Discorder CITR-FM (Radio station : Vancouver, B.C.) Apr 1, 2009

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Bob Wiseman
Fucked Up
Apollo Ghosts
How Soon Is Now
Dash the Door Guy
House Party
Sex Party
\p/ ^NCOUVER.£0$f§l
« v Tf4t%§
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.
Devil May Wear
198 E. 21st
3431 W. Broadway
The Fall. Tattooing
644 Seymour St
Flaming Angels
644 Seymour St
Full Tilt Tuesdays
@ The Republic
958 Granville St.
Hitz Boutique
Hot Box
2560 Main St.
The Kiss Store
2512 Watson St
Lucky's Comics
3972 Main St
People's Co-op
1391 Commercial Dr.
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 Main St
Vinyl Records
319 W.Hastings
VOZZ Boutique
2855 W. Broadway
A Friends of CiTR Curd scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101*9 fM. Show it when you shop!
Discorder Magazine Editor
Jordie Yow
Art Director
Nicole Ondre    _^if-l
Production Manager
Debby Reis
Copy Editors
Liz Brant
Melissa Smith
Debby Reis
Alex Smith
Ad Manager
Marie Benard   ^fffft
Under Review Editor
Melissa Smith
RLA Editor
Alex Smith
Layout + Design
Nicole Ondre
Debby Reis
Laura Hatfield
Dan Fumano
Leanna Orr
Ben Lai
Erica Hansen   •
Chad Thiessen
Brenda Grunau
Duncan McHugh
Alex Hudson
Benjamin Luk
Jackie Wong
Alex McCarter
Quinn Omori
Jonathon Evans
Mine Salkin
Miranda Martini
Melissa Foye
Joan Koka
Nate Pike
Amy Scott-Samuel
Mark Paulus
Aaron Goldsman
E. E. Mason ^wL
by Heather Jones
Photo & Illustration
John Bowman
Aisha Davidson
Audrey Egeland
Lindsey Hampton
Monika Koch
Michelle Mayne
Duncan McHugh •
Coral Mercer
Steve Louie
Jamie Ward
Program Guide
Bryce Dunn
Luke Meat
Peter MacDonald
CiTR Station Manager
Brenda Grunau
Student Radio Society of
Discorder Magazine. «*JiJ
\a T^ J AtyHI 2009 fj^^
\JD/ April 2009
x s    www.discorder.ca
Dash the Door Guy
He checks your ID. He keeps out the riff raff.
How Soon Is Now
Local artists who have taken over the VAG like music!
Apollo Ghosts
They didn't know they were named after a scary bar.
House Party
Our reporter remained sober long enough to write this
article about this new hip-hop night at the Biltmore.
Sex Party
The sexiest musical act to show up since Sex Attack.
Fucked Up
Their name suits them perfectly.
Editor's Note
An intro to the guttural, rumbling low-end bass frequencies of Vancouver's dubstep scene.
Dear Discordians:
As I write this Vancouver's music community is gearing up for the Junos. Well some of
them are anyways. I admittedly do not know
everyone in Vancouver's large and diverse
community, although the only people I've
met who were genuinely excited about the
Junos are the people at my other job (at a call
centre) who are keen to see the race-based
comedy of host Russel Peters. With the only
interesting bands nominated for Junos ghet-
toized in the "new'' and "alternative" categories, it feels like huge tracts of great Canadian
music are being ignored.
Not that Discorder is really about the
mainstream music the Junos reward. I will
save my excitement for the Polaris Music
Prize. Before moving on, I will say one more
thing about the Junos that someone wiser
than me once said: "You don't have to be
irrelevant to win a Juno, but it won't hurt your
Coincidentally, we are writing about one
Juno nominee in this issue, Fucked Up's Pink
Eyes spoke to Dan Fumano about the myth
of their band and his love of Vancouver. You
can read all about it on page nine.
So what's in this issue? A new column!
With each of the last few issues we've been
trying to find places in related stories to cram
in all the updates on the state of Vancouver's
ever changing venue landscape. Well not
anymore. From now on well be putting all this
information in one easy-to-read column called
Venews (you can read it on page five). If you
have any hot tips about new venues opening,
old venues being shut down or issues that will
effect how venues in Vancouver will be run
send them to us at ectoor.cuscorder@gmail.com.
Also, if you have any ideas for words other than
"venue* we can use to describe such places, send
those too, and put the word "urgent" in the tide.
Hus issue does its best to show the diversity of Vancouver's cultural community. In it
we explore our city's emerging dubstep scene
(page 16), the local artists who are showing
off their stuff in the VAG (page seven), a new
hip-hop based club mght at the Biltmore
(page eight) and of course a couple great new
bands (see Apollo Ghosts on page seven and
Sex Party on page eight).
We're also launching our reader survey this
month. Help us get to know you by taking
a few minutes to tell us about yourself. Visit
discorder.ca/survey for doing such things.
We hope you like the issue,
Jordie row
Bob Wiseman
Winnipeg funnyman/film maker/musician chats about
his projects, accordions and being exciting.
A photo:
Film Stripped
RiP: A Remix Manifesto and a Q&A with the director
Textually Active
The Vancouver Book of Everything
Hoko's, the Cobalt, the Astoria, Funky Winkerbeans
Program guide
Now a pull-out with the calendar on the other side!
by Heather Jones!
Real Live Action
Under Review
Fxed Cole from Pierced Arrows photographed by Duncan McHugh. Dude just rocks out so
hard we had to print this photo.
©DiSCORDER 2008 by the Student Radio Society of the University of British Columbia. All rights reserved.
Circulation 7,000. Subscriptions are available and cost the current rate of postage. To subscribe email editor.
discorderOgmail.com. To write for Discorder, e-mail editor.discorderOgmail.com. Ad space is available for
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April • 2009 Film Stripped:
RiP!: A Remix Manifesto
Directed by Brett Gaylor
by Daniel Fumano
WT/i a Canadian documentary funded by the National Film
JLBoard, looking at copyright law in Canada and abroad "
age, Internet videos and interviews makes for a kind of exciting
documentary as mash-up, which is open to further mashing
up online, since Gaylor has made the film available online at
www.opensourcecinema.org, the website he created, for users
to remix. In fact, as Gaylor explains in the film, RiP! is actually
a collaborative effort by hundreds of remixers.
Gaylor's vision of this culture war makes for a fascinating
and fun film, and it makes sweating your tits off at a Girl Talk
show a highly politicized act.   \T)J
Though wholly accurate, that might not be the best way to sell
RiP!: A Remix Manifesto to your friends if you want to recommend it to them. And you will want to recommend it, because
it's a great movie—stylistically impressive, thought-provoking,
fun and relevant.
Oh the other hand, saying, "It's a funny movie with cartoons
and silly Youtube clips and hot chicks dancing at Girl Talk
shows" is also accurate, but that would belie the real depth and
relevance of the film's themes and argument.
RiP!: A Remix Manifesto is director Brett
Gaylor's look at remix culture and the way
people create and share art and culture in
the 21st century, as well as the way corporations attempt to profit from that by using and
adapting copyright law.       r-£^$?Ssk
The Vancouver ftemier of RiP! was Mar. 8 at
the Vancity Theatre. The movie played to an enthusiastic, at capacity crowd, and was followed
by a Q&A (via Slcype) with Gaylor, a Galiano
Island native now based in Montreal.
"This movie is about a war," Gaylor dramatically announces in the opening narration.
And indeed, the debate, using Pittsburgh
mash-up artist Gregg Gillis (better known
to the world as Girl Talk) as its central figure, is very much framed as a struggle of "Us
Vs**. Them." Using Gaylor's terms, it's a battle
between the "Copy Right" (corporations, lawyers and government) and the.. "Copy Left"
(artists, fans, and everyday people).
This film will have you thinking about
intellectual property and culture in a much
broader sense than just "Lars and Metallica
vs. Napster." For example, Gillis (who used
to work a day job as a biomedical engineer
before focusing full-time on being Girl Talk)
explains that copyright law actually impedes
scientific research and development because
of competition between medical companies.
Gaylor's cut-and-paste use of coundess (uncleared) samples of movies, music, news foot-
An Interview with the Director
Brett Gaylor, director of RiP!: A Remix Manifesto, was good
enough to answer a few questions via email for Discorder.
Discorder: I understand that you should be okay because of
the fair use defense, but is there still a chance that you could be
getting in any kind of copyright trouble with this movie? What
if Disney gets upset?
Brett Gaylor: if Disney gets upset they could sue me. Fair use
(fair dealing in Canada) is exactly what you described—it's a
defense. So yes, you always :p; O0£0
run that risk that someone will be so outraged by
what you've done that they
try and stop you.
"The National Film Board
would be little more than
a propaganda agency if it
Canadian copyright law. At one point I sampled scenes from
Arnie in Terminator 2, spliced with him chasing me around the
globe. This was found to be legally wanting—I wasn't making a
specific comment or criticism on Terminator 2,1 was just being
silly. So I took those clips out. And usually if it wasn't legally
sound, it was probably not that artistically interesting either.
D: Was it a concern for the NFB that you are actually looking
critically at the Canadian government and Federal Copyright
law? And showing Canada as one of the "world's
worst" pirating nations? -
BG: No. The NFB is an
arms length institution,
so they will engage in
films that create debate
surrounding Canadian
political issues. The NFB
would be litde more than
a propaganda agency if it
weren't given the freedom
to critique.
D: At the Q&A in Vancouver, you said that this
movie wouldn't have been
possible without^e par- weren't given the freedom
trapation of the NFB, and w   ;
that they've stood behind   x__    _    "4," //
the  film  100  per  cent.   IO  CNTIC|Ue.
How much did the NFB       . <rvfC ^
stick their necks out by
getting involved with this? Is it legally risky for them?
BG: Well, they are a co-producer, so yes it is a risk. But like I
said, we did take steps to try and make the risk a reasonable
one. For instance,in the film we show Arnold Schwarzenegger '■
meeting with Stephen Harper and discussing amendments to
4        Discorder Magazine
D: You've shared the film
via Open Source Cinema and let others remix it. Some musicians, like Radiohead and Kanye, have started allowing the free
distribution of their song components (or stems) for everyone
to remix the songs. Do you see this trend evolving over the
years to come? Becoming more widespread?
Dash |P'
the Door Guy:
Don't even try.
by Leanna Orr | photo by Coral Mercer
If you have ever attended. Vx Alive, Salbourg (R.I.P.) or Glory Days, chances are you had your ID checked by Dash,
doorman to the scene. He began working events with Jason
"My!Gay!Husband!" Sulyma about three years ago, and has
been (mosdy) turning away 16-year-olds ever since. During his
time in Vancouver, Dash has become an institution for alternative club nights and concerts. His picture appears frequendy on
lindsaysdiet.com, and regulars greet him enthusiastically. Even
as he grumbles, "these kids, they all drive me crazy," Dash looks
amused at the stumbling horde surrounding the door of the
Dash clearly enjoys his job, but is careful not to mix business with pleasure. "I've never dated someone I've met when
I'm working. I'm single," he said. Of course, as the arbitrator
of "who's in, who's out" at some of Vancouver's most popular nights, his bachelorhood is clearly by choice. At least two
charmingly intoxicated young women approached him during
our interview, flirtatiously asking to skip the line. Both were
still waiting 45 minutes later.
Tipsy girls are an occupational bonus that was conspicuously
absent in Dash's former line of work. Born in Kurdistan, he
served as a Special Forces officer in the Iraq-Iran War. "I still
have a bullet in my knee," he mentions, graciously allowing me
to feel it. When asked if he is still a good shot, Dash answered
suspiciously, "Why are you asking me that? Well, yes, I guess
so. But I haven't shot a gun since '87." For my own safety, I
will not suggest that Dash is undercover and performing covert
international espionage. I will, however, advise against stepping
out of line with this particular bouncer. VEV
BG: Absolutely I think it will continue! The distribution of
stems in music was one of the models that we looked at for
OSC, and I think that these sorts of experiments create immense value—it gives artists additional means of offering their
fans something of value. Instead of asking for people to pay for
a record work only, these types of experiments are important
forays into creating a new value chain. That's why we have all
these different ways people can experience the film—TV, in
theatres, on DVD, remixable on the web—we know it's not
enough to simply burn a disc anymore!
D: You mentioned at the Q&A that the version that we saw
at ihe Mar. 8 screening was different from the one that will
be shown at the Ridge Theatre starting Mar. 20. Will the film
continue to evolve? Indefinitely? Do you think this will become more common in the future with other films?
BG: Indefinitely? A scary and inspiring thought. Inspiring
that others would continue the work, less so if I no longer slept.
But yes we're getting ready to show a remixed version of the
film at the Ann Arbor film festival, and hope to keep things
going at www.opensourcecinema.org. You can remix the film
online there! . . . • *^Hafe"#;
D: Thanks a lot, Brett! Congratulations on the film.
BG: No problem! I used to read Discorder back in the day.
Glad you guys are still around!  \T)J Venews:
A look at the state of the
independent music venue in
our city
by Jordie Yow
I'm pleased to be writing the first edition of
Venews, a column that seemed necessary after the last few issues of Discorder. For a more
detailed look at why we felt this column was
necessary and what we intend it to do check
out the Editor's Note on page two.
It would seem more and more that venews
is bad news in Vancouver. The liquor control
and licensing branch of the provincial government revoked the live music license that had
been provided to Hoko Sushi and Karaoke
House by the City of Vancouver. Hoko's owners sire considering appealing the decision, but
they have not yet decided.
"I have to be very rich to fight this system,"
said Jian Hoko, one of the owners.
The liquor branch's" decision, posted Feb.
20, stated that Hoko's was operating as a bar
and that the city permit they had to operate
(which the owners say allowed them to have
live music) did
not in fact allow
them to have live
music I'm not
going to debate
whether or not
Hoko's broke
the law, but if a
responsible, safe
venue like Hoko's
is breaking the
law then maybe
there "is something wrong with
the law.
Another venue's closure is r>___WS$
perhaps a bit less surprising. The city police finally wrote up the wonderfully named Peanut
Gallery after things got a litde too busy, which
was enough to put an end to that underground
venue. The Peanut Gallery's success was always more about their ability to keep off the
radar than* it was about approval from people
in authority, so while sad, their shutdown isn't
surprising. Cheylene Tattersall, who wrote the
goodbye note, will be collecting photos of the
past year to put into some sort of collection. If
you have any, you are asked to send them to
her at irffo@peanugallerybasement.com.
The venue's closure prompted Saelan
Twerdy, Colour magazine's music editor and
local music afficionado, to call on Pro Fun
City to put a bit more oomph into their lobbying efforts to get the city to do something
about the "absurd marginalization of good
nightlife venues in this town." Though we at
fccorder agree with the majority ofTwerdy's
sentiments, the entire onus cannot be placed
i the heads of just one lobbying group.
As individuals who reside in Vancouver we
have j ust as much power to get in touch with
"We decided to
stop crying into our
chocolate milk and
start a new night
with live music and
city council to promote change as any lobbying
group.Tn an interview, Vision Vancouver city
councillor Heather Deal said, "I would like to
see our bylaws reflect a lot more flexibility."
Deal's portfolio contains both the arts and city
nightlife. She urged people who are concerned
about the state of Vancouver's venues to email
her at clrdeal@vancouver.ca. But your don't have
to stop there. Email Vancouver's mayor and
council at mayorandcouncil@vancouver.ca.
Among issues that are currendy brewing,
the Cobalt has formed a 5,000 person Facebook group to organize a way to save the
bar from being closed by noise-control bylaws on after-hours bars. "Bylaw no. 6555 : a
bylaw to regulate noise or sound within the
City of Vancouver" requires that all establishments keep noise to under three decibels
above the background noise three metres from
the building. Three decibels is the amount of
noise necessary for
the human ear to
tell the difference
between what they
are hearing and
background noise.
That means that if
someone is three
metres from the
Cobalt, (approximately on the far
edge of the sidewalk outside their
door)' and he can
hear that there's a
concert going on.
inside, then the
Cobalt is breaking Vancouver's noise bylaw.
This seems to be a slighdy overbearing rule
so it is understandable that Wendythirteen is
complaining about this bylaw in the Straight's
Mar. 12 Music Notes.
After all the doom and gloom are you ready
for some good news? By the time you read
this the Downtown East Side bar, the Astoria,
should be reopening after spending $120,000
on renovations for soundproofing. They're
back in action and you can book your band to
play there soon.
Additionally another East Van staple Funky
Winkerbeans is going to start hosting regular
nights, with bands. No More Strangers will
be bringing bands like Hermetic, the SSRIs,
Haunted Beard and many more out. It will be
happening every other Saturday and you can
check out the calendar for listings. The group's
Facebook page had some sage advice after all
these closures. "We decided to stop crying into
our chocolate milk and start a new night with
live music and dancing." Amen to that^JV
Textually Active
The Vancouver Book of
by Jordie Yow
Usually we try and come up with something we think you should read for this column, but
our collective brains failed to find a good book about music this month. Instead we will
be faking a look at the Vancouver Book of Everything. This glorified travel book is the local installment of the Canadian Book of Everything series which does its best to present a city, in a
fashion, that will appeal to a young audience. Vancouver does provide a good snapshot of the city
(although the section on Vancouver's economy may need a bit of revising now that this whole
recession thing is happening). 'J': j
If you knew absolutely nothing about Vancouver, this would be a good place to start. If you're a
local, you'll probably be bored. The reason for this is two-pronged. If you are interested in something, say music in Vancouver, then you will find the 200 to 500 words devoted to the subject
severely lacking. But wait—even though you may know lots about music, you might not know
anything about gardening in Vancouver and this book will teach you about that. You may not
care at all about gardening in Vancouver, in which case this information is useless to you, but if
you do care, then you would be much better suited to pick up a book that is more specialized on
the subject, like say Gardening in Vancouver. Because of the overgeneralized approach, the book
is essentially useless to anyone interested in more than a superficial understanding of anything
n our city. So if you are the annoying sort of person who likes to prove they are smart by tout-
ng endless trivia, this is right up your alley. This book is also great if the sight of an email tided
"FWD: FWD: FWD: You know you're from Vancouver when ..."from some member of your
extended family brings great joy to your heart, littered as the book is with lists of questionable--
slang, catchy quotes from well-known locals and top five lists like "Things to see in the Vancouver Museum" that come across in the same vein as those annoying emails. It would appear the
jerk who has nothing better to do than take advantage of the fact that my dad (sorry Dad) hasn't
quite grasped email etiquette has found a new place to be published in this book.
I am perhaps being overly harsh; this book does have a use. It's the ideal "quick read" for
someone who is considering moving to Vancouver, but has limited knowledge of the city. It's also
a good travel companion for tourists. Aside from that, if you're looking to actually learn about
something in Vancouver, you might be better off with something more specialized or specific
If you want a *good read" about our beautiful city, you'd be better served picking up a copy of
Douglas Coupland's City of Glass.    \£)f/
April • 2009 zmtimbre
WITH BUSTS      I'glorydays"
I T-O-** ilii'1 ll ^8^g(i   £JeBSm0r ^>39^KingswayJat-12th).www:biltmorecabaret.com CV-f   §     I
6        Discorder Apollo Ghpi
five bucks!
by Ben Lai | photos by Steve Louie | drawing by Monika Koch
"love our name, even though I
didn't know what it means until
" bassist Jay Oliver candidly
■ admitted. The name of his band,
Apollo Ghosts, originated from a music venue
in Thunder Bay called the Apollo Bar and
Restaurant, a friendly, popular stop for many
travelling bands on route between Winnipeg
and Toronto.
"When I was touring with the Winks across
Canada in 2006, they let us stay in these apartments [above the Apollo Bar,] and we each
got our own giant room," guitarist Adrian
Teacher clarified. 1 remember going to bed
and just being really scared. I felt like there
was a ghosdy presence in there. I had a notebook and just wrote down Apollo Ghosts. I
liked the sound of that."    0^%'v, ?*
The first thing most people notice at an
Apollo Ghosts show is the outrageous amount
of charisma and energy Teacher delivers song
after song. During a Jan. 18 show at Our
Town Cafe he jumped off the stage, danced
with the crowd and then ran outside into the
streets singing. His equal dose of confidence
and humour on stage has fans comparing him
to the likes of Jonathan Richman and Nardwuar the Human Serviette. Off the
stage however, Teacher's personality
is the polar opposite—surprisingly
quiet, soft-spoken and introspective.
"I get really excited to play music,"
Teacher explained. "You are up in
front of an audience and I feel it
is important to engage them. And
there is a certain way to engage
people. We're just having fun."
"Adrian is more of a stage performer," said drummer Amanda
T'anda. "[Adrian and-1]_ used to.
teach in Korea and some days I'll
be looking over into his classroom
and I see him running his hands
through his hair, waving his arms
around, singing and playing his
guitar. I think a lot of the other
teachers in school would get annoyed because he put a lot more efforts into his lessons. He wants to
put on a show for the kids."
Apollo Ghosts'recent debut album, Hastings
Sunrise, is a vinyl-only release (it comes with
an MP3 download card) and can be purchased
for the ridiculously low price of five dollars. "A
lot of people laugh at that idea, kind of make
fon of me, but I think it has worked out really well," Teacher laughed. "A lot of people
will take a chance on it. You know, what's five
bucks? At this point we don't have a big fan
base so I thought, why not just give it away
at cost?" Sales of the Hastings Sunrise took off
as soon as an American music blogger named
Ryan Catbird gave a glowingly positive review
of the album on his website, the Catbirdseat.
Having sold most of the 300 records manufactured, the band will be repressing the album
on coloured wax within a few months to meet
the demand.
"I think [Catbird] is just very influential.
He has a label and people like his website a
lot," Panda explained. "It worked out nicely."
.^__QjnJ«*swere coming in from as far away as
Germany and Iceland. "And wejEBblugftToS'1 J
land went bankrupt," Oliver joked.
Apollo Ghosts will be playing at 3216 W
Broadway (Mel Lehan's campaign office)
along with Collapsing Opposites, Search Parties and Zombie Pistolero &his Guns on Apr.
14. For more information about the show, or
to purchase the record, you can visit Adrian
Teacher's website at http"//www.myspace.
com/adrianteacher.  VDV
How Soon is Now
A review of noisy things at the
Vancouver Art Gallery
by Laura Hatfield | art by Audrey Egeland
An exhibition that attempts to bring music
into the sphere of visual arts is now being
hosted by the Vancouver Art Gallery. How
Soon is Now, taking its tide from the Smiths'
song of the same name, is curated by Kathleen Ritter
who has pulled together the work of 34 varied artistic practices based out of Vancouver, abandoning the
aU-too-farniliar thematic residue of late 20th century
curatorial practices to pursue an open-ended exploration of the work currendy being produced by up-and-
coming B.C. artists. The exhibition picks up on current
trends in the art world, including a heightened interest
in audience participation and the iconography of rock
music, and attempts to form connections between diverse practices while valuing experience over object.
Although Ritter claims the exhibition does not hold
to one theme, there is one section that is rather obviously associated with music. The event is held at a rime
when it has become common for gallery goers to see a
convergence of visual arts and music during their visits,
considering recent shows like the Chicago Museum of
Contemporary Art's Sympathy for the Devil' Art and
Rock and Roll Since 1967, Musee des Beaux Arts Mon-.
treat's Andy Warhol Live, and the Belgian Centre for
Fine Arts' exhibition It's Not Only Rock-n-Roll, Baby!,
all held within the past couple of years.
In Hadley + Maxwell's multi-media installation
1*1-1, distorted images from Jean Lue Goddard's film
about the Rolling Stones' recording of "Sympathy fox
the Devil" which was originally tided One Plus One
(the film was renamed Sympathy for the Devil by the
film's producers) are presented, coupled with footage from
Hadley + Maxwell's musical outing with two Vancouver
artists/friends in a rented Berlin jam space. The images
focus mainly on the gear and cords of the space and are
projected on freestanding baffles. In addition to the videos, the sound consists of panned, chopped up bits of music from the two different music sessions, external lighting
systems (reminiscent of rock show lighting) with coloured
gels that convey an atmospheric formalist sensibility. The
work suggests mediation between past and present via
means of technological gear used in rock music (microphones, cords, sound baffles). The mixed audio element
could be mistaken for sitting in a video editing booth with
multiple projects going on at the same time, and is mixed
to forma cacophonous relic of an improvisational jam.
No exploration of rock music would be complete
without some semblance of drugs. Just around the corner from 1+1-1 is Paul Wong's Perfect Day, a tripped-
out video of the artist getting high, spazzing out to
a scratched copy of "Perfect Day," performed by Lou
Reed. The video is made with tacky visual effects combined with Wong's self-loathing, disjointed commentary and alludes to the schizophrenic mentality of an
addict looking for euphoria.
An installation by the art collective Instant Coffee,
tided Nooks, consists of four kiosks that people can sit
and enjoy themselves in, one of which contains a record player and an assortment of old 45 singles by artists such as Stevie Wonder, Blondie, Dee Dee Sharp
and Phil Collins. Probably the. most time-consuming
piece of the exhibition is a sound booth installation by
Samuel Roy-Bois, Ugly Today, Beautiful Tomorrow where visitors are likely to
be distracted from the rest of the show by a chance to pick up an instrument -
and physically play music The sound created is recorded and played back in
the lobby of the gallery. Aside from just making a lot of a noise, this work
provides an opportunity for a collaborative passing of ideas between potential
strangers using the language and tools of music. Perhaps Nicolas Bourriaud
- was right when he claimed that art galleries should be like clubs, and that
the most significant aspect of art made today is that which provokes human
Lucy Puflen's photographs, The Northern Lights depict a jam space as a site
of production. Reminiscent of the aurora borealis phenomenon emphasized by
the title of the work, Pullen draws particular attention to the coloured lights
reflected on the tiled ceilings, while coincidentally bringing to mind the Canadian music group who share the same moniker. In 1985 performers as diverse as Neil Young, Bruce Cockburn, Anne Murray, Geddy Lee, Corey Hart,
Gordon Lightfoot and Bryan Adams gathered to form the Northern Lights
to record the charity song "Tears Are Not Enough."Northern Lights conceptually mimicked Band-Aid's success with, their hit song "Do They Know It's
Christmas."This 1980s global buzz helped raise millions of dollars for famine
relief in Ethiopia. The gesture was that of hopeful optimism for the potential
of collaborative pop culture to create proactive political action. How Soon Is
Now, like the group Northern Lights, combines a diversity of artists, styles and
themes to form one harmonious exploration of the current time and examines
the potential for the fine arts to affect positive social change. \T)J
April • 2009 House
Get Money.
by Leanna Orr | art by Aisha Davidson
The scene at the inaugural House Party hip-hop night
on Mar. 17 at the Biltmore was just like a P. Diddy.
video. Hot girls shook it on the stage and dance floor,
everyone had a gin and juice in hand and gold jewelery
adorned sweaty chests. Just like a P. Diddy video, except the girls
were rocking American Apparel, "ghetto cocktails" were double-
fisted with PBR and the gold was vintage.
A stream of club anthems was provided by Andy Dixon
(Secret Mommy), DJ Man Tears, (Emergency Room), DJ
NOREMDC (Michael LaPointe), Ian Wyatt (Blastramp) and
Lil' Baby Peace Sign (Nu Sensae) [ed Lil'Baby Peace sign was
not in attendance but will be in the future.] . Unlike most of the
nights these DJs regularly play, at House Party the dancing
crowd took precedence over the DJs. With the decks relegated
to the back of club, the dance floor could overflow to fill the
stage as well. This set-up was well received and discouraged the
usuaTdevelopment of an exclusive, backstage party.
Although the DJs were not the centre of attention, they
seemed to be satisfied with the maiden voyage of House Party. As he packed up his Serato, Wyatt spoke positively of the
event: "It was great—I'm really happy with how things turned
out. I enjoy doing this; I get to help people dance."
Musically, House Party was entirely free of pretension. Almost every song was widely popular commercialized rap or
hip-hop. Michael LaPointe noted that the DJs "started the
night simply to play hits that didn't have a home already." Cha-
millionaire's "Ricoh*" is one such song, though the decidedly
non-gangster crowd was well-versed in the lyrics and eager
to rap along. The music achieved its goal—a full and sweaty
dance floor—but technical difficulties caused a couple of awkward silent gaps between tracks. Truthfiilly though, when a DJ
sandwiches Biggie's "Hypnotize" between Missy Elliot's "Lose
Control" and TI.'s "What You Know," there are few errors
large enough to pry people off the floor.
For most attending House Party, myself included, the small
musical mishaps were insignificant. The night was dedicated to
shameless fun, and was one of the most enjoyable club nights
I have had for quite a while. Lake the DJing, the attendees
seemed to ignore the questionable social implications of House
Undeniably, the night was, generally, an appropriation of
black culture for the entertainment of white people. The image
of a room full of mosdy white people dancing to mosdy black
music played by white DJs bears an uncomfortable resemblance
to a 19th century plantation dance, with men in blackface playing fiddles. It is, however, worth questioning how valid it is to
classify music by race. Perhaps music, no matter the origin, is
a platform for universal enjoyment. This is an important issue
to consider, and I feel that House Party was a celebration, not
a satire, of hip-hop culture, and evidence that music may be
universal after all. Overall, from the approachable music, to the
open stage and celebratory attitudes, House Party was night
for easy fun, and one that I look forward to getting crunk at
The next House Party will be Apr. 21 at the Biltmore Cabaret
Sex Party   fg
Instant dance party guaranteed
by Erica Hansen | art by Lindsey Hampton
The first time I saw Sex Party they literally almost shot me
in the face with fireworks. Aside from this near maiming,
it was pretty much love at first sight. Hailing from Red
Deer, Alberta, the vigorous four-piece ensemble moved to
Vancouver last fall. Not discouraged by the rain, Paige Graham (vocals); Jason Stashko (vocals/bass), Tyler Archibald (drums) and Dan
Gervais (synths) settled right in, and so did their thrashing electro-
sexual melodies.
8        Discorder Magazine
Sex Party has one full-length album out (self-tided) and are in the
process of recording a second. They are hoping to pump it out as soon
as possible for our sensual Ustening pleasure. They write all their mu- -
sic together, allowing their varied influences and tastes to collide and
converge, the. offspring of which is the kicking and screaming sound
that Sex Party has become notorious for. When asked to classify their
style—always a sensitive question—Gervais offered the term "club
punk" to the approving nods of his band mates. Later, Archibald
mused on how they might have found a better fit
over in France or Japan where the electro music
scene runs deep.'." lf||g|a
"France actually has so much, it would be awesome to tour there. We even looked into doing a
tour in Japan, "said Archibald.
On the dynamics of playing music in Vancouver versus towns like Edmonton or Calgary, he
added, "Everyone here wants DJs now. And then
you're competing with big bands coming through.
It's harder to book shows on weekends and you
end up playing in the middle of the week. But
there is definitely more here, more people here
still come out on weeknights. It always sucks
playing late when people leave early to get up for
work in the morning."
They give props to venues like the Biltmore
that often stage live shows early and then finish
off with a DJ set or two.
You might have already experienced this Jan.
28 at the Mae Shi show, or perhaps at Shambha-
la's Rock Pit last summer, but I want to talk a bit
about Sex Party in the flesh. Live, these guys have
as much presence as they do style, which is to say
a lot. Instant dance party guaranteed. Stashko
manages to maintain remarkable control of his
bass as he pounds Out industrial riffs and contorts
his body in new and creative-ways. He's definitely
not shy about getting up close and personal with
the floor. Graham retains her composure, delivering her crisply rendered lyrics amidst Stashko
and Gervais' deep dancy beats and synth-pop
rhythm. And they're always dressed to impress,
or dare I say barely"ctressed. See for yourself: Sex
Party plays Apr. 8 at the Bourbon with Random
Humans and the Telephone Girls, and Apr. 30 at
the"Backstage Lounge with NEATO! Tne Fdthy
To avoid an embarassing Google search we
provide you with the bands Myspace: www.mys-
pace.com/sexxxparty.     TA Fucked Up §§
Their most recent album opens with a flute
solo. They practice black magic.
by Daniel Fumano | art by Jamie Ward
Over the eight years of their existence, Fucked Up have been
demonstrating, in many different ways, that they are a different
kind of band. You may have read, seen or heard
some of the stories about the six-piece hardcore outfit from Toronto; indeed, in the past
two years they have seemingly been showing
up everywhere—from Maximum RocknRoll
to Pitchfork, from the New York Times to
Fox News.
If you've been paying attention to this,
you've probably heard a lot of the same things
about the band—they hate each other and
they are always on the brink of killing each
other. They may or may not be racists and/
or neo-Nazis. Their most recent album opens
with a flute solo. They practice black magic.
They have held day jobs as varied as factory
worker, child actor and film producer.
There are, however, two facts about Fucked
Up that are easy enough to discern—they are
prolific and they are ambitious.
Their prolificacy is evidenced by both their
recorded qutput and their touring. Their release history includes an extensive Ust of dozens of limited-edition 7" releases, a handful of
EPs and two full lengths: 2006's Hidden World
and last year's stunning The Chemistry of Common Life. An epic album weighing themes of
religion, philo?ophy, science and mysticism,
Common Life simultaneously impresses with
deft musicianship and ornate instrumentation, and satisfies with gut-churning riffs and
throat-shredding screams. Their live performances have garnered legendary status for,
their intensity and theatricality.
The Fucked Up roster is rounded out by five
talented musicians, and each has a handful of
pseudonyms colourful enough to match band
leader Damian Abraham's charming moniker Pink Eyes. The liner notes from Common
Life Ust bassist Mustard Gas (a.k.a. Sandy
Miranda), drummer Mr. Jo (Jonah Falco)
and a trio of guitarists: 10,000 Marbles (Mike
Haliechuk), Gulag (Josh Zucker) and Young
Governor (Ben Cook). In Abraham's words,
they are "people who don't really get along and
don't have a lot in common," but that sounds
pretty mild if you've read 4he stories in the
media about band members getting in fist-
fights on stage and in public places.
In conversation, Abraham is as engaging, articulate and amiable as he is confrontational, unintelligible and intimidating in
performance. "It's funny, because I think a lot
of people think we're exaggerating, but that
is very true. We as a band do not get along.
In no uncertain terms. And it makes touring
difficult and it makes life in general kind of
unpleasant at times, but there's no love lost,"
he said from his cell phone in Toronto.
Asked how long they can keep this up
without breaking up or killing each other,
Abraham laughed. "I would've thought we'd
be long gone by now!"
misinformation in the past," he said, referring
to their predilection for spreading mistruths
and myths about the band in previous years.
"If someone chooses not to beUeve or chooses
to beUeve anything about our band, it's no
fault but our own, because of what we've done
in the past."
Reflecting on all of that self-created mythology surrounding the band, Abraham
explains that it has had "a very functional
purpose" for the band (in addition to the
anonymity that their aliases provided to help
them evade Google-sawy American border
guards in their early American excursions).
"Even moreso though, I just love it when people come up and talk to me like, Ts that real
or is that fake? Are you guys just bullshitting?'
You know at least it shows that people are
paying attention. Or they're interested enough
to kind of wonder what's going on beyond the
"If you're gonna fail at something
it's better to fail spectacularly than
to just scrape by."
Upon further thought, though, he added,
"You know, it's really weird: I think because we
don't love each other, we'U stay together a lot
longer than a lot of bands that do love one an-
-other, cause there's nothing to lose. As long as
we can get through a tour without coming to
physical blows; then I think we're doing fine."
On a (sUghdy) positive note, Abraham
said that his relationship with his bandmates
has "actuaUy been a lot more bearable than
in years past," sounding more surprised than
sunny. ReaUy? Can a band really function with
six people who not only dislike each other, but
are a physical danger to each other? It seems
difficult to beUeve.
Abraham isn't surprised that people are
skeptical. "We cannot blame anyone [for not
beUeving us], because we've done so much
surface. I guess that was part of why we Uked
the ruse thing. It's Uke when you see someone
giving a speech, and they talk deUberately kind
of quiedy so you have to pay more attention.
By putting out so much buUshit, people had to
pay a Uttle more attention to try to figure out
what was actuaUy going on."
But Fucked Up make aggressive, confrontational music; perhaps the tensions and
animosities between band members translate
into real emotions in the music, contributing
to their creative output. To explain, Abraham
points east: "Back to the Japanese hardcore.
The Japanese bands Uke Gauze, they're a huge
influence on us, because their approach to
music is very different from the classic North
American or Western idea of the band as a
gang, Uke the Clash or the Rolling Stones."
"Then you have these Japanese bands Uke
Gauze, who have been together for 25 years,
and they know nothing about one other in
the band because they think it would distract
from the aggressiveness of the music they're
trying to make. And I think there's something
reaUy romantic about that, and for our band,
that's much more relatable than the Clash idea
of being 'a band of brothers.""
The band has just returned from the home
of their influences. .
"Yeah, we just got back from China and Japan," explained Abraham. "And we did England too, so we actuaUy circumnavigated the
globe with this last tour." - _ 'S*g£.
Discussing their recent Asian tour, he commented on how exciting it was to visit Japan,
the home country of many of Fucked Up's
favourite bands. "Japanese hardcore is Uke my
obsession," he claimed, naming bands such as
Nightmare and Crude, in addition to Gauze.
Abraham goes on to say that "China was
an unbeUevable experience. It's a reaUy young
punk scene, and alternative music in general
is new there."     - ^tfjtM
Clearly enthusiastic about the Chinese
punk kids, he continues, "It was great to see
how kids could work around the government
to put on shows,... cause the government stiU
routinely shuts down shows, routinely teUs
bands they're not aUowed to play with other
bands and weird things Uke that. It's a bizarre
thing to witness, but it's also incredibly inspiring to see that the d.i.y. not only exists, but
thrives. It was an unbeUevable experience."
FoUowers of Vancouver's music scene may
sympathize with the experience of having
venues constandy shut down by "the Man,"
but as difficult as it can be to deal with poUce
and Ucensing hassles in "No Fun City," it has
to be a lot easier than having the Communist
Party of China on your ass.
Abraham acknowledged the problems facing the punk community in Vancouver, and
pointed out that Toronto's punk scene experiences similar difficulties. Fucked Up's Vancouver, connections go back to their earUest records (which were put out by the B.C.-based
label Deranged Records). Abraham spoke
glowingly about "Going to Vancouver, I was
hugely into d.b.s., and everyone in the band
was into Gob and the Smugglers. You know,
hardcore itself is from Vancouver originaUy;
when D.OA. released Hardcore '81, they released the titular album for hardcore ... and
Death to the Sickoids by the Subhumans—if
I was going to have pick a favourite punk* or
'"hardcore 7" of aU time, that would be either
number one or two."
An erudite punk historian, he went on to
state, "It's arguable, but Toronto never reaUy
developed the same sophistication, the same
sort of hardcore scene. Most of the hardcore .
bands were never able to put out records from
Toronto; meanwhile the Subhumans and
D.OA. were touring aU over the world. It's
sort of like the Canadian hardcore identity
was kind of established by Vancouver bands."
You may have heard about what's next for
Fucked Up—a rock opera based on "David
Comes to Life," a song from Hidden World.
Though he admitted, "I can't beUeve it either.
I'm ldnd of caUing buUshit on that, too." Abraham assured me that this is a real project.
The man they qaU Pink Eyes quixoticaUy
laid out the plan: "We're gonna do it as a rock
opera. It's going to be a thematic musical experience that might be a complete disaster.
This could be the one, this might be the straw
that broke the camel's back with us,"
He laughs, imagining the Uve performance
of the rock opera. T hope it has costumes ... I
hope it's Uke a big, grandiose thing. If you're
gonna fad at something, it's better to fail spectacularly, than to just scrape by."
WUl fucked Up fuck up? Pay attention to
find out. \TV
April • 2009
MAY 30
MAY 21
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8 \00 ($&*;•
Jack Elliott
April • 2009 DUBSTEP
'Get down to some more left field sounds."
by ChadThiessen & Dashiell Brasen | photos by John Bowman from the Caspa show at Lotus on Mar. 1
Say dubstep, and some might remember a friend or
acquaintance in the last year who was won over by
Skream's dank ragga track "Pass The Red Stripe," the
aural pounding of Caspa & Rukso's FabricLive 37 album, or Burial's Critically acclaimed bedroom beats. Listeners
and the uninitiated alike may not realize that dubstep is nearly
seven years old and growing quickly. Vancouverites are lucky to
find that growth in their own backyard, with local artists who
are expanding their influence while helping foster a healthy
scene here in the city.
"Initially there were only a few artists to choose from when
buying records," recalled Max Ulis, a member of Vancouver's
Lighta! Sound crew. "That dictated what we were going to play
from the jump, but now everybody is making dubstep; drum-
and-bass and breaks producers are hopping on the bandwagon,
trying to make the next big tune." The expansion of dubstep
through the Internet and word of mouth has been uncanny.
With more producers pressing vinyl singles, there is no shortage
of big tunes for any DJ to snatch up and play. Amidst a growing
field, local artists and fans are carving their own stake.
When played on an
adequate sound
system, dubstep is a
physical experience,
flooding dance floors
with rolling sine waves,
moving the crowd to
many different rhythms
at once.
"The. crowd in Vancouver is better educated than most,"
stated Lighta! Sound member Michael Red. "And that is by
. the simple fact that a broad enough range of music has been
played out here, within and outside of the genre, so that people
get it."
"As far back as 2003 [locals] Tusk and Kuma were playing
dubstep records in their sets," claimed Red. Even then, they
brought in acts like the U.K.'s Kode 9. His label, Hyperdub
Records, has become an example of new dub's promising new
Dubstep is not easily defined, but it is most recognized
by rumbling, guttural, often off-beat, low-end, bass frequencies. Tracks juxtapose half-time echoing dub drum patterns
with the dark, haunting melodies of sweeping synths. When
played on an adequate sound system, dubstep is a physical experience, flooding dance floors with rolling sine waves, moving the crowd to many different rhythms at once. However,
those who think dubstep is nothing but wonky, wobbly bass
lines might be surprised to hear the range of sounds influencing today's productions. Going beyond the genre's immediate
16     Discorder Magazine roots in dub, techno, U.K. grime, and drum-and-bass, dubstep
producers piece together mosaics with patches from Caribbean
dancehall, Indian raga and the trunk rattling bass of Southern crunk, West coast hip-hop and hyphy. These diverse yet'
familiar soundscapes are helping ensure the healthy growth
of dubstep in Vancouver and around the world; encouraging a
community of artists who reach out to fans from every crevice
of the cultural spectrum.
"Setting ourselves apart from everyone else is a challenge,
but as our crew all produces it makes it a little easier," said Ulis
of the familial aspects of dubstep culture. Sticking together'
helps Vancouver's DJs stand out. A notable producer, the U.K.'s
DJ Distance a.ka. Greg Sanders, complimented Vancouver for
its vibrant dubstep atmosphere, and it's no wonder.
Dubstep producers
piece together mosaics
with patches from
Caribbean dancehall,
Indian raga and the
trunk rattling bass of
Southern crunk, West
coast hip-hop and
"It was brilliant, the whole vibe," DJ Distance said after playing in Vancouver. "Every single DJ played a unique sound to
themselves. They weren't necessarily playing bangers, but everyone just loved it and was into the whole atmosphere and the
sound ... It was a really good experience."
One of Vancouver's marquee dubstep events, New Forms
Media and Lighta! Sounds' collaboration, Dubforms, has been
impressing crowds and artists alike. "We've had headliners who
have said that Dubforms was the best event they have ever
played," claimed Red.
"Playing Dubforms was massive for me," added DJ Sase
a.k.a. Mathieu Girard. "Events like this are the foundation of
the Canadian scene."
Talking to Vancouver's dubstep artists, it is clear they are
enthusiastic about contributing to the culture and promoting
the genre's development. "I never want to repeat an event lineup or try to recapture a specific vibe," stated Red. "That only
encourages mediocrity and stagnancy, boring the people that
lendjife to this scene."
No matter the magnitude of the show, crowds can expect to
hear new dubplates from around the globe and new material
from right here at home. Producers work relentlessly on new
tracks, and show-goers receive the privilege of hearing brand
new tunes debuted on quality sound systems.
"There are DJs here that are truly driven by the music and
who are less interested in being superstars," continued Red.
"There are enough of those DJs who are willing to take risks;
they give the crowd credit and play challenging sounds that
aren't 'safe." Many DJs produce and play out their own songs
along with remixes and edits, and crowds enthusiastically appreciate original material from local dubsteppers like Taal
Mala and Self Evident, the deeper grooves of Daega Sound
and recent Montreal expatriate DJ Sase, all of which make for
a promising, outlook for dubstep in Vancouver..
"They know the tunes and respond to all kinds of different
sounds," stated DJ Sase of Vancouver's dubstep scene. "I'm loving the fact that [my sets] can get a litde deeper here and not
be lost on the crowd. It's nice to have people get down to some
more left field sounds."
With a receptive audience, and musicians who don't shy
away from taking risks, Vancouver seems to be the perfect place
for dubstep to take root. The musicians involved recognize the
value of fans who come out to support the local scene, aware
that its survival is a collaborative effort involving everyone. It
is bigger than who the crew is and bigger than the music," explained Red. "It's a true lack of ego anda Sense of togetherness
that I think helps make Vancouver's scene so special."
And it's what makes dubstep in Vancouver so accessible.
Through official publications, poster promotion and social networking, it's easy to keep up with shows and new developments
related to local artists. The city's dubstep events are never anything
less than welcoming, and just being in the audience as they raise
their lighters in the air anticipating big tunes is evidence enough
of the culture's current health and future potential.
"The crowd in Vancouver know what is up, and when a performer is killing it, the crowd lets them know," said Ulis. "B.C.
is laid back in comparison to most places I have played. People
have no problem going crazy on the dance floor. It also helps
that a lot of women in Vancouver are into the music When
women dance, everybody dances."
Notable dubstep producers Kode 9 and Starkey are set to play
in Vancouver on Apr. 9 and 10 respectively. For more information on upcoming events and releases, visit lighta! Sound at
www.myspace.com/lightasound or www.thisisdubstep.com to
hear podcasts by DJ Sase.
in concert:
Friday May 8
The BUtmore Cabaret
KeaCit TE—I
Keconds ' '
^**iifLv. 1972 WEST 4TH
April • 2009 17 Bg)b Wiseman:
Accordian Imposter
by Brenda Grunau | art by Lindsey Hampton
Bob Wiseman is a singer-songwriter
d&bj^Bwonto whose performances
include rants and amusing videos.
Bob has acted, directed and written
music for theatre, comedy troupes and television. Canadiana nerds may recall that Bob
scored music for the CBC comedy Twitch
City, starring Molly Parker and Don McKellar. A versatile pianist and accordion player,
Bob has played with Blue Rodeo, the Hidden
Cameras, Ron Sexsmith, final Fantasy and
many others. Here's what Bob had to say for
Discorder: How is your tour going?
Bob Wiseman: It's kind of a zig zag. We started in Saskatoon, then Regina, and now we're
back in Winnipeg, and going out west. Geoff
Berner was determined to play Saskatoon on
the weekend. Tomorrow is very interesting
because we're playing Bruno, Saskatchewan.
A few Emily Carr graduates bought a building there and-sell artwork and put on shows.
They made a great poster that I've been using
on the t-shirts. I'll have a grand piano there.
Then we're going to [Bob rattles off names of
places] and then New Zealand.
I got a grant from the National Rim Board
to finish an animation that I've worked on in
the past six months. In my spare time, I have a
tablet and I'm doing some rotoscoping—tracing, [ed. rotoscoping is a process that involves re-
18     Discorder Magazine
drawing live film footage frame by frame to make
it animated. Though this task is often accomplished
by computers it would appear Wiseman is doing
it the old fashioned way—by hand.] That's part
of how I keep myself occupied when I'm not
playing shows, making sure the car runs, and
picking up Geoff [Berner] and Jonah [Nepon>
from Ghost Town, Manitoba], our technical
It's a different process, because they are different things. I've approached friends to help
me make stuff. I've made little honourariums
available to friends to work on some of these
D: I read somewhere that one of your earlier
albums featured a prepared piano [ed. a prepared piano is a piano in which objects have been
"That's the thing I am most excited
by—making work that is exciting,
especially if there is something
shocking about the emotional
honesty and depth."
person. I was able to subcontract some of my
friends, so I bought some cheap tablets on
Craig'slist, and they're helping me out on this
project, including Mary Margaret OUara.
D: Do you spend more time writing songs or
producing videos to accompany them?
BW: [laughter] I make films about my songs,
and I accompany them live on accordion.
Both kind of happen—it's part and parcel.
placed on the strings and hammers to alter the
sound a piano makes.] and that you used vegetables. Which vegetables did you find were
best suited for the album?
BW: I think there was a mix-up in the information, but I do play adventuresome piano,
avant-garde piano music. There was the album
Hits from the '60s and'70s. I have another piano
record called Beware of Bob. I don't think I put
any vegetables in a piano, but there are many
objects you can put into a piano. You can stick
things between the strings, but is it interesting? That's the most important thing to me,
when I hear avant-garde musk—am I bored
or are you doing something incredible? That's
the thing I am most excited by—making work
that is exciting, especially if there is something
shocking about the emotional honesty and
D: Your performance includes video and comedy. Is there an ethos behind this, or how did
this evolve?
BW: There are a million singer-songwriters
in the world, and sinceT create films, it gives
the illusion that there's something else going
on. There's a lot of chatter at shows, so people
won't cut me slack to do the more intimate
songs. When I play videos I end up getting
more of their attention to perform my work.
People shush each other and quiet down when
there's video, [pause] I like making people
laugh.      tS^t-
D: How did you fall in love with the accordion? wS§£'
BW: I was in northern Ontario visiting a
friend a long time ago and I drove up with
the musician Bob Snider; he wanted to walk
into the pawn shop that was there. There was
an accordion there—it was $30, and I thought;
I think I can play that maybe. I'm basically an
imposter. I'm not a serious accordion player.
"Now-that f pfajrk-alot, people walk up to me
who have fathers that have an accordion. They
want to invite me over and play for their fathers that play the accordion.
D: Do y°u find it easy to cross the border with
an accordion?
BW: You know, that's a really good question,
because it's really difficult to cross the border.
There are legal and illegal ways to cross the border, and I try to do it the legal way because it's
simpler. They ask me what I play, and usually I
tell them I play guitar. About a year ago, when
1 told the customs officer—they're always serious and scary—that I played the accordion, he
started to laugh with this crazy kind of pity.
It was a crazy ice breaker. He didn't ask me
any more questions, as if he were saying, "Do
whatever the fuck you want in America, you
poor moron." Now I always tell them that I
play the accordion—it's a ridiculous thing for
them to hear.
D: CBC Radio 3 recently held a poll on the
best Canadian venue. Do you have a favourite
Canadian venue?
BW: Did they? ... I don't have a favourite
place to play. I'm staying here with a friend
who is a college radio DJ as well, who's itrying
to manipulate me into Saying the Railway. It's
about people and the chemical reaction that
might happen during a show—about the kind
of exchange that happens between the show
and the audience. Even a place with fluorescent Ughts and hums of freezers in the background could be a magical show if the people
were cool.
I actually really love the [Vancouver] East
Cultural Centre... and have hardly ever played
it because it's too expensive. I haven't been able
to find promoters in Vancouver. I love getting a
piano, a grand piano even more... the Western
Front looks like it's going to be one of the best
places I've played in Vancouver ... EUzabeth
Fisher [from the band Animal Slave] took me
to the Western Front and I was blown away,
and it resulted in this gig in Vancouver with
Collapsing Opposites.
If you are reading this article, you just
missed Bob Wiseman play the grand piano
at the Western Front on Friday, March 27.
To leam more about Bob, Usten to his music,
watch his videos, or email his mother, check
out www.bobwiseman.ca. that Toody appeared to pass out on stage. Fred
helped her up and they took five minutes to
recover. Then, amazingly, they finished the
show, rocking as hard as ever.
—Duncan McHugh
Chad VanGaalen "^sfcJ&il
Commodore Ballroom \ February 27
A large part of what makes Chad VanGaalen's
albums so captivating is his wide sonic
range—he constructs diverse arrangements
through endless overdttbbing of home-made
drum machines, gUtchy keyboards, and countless other instruments. But for his February
27th show at the Commodore, he was joined
onstage by only a bassist and drummer, forcing
him to strip the songs down to their bare essentials. Without any frills to distract the ear,
these simplified arrangements emphasized the
quaUty of his songwriting, and showed why
VanGaalen is quickly becoming regarded as
one of the greatest talents in Canadian indie
The show opened with 15 minutes of ambient, experimental noodling, while animated
videos (drawn by VanGaalen) played on two
large screens on either side of the stage. Anyone who has seen his music videos wiU have
a pretty good idea of what it looked like, featuring plenty of gruesome cartoon characters
with stretching eyeballs and exploding heads.
Playing a bizarrely small electric guitar with
no headstock, VanGaalen led his band through
a set of songs drawn largely from 2008's Soft
Airplane. His dirty guitar tone gave a gritty
edge to even the softest songs, while the already upbeat "Bare Feet on Wet Griptape" was
transformed into a full-fledged punk rocker.
A.C. Newman
Dent May & his Magnificent Ukulele
Biltmore Cabaret | February 20
In 2004, A.C. Newman kicked off his solo career in fine style with The Slow Wonder, and
surprised anyone who expected nothing more
from him than the New Pornographers Ute.
Now touring in support of his foUow-up to
that album, Newman brought a distinctly
triumphal air to his performance at the
Biltmore—and why not? It was, in a sense, a
homecoming for one of Vancouver's most celebrated musical exports. But then again, Newman doesn't Uve here anymore, and Get Guilty
is nowhere near the achievement that The
Slow Wonder is. There was a jarring contrast
between old songs Uke "Drink Td~Me Babe,
Then," "On the Table" and "The Town-Halo"
(the last of which closed the set and nearly
brought the house down), and newer material, which mostly feU flat. Although the band
(a New Porno-esque supergroup featuring
Shane Nelken of the Awkward Stage, among
others) thrashed around the stage convincingly, it felt oddly phoned-in at times. Not to
worry, though—'-the bulk of the crowd, mostly
comprised of embryonic nouveau-Main Street
yuppies (with the hipster contingent forming
a vocal minority), enjoyed the show demurely
from their barstools, applauding poUtely and
occasionaUy venturing out onto the floor in
search of one of the scattered pockets of ener-
geticaUy leaping and flaiUng youngsters.
Opener Dent May & his Magnificent
Ukulele, on the other hand, was a magnificent
surprise. May managed to win over an indifferent crowd, crooning earnestly and combining rustic instrumentation with unexpectedly
grandiose flourishes.of '60s pop. The effect
was something Uke Burt Bacharach playing
with Elvis CosteUo (wait, didn't that actuaUy
happen once?) with the Violent Femmes as
- their backing band—May left tbe stage having raised his Vancouver profile considerably
—Alex Smith
Pierced Arrows
Thee Manipulators
The Vicious Cycles
Railway Club \ February 21
Fred and Toody Cole are survivors. Fred has
played in a dozen bands since the early '60s
and Toody's been playing bass since the early
'80s. Dead Moon, the three-piece they formed
in 1987, was on its way to a new level of prominence when the band broke up in 2006, having been the subject of a documentary and a
two-disc Sub Pop retrospective. ThankfuUy,
Fred and Toody have started up again with a
new drummer, KeUy HalUburton, and are now
touring as Pierced Arrows.
I had seen Dead Moon twice before their
demise, and couldn't wait to see this new incarnation. I got to the Railway at 6:30, unwilling to risk the slightest chance of getting stuck
in Une. As it turned out, this was overly cautious, but a pulled pork sandwich (the RaUway
kitchen's finest achievement) helped to pass
the time. By 10,1 had great seats and the place
was packed.
The Vicious Cycles, featuring CiTRs
Motordaddy on theremin, kicked things off.
As you'd expect with a name Uke that, they
sang songs Uke "Hands Off My Bike" and
"Kickstart," but also played a rollicking cover
of "Swing Low, Sweet Chariot."Next up, Thee
Manipulators played organ-driven psych that
had the crowd go-go dancing. The people were
The Railway was stifling by the time
Pierced Arrows hit the stage. The band kicked
into "Guns of Thunder" and the whole front
room became a writhing mass. Pierced Arrows, Uke Dead Mote, play straight-ahead,
unadorned hard rock. Fred and Toody's vocals
often seemed on the verge of cracking—it was
an exhilarating performance.-   J
Towards the end of the set, the heat and lack.
of air flow became overwhelming, so much so
April • 2009 19 1
But the highlight came when he set aside the
guitar for a banjo on "Willow Tree," the song
recently voted by CBC Radio 3 listeners as the
"future classic" of 2008.
Unfortunately, VanGaalens quirky songwriting may have been a bit too weird for
this particular audience, most of whom were
chatty throughout. Despite the vocal support
of a few diehards, most in attendance were
clearly just passing time until the headline act,
Hawksley Workman, took the stage. The show
was arranged by the Cultural Olympiad, and
the organizers would have done better to book
VanGaalen as a headliner in a smaller venue,
where he would have benefited from the receptive audience he deserves.
—Alex Hudson
Antony & the Johnsons
Vogue Theatre \ February 27
It's been at least two years since the last time
I saw a concert and wasn't in the front row.
Most of the time, the acts I'm seeing are energetic as fuck, and I often leave wondering
if I would have experienced the show better
from within the crowd, moshing and flailing
amongst the unwashed masses. This concert
was most certainly not one of those cases. I
was lucky enough to experience Antony He-
garty's trademark warbling baritone from a
front row seat at the Vogue, and I wouldn't
have had it any other way.
Following a disturbing performance-art
opener involving an androgynous wraith-like
figure and Tchaikovsky's "Dance of the Sugar
Plum Fairy", Antony's entrance was downright
regal—accompanied by rapturous applause and
dignified cheers, it was as though he was a philharmonic conductor taking the stage. The grand
piano stretched seven feet towards a guitarist,
violinist, cellist and saxophonist, and a drummer and bassist rounded out the rest of the band.
Opening on "Where Is MyPower?"to find his
footing, Antony proceeded to blow us all away
with a heartfelt and evocative rendition of Tier
Eyes Are Underneath the Ground". Toting
around a lavender hobo bag, Antony reminded ~.
me of the loving but crazy aunt I never had, saying things Uke Tm developing a sweetheart relationship with Vancouver;" and calling us att his
"cute, pretty babies".
As though his immediate warmth and rapport with his audience wasn't surprise enough,
halfway through his set, Antony began to play
some oddly famiUar notes. Chuckles emanated
from the audience as people started to catch on,
followed by full-blown cheering. Antony was
playing his own unique version of Beyonce's
"Crazy in Love." A hop, skip and a very intetti-
gently worded rant about the environment later,
Antony ended on "Hope There's Someone" for
his encore, and in spite of all his jokes and eccentricities, the deUcate piano arrangement and
chorus of strings carried his epic tale of love
and abandonment into modem-classic territory.
Whhavoice completely ««£CTZ£ra and a petson-
attty to match, Antony Hegarty is an alternative
virtuoso for this generation.
—Benjamin Luk
Animal Names
Biltmore Cabaret \ March 5
There'ssomethingrefreshinglyold-fashionedabout .
going to a show knowing next to nothing about
the band onstage. In this era of BitTorrent incon
tinence and Twitterbeny updates, the compulsion
to access music in its embryonic, pre-release state
is strong and almost always rewarded. But Clues
has wisely stayed away from hyping themselves
on MySpace or creating a legion of Facebook
fans to anticipate the release of long-awaited recorded material.
Sprung from the loins of ex-Unicorn Aiden
Penner and former Arcade Rrecracker Brendan Reed, Clues formed two years ago and
has since remained in relative obscurity until
hitting the road last November. Lucky for us,
Penner, Reed and some pals from Montreal
descended upon the Biltmore on an unseasonably cold March evening, and proceeded
to unwrap our thick winter layers with a curiously haunting indie pop performance that
reminded everyone why the fantastical spirit
of the late, lamented Unicorns was so exciting and so rare. The experience compelled
One enthusiastic soul to dance rapidly and
aggressively under a baby-blue afghan blanket for most of the show, and L unintentionally showed my age and relative lameness by
backing (okay, running) away from Blanket
Dancer instead of diving into the crowded
fury he created near the front of the stage. But
the audience—'•mostly young Unicorns fans,
mostly resembling a member of the Klaxons on some level—ate it up and, much to
the band's delight, responded with loud boos
when collectively asked if they were excited
about the Olympics.
Local openers Animal Names might have
something to say about that too, but their
Death-Cab-lands-at-YVR sound hinted at a
gentleness of heart that would likely shy away
from capitalizing on a crowd Worked into a
frothy, anti-Quatchi frenzy. AU the better,
then, to leave the job to the headliners, whose
brief Vancouver visit leaves much to be excited
about when their self-titled debut album arrives in May.
—Jackie Wong "^ife*$*-*lS^-i?v
the Sappers
Gallery Lounge | March 6
One Friday night last month, UBCVGaHery
pub—dark, decorated with beer logos and
usually known for hosting Pit Pub spillover
and karaoke nights—was transformed into a
fun and intimate concert venue. "I have never
felt the GaUery this way before. It's Uke it's not
a shithole!" one attendee mused. The evening
showcased some of Vancouver's best up-and-
coming bands: the Sappers, Fine Mist and
the SSRIs. With the addition of rad-and-a-
half karaoke in between sets, members of the
crowd were able to display the varying degrees
of their own vocal talent.
It was an eclectic and enthusiastic collection
of people: students, off-campus fans, friends
and Friday night pre-drinkers. Like the crowd,
the bands' musical styles were diverse—folk,
'80s synth-pop and jazzy-piano hardcore are
not a typical combination—but the interesting rhythms, catchy beats and camaraderie
shared by the bands brought them into an alluring congruence.
Shindig 2008 runners up the Sappers
came on first, playing meUow folk tunes to
an, energetic but chatty crowd. Their energy
came attve during the captivating, gospel-like
closer "Gloria". The pub was joyously singing
and clapping along without any reservations.
These earnest, slotted musicians couldn't help
but make me smile.
Next, the Vancouver duo Fine Mist brought
the crowd up to a higher frequency with their
creative and bouncy synth twists and Megan
McDonalds powerful vocals. Watching Fine
Mist play is, if you'll excuse me, a mystical experience. With the house Ughts low, incense,
a brass unicorn, a bear and a white Ught set
complete with dream catchers turned the Gallery into the inside of a fortune-teller's caravan. Performing on the floor in front of the
stage, the band mingled with the crowd, and
everyone danced together.
Next, Shindig 2007 second-placers SSRIs
brought everyone into yet another headspace,
with four members punching through power
chords, hard synth solos Mid sottd drumming,
fueUng a small but powerful mosh pit. My
favourite song of theirs, "Time Ate the Garden", was well ground out—it sounded Uke a
warped Victorian poem, enhanced with mangled piano. Unfortunately, several members of
the audience either had other places to be or
had an early bedtime, as many had left before
the SSRIs finished their set. Still, a small but
loyal troupe of fens kept jumping until the
end. This bodes well for future shows at the
Gatieiy—let's hope we see more soon!
—Alex McCarter
20     Discorder Magazine ..And You Will Know Us by the Trail of Dead
Richard's on Richards \ March 13
You'd be forgiven if you wrote off.. .And You Will Know Us by
the Trail of Dead at some point after World's Apart, their rather
lacklustre fottow-up to the criticaUy acclaimed Source Tags and
Codes. You're probably smart if you wrote them off after they
sUpped further with So Divided, and so again, you can be forgiven if you didn't reattze that their latest album, The Century
of Self, isn't half bad. Somehow, the band still manages to be
one of the finest Uve acts around, and on their latest Vancouver
visit, they reminded those in attendance that regardless of what
record they're supporting, a Trail of Dead show is always worth
Now boasting an expanded line-up that boosts their numbers
from four to six with the addition of keys and another drummer,
the band's already big sound got a kick in the rear, breathing new
Ufe into some of their recent sfudio efforts. "Caterwaul" featured a
sweaty Jason Reece making his way through the audience to the
back of the club. "Fields of Coal" saw openers Midnight Masses
(who I actually missed) playing back-up choir. But it was, unsurprisingly, the points in the setlist where the Trail of Dead reached
back a Utde further that made the night truly special.
"Homage"—noisy and sloppy in the best kind of way-^was an
early highlight, but when they launched into a one-two punch from
2002's Madonna, pairing the soothing "Clair de Lune" with a btts-
tering version of "A Perfect Teenhood," things really took off. The
main set culminated with frontman Conrad Keely mentioning that
the band was once again independent, before they fittingly played
their first single, "Richter Scale Madness," and left the stage for the
first time.
Anyone famiUar with the band knows that Trail of Dead
tends to go out with a bang in the most ttteral sense. And, while
you could neady describe the encore performance of "Totally
Natural" as explosive, the real fireworks came once the song had
descended into a buzz of feedback: guitars (and their cases) were
sent skyward, amps were slammed on their sides and an entire
drum kit was spilled into the audience.
When it comes to studio output, the baddest band in Texas
is certainly starting to show their collective age, but in the flesh,
you'll still know themby the trail of busted instruments.
—Quinn Omori
Plants and Animals
Biltmore Cabaret \ March 18
On the night after St. Patricks Day, hundreds of people piled
into the sold-out show at the Biltmore, hung over, halfway
through the week and hungry for escape. It was provided.
First up, DRMHLLR was a pleasant surprise—their long,
watery jams whet our appetites, and their lack of vocals allowed
us to fill in the dinosaur imagery suggested by their name. But
if they lacked real innovation onstage, they'd soon learn from
Plants and Animals.
The trio is made up of three animals: frontman Warren C.
Spicer, drummer (and Spicer's childhood friend) Matthew "the
Woodman" Woodley and Nicolas Basque, their multi-talented
bass player whom they met in the music department at Concordia University. Their wonderful sound, embodied beautifully
by the. Juno-nominated album Pare Avenue, has achieved that
perfect balance between famiUar and new. Their website mentions folk-prog and post-classic-rockWhatever you want to caU
it, there's an interesting science at work in their songs, musically
and in the writing—a dreamlike quattty that explores a variety
of affectations and natural progressions.
The show had too many highlights to mention here. But "Bye
Bye Bye" was amazing, so much so that the crowd erupted deafen-
ingly during the climactic harpsichord-infused break (note to loud
drunk guy: don't scream out "Pwants and Animarrghs!" right before
their most poignant progression, no matter how excited you are).
Spicer insisted they double back and do it again—great stuff
The encore was explosive, too: they closed out the show jamming
out a long and upbeat song that none of us had heard before and
had us all wondering out loud long after the show had ended. The
consensus was that it was an improvisation of several songs overlaid with a rendition of "Sinner Man" reminiscent of Nina Simone s
One thing I will say for certain: these guys are going to be
very big. Can you say "the next Arcade Fire"? Many have. And
when they did, their hearts trembled and old dreams stirred. Try
it out—it's nice, isn't it? Okay, now sing, "What's gonna happen
to you? Bye, bye, bye! Yoa have woken up too soon.1"
—Colin Throness        2*
Three Wheel Drive I Claras
The Dead Calm I Spunk
APRIL 11th
The Moment | Steelwheels
Black Mondo Grass I The Day He Quit
Second Guess | One life Animal
APRIL 25th-MAY 2"°-MAY 9th
Semi Finals
ds with stars (*1 mean they
finer (read: independent)
ordinator a shout at (604)822-    j
sther great campus/commu-
citr 101.9 fm charts
Strictly The Dopest Hits Of March
CiTR's charts reflect what's been spun on the air for the previous month.Uieldd
come from this great land o' ours. Most of these phat platters can be found a
music stores across Vancouver. If you can't find 'em there give the Muzak Co
8733^ His name is Luke. If you ask nicely he'll tefj youtiow to gif'em. To findout
nity radio charts check out www.earshot-onBne.com.
#              Artist
1   j Neko Case
\ Middle Cyclone
j Troubador
2  ; Julie Doiron*
! / Can Wonder... Your Day
1 Endearing
j The Bronx
! Pan American
] White Bird Release
1 Distort
| Kranky
3 The Black Lips
4 1 Bell Orchestre*
\ 200MillionThousand
j As Seen Through Windows
; Vice
| Arts & Crafts
1 Koen Holtkamp
\ Held Rituals
5   \ The Bran Flakes
\ IHave Hands
| Illegal Art
1 Ursula 1000
\ Mystics
6   | Charles Spearin*
\ The Happiness Project
j Arts&Crafts
\ Anni Rossi
\ Rockwell
7   j Bonnie Prince Billy
\ Beware
j Drag City 1|
I Heirloom
8   \ Propagandhi*
j Supporting Caste
1 Smallman
: Dan Deacon
\ Bromst
9   j Various*
\ Applecrisp Special... CD
j Apple Crisp
! Margaret Thrasher*
| Moderate Rock
10 Shout Out Out Out Out*
11 | Plus Perfect/Hermetic*
\ Reintegration Time
j Normals Welcome
i PlansTo Make Plans
\ Junior Boys*
\ Begone Dull Care
! Domino
\ Black Acts
| Smells Like
12 | Adjective*
13 Mr. Scruff
\ 1 am Sorry for Your Loss .-
\ Ninja Tuna
j Independent
! Ninja Tune
\ Volcano... Bloody Volcano
j Mint   3
; Beirut
; Gentleman Reg*
\ March oftheZapotec
: Pompeii
kArts& Crafts
14 | Handsome Furs*
\ Face Control
j Sub Pop
15 ! Jenn Grant*
j Echoes
j Six Shooter
I Reviver
16    Psychic Ills   '
| Mirror Eye
j Social Registry
\ Labyrinthes
j DareTo Care
17 Obits
18 Wawes
19 | Portico*
j 1 Blame You
| Self-titled
\ First Neighbours
j SubPop
| Fat Possum
i Copperspine
: Menahan Street Band      j Make the Road by Walking
\ Dunham  -
Blah Blah 666*   .
] Its Only Life!
! Barnyard  O
| Swan Lake*
j Enemy Mine
20   Language Arts*
I SmaU Run
j Independent
j Religious Knives
\ The Door
1 Ecstatic Peace! .-
21 JQobUnCock
j Come With Me... to Live
| Robcore
1 Against the Day
; Constellation
22 j Jeremy Jay
\ Slow Dance
i The Hylozoists*
\ LTIeDe Sept VIlies
i Outside
23 Asobi Seksu
24 | The No Shit Shirieys*
^OJtodett- -
I Nutrify
! London Tuesday
i Polyvinyl
; Socan
} Corwood Industries
I IThink... Bigger Boat
i Southern Fried
: Mono
! Hymn to the...Wind :
1 Temporary Residence
\ Keep the Dogs Away
! Scratch   -
*       !tj!^«ijsi
April • 2009          81 UNDER REVIEW
i    m • *
Adjective 1|S!;*.-*
i^w Sorry For Your Loss
What is it about punk rock that makes it the gift that keeps on
' giving for so many of today's bands? Is it a quest for authenticity? Or have youth movements forever been altered by the nuclear-darkened nihilism of the 70s, never to return from across
the breach again? One such band who looks backward in order
to look forward is Vancouver's own Adjective who have just released their hard-hitting new EP I Am Sorry For Your Loss, a 17
minute lesson in how to make all the right post-punk moves.
The EP feels both longer and shorter than 17 minutes, which is
a tribute to how focused this band's sound is. They've mastered
the technique of layering their tracks with several interlocking
parts: while the first guitar and drums thrash on the beat, the
second guitar, bass and vocals play a figure that.slams home
on the one and the three or four, giving the songs a danceable,
three-dimensional feel. Only two questions remain: can they
do it live? And when do we get a full-length?
—Jonathan Evans
Notes to an Absent Lover
(Monotreme Records)
Barzin's much anticipated third full-length album is analgesic;
narcoleptic-and offers the warmest kind of apathy for those
with broken hearts and tattered emotions. Riled with mellow,
downtempo folk-pop with a hint of country, Notes to an Absent Lover vs essential Ustening. While Barzin keeps the overall
sound simple and minimalist, the album has many textures, as
he diffuses vibraphone, cello and viola throughout the work.
Caught somewhere between the poetic sensitivity of Lou Reed
and the downtrodden voice of Wilco, Barzin sings about what
love looks like when it falls apart. While most of the lyrics and
themes are tied to the vulnerability of an individual who has
failed in love, it gets a little aggressive and doubtful in "Look
What Love Has Turned Us Into," where he painfully howls
"We're strangers and we're ugly / 'Cause we've lost so very
much." With Barzin comparing love to a dream song and describing it as "tangled in blue," Notes showcases a complexity of
raw emotion; mingling regret, loss and everlasting frustration.
It would seem that Beck's 2002 album Sea Change can now
step down as the reigning break-up album.
—Mine" Salkin
Neko Case
Middle Cyclone
Aside from her beautiful voice, one of Neko Case's strengths
is her ability to suck people into stories that lack the common romantic thread of pop music. Middle Cyclone is Uttered
with songs warning of nature fighting back; with tornadoes
ripping through trailer parks ("This Tornado Loves You"),
a cover of pop chameleon Sparks' "Never Turn Your Back
on Mother Earth" and "Red Tide," which is a bit inscrutable
but appears to be about moUuscs wreaking a horrible revenge
on humanity. This album is heavy on social commentary and
Ught on pop tropes (with the exception of a beautiful cover of
Harry Nilsson's "Don't Forget Me").
Case draws on a lot of different musicians to get some weU-
crafted country-tinged pop music, and is joined by friends such
as Sarah Harmer, the New Pornographers, M. Ward and die
Sadies to name a few, but you'd hardly notice. For aU the talent
these people bring to the album, they're just big names filling the role of session musicians. The sound of the album is
warm and poUshed with lots of acoustic sounds, and the music
is crafted to show off Case's talents, not those of her friends.
To finish the album, Case decided to extend the natural theme
by ending with half an hour of sounds from a marsh at night
called "Marais La Nuit." It's a fitting choice, but if you're not
planning on falling to sleep to this album you'U probably just
want to skip it.
—Jordie Yow
Julie Da|p^0O
JJ Cm Wonder What You DM"jjSjf$feDay'
If only there existed a genre of music for "easy Ustening" that
wasn't tainted by impUcations of souUess dirge and AM radio.
How easy it IlksSHp then fte to describe pop tunes that are beau-
. 5SuJ*^ld arresting, as weU as easy to f§|r§L JuUe Doiron's latest
release, I Can Wonder What You Did With Your Day, is so sweet
and gracious that cynics would be incUned to immediately disregard it as unehaUengmg pop. However, there is a rich vein of
philosophy in Doiron's music awaiting those Usteners who take
the time to get beyond the initial pleasantries.
On her new release, Doiron's signature style of direct, self-
' reflexive musing remains, but it's shaped by a vtafcof optimism
formerly absent from most of her songs. Her vivid, precise tableaux, always rich in detail and tenderness, range in tone from
the domesfictp the*tflpetfy adventurous; it is simultaneously
the music of bike rides with your friends and afternoons spent
sitting in the grass, and of awakening to a bewildering world
of contradictions and mysteries. Doiron explores aU of these
scenes with joyful wonder, while maintaining aU the spare
deUcacy and precision of a spider's web. This is exempUfied on
the steUar "When Brakes Get Wet," which is so leanly evocative that it seems to exist completely separate from the human
mind that conceived it. Doiron's economical use of language
shines on this album, making it as satisfying and meaningful
on the tenth Usten as it was on the first.
—Miranda Martini
Jody Glenham
Focus Pull
Foots Pullis Jody Glenham's foUow up album to her debut Brave
New World released in 20Q6. This Winnipeg native constructs
convincing pop tunes with piano-driven tracks and quirky beats
that are both welcoming and contagiously foot tapping.
The CD begins with "Coffee Soaked," a beautiful track
which opens the door to Glenham's world, inviting the Ustener
in Uke an old friend. Imagine Sarah Harmer meeting a happy
version of Fiona Apple with hints of KT Tunstall.
For listeners seeking something a bit more edgy and raw, Focus
Pull may leave you feeUng somewhat ambivalent and uninspired,
with tracks "Buttons" and "Pushin' Gold" perhaps coming across
as a bit too bubble gum or Broadway showtune-ish. At times the
22     Discorder Magazine album comes across asa bit too piano-heavy, but
fortunately, the clever pacing of the songs, along
with the varied arrangements redeem the piano's
Stand out tracks include "Whislcy (So
Cold)" and "In Other Words." While "In
Other Words" remains a bit more faithful to
the album's sensitive, singer/songwriter vibe,
"Whisky (So Cold)" goes against the grain,
providing a dirty, almost classic rock sound; it's
a great tune which showcases Glenham's vocal
range and versatiUty as a songwriter. With this
album, Glenham proves to be a gifted artist,
contributing her sincere and refreshing talent
to the singer/songwriter genre.
—Melissa Foye
Grandmaster Flash
The Bridge: Concept of a Culture
Grandmaster Flash has stiU got it. Though it's
been almost 20 years since the release of his
most weU-known album, The Message, Grandmaster Flash is stiU keeping the funk and
rhythm of old school hip-hop aUve with his
newly released album, The Bridge: Concept of
a Culture. As founder of Grandmaster Flash
& the Furious Five, DJ Grandmaster Flash,
a.ka. Joseph Saddler, was a pioneer in mixing and scratching in the late 70s and '80s. He
also played an important role in developing
hip-hop music during this period; his influence can stiU be seen today in not only modern hip-hop but also rap, rock and JR.&B.
Grandmaster Flash recruited MC legends
KRS-One, QjTip, and Big Daddy Kane to
preach the global language of hip-hop on The
Bridge, and many of the tracks comment on
the nature of the genre, with "Here Comes
My DJ" and "Tribute To The Breakdancer" re-^
minding the Ustener of the far reaching influence of hip-hop culture. True to his style, this
message is deUvered through that old school
vibe with multilayered beats, a funky flow and
music with a message (i.e. not about money,
cars and hos). "We Speak Hip Hop" brings
together MCs from Senegal, Japan, Spain and
Sweden to iUustrate the universaUty of hiphop. Incorporating conscious rhymes with
'80s beats, Grandmaster Flash proves hip-
hop's past is stiU hip-hop's present.
—Joan Koka
Great Lake Swimmers
Lost Channels
There is little mistaking the music of Toronto's Great Lake Swimmers; be it vocaUst Tony
Dekker's deUcate emotionaUy telUng voice, or
the atmospheric folk soundscapes that defy
easy comparison and stand in a league of
their own. Fans won't be disappointed with
the band's fourth album, Lost Channels, which
continues their tradition of offering softly
flowing songs rendered in a stark, almost
claustrophobic beauty.
Known for choosing unique historic locations
in which to craft their albums, such as abandoned
grain silos and old churches, the group has once
again traversed new territory—this time around
recording in various locations throughout the
1,000 Islands area of the St. Lawrence River;
providing a geographicaUy rich tapestry that
is fragile, mysterious and ultimately effective
in its execution, both in the haunting vocals,
as weU as the warm musicianship enveloping
Take for example the upbeat yet melancholy
opening track, "Palmistry." When Dekker delivers verses like, "You see by the lines on my
hands / I've been carrying a heavy load / You
follow them across my palms/Where they run
Uke roads," his voice sounds as if it's ready to
crumble and you can't help but feel die transference of where he was at emotionaUy when
he wrote these words. Ripe with imagery and
powerful in theme, Lost Channels is hopeful
and heartbreaking, confident but unsure, but
ultimately, weU rounded and lovely as always.
—Nate Pike
Fin Du Monophone -Ei*^
(Self RighteousvRecords)
When glancing over the track Ust of Fin Du
Monophone, one might wonder if this band are
the genuine folk-punk-pop article, and not the
toilet waU rambttngs of some drunken emo-
rock kid. From the opener, "Are We Gonna
Die" through to the finale, "We're Not AU
Gonna Die," MeatDraw convey a strong disposition for the sociaUy inept and the mentaUy
collapsed, for eerie ghost towns, black magic
and the ever encroaching apocalypse. And yet,
should you get your mitts on a copy of Fin
Du Monophone, you'U be pleasandy surprised
by the band's genuine exuberance, warmth and
positively infectious energy. With a larger than
Ufe cast and an unmistakable big band sound
and feel, MeatDraw are certainly living up to
their carnivalesque moniker; Just as the musicians of MeatDraw are likened to a zombie
army of freaks and gypsies, so too can the host
of shifty and menacing undesirables, so deftly
depicted in the lyrical tales o£Fin Du Monophone. Mix this strange and cantankerous gang
of misfits with a heavy dosing of Page France
cuteness, a Ught sprinkling of Herman Dane's
Parisian twang, a spattering of the Unicorns
indie-pop styUngs and a splash of Win Butler vocals. Then add in a fuU bodied chorus of
merry singers, a few shavings of punchy show |
tunes, a zest of bleating horns, accordion and
strumming ukulele, and you have a most generous and succulent serving of MeatDraw.
—-Amy Scott-Samuel
Mt. St. Helen's Vietnam Band
Mt. St. Helen's Vietnam ilMSlgf
(Dead Oceans)
During the grunge explosion ofjhe early "90s,
drummer MarshaU Verdoes was stitt just a
twinklg in his father's eje» At Qi*>|r1Qyffi^idbL^,
verdoes, along with hWblder brother Benja-
*^te^^.^*^£ff&snds, are bringing back the
rock to Seattle, a city now best known aSthflk
home of folk-heroes Fleet Foxes. This isn't to
sayMt. St. HrfeHts Vietnam Band sound Uke a
gptogebib^aip^dg^^^t^ikwea is more
j^j^alof 21st-century indie pop. Many of the
songs feature jM_^ksa-x%Sf^fti_c ^m^im^m'
"MiisqBerade," which begins aSiifcfijU-throttle
rocker before suddenly qim^u^l^ayfpoaf'
.ynltz-T^ajje chords, ^thjfea fharity jbacking vocals. S^|&r& ^»Sg §yfc flbtaj* i&g'ta*? with
■^Ssk^W&' J^^.flPBfefi^^ted riffing, before
silwaM-to a near ^a^^Wpa^^^pl^^fii*'
T&&ba&t0^0> penchant foCV(|ttding, har-
-i^sHlga.guttar iead^b^these «^^pi»ered
'With &$t^J$*§€i)§y> that lie |flsO&p|ik"yb|A'
P^pft^ restlessness makes l^ll^Biifl^'Of
f& firfihe group sou&t best when they scale
ba^-lfce weirdness and focused the hooks.Thc
opening track, "Who's Aska^^Js the most
straight-forward on the aibuoij §£|d its sugary
falsetto chorus is ^tte band's most memorable
jrn^tn^it. Many Usteners are ikt&tjp to get dis-'.
tracted by the novelty ^'|i"l$^a^^l'fcit|^'
fc^|;^8 nrtan kit, espedally since, Verdoes is
better than your average rock dramnjer. BOt
MSHVB have more to offer than a gimmick,
especiaUy if die group focuses their songwriting chops on future albums.
—-Alex Hudson  0*=
The Perms
Keeps You Up When You're Down
(Hugtight Records)
It's hard to take an album seriously when its
first track is catted "Give Me AU "Vour Lovin'."
WhUe it's not a ZZ Top cover, it might as
weU be, since the song is pure cheese-rock
StiU, there's a certain schlock appeal to the
fist-pumping "I want it! I want it!" chorus. It's
a big, obvious hook that sets the tone for an
alburn full of big, obvious hooks. There's not
much subdety to anything the Perms do, from
the lyrics ("What's it take to make you see /
"Vou mean the world to me?") to the anthemic,
sing-along choruses. The album contains Utde
sonic or styttstic variety, with every song featuring drums, bass and big, distorted guitars;
there are no down-tempo numbers, nor are
there any additional instruments beyond the
power-trio setup. Nevertheless, the power-
pop mandate demands catchy melodies,
rather than sophistication, and the Perms deserve credit for deUvering hooks in every song.
There are no throwaway tracks, and Keeps You
Up When You're Down fulfills the promise of
its tide with shameless, good-time rock. like.
Fountains of Wayne or the already-cited ZZ
Top, it's hard to get too critical of a band that
is so clearly just out to have a good time.
—Alex Hudson
Supporting Caste
(Smallman Records)
Winnipeg's Propagandhi release albums about
as frequendy as Haley's comet crosses the
Earth's orbit, sending punks clamouring to
their local record store like astronomers to their
telescopes. Only their fifth full length in 16
years, Supporting Caste once again proves that
Propagandhi beUeves in quaUty over quantity. The four-piece teamed up with legendary
punk musician and producer BiU Stevenson
and cut 12 tracks of hard hitting progressive
punk rock, resulting in their most cohesive album to date. Deep, heavy riffs, tumbling bass
Unes and whirlwind beats intermingle with
melody, proving these men have spent many
long, cold Manitoba winters mastering their
instruments. Chris Hannah's once snotty vocals now resonate with perfect harmonies and
fist raising power and purpose. His lyrics
have become weU-crafted, image rich poetry
focusing on critical pontics, personal struggles
with love and loss, and in true Canadian form,
hockey. The album isn't without humour, this
being most evident in-the hidden track, a keyboard laden tune that mimics Canadian prog
heroes, Rush.
Although the band have progressed as musicians and songwriters and matured intellectually, the most important aspect of Supporting
Caste is that it still sounds like a Propagandhi
album; an album that solidifies their place in
Canadian punk rock infamy. Once again, Propagandhi is passing through the Earth's orbit
like a furious comet, and once again, it has
been worth the wait.
Roche Limit
Sometimes We Must Change Shape
It's hard not to Usten to this new record from
local artist Roche Limit (a.ka. Dave Righ-
ton) without hearing another one-man-show
recording artist lurking in the background:
Beck. From the first track to the last, Beck's
fingerprints are aU over this album, serving in
part as a catalogue for the different sounds and
postures he has, taken on over the years. It's
also pretty clear that Righton hasn't exclusively been Ustening to the good parts of the oeuvre; some of Becks more annoying tendencies
also make appearances here and there (see the
tongue-in-cheek rap on "Some One Else").
That being said, Sometimes We Must Change
manages to please, despite the burden of that
aH too famiUar sound. There are a lot of good
ideas here, and the record manages to (mosdy)
balance its everytbing-and-me-kitxdien-sink
production style with focused, catchy hooks.
On the more pared.down tracks Uke "So
Sorry," Righton's ability as a songwriter shifts
front and centre, and these moments prove to
be some of the most satisfying on the record.
Providing that Righton puts the Beck aside for_
a while, Sometimes We Must Change seems like
a step in an interesting-—and in terms of the
Vancouver music scene, unique—direction.
—Aaron Goldsman
(Big Dada)
Plenty of booty gets shaken in the course of
this album. Thunderheist is comprised of rapper Isis, and techno/dance/electro wizard,
Grahm Zilla, and tins combination of talent
results in the kind of sound you might expect
if Missy Elliott teamed up with Woodhands.
While that sounds Uke an unholy mixJ3UBt»j, it
works, disturbingly well, and after shows on
three continents, the Montreal/Toronto duo
have had plenty of opportunity to perfect their
sound before releasing it in the form of their
self-titled debut album.
Their formula is pretty consistent across
the album's 13 tracks—old school rap vocals
paired with high-voltage electixmica—resulting in something even better than ;the sum
of its parts, and guaranteed to have everyone
within a mile of the source getting down and
shakin' it. This is one of those albums that you
instantly want to experience Uve. Admittedly,
it's good enough coming through the headphones (although- the unvaried style drags
a Utde towards the end), but it lacks something—a good Uve venue with a deafening
sound system, a careless eye on closing time
and a dance-floor packed with screaming,
sweaty people—which is exacdy where this
music is at home.
-r-KB. Mason
United Steel Workers of Montreal
Three on tbe Tree
The cover of Three on the Tree—the third release from the Montreal six piece—features
a mighty, ham-fisted feUow downshifting his
way along a deserted winding stretch of road
in the dead of night, presumably on bis way
to work where hell be punching the clock for
another graveyard shift. This interpretation
is fitting, considering tbe 12 greasy, sweat-
stained and alcohol-fueled tracks on the disc,
that depict stories of life in the blue collar section of Montreal; its close knit community
and the pain of watching as it slowly gives way
to both decay and progress.
United Steel Workers of Montreal's musk is a
Utde like Tom Writs and the Pogues after a few
pints of su light whati y mid anafl day punch up
foiled into one. Known for their blistering Uve ■
sets, die shared vocal duties of Gem F, Felicity
Hamer and Shawn Beauchamp lend a welcome
daasily to the band and provide some serious
spunk Ihe tuneful tales they spin are steeped
in the swing/ak-country/jazz category ranging
from ficnetkdBy paced hoot stomping highs to
syrupy, dark woeful lows, and all are beUevabh/
effective because of their brutal honesty. There is
litde room for puppies and happy rainbows here;
just true-grit stories of working class people Jiving and experiencing as a community. This is as
authentic as it gets.
—Nate Pike   \rry
April • 2009
Everyone here at Zulu has been
all a twitter about Miffiti&i
and their latest offering is definitely on tasty tweet! Imagine a wortd
of chaotic noise where every time
you type the words "Velvet
Underground," the V gets stuck and starts spreading treachery on
your language skills. Fuzz floats everywhere making it the «Ef£'Js
currency of this great new release from Nattan Williams a.k.a.
WAWES a.k.a. a "22-year-old sfack^s|^i^^s^Sac) Diego* a.lca.
the next best thing at Zulu! Get in Ofljjfcfsrtow as the feeTtr|^* %fi
that there Is a real movement a foot wWn. young Americ3|f5 , *
shoegaze bands! Lo-fi rockers likeWAWES maks music ip'a **et»
spontaneous manner and thus dial in the real urgency and creative
release of playing, and trust us — the results are ih^s*»^^SS
Cti 16.98
Score! 20 Years
Covers! CD
People, Merge is now twenty
years old,jr>e0tebrate this   /
achievement sojffi'tion-Merge
artists cover their favorite songs from the label's catalo^.^fe^F?
the larger Score! subscription-based box set,Jhia^is1etf^a£
ing collection of songs spanning the label's existence, covered by
some of the most popular (non-Merge) indie bands around, sojfcj"" f*|| *| C QO
as Ouasi, Les Savy Fav, The Shins, Ryan AdantsBrigtrt Eyes.        uu lv"9°
The Mew Pornographers Okkervil River. Death Cab For Cutie,
Tines New Viking, Wil Callahan, Broken Social Scene, and
many more. This collection is the first of only two afirgma.iif
available pieces from the box set.
Begone Dull Care CD
*' is mind bloggling to think that
Mario's Junior Boys are only just
now releasing only their tJjirrifttJt. f
length! Honestly it feels like the
dynamic duo have been a fixture m..£\
electronic music forever as thejf^fjil"*
is syronymous^srr^rjftlriipfes that really shake up the dancefloor! Following up last Exit and So This Is Goodbye seems. Wee an ■
impossible task but from'ljj! $&&$$& of the lead off track
Parallel Unes you can tell that these 8 new tracks are going to be
pretty massive with the downtempo crowd! I've been playing the lead
single Hazel or,h% ifttone for a couple of weeks and it doesni get
^ §uri|tirea*t
CD 16.98
Repo CD
I never worked harder at crafting a
set of concise, sonically battering, or
flat-out bizarre tunes than on tfHs cot-
lection of fringe-surfing tone bombs,
Yet a new roadhouse blues migprn*
losophy has simufeneously emerged, allowing the group to loosen
up and casualty to§s off a record packed with blurry^oks and
zoomed in riffs. Repo irreverently mutrjrjes the sounds and images of
radio, TV, and Intemetinto a fertile compost pile squirming with new,
raw life.        * " ^___0&g^^_J_W_\ ®&**TS*ito
For the last three years Dan Deacon has been working ^Sgg
Bromst. Fusing together the growing intensity of his live performances with his background in electro-acoustic composition, the
outcome is a collection of pieces that are intense and epic and at
' the same time down to earth and welcoming. Bromst embodies the I
same energy and excitement as Sphterman Of Tin Mess, however I
the craftsmanship and composition on Bromst have a wider scope and- richer palette Unlike, the
completely electronic Spider-nan Ot Tne Rings, the i($$"rtentatlon on Bromst is a mixture of
acoustic instruments, mechanical instxarjfjeBls, samples and s|8$ffljB]cs. The player piano,
marimba, glockenspiel, vibraphone, live drums, winds and brass give Bromst a much richer tone
than his previous work. The intricate and complex parts, $ki!fft%*tecuted by the performers,
are woven together into a rich, dense, noisy dance pop that has become Dan Deacon's signature
CD 16.98
Sometimes I Wish We Were An
Eagle CD
Miroir Noir DVD
CD 16.98
Enemy Mine CD
For those unJfjfriar. Swan Lake
is the musical group featuring
celebrated songwriter-mystics
Daniel Bejar (of Destroyer and
Miroir Noir follows Arcade Fire through
the making and touring of their 2007
album Neon Bible, documenting the band at
their Montreal studio, and the making of promotional films and videos. Also features Hve
footage and a few short films made on the
road. Directed by Vincent Morisset, who,was responsible
interactive video for the song Neon Bible and for the band'
design. Packaged in a 4 panel DVD digipak.
Krug (of Su
Wolf Parade) and Carey Mercer (of Frog Eyes and Blackout
Beach). While their debut album, Beast Means, was a looming
mass built out of their coUective unconscious, as chaotically compelling as a*r|ar^sir dredged out of some Max Ernst painting,
Enemy Mine reflects a~misi "stripped -down, rr^roTJeliberate
approach to collaboration. It's as if they reaHy#ar| to just make
nice songs together. To pate Krug, There's aref»teefure here." It
kisijE* band's contention that this is the first known use of a "court
pa ntmg as a record cover used in popular music As a result of
this enthusiasm, the band had planned on calling the album
Before the law, a beloved Kafka parable and a reference to this
court painting. However, the banHj^i^l-of being tagged as "literary* sc they dubbed fhe record Enemy Mine a beloved movte,
from Bejar's youth,^arid a good metaphor for collaboration.
DVD 16.98
Lost Art CD
CD 16.98
Telekinesis! CD
!, from Seattle,-is
i Michael Benjamin Lerner
Michael wrote and sang all of the
songs and played nearly all of the
instruments on the album, but
tours with a full band. Influenced
both by the cafe^^r constructed timeless pop of the 60s and 70s
and by the nonchalance and brevity of classic indie rock, Lerner
and producer Chris Walla (Death Cab Fer CvtEe, The
Decemberists. Tegan And Sara) approached the recording of
Telekinesis! with the goal that each song's tracking and mixing
would be done to analog tape in a sing#a^f anti that they would
never look back.
CD 16.98
Art Bergmann returns after too long
inexilewimafresbcolteGtionof -
songs in the key of hard knocks! As
with all of Art's previous work, both
solo and with various bands including
K-teis, Young Canadians and
Poisoned, he pours all his grizzly passion into his poetic craft. This
return to the rock arena is a real treat for his fans as it is comprised
of three songs that have never been released, and others that were
re-recorded under Duke Street MCA as the album Crawl With Me.
The Duke Street Recording never captured what this one does—the
raw power of Art's songs and playing during a vital time of Ws career.
This release cements Arts status as an outsider legend within .
Canada's music circles.
CD 16.98
Coast Spirit CD
Recorded within the higrtry professional walls of Vancouver's JCDG
studios (New Pornographers, Destroyer, Tegan and Sara) this is
the sonically rich sophomorejteJease from one of oafbesf kept
secret" local acts! Imagine a landscape that, much flkeourown densV
^environs, is constantly shilling with shapes", textures and hues. How
would this translate in fhe hands of a folky-indie rock band lead by
the quiet spoken mastermind Cameron McLeilan? Take a listen as
the results are stunning - often-recalling the glory of late night Neil
Young, the surrealism of Sparklehorse and even the poetic lustiness   .
of Silver Jews. Great chops, great hooks and a relaxed vibe make
Coast Spirit just that, a beautiful and alluring atmosphere!   -
Sometimes I Wish We Wen An Eagle surveys a landscape that
grows organically, like the time two people spend together or
the time one person spends alone (with another). One wary or
^another, it's awfully pretty. Something's clearly making Bill feel like
a natural man. And high in the saddle, with a pouch of Big League
Chew and nine sweet new tunes in tow, he's riding herd over a diverse bajeSpf sounds by top-
notch players. Sure, there's guitar, keyboards and drums, just like there's always been, but
- arranger Brian Beattie brought some old friends ba^ito the picture: violins and tjpnch horns.
Plus, recording in the big state of Texas has given Bill a panoramic sound-screen, filled with verdant and sparkling sounds, all of which allow him access to the depths of expression, allowing a
gentle and stirring view of that which we call "Slip ■ H
JtW-98 III
vjjfeptfr stereo: Y-"k.i
lotos Plaza - Tbe Floodlight
Collective CD/LP
Mount Eerie - Dawn LP
Circle - Hollywood LP
Wooden Ships - Dos CD/LP
Circus Devils - Gringo CD/LP
Eat Skull - Wild and Inside CD/LP
Juan Maclean - Future Will Come
Crystal Antlers - Tentacles CD/LP
Superchunk - Leaves in the Gutter
Various - Heavy Metal Killers CD
The Turtles - Save The Turtles;
Turtles Greatest Hits CD
Strung Out - Prototypes And
Painkillers CD    \
NOFX - Coaster (CDJ/Frisbee (LP)
Bob Mould - Life and Times CD
Bettye Lavette- - Do Your Duty CD
Ramfalin, Jack Elliott - A Stranger
Here CD-
Booker T. - Potato Hole CD
Sale prices in effect until April 30,2009
CD 12.98
with Death From Aboye 1979's
Sebastian Grainger
Sunday April ^ at ajSOPM
Stop by Zulu Records - Vancouver's oldest
independent music source and check out the fun!
"Dead End Filling"
"IT1 i       _f%a ■—__m.— mm—__m .:_ ^^
Charlotte Maus
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Mon to Wed
Thurs and Fri


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