courtesy of the Canada Countil for the Arts, which
has aUowed the Western Front's music program to flourish.
"Music has always been a part of the Front," said Boyko, a
16-year veteran of the organization. "In the beginning aH types
of artists, from painters to poets and musicians, came together
to create and explore. In Vancouver, this is where a lot of ideas
AU of this experimentation has built-up an extensive coUection, and also cemented the organization's focus on interdisciplinary artistic practices. As a result, the music of the Western
Front often blends traditional sounds with visual art, experimental voice and digital/electronic mediums. In creating cutting edge new sounds the centre is in fact rehashing the past.
"Mixing, sampling and appropriation is a form of making
art," said Boyko. "That is the practice of contemporary art."
Considering the upcoming shows, the idea of the Front turnr
ing into a museum seems very far off On May 8, Toronto musicians Jean Martin, Justin Haynes and Ryan Driver will perform
at the Front using a suitcase, ukulele and thumb piano made
from street sweeper bristies. May 28 brings "Anderwelten," the
centre's final musical event of the season. Charlotte Hug wiU
play viola with her customized bow, and combine performance
,art and music for a thoroughly modern show. Armed with an
engaging and provocative past, there is no question that the
Western Front is determined to keep moving forward.
18       discorder magazine The GZA/Genius
Commodore Ballroom
March 24
Last time the GZA roUed into town, he reminded a packed
house at Richard's why his other stage name is "the Genius,"
rapping his way through Liquid Swords from front to back. This
time around, the show wasn't advertised as a fuU run-through
of his solo debut, but the set stiU leaned heavily On the hiphop classic. Nevertheless, while the rest of his output has been
spotty, the featured tracks from the latter part of his catalogue
were weU chosen. The thing that threatened to kiU the show
wasn't the songs themselves, but the set order.
As good as the more recent tracks are, few of them Uve up
to the songs that make Liquid Swords the finest Wu-Tang solo
joint. With that in mind, the GZA's decision to play the most
recognizable of his classic tracks in the first half of the set was
a strange one. It made for a riveting first 40 minutes, but things
started to drag a Utde after that. That is, until a surprise guest
made his way on stage.
Apparendy, TaUb KweU's a pretty big fan of the Genius, because he stuck around in Vancouver after his own show die
night before just to check the GZA out. A "way too drunk"
KweU was caUed on stage to freestyle whUe the headliner. shook*
hands with fans and signed autographs. His level of intoxication meant he wasn't quite as sharp as he can be, but even a
tipsy KweU was pretty impressive.
At the end of the day, the GZA solo wasn't as" compelling
as the entire Clan coming fogether Uke Voltron, but it was stiU
worth checking out.
—Quinn Omori
Bonnie 'Prince' Billy | Pillars & Tongues
Vogue Theatre
March 25
WUl Oldham is notoriously prickly when it comes to the media, so I wasn't particularly surprised to see his back petulantly
turned to the photographic corps during their brief aUotment
of shooting time. As it turned out, the evening was characterized by this obstinacy—but it was strangely charming.
Openers Pillars & Tongues, though they made an interesting din of droning, wailing and free-form percussion, can only
be said to have benefitted from the Vogue's theatre-seated, captive audience^if nothing else, their subdeties would have been
drowned out by chatter in a bar setting.
When Bonnie 'Prince". BiUy and band took the stage, it was
easy to spot a certain pained awareness of their recent prominence in Oldham's manner. And why not? Having recendy been
featured in The New Yorker, in addition to other uncharacter-
isticaUy high-profile press coverage, he cuts a somewhat different figure than the man whose last Vancouver appearance was
so joyfuUy informal at a church haU in Kitsflano. WeU-known
A 'way too drunk*{1aUb]
Kweli was called on stage to
freestyle while the headlther
shook hands with farts and
signed autographs. His level of
intoxication meant he wasn't
quite as sharp as he can be, but
even a tipsy Kweli waspre$j0
impressive"—Quinn Omdii^%
songs from his monumental back catalogue were mosdy eschewed in favour of more obscure material: although he played
at least one track from almost every record he has released,
numbers Uke "I See a Darkness," famously covered by Johnny
Cash, were conspicuously absent The show also had a high
proportion of material from his latest release, Beware, which,
frankly, is not his best work.
StiU, in a career which now spans 15-plus years, Oldham has
earned the right to his eccentricities. Palace-era gems Uke "The
Brute Choir" and "There There Is No-One What WUl Take Care
of You" combined with a number of reworked Bonnie 'Prince'
BiUy tunes (the solemn dirge of "Nomadic Reverie* became a
rolUcking .country tune) to create a set which highUghted the
quaUty and magnitude of Oldham's oeuvre without relying on
predictable crowd favourites. In any case, aU was forgiven with
his brilliant cover of R. KeUy's "The World's Greatest," and he
left the stage with a sudden flourish of Southern charm, a final
unexpected moment in an evening that was both disconcerting
and oddly satisfying.
—Alex Smith
Art Bergmann (Poisoned
Richard's on Richards
March 26
For one night only, Vancouver punk trailblazer Art Bergmann
of the K-Tels/Young Canadians and Poisoned came out of hiding in Alberta to perform in support of the release of Lost Art
Bergmann, a coUection of songs that Bergmann originally recorded for his 1988 solo album, the John Cale-produced Crawl
with Me. Richard's on Richards was filled to capacity with the
ghosts of Vancouver punk's past—faces more often seen on
stage oi in the back lounge at the Railway Club on Saturday
night The unpredictabiUty of the forthcoming event added to the excitement
Openers, TV Heart Attack and Rat Sflo, were weU received and
did a great job of warming up the eager crowd Then the stage was
prepared for the main event guitars resting against their amps, the
jet black drums high above the stage, and a pulpit standing empty,
waiting for its preacher. At last Bergmann wandered out from
the back room to a roar of cheers. Swilling a bottie of beer, he
took a seat on the floor and leaned against the pulpit whue the
rest of Poisoned took their places: Ray Fulber picked up his
bass, Susann Richter dusted off her keys and Taylor Nelson
Litde scaled the riser to his kit The band was also joined by the
infamous Tony Baloney, fining in for Bergmann on guitar.
The band kicked in as if 20 years hadn't passed, and the aged
front man proved he hasn't lost his spark—or his appetite for
tequila. During the first song, Bergmann was quick to get rid
of the stool provided for him, using the^pulpit and mic stand
as props. In between songs his antics were questionable and
his banter indecipherable, but from time to time his clever wit
shone through as he took jabs at the likes of Gordon CampbeU and promised the imminent death of Ticketmaster. The
band roUedon through classics such as "Junkie Don't Care" and
"Bound for Vegas," playing the songs with pride as Bergmann
captivated the audience with his wavering sanity. As the furious
set came to a dose, the exhausted musicians were reUeved to
quit the stage, but the crowd wasn't having it After a few minutes of thunderous applause, Poisoned came out and played
one last song.
Mirah | Tara Jane O'Neil
Biltmore Cabaret
April 3
Although Mirah's visit to the BUtmore was her second show in
Vancouver in less than a year, it felt like quite a bit more time
had passed, (a)spera is her first solo release since 2004's C'mon
Miracle, and in the years between these two records, Mirah has
performed relying on just her guitar to play her earner material.
However, for this trip, she successfully added a backing band
to emphasize the strings and structure of her new songs, and
reworked her old music to be just a bit grander.
The crowd showed up early, and waited patiently until 10
p.m. when the opening act broke the quiet banter of the groups
of friends scattered throughout the Biltmore. "My name is Tara
Jane O'Neil, and I'm looking to get gay married!* deadpanned
the petite songstress, before launching into a satisfying coUection of yearning electro-folk songs, backed only by a drummer.
The extended guitar-jam outro to her last song went jus* a bit
too long, however, reminding concertgoers-how long they had
been waiting for Mirah.  "
Despite sharing the stage with a bass, drums, keyboard, violin and second guitar, Mirah remained clearly at the centre of
attention. After beginning with the exquisite "Skin and Bones"
from (a)spera, Mirah alternated between new material and
classic songs such as "The Dogs of BA" and "Look Up." The only
moment eyes shifted from Mirah was when the backing guitarist picked up the kora, a 21-string West African harp-lute, to
play the exceptionally beautiful "Shelk."Ending with a dance
remix version of "The Garden," Mirah showed the evolution of
her performance. She closed with the same song back in August
at Richard's, but a version much closer to the recording. She
continually retools her older songs to fit her evolving sound,
which is why she is worth seeing again and again.
However, just talking about music doesn't give a fuU account
of the performance. I've seen Mirah four times in three different cities in the past five years; in her performances, the urgent
emotions of the lyrics are palpable, and remind the audience
of their own connection to her songs. The nostalgic moments
spent listening to her music—summertime road trips, wintertime hot chocolate chats or walks to and from bus stops—are
remembered fondly and with renewed warmth. Judging by the
faces of the crowd surrounding the stage, I wasn't alone in feeling a litde bit overwhelmed. But I keep coming back, because
when music creates that kind of pathos, you never want to let
—Beefy Sandler
Women | Nii Sensae J Kidnapping
Church of Very Bright Lights
wise Hall
This had aH the promise of a grand evening. Calgary psych-
noise innovators Women were slated to play in the dim-lit, nos-
Bonnie Prince Billy
photos by
Michelle Mayne
talgic ambiance of East Vancouver's Wise HaU, a suitable venue
for their fuzzy noise-pop sound. As the headliners, Women
dutifuUy played last but were afforded far too Utde time on a
bill filled with comparatively mediocre opening acts. Kristin
Cheung, organizer of promotion coUective Vanity Presents, explained that the shortened set was due to Wise HaU's residential
setting and the possibiUty of violating noise bylaws if the show
went past midnight.
Church of Very Bright Lights began the night lamenting the
fact that they had come from Calgary to play only five songs.
Unfortunately, their music mirrored this apathy somewhat
sounding Uke a Pixies inspired hobbyhorse shared between
drinking buddies.
In comparison, Vancouver's Kidnapping was a welcome
revelation. The trio's sound was explorative and unpredictable,
floating through bleak, melodic freak-folk balladry ("City")
into the futurism of New Order-ish synths ("The Dance of Petrified Conditions").
Beers were poured and conversation was had whue Nu Sensae took the stage. Singer/bassist Andrea Lukic and drummer
Daniel Pitout tried dutifuUy to tear the crowd a new one with
"OoohlAre wefapanese noise
band? Are we... experimental?
Ooh! From underground! We
are the experimental band!
Ooohl Even more so than...
Captain Beefheart!"
—Acid Mothers Temple
their raging spurts of punk, but not everyone in the audience
was dialed in.
When Women finally assembled, busy lead singer/guitarist
Patrick Flegel openly stated to the crowd that it was going to
be a quick set Songs like "Black Rice" and "Group Transport
HalT received rushed treatment with Flegel singing like the
fast forward button was on. Even newer songs with more intricate composition and improvised sections got pushed through.
Whether they were tired from waiting around aU night or they
felt pinched because of time constraints, Women's performance
lacked some of the usual sonic charisma and ceremony that
makes them a sight to see. -
—Justin Langille
AIDS Wolf | Shearing Pinx | Twin Crystals
Biltmore Cabaret
April 4
Less than two years ago, AIDS Wolf came to Vancouver to play
a show so packed that it had the Emergency Room (R.I.P.) busting at the seams. Their next visit in support of a better record
(their latest Cities of Glass), attracted about a third of the audience. And their most recent appearance saw even less people
turn out Because of the sparse attendance, the early show at the
BUtmore got pushed back as far as possible, resulting in a brief
but intense evening of music.
Twin Crystals started things out mentioning that they now
had a mere 20 minutes of performance time, due to the delays.
Surprisingly, the short set time made them even more enjoyable, as they crammed almost as much music as usual into a
non-stop, high-energy set of their aggressive brand of punk
Shearing Pinx followed, setting up on the floor so AIDS Wolf
could set up on stage simultaneously to save time. I'm not sure
if it was the fact that they were closer or if someone just decided
to crank up the volume, but they were almost painfuUy loud. It
wasn't the most comfortable Ustening experience, but it fit with
the discordant nature of the band's music.
Give AIDS Wolf some credit The lade of an audience didn't
seem to faze them at all, as they turned out a performance that
was just as intense as their previous visits to Vancouver. They
were loud, they were animated, and they threw everything they
could at the people who were smart enough to show up. Hope-
fuUy, if they decide to come back again, those people bring
some of their friends.
—Quinn Omori
Add Mothers Temple | Kinski
Sonic Suicide Squad
Biltmore Cabaret
April 7
Sarcasm, from what I hear, is a very un-Japanese trait making the
between-song banter by Add Mothers Temple even funnier.
"Oooh! Are We Japanese noise band? Are we... experimental? Ooh! From underground! We are the experimental band!
Oooh! Even more so than... Captain Beefheart!"
It should be noted that the last part of that quote was deUvered by guitarist Makoto in a falsetto several octaves higher
than the rest.
Right, then—so the V word won't be used in this rfeview. Let's
say that the openers, New Jersey's Sonic Suidde Squad, are not experimental, then—their extension of Ornette Coleman's or AMM's
experiments in free music from 40-plus years ago might struggle
to find relevance today, if in fact the need to "free the music" is
still entirely relevant. SSS go so far beyond the concept of freeing
the music from human conceits that they've brought it back to an
idiom of pure sound Progress has become regress, and SSS captures it in a primeval gumbo of saxophone, drums and synthesizer.
Occasionally, a brief semblance of melody was discernible before
20      discorder magazine disappearing into the chaos. Experimental? No: this genre's real
experimentation ended 40 years ago—this is an appUcation of the
research. And according to a number of audience members, you
can bang your head to it too.
Acid Mothers Temple is a voyage around the coUective musical consciousness of the group. Inspired by experimentalism? Yes, but nothing happened onstage to reaUy challenge any
musical preconceptions. The music was free to wander as it
pleased, meandering though traditional Japanese sounds played
on electric guitar, accompanied by what sounded Uke Shinto
chanting. The band's signature tune, "Pink Lady Lemonade,"
featured a deUcate, extended acoustic intro and stretched out to
nigh on 45 minutes. There was a lot of sonic scenery along the
way, the intro eventuaUy leading into a full-on electric reading
of the song, with the rhythm guitar holding the groove down
(via an arpeggiated riff-akin to PubUc Image Limited's "Pop-
tones") wlule a dialogue between bass and synth ended with
what sounded Uke either a quote or a piss-take on the Doors'
"The End." This was a show which rewarded closer listening—
with Acid Mothers Temple, the devfl's always in the details.
Tucked in between Sonic Suicide Squad and Acid Mothers Temple on the bill were Seattle's Kinski. No strangers to
performing with Acid Mothers Temple, Kinski unfortunately
sounded positively conventional between two more exper...
uh, I mean between the two other bands. Pity, as Kinski would
shine brighter in a different context The band was compelling
to watch, with deceptivdy simple chord-based arrangements
which remained mostly instrumental and drove relentiessiy as
though powered by some cosmic orgone accumulator, [ed. It's
a crazy invention. Look it up. I did.] Positive comparisons to
Sonic Youth or Swervedriver are in order, and the appearance
of a flute during the last song of their set proved as welcome as
the sun on a windy day.
—Darren Gawle
Search Parties | Golden Touch | Markus Naslund
Kitsilano Showboat
April 11
After a few changes of venue due to uncooperative weather
and a series of frantic text messages about where the show was
moving, I found myself standing outside the Kitsilano Show
boat on a damp Saturday evening. As the crowd filtered in and
setded on the soggy streetUt benches, I was surprised to see that
the rain and the sudden changes in venue didn't seem to have
deterred anyone.
A distinct lack of equipment on stage (and of people setting
up said equipment) was quickly explained away: the show was
being held behind the Showboat not atop it We crowded into
a concrete dressing room, with Ughts surrounding mirrors on
the walls, bare tubes on the ceiling, and an amp and a workUght
on the floor.
The B-Lines canceUed and were replaced by an exuberant
three-piece calling themselves Markus Naslund. [ed. Hockey
fans: Naslund? Exuberant? Ha, ha!\ Proudly pointing out that
they'd never played in a real Venue, the three-piece filled the
narrow room with energetic poppy punk. After a set which
got the fairly weU-packed crowd moving, a quick drummer
change and mic readjustment revealed the Golden Touch,
whose singer/drummer requested everyone move five feet forward, deeply into the space occupied by the musicians. Golden
Touch launched into a set marked by crowd favourites, a couple
of new songs, and a fair amount of pleasant banter. Although
it was difficult to differentiate the two at times, both Markus
Naslund and Golden Touch deUvered pop hooks paired with a
punk sensibility and had the steadily increasing crowd dancing
harder with every song.
After a short intermission for setup and also to let the audience breathe some air that hadn't already passed through
someone else in their immediate vicinity, the dressing room
was filled tightiy for the Search Parties set and they did not disappoint Presenting aU new material with a significantly larger
feel, Search Parties somehow hit an unexplored point between
stadium and post-rock, and lead singer Harlan Shore (who also
organizes Dancing in Our Debt) reinforced the d.i.y punk nature of the night with raw vocals and a previously unheard abU-
ity to scream.
As I squeezed out of the venue, I took a look back into the
room and saw a united mass of dancing bodies, motion working its way backwards through the room, fueled, by joy and
transmitted by body contact. I escaped into a dear night surprised at how much I had enjoyed both the spectacle and the
music of the evening; I doubt I was alone on that front
—Gerald Deo
f m rfostrtQ
Strictly the dopest
»           Aft&r
j Unfamiliar
Swan Lake*
Enemy Mine
i Jagjaguwar
Nasty On*
Squid '
{'liTLDi   -
4 !
Easy Star All Stars
Easy Star's... Dub Band
j Easy Star
Junior Boys*
Begone Dull Care
I Domino
As Seen... Windows
| Arts & Crafts
1 am Sorry for Your Loss
j Independent
Jeremy Jay
Slow Dance
j Fat Possum
Nii Sensae*
One Sided
| Isolated Now Waves
The Black Lips
200 Million Thousand
1 Vice
QrackThe Skye
j. Warner
Julie Doiron*
1 Can Wonder... Day
: Endearing
Supporting Caste
! Smallman
I Rough Trade/Hardwood
Pan American
White Bird Release
j Kranky
Timber Timbre*
\ Out of This Spark
Dan Deacon
I CarPark
The Coathangers
Shake Shake 0
; Suicide Squeeze
Leonard Cohen*
Live in London
\ Columbia
«*- |
\ Big Dada
Apollo Ghosts*
Hastings Sunrise
| Independent
March of the Zapotec
j Pompeii
Fin du Monophone
: Independent
discorder magazine
and CiTR 101.9 FM
present incredible live
music by:
nu sensae
at the astoria
may 6
9 pm 5 bux
CiTR's charts rjjtleet what's been spun on the ah* for the
jHwioos month," Reldgds vwth stars {*? rrjean they come
%^^^p great tend ofjjl^fe. Most of these phat platters
can be found at finer {read: Jndepender^iwusic stores
"■^£^|%ncouver. If ^p^rrt find 'em there give the
. Muzak Co^^p1! shout at (604) 822-8733. His name
is Lute Meat. Ifyou ask nice^p^t toll you hwij|p£ --?
git'em. To f indbut other great eampus/communiry tarJo
charts check out vvww.earshot<>nline.com.
_..;.; ...Artist	
I Superchunk
: Comet Gain
Snake Flower 2
Static Static
Chain & The Gang
\ Strange Boys
j Royksopp
Ursula 1000
; The Bran Flakes
| BookerT.
j The Hylozoists*
| PJ Harvey & John Parish
\ Crystal Anders
Mr. Scruff
I BeauSoleil
M. Mucci*
■ A. Braxton & K. Brenders*
: Anni Rossi
j Neko Case
j My Cat... Alton & Enore Zaffiri
: Cheer Accident
i Brotzman/Pliakas/Wertmuller
Leaves in the Gutter
Broken Record Prayers
Renegade Daydream
Psychic Eyes
Down with M Chains!
And Girls Ohfb-
Fist Of God
Mystics ■
I Have Hands
Potato Hole
L'lle de SeptVilles
A Woman ... Walked By
Coast Spirit
Ninja Tuna   -
"Where the ...the Sky
Alligator Purse
Under theTulipTree
Toronto (Duets) 2007
Middle Cyclone
Through the...Tomorrow
Fear Draws Misfortune
Full Blast/Black Hole 0
WhatsYour Rupture *
TicTac Totally
In the Red h
Last Gang
Illegal Art
jWfc 0
Touch And Go
Ninja Tune
Yep Roc
Tall House
May 2009
21 Bob Mould/f/Casiotonefor the Painfully Alone///
gr8~2000//f/Immaculate Machine!I/The Kettle Black///
mmper Moon/f//lhe Reds/V/The Western States
HP *&$&B_m&™
Bob Mould
*(ANTT-) *
ffliirty years ago a trio of teenagers formed
a kick-ass- Http band called Hiisker Dii that
' went sit to become one of the most influential
and commerdally successful punk/hardcore
bands of thfyjlay. When Hiisker Du called it
• quite'In 1988, Bob Me>pd went on to record
-the first of nine solo albums (not including
- Sugar or his^UpdBomb electronic music out-
part) that comprised a body ff^rork ranging
from Sib&-acoustic to the furious hardcore of
his days past.
Life and Times sees the artist revisiting his
roots from an observant and personal point of
view. Life, aging and the dynamic of relationships gone pear-shaped play heavily in the 10
tracks that make up this record, which is a varied and healthy mix of acoustic electric and
a bit of punk. Be it the angsty and biting tide
track, or the hard as nails, controlled chaos of
"MM17* Life and Times is full of self-mquiry
and speaks a language nearly anyone can understand. The album's best track, the lovdy but
mournful I'm Sorry Baby, But You Can't Stand
la My Light Anymore," explores a failed rela-
. tionship. When Mould sings the line, "I always
find the broken ones / so what does this say
about me?" who among us can't relate? Quality
music from an old iapS&te, Life and Times is
a mighty addition to an already great body of
—Nate Pike
Casiotone for the Painfully Alone
Vs. Children
(Tomlab) 0^^3
It says something about a man when his chief
fixations are felonies, dead or absent parents
and spouses, and unplanned pregnancy. Chicago native Owen Ashworth extracts a surprising range of emotions from these subjects on
Vs. Children, the latest release under his project Casiotone for the Painfully Alone. He finds
new life in dassic poetic tropes—the beat-up
old car with a history, the doomed bank-robbing lovers, the pregnant neglected wife—and
also throws a few curve balls of his own into
the mix, like the startled couples dealing with
unplanned pregnancy on "Killers" and "Harsh
The Herald Angels Sing."
For all of his fascination with the most raw,
poignant facets of humanity, Ashworth com-
22       discorder magazine
\ pletely resists sentimentality His songs paint
deliberate, exacting portraits of his characters,
j into which sympathy only rarely makes an
| appearance. His deadpan delivery set to the
backdrop of a stomping drum machine, underscores the detached, observational tone of
| the album. While this controlled approach is
! brutally effective and often beautiful, listeners
may find themselves wondering what would
happen if Ashworth would allow himself to let
go of his restraint. The only hint of a crack in
his hipster reserve comes on "Optimist Vs. The
Sflent Alarm (When The Saints Go Marching
In)," when he briefly loses himself to the giddy
abandon of the escaping couple in this Bonny
and Clyde-esque love story. It's a welcome moment of release on a stunning and well-crafted
—Miranda Martini
Expectations are inevitably going to be lofty
for a group that indudes former members of
the Unicorns and Arcade fire. Thankfully
lpf|j||id members Aiden Penner and Brendan Reed, Clues' self-tided debut ha^wf tones
to back up the hype. The album! evokes the
warped glory of Who Wu. Cut £& Hair When
Were Gone? with bare-bones production and
Penner's creepy, whispered vocals. The gleefully
twisted "Remember Severed Head" could easily
pass for a Unicorns out-take, with wonky guitar
lines, falsetto humming, and a morbid refrain of
"Death is swallowed up in victory.5
But this isn't to suggest that Chies are a mere
Unicorns retread—the abrasive ^ikjis and
stomping drums of "Approach The Throne"
are pure garage-punk, while *p| The Dream"
is an ambient wash of feedback and echoed
vocals (sung in both French and English). The
albunidoses with "Let's Get Strong," a gentie
piano ballad that is pretty enough to be Coldplay, but without the bombastic rock-star baggage. It is an eclectic mish-mash of styles and
moods—not only from song to song, but even
within the same tune, as Clues prefer nonlinear structures to typical verse-chorus-verse
patterns. It's a perfect mix of catchy pop and
off-the-wall weirdness, and a brilliant addition
to the Montreal indie stock canon.
—Alex Hudson
Escape Through the Trees
(Drip Audio)
Produced by Jesse Gander, Escape Through
The Trees is Copilots second release and their
debut on Drip Audio. Tightiy wound but
coolly played, the music is warm in quality
and catchy in its immediacy. The songs are a
complex stream of conscious meditations that
will keep the Ustener locked in and excited by
the individual dynamics of the band coining
together as a whole. One minute you're rocking out like a crazy person and the next you're
losing yourself in a sea of Chad MacQuarrie's
guitar textures. Then you might find yourself
coasting on Skye Brookes' world-weary and
sensitive lyricism backed by Karma Sohn's
sweet voice and piano, as bassist Pete Schmidt
and drummer Dylan Smith keep excellent ti
Powerful in punch and huge in sound, Es-
\ cape Through The Trees contains a less abstract
approach than their debut, with lyrics that focus on human nature, consciousness and wilderness, but still leave room for interpretation.
Brimming with confidence and talent, but still
; with plenty of room to grow, Copdots have
made a self-assured and strong sophomore al-
; bum that should not go unnoticed.
—Nate Pike
Read more about Copilots on page six.
(Asthmatic Kitty Records)
Listening to this album is a bit like wandering
unexpectedly into the ghost of an old country fun-fair at midnight. Fragile melodies and
gorgeous haunting harmonies are paired with
rhythms that occasionally sound as if they
might have drifted loose from a Tom Waits
or Pram album, as in the opening track, "Tail
and Mane." The long, echoey notes of Nedelle
Torrisi's vocals, reminiscent of Broadcast's
Trish Keenan, are adorned by rusty twangs of
guitar and plinks of saloon piano, and backed
by washes of barely-detectable chords that add
a subde cinematic presence to the sound, yet
there's always enough space in the arrangements for each element and instrument to
work its full magic.
Brisker tracks such as "Mythomania" or
"Blue Tears", with its perky '60s-pop intro and
tight punchy percussion, create a contrast for
more plangent songs like "111 Take The Long
Way" or the delicate and exquisitely wistful
"Galvanize." In "Gotta Get Into That Feeling,"
a background of orchestral strings adds a layer
of nervous jitter to an almost music-boxe-like
simplicity. Ifs this knack of seamlessly mixing
styles and effects that makes this record so captivating. More than just detailed and lovingly-
crafted indie-pop, Cryptacize have created an
album full of dark atmosphere and beauty,
capable of mesmerizing even the most cynical
—E. E. Mason
Cycle of Pain
Cycle of Pain
(Reform Records)
Cycle "of Pain centres around JJD. DeServio,
bassist for Black Label Society. Based on this,
you might guess that then* disc serves up some
hard-hitting hard rock and metal, and you'd be
right The disc also provides some surprises,
from the funky riffs and grooves mixed on
opening track"5" to the epic sweeping solos on
tracks Uke "Reign Down." And then there's the
proggy "Egypt." There's even a litde bit of hiphop fusion on "Do My Work," and the track
"Pungle" has some electronic/industrial-in-
spired loops, but the jury's still out on whether
either of those tracks really works well. Most
of the tracks sound fairly rock-radio friendly,
which may or may not be a good thing, depending on whether or not you think Metallica sold out on the Black Album.
While the songs and arrangements themselves are pretty soUd, the music sometimes
sounds a Utde too small and over-compressed. As an example, the Umiter is particularly
squashing th^fiell out of the music in the chorus of "5," as well as on the drums on "Babe."
There are also some dull and muddy spots in
the mix., Technical issues aside, this is still a*
strong colledftai of songs that should translate
into-a Jdctf-tfis five show. The songs have an
aggressive energy balanced -j§g&4^"$ring riffe
and catchy grooves, and It IJpfjbe interesting
"•flppl^ow Cyde of Pain dejs^ff»s.       O . -
1 "5**f§^ Draculea
Early Output 1996-1998
(Temporary Residence Limited)
For fans of Fridge, Early Output is necessary, as
it documents the band's ambitious baby steps
over the two-year period of their early development. For those unfamiliar with the band,
the more recent work of its former members—
Kieren Hebden now operates as Four Tet and
Adem Ilhan performs as Adem—might provide some insight into their earUer sound. Early Output compdes, in chronological order, a
patchwork that clumsily melds together a range
of sounds that mosdy lend themsdves to the
group's heavy krautrock and ambient influences. From the cosmic, tropical vibe of the tune
"Astrozero," to the unavoidably grungy "Swerve
and Spin," the compilation changes shape and
colour over its course. The palette with which
Fridge worked during these two years changed
drastically during their trial and error period,
and Early Output aptiy documents these shifts,
capturing definitive moments in songs Uke
"Anglepoised" and "Orko," where dissonant,
swirling, electronic melodies briefly hint at the
improvisational fluidity present in their later
releases. With that noted, Early Output unfortunately gets lost within its own structural rigidity at times, but the band's sketchy balance
between organic and electronic is brought to
the forefront throughout the compUation and
serves as a unique retrospective of the band's
earUest experimental ambitions.
—Chad Thiessen
(Twee Death)
Tom Whalen (aJta. gr8-2000) has had his fingers in a lot of pies,playing with Orlando Magic and Role Mach in addition to his solo career
doing frantic micro-mashes in the style of Girl
Talk and noise-y laptop pop. AU that work has
paid off in this limited release 13-track album,
which takes conventional instruments and
puts a bunch of dirty production techniques
on them. The result is a-beautiful lo-fi fuzzy
mess, most dosely resembling Wawes.
- The album kicks off with some acoustic guitar on "Laundry SpMt" which tricks you into
thinking it's folk rock, until a distorted drum
beat and heavily processed keys and vocals
kick in. The album has a number of gems on it,
such as the atorementioned "Laundry Spirit;"
"Cherries," a noisy track about wanting to be
a cherry; and "Stay In Bed All Day," a pro-
lethargia anthem and one of the more acoustic
tracks on Freedom.
The tracks are layered, aind Whalen does
all of the music himself. This might be why
Whalen doesn't play much of this music Uve;
it's hard for one person to play guitar, drums
and sing two parts at once. WhUe Freedom is
not much Uke his Uve set, it does have the energy of his stage presence, which amps up any
performance. gr8-2000 will have copies of the
album when he opens for Ntt Sensae and Petroleum By-Products on May 6 at the Astoria
for the Discorder night.
Immaculate Machine
High on Jackson Hill
• Immaculate Machine's High on Jackson Hill
is good, clean, uncompromising fun. Dressed
in your Sunday best and sitting around the
dining table, you could play this CD to your
folks, granny, aunty Doris and the kids, and
it's likely that they'U aU be nodding their
heads and tapping their feet to the melodious ditties and catchy, punchy choruses - just
as you wiU be. This is a very catchy album;
it,is syrupy, happy-clapping indie-pop at
its sweetest. Perhaps not the most chaUeng-
ing or thought provoking album of 2009, but
Immaculate Machine makes up for this by
producing songs that are extremely accessible, and more than easy on the ear. High on
Jackson Hill has aU the markings of a great
stereo-loving companion for those long-
overdue summer months. It has the energy
to fiU the dance floor at your local indie club,
and to encourage beer fuelled danceathons
between like-minded popsters. It juxtaposes
crunchy, Arcade Fire-esque anthems with
evocative floral-folk ballads, half reminiscent
of an early Belle & Sebastien. With the band
describing themselves as "being game," and
their music as "unselfconsciously enthusiastic," it is clear that Immaculate Machine wiU
play whatever they want to play, regardless
of coolness, and it is this unabashed sense of
defiance and cut-throat positivity that comes
across so gleefuUy in High on Jackson Hill.
—Amy Scott-Samuel
Ihe Kettle Black
Love is an Absolute
(Capital Punishment)
There are basicaUy two estabUshed routes for
a musician to choose from when making an
album: it can be innovative in form or hovel
in content. That's not to suggest that the two
paths can't cross within a single album, or that
an artist isn't free to mix the two together at
will, but these two strains form the approaches
. for 'most of what we would caU "popular" music today.
The Kettie Black's new album, Love is an
Absolute, is mosdy an album of the content
variety, with a few flourishes of forth thrown
in for seasoning. Unfortunately, as the flourishes ("AU Aboard" and the righteous two bass
attack of "FA.Q") end up being the best bits,
the rest of the album never really goes anywhere. The problem isn't that Love is an Absolute covers shop-worn material, but that the
material is covered in such a shop-worn way. A
content-oriented album is a journey, and successful ones are unique. One way of gauging
the success of an artistic journey is to notice
how long the album stays with you after a Usten, and unfortunately for the Kettle Black, this
time around it was mosdy in one ear and out
the other.
—Jonathan Evans
Paper Moon
Only During Thunderstorms
(Endearing Records)
The carefree and melodic songs on Manitoba five-piece Paper Moon's latest release, j
Only During Thunderstorms, are misleading.
On the surface, their subjects are fairly routine pop music fare: post-coUegiate confusion, post-breakup disillusionment, falling
in love. The jangly keyboard riffs and AUison I
Shevernoha's vocals are always just this tide
of being too precious. Whue it doesn't cover
any groundbreaking emotional territory, Only
During Thunderstorms stiU manages to pack
an emotional waUop a couple of times. If you
look beyond the band's frothy pop sound, you
can see that there's real bitterness in the lyrics,
and the fact that this goes unacknowledged by
the music makes it aU the more" startling and
disturbing. The evocative opener, "Cambridge
Canal," channels the heat and dread of thunderstorms into an image of emotional apocalypse, with Shevernoha crooning, "The sign on
the bridge says no diving/What about being
stuck by Ughtning?/Tonight is the worst night
of our Uves."
The jarring tone of the lyrics makes the
band's Ught accompaniment sound a bit far-
deal after multiple Ustens. Rather than coming away satisfied with food for thought,
the Ustener simply feds awkward, as though
they've just inadvertendy witnessed a private
moment they should have averted their eyes
from. The only track in which the music and
lyrics really fit each other is the closer, "The
One For Me." Stripped-down and intimate,
it gives Usteners a glimpse of vulnerability
without making them squirm uncomfortably
in their seats.
—Miranda Martini
The Reds
Early Nothing
(Tarock Music)
It's been 30 years since the Reds released their
first album, but Ustening to Early Nothing, the
Phdaddphia group's latest, it doesn't sound
Uke much time has passed. Even in the 1970s
the Reds must have seemed anachronistic,
as the omnipresent organ evokes the Doors,
while singer Rick Shaffer sounds Uke Mick
Jagger at his most drawling. OccasionaUy,
the band recaUs the post-punk scene they
came out of, as on "Endless," with its electronic beat and cavernous new wave guitar.'
But more often, they sound Uke bluesy rock
'n roll purists; opening track "Big Boy" kicks
off the album with a thundering stomp, featuring tinny keyboards and arena-sized guitar leads that would fit right in on any classic
rock play list.
Despite being a genuine artifact, the Reds'
current music is too murky to leave a lasting
impression. On Early Nothing, songwriting
chops take a back seat to atmosphere—after
the propulsive opening track, directionless
dirges weigh heavy on the album's flow, making it an oppressive and dour listening experience. There are scarcely even melodies,
forgoing soaring choruses and catchy riffs in
favour of ominous grooves. The vocals are
typicaUy placed low in the mix, buried beneath layered, metallic guitars and the ever-
chugging rhythm section. The Reds have a
knack for setting an eerie mood, but don't
go into Early Nothing expecting to be bowled
over by focused pop songs and memorable
—Alex Hudson
driven by a soft drum beat and die &__pngB0
me steel guitar.
WhUe Buchanan proves himself ajll||fr
lyricist, the predictability of the album's pacing, tempos and arrangements ttxif^^m
sonie^ la^tenersv unsatisfied. Ballads like
"Wichita County* and "Right of Return," with
their finger-picking openers and mirroring
ir^lody Unes, paraUel ond another a Mkt#o
closely. Fortunatd^lfii'Lyie Lovett-esque
standout track "BacksUders Wine Pt. 2" offers
a nice break from the album's repetitious ten-
dendes, and the addition of the trumpet adds
texture to the album. Even better is the upbeat "Fictional Divide." Overall, Bye and Bye
is a smart combination of the bluegrass, folk
and country genres. You may begin" to imagine yourself at a summer barbeque when everyone has left except tor a few dose friends
with whom you can just sit back and stare at
the stars while this album softly plays in the
—JSieUssal^a^^ '-. -
The Western States
Bye antlBye
(Dollartone Records)
Winnipeg quintet the Western States offer
a great album with Bye and Bye. Sean Buchanan, front man and primary songwriter, is
backed by a team of musidans who flatter his
already-welcoming sound. While Buchanan's
vocal range and style may be somewhat limited and simpUstic, every song is approached
with the same conviction and sincere emotion,
giving him the likeabiUty of Ron Sexsmith.
The album opens with "Time to Lose," a ballad
23 The Twittering Angels Sing the Praises ol... Zulu's May MllSJC
Super Furry
Darx Days/Light
Years CD
Conor Oberst &
The Mystic
Valley Band
Outer South CD
Look up "cult band" in the
dictionary and you will
find a picture of Welsh
psych-rockers Super Furry Animals. Indeed Gruff Rhys
and his cast of merry music makers have enjoyed a very
committed following of shaggy haired freakout enthusiasts and certainty with each new record the cult grows in
number and devotion. This new platter is a stellar trip into
the party jams. Summer and helium highs float this
record along as Sniff dials in a heady mix of all things
infectious—krauftrock rhythms, bouncy Sly Stoned bass
lines, immaculately beautiful Crosby Stills Hash and
Young freak folk and of course some deep fuzzed out
Floyd tripping! It makes me feel like a wizard;
CD 16.98
Sexuality CD
When most people think
contemporary French
pop they think Air or Baft
Punk, but they should get
with 8ie new position and
putt up a chair at the table of Sebastian Tellier. Sensual
70s pop is nothing new to the FfBhenmen, after ail they
champion Gainsbourg the way we champion Cohen, but
the new generation certainly does have a much more
sophisticated take on the matter than just hedonistic
chansons with orgasmic female vocals. The pop fetish
object is now the synth as its mellow tones make for a
warm bed from which the likes of Tellier can coo, invite
and charm with tlie best of them. Yes, this is sexy sexy
music, vintage release. Slim cut jeans. A dirty T-shirt.
Hairy armpits. Crude flesh on the frame. Electronic piano
take me to the limit. Amazing.
CD 16.98
Hie Handsome
Honey Moon CD
Taking place under bowed
branches and deep within
winding com mazes, The
Family release
(%%eir eighth
studio release, it celebrates the duo's twentieth year of
marriage with a series of love songs that sharply contrast
the dark themes of their previous seven releases. FuU of
an awed sense of emotion ^8» face of nature's mysteries, Brett Sparks (music) and Rennie Sparks (lyrics)
branch from their usual canon of the dark and mysterious
on Honey Mam, to establish a theme rooted in-the tradition of t9th century romanticism. JSQrjpi'first time there
is no body count Not one person dies. There is only one
song about a lost love. It is an album of transcendence, of
touching the divine, if onlystea moment, through our
Jove of someone else, even if he is a katydid. Fans of £
-ye$l§ systips like The Mils Brothers, The Inkspots, and
The Platters fotrSany years, Brett and Remtfe's"pig'
pp arajoung couple was, "My Prayer." The SpaitejfSIo
have a profound love for the beautiful songs oofptt _
Ameru}^ songwriters like Berlin Gershwin. anffPorter;
Wfe?#eat the subject of love with grace and transcen-. .
dence Theirs are songs of human beings making contact
w^flhe^uminous Their melodies and wonted fhe "»
finest examples of songwriting mysterious nM^^smM
The prospect of composing an albufli of to%^eij|s and *
aveftog triteness is fraught with petS. So »»fl^^^jf \
12 ^-e^tained-eatifJes There are tSfl-pa$*illey dfpgs,-*
r ©wiry songs, r & b songs, a bluegrass song, r^^bngsj
Jazz songs and dwsft eack ballads,
While touring in support
of last year's solo
debut, Bright Eyes' headman
Conor Oberst and his Mystic Valley Band began to write
new songs. Each band member shared their compositions
and worked them out on the road. Energized by the live
performances, and eager to capture the synergy they felt
onstage, Oberst took his musical compadres to Sonic
Ranch Studios in Tornillo, Texas outside of El Paso. The
Mystic Valley Band recorded 16 songs, and this time
tney shared the songwriting. The result, the spa^^M;.;,
Outer South, is the first album credited to Conor Oberst -
And The Mystic Valley Band and features ttie fruits of
their enticing musical symbiosis. Oben&f soffijwrifijl'
and delivery remain an engagM Pllsenje; but the addi- -
tion of songs by Taylor HollingsworttpRc Freitas and
Jason Boesel make for a rllljpextured and colorful collaboration. Man, I wish all collaborations turn out as great
Thief 21^
The dreatplsver. Long'
live tftj|ream. Remember I ^g_%_],
the beauty of ambition?
Originally pressed in !imfterj||pies — 300 plus or minus
one standard^evl"|||J"^l|i|| the second and third
release from Daniel Bejar a.k.a. Destroyer is finally back
on the sheives,^-®^ jfefflaste|| and repackaged to the
highest of stand|rds. Crty of Dauoliteip^ip^i|ar's
first stabs ^'tg^fi_iam_mt^0^_w^^^_w^_i of
his long standing rg|$!aflsMp"ipi t^f^&dio* and the talents of people IfKihn Collins and Scott Morgan —
even if it was tal|ifSi|Ake primitive MEM cave painting.
You don't have to be aft old nostalgic badgerttTtcsrftese
songs. Slipping into the b$00i& gatefold is also Thfef or
the third cannon". Trust tiipl&y, this one blasts as Bejar
then embarked on his cnlirAjoumey up over the ridge to
survey the wasteland that iporhantic music. Subverting
traditions, the man plunged himself within the heart of
future darkness. You don,t have to be a semiotlc major to
love songs like these. Like everything, this is limited —
open one up and let it breathe.
2LP 26.98
St. Vincent
Actor CD
SL Wwaoilf a k& mm
Clark's debut Marry Me
was.a slpipysuper hit as it
f^S^mvA of people tooit'rj
-^«fi007. _net$0$i!to80*'f
groundswell of support Clark has' raised the sta® ami
jf8K?r8f$|fof the upper indie rock strafosphereJprf#re-
hotly anticipated sophomore efforfllnitft It was no secret
that site is a shit-hot guitar player with a knacjsfor ptcWng
j^Sffatstrument and making it sound awesome so really ajfbrd as ambitious as this should Q&0 as no sur-
j^_^mS_%& than remaining stagnant m W& over-mined
^^mk^s songwriter diva domain, A^ferf'fleshes out
',/htnlof.-vision as rt explores a plurafts^fce on modern
music. New electronic elements and ne^p^sseiSc^^u- {
mentation are married with her ner>trdjjN""J0ttfi£iJfe and '
the results speak for themselves — w^rjsfigfff arty Isad-
off track Strangers or her signature dreapfr vocals on
Laughing With A Mouth of Blood. If smfis the Actor, she
fret tarn*!} the part. Five stars.
CD 16.98
I Feel
Cream CD
Nothing is safe,
nor should it be.
When Peaches
came on the scene
with her brand of
shock rock electro sex-beat people instantly took
notice. Music was boring and there was a real
sense of suffocating ennui. Since then, Peaches
has constantly engaged an edge in her songs,
audience and aesthetic. A high wire act poised as
a balance between being challenging and catchy,
Peaches songs always ensnare their prey in her-
!&____&&$ IPfellP^6 *e foundations of the
^^KjftejSream is no different as-it eojrrjsUes
Peaches deep foray into a mix of glam, guftfLand
jsteetrolRs]l£and as her contemporanes^atch upv
with her, this album sees her working with
esteemed modem electronic producers such as
Simian Mobile Disco, Digitalism, Drums of Death
and Soulwax Surreal!
CD 16.98
Colours CD
Even we at Zulu
are not immune
to a little bit of
British buzz band
hype! It starts with a
few teaser tips in the NME and a mention in Mofo
and then a few pefipjg-come jn asking for it —
i^g^tW^^^^Ttm Jesus and Mary     \
|WEltejgBrftltejfirs. The Stooges, etc —
ail good signs of something golden coming that
will hit like heaver^^n comes the "can't believe
your ears" phase, i|||ib you get a taste of its
sweet buzz and tlie brain filler locks in, you can't
come down but there Is not enough to go around.
Finally, full blown hype stirs the air like a sexy
vampire thing and when the shroud comes down
you are hooked. It is happening now as we speak
as XL Records, latest signing The Horrors are the
go^-rock band on English soil. Fleshed out with
tip of the hats to Joy Division and Roxy Music,
The Horrors prove that England is still the best
spot to start a gloomy rock band as hard punter
depression is sewn deep into the mindset and
near nihilistic rock and roll is the new drug. Black
leather is my primary colour and I am a Horrors
fan! Come dig.
CD 16.98
High On
Mil CD
Take Victoria's
, stick them in an old
house with some close friends. Add Colin
Stewart (Black Mountain, Destroyer), vegan
tacos, their signature vocal harmonies, T-Rex
guitar, and mix weU. Eureka! Out of the own pop
twelve tasty tidbits that are a little more West
Coast retro rock than their previous effervescent
pop songs but still fabulous fun. Serve High en
Jackson Hill at ywlftext backyard BBQ and
your guests WW be back for seconds.
Immaculate Machine have really kicked it up a
I5g|g||ijste the stuff summertime memories
CD 16.98
Obscurer I
My Maudlin
Caieefw '
Jumping ship from
Merge Records to
the ever-stylish
tastemaker UK based 4AD iMfefend's best
twee pop band have rejoined tftftay with a
renewed vigor for all thinq^ maurilinrTtMsf. me,
mis is a good thing, as sonically the'firesa -
landscape has historically always proyjcted anch
aesthetic for often extremely stark anrpirtisticalfy
defining statements' Already: ekrfWgpih praise
with the blogosphere, this record is a must have
for their legions of fans as it is full of incredible
songs, sophisticated instrumentation and heady,
arrangements. Vocalist Tracyanne Campbell is
in fine form too, as she steers the stjp through
some daring numbers that weave together equal
parts rtaMSRticIsm and dark depression into an
absolutely absorttng^ublime some mix. tike -,-.   ,
their peers The Decemberists, Camera Obscura
are unafraid to uih sorts of aesthetics togeth-'
er as the. nssj|f"j|k;jirpGp music become the starting potior bands like these to forge their
What else m we listef to witfryou?
King Khan & the Shrines - What
Condo Fucks - Fuckbook CDAP
Micachu and the Shapes CD/LP
Eh/is Perkins In Deeriand KMLP
The Veils-Sun Gangs CD/IP
Lhasa-Lhasa CD
Sebastian Tellier-Sexuality CD/IP
Rodney Graham-Why Look For
Good Times? LP/CD Deluxe
Booker T. - Potato HoleC&Jr
NOFX-Coaster CD
Chairlift-Dixie Gypsy CD
Juan Maclean - Future Will Come CD
Magic Mates-Balf Quarry CD
Alasdair Roberts-Spoils CD
Wooden Ships-Dos CD
The Oh Sep*-Help CD
The Pink Mountaintops-Outside
Love CD  |
John Doe I The Sadies-Country
Fever Ray-s/t CD
Kurt Vile - Hunchback EP 12"
Emeralds- Allegory of Allergies 2LP
Sale prices in effect until May 31,200'
"CiKKij jars*
Deirdre McAdams
Zulu Records
1972-1976 W 4th Ave
Vancouver BC
tel 604.738.3232


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