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MARC&V2011 /THAT MANGO-SNACKIN' MAGAZINE FROM CiTR 101.9 FM
// SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNTY FOR OVER 25 YEARS
^fjpfc
""'•*"" "**•■- I
X£OTP
s
BAPTISTS
' DIRTYBEACHEDBRAIDS /DRIPAUDIO/MOTHER MOTHER/TORO YMOI/WELCOMETO<PINE POWlVJEFFRY'LEE EDITOR'S NOTE
As I write this, the sun is shining brightly, but it's freezing cold in Vancouver.
Despite some serious late-February flurries, at least according to my calendar,
spring has almost sprung. Frankly, I can't wait.
We may have been spared the bitter blizzards that rocked the East Coast
all winter long, but there's still something about the colder months that make
us less willing to brave the outdoors. But it's not like there was a shortage of
good shows coming through town. Just check out our Real Live Action section.
Sebadoh? Das Racist? Godspeed You! Black Emperor? There were some quality
concerts going on for sure, but, to be honest, there were many a night where I
just huddled inside under a blanket once it got dark outside.
With the spring thaw upon us, I'm going to do my darnedest to go out
as much as I can. Apparently so are a number of local acts. Mother Mother
are currently making their way across North America, bringing with them
the quirky sounds of their latest pop-hybrid Eureka. Haunted sock hop
soundsmith Dirty Beaches is currently crossing the continent with fellow
lo-fi enthusiasts Dum Dum Girls; he'll be back for a gig at the Waldorf on
April 7. Let's make sure we all go.
As for cover stars Baptists, the grind of full time jobs and raising families
may prevent the thrashers from taking off on tour, but, bless 'em, they're bound
to blast your eardrums out at a local venue sometime soon.
If you aren't planning on splitting from the city limits this month, why not
hang Out with the friendly folks from Discorder? We're planning a mid-month
party and everyone is invited. If you do one thing this St. Patrick's Day, come
down to the Biltmore for our all night hip-hop party, DisClover. We haven't
quite figured out how to make green beer, but someone is bound to sneak a
Shamrock Shake into the joint Shenanigans to be had by all! Just a heads up,
I'll be the awkward guy in the middle of the floor doing the Weekend at Bemie's
dance to Gucci Mane.
I'm packing up my duffel coat, guys. Fm pretty sure I won't be wearing
shirts for the next little while either. It's spring!
Discorderly Yours,
Gregory Adams      #^^^^
EDITOR
I    WRITERS
'  ©Discorder 2011 by the Student Radio Society of the
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PL,
BAPTISTS BY RYAN WALTER WAGNER
oS I BAPTISTS
On top of releasing a devastating debut 7-inch on prolific metal label Southern
Lord Records, local thrashers Baptists are connoisseurs on blood-soaked
whisky and how to properly string up a baby.
11 / DRIP AUDIO
Despite its focus on experimental, outsider jazz music, Jesse Zubot's Drip
Audio label has become a beloved, much acclaimed instituion both locally
and abroad.
12 / DIRTY BEACHES
Dirty Beaches main man Alex Zhang Hungtai claims his recordings are but
"budget imitations" of his heroes' work, but we'll let the lo-fi popster take
us through his Badlands anytime. v^Mrei
14 / BRAIDS
As our own Cail Judy found out, serene sonic textures and sexual discovery
are only a few ofthe pieces to the complex puzzle that is Braids' new album
Native Speaker.
16/TOROYMOI
From garage rock to chillwave to '70s funk, Toro YMoi's ChazwickBundick'
has toyed with a number of styles since initially starting up the project in his
bedroom, stunning us with the results along the way.
17/ MOTHER MOTHER
To make it in the music biz, you've got to take risks, which is why Mother
Mother took a stand against radio rock conformity with their new disc Eureka
18/ WELCOME TO PINE POINT
Though Pine Point residents packed their bags and moved away in the late
*8os, the former mining town's legacy lives on via the interactive web doc
Welcome to Pine Point
TABLE OF CONTENTS//
MARCH 2011
2 0 / CALENDAR / byJohnMalta
22 /PROGRAM GUIDE
2 5  / ART PROJECT / JeffryLee
39 / CHARTS
CO
<
o
w
0 6 j RIFF RAFF / by Bryce Dunn
Needles//Pins / Gentleman Jesse & His Men / Chain & the Gang
28 I UNDER REVIEW
James Blake / Bright Eyes / The Cave Singers / China Syndrome / Cursed
Arrows / Gang of Four / The Go! Team / Hey Rosetta! / The Liptonians
/ Mogwai / Radiohead / Reckoner / The Rural Alberta Advantage / The
Surfdusters / Woodland Telegraph
32 / REAL LIVE ACTION
Psych Night II / Tennis / Nobunny / The Blow / Das Racist / Sebadoh /
Godspeed You! Black Emperor / Hard Feelings / Black Wizard
> *T$t. errors Sb
mSffmm
D ytI#T£& Canada's only
intergenerational
magazine is looking for
youth and seniors who write
lestersarmy.com/submit
; vm mm I ffimzmi i m i mam wmm i *5&gt,n $m
CLUB33WESr;:     J^T
DWJLAH DARE ■ MAGGIE PIE
SATURDAY
Fom
n i imw
LEX AND
wwnnw
'murnvv
-CONSISTENTLY RATED ONE OF VANCOUVER'S TOP ALTERNATIVE PARTIES
MB€ST F6TISH NIGHT IN VANCOUVER"
"BEST PLACE TO DANCE TOPIESS'-&»#>»<&'
STRICT FGTISH DR€SS C0D€
DJS PANDEMONIUM, R-LEX & GUESTS
SATURDAY'
MARCH //RIFFRAFF
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A short stack of singles to end a short month, but who better to begin
the upcoming spring fling than locals Needles//Pins? Their new
single "Drop It" plays like the Clean or Television Personalities,
with just a hint of scuzz to mask the pain in their hearts. These are
no part-time punks, mind you. They can write some pretty catchy
ditties, like this single's flipside, "Kalifornia Korner," which features nifty
double-time shuffle drumming paired with the slightly slinky guitar work of
the Bare Wires' best stuff. Playful garage pop with a pinch of punk, but perfect
to my ears. This should be picked up!
Though six months later than intended, Gentleman Jesse & His Men have
served up some more vintage power pop that's so fresh and so clean, you can
eat the sugar straight off the wax. Wrapped up in musicianship even tighter
than the group's suits, "She's A Trap" warns of a certain kind of girl who can
•weave a sticky web, while the keyboard driven "I Won't Say Goodbye" slows
things down, making for a two-sided hit machine so sweet, it's worth losing
a few teeth. Recommended.
Lastly, Ian Svenonius, a man who knows how to float like a butterfly and
sting like a bee, bringsthe funk to a new freakish high on the latest entry from
his Chain & The Gang. Svenonius croons the blues over a jazz-inflected piano
ontheA-side, "Cry, Cry, Cry (Over You)."The flip,"Snakes On APlane," reprises
the rhythms and melodies ofthe first cut, but gets a litde extra help from Calvin
Johnson, who brings his baritone, spoken word scat and a melodica line to
the mix. It's hard to know where the lines between art and irony begin, but ten
thousand beat poets can't be wrong—they can just drop some acid and get on
board, because this guy is taking it to the next level. Believe.
Told ya, quick and painless—see you soon!
Needles//Pins: Scum Buzz Records myspace.com/scumbuzzrecords
Gentleman Jesse & His Men: Douchemaster Records douchemasterrecords.blo3spot.c0m
Chain & The Gang: K Records iuu;u>.krecs.com fc >e-
I WOULD LIKE:
AN ANNUAL SUBSCRIPTION TO DISCORDER MASAZ1NE
($20 FOR CANADIANS, $2$ FOR U.S. SUBSCRIBERS)
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FILL OUT THIS FORM AND MAIL IN CASH OR A CHEQUE TO
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GRUNAU, PUBLISHER, DISCORDER MAGAZINE
■I
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^t^^ "^P^ 1WF Hi       1  m   li«irlll  Illi
Ail KGES-.W6LCQME - DOORS AT 6PM
WITH SPECIAL GUESTS
,    JIPRIL ft,
RICKSHAW THEATRE
T 8PM I 19+ NO MINORS I TICKETS ALSO AT ZULU ;
AND SPENCER
BETiWEIIAXHE
B«D Al| IMA E
ITR ttfJFM i IY SARAH CHARROUF
iMs BY RYAN WALTER WAGNER
C^ixfcringW* recent release qftwt self-titled debut seven-inch on the
i venerable metjcu imprint Sonthem tofil Records (Black Breath, Wolves
In 1% Hmnte Room, Siffln C^))r?eHcait), Reorder thoujiift would
be a flood idea to sit doum with Vancouver thrashers Baptists. Though
thea/oup is relatively new, Baptists' members have made the rounds in
the local scene, playina. in outfits like jaws, Sports, Ladyhawk and A
Ifcrtbook Tragedy, amona. others. While many acts would brag about
being picked up by the heralded punk, metal and hardcore label, the
tenCieemed surprised about the opportunity to work with Southern
Lord. Discorder had a chance to talk to the group at 1 a.m. following a
well-attended record release partu at the Biltmore on February 17 with
jellow locals Ancients and Weapon. Here's what the guys had to say.
Andrew Drury: Sean's drinking whisky with my
blood inside of it. My blood is actually in there.
That's disgusting Sean.
Seal) Hawryluk: I'm not going to drink it all. I'm
not gonna suck all your blood.
Discorder: So who's who?
SH: I'm John the Operator. I operate the bass.
Nick Yacyshyn: Drums.
AD: I'm Andrew. I'm the vocalist
Danny Marshall: 1 play guitar.
D: How did Baptists come to put out a record on.
Southern Lord?
DM: We got a MySpace message from Southern Lord.
We never used our MySpace.
AD: I think it was the second time we checked it.
DM: It was super crazy and we kind of thought it
was a joke.
SH: I thought it was a hoax.
DM: We kind of did until it [the record] was in our
hands. Greg [Anderson] from Southern Lord messaged us and told us to email him and [said] they'd
be into doing something. We had these four songs
recorded thatwe just basically recorded before Nick
went on tour for two months so we didn't forget
them- Yeah, I don't know, we sent him those songs
arid he said he'd put them on a record.
D: How long did that take?
DM: A year.
All: (laughs).
D: So you had just started Baptists and already Southern Lord wanted to put out a record for you? You
started about a year ago, right?
DM: Yeah, we started in January of last year and we
probably talked to him in March or April, when
Nick went on tour.
AD: I think we recorded in February.
DM: Maybe March...just before he went. I don't
remember when, but at the start of 2010. The record
came out in 2011. So that's a year.
D: What other bands are you in? Who did you go
on tour with?
NY: Just my old band.
D: What are they called?
NY: A Textbook Tragedy.
AD:M6deyCriie.
NY: We were called... Motorhead.
AD: Skitsystem
[Note: all joking, save A Textbook Tragedy]
D: Just to be clear, the record was released on Southern Lord but you're not on the label?
AD: Correct.
D: Are you hoping to be?
SH: Ideally, he'll wanna put out another record,
but that's another bridge that we'll have to cross
when we get to it
DM: It depends on how this one goes.
D: Do you have any tours planned?
NY: No. But we played tonight, Jesus!
AD: (laughs). We're touring all the way to Seatde
on Saturday.
SH: Don't tell anyone.
DM: We have to figure out if we can. We'll do as
many mini trips as we can. You can get to L.A. and
back in a weekend. It would suck, but you could do
it. You can basically do the West Coast in a week.
We live in an OK spot to tour and play big cities.
D: [To Marshall] Do you feel like you can't go on
tour because you have a baby?
DM: Yes! Absolutely.
D: If you had to choose playing the guitar whenewfe,;
you want or having a baby and never being able to
pick up a guitar, which would it be?
DM: Obviously, I would just put strings on my baby!
D: Are there other reasons you can't tour?
AD: I can't book off too much time with work cause OBVIOUSLY, I WOULD JUST PUT STRINGS ON MY BABY!
—Danny Marsftall
I'm in a government union and I [only] get a specific amount of time that I can take off. But maybe
eventually we can.
NY: My schedule's wide open. Sean and I might just
peel off right now.
D: Do you have any good stories from past shows
or tours?   •
SH: Itwas pretty funny when we didn't think we were
going to make it to GHPR [GHPR is a summertime
d.i.y. punk and metal festival in Squamish]
AD: I thought you were gonna talk about Toronto.
SH: That was pretty funny.
AD: Two weeks ago we flew to Toronto and our flight
landed around 12 p.m. and we were supposed to
play a show, downtown Toronto...
SH:Atone!
AD: ..'.at one. And we had special baggage because
it's all guitars, so it took extra long to get the gear.
We showed up [to the show] during Burning Love's
very last song, so we ended up using all their amps.
D: Where did you play?
SH: The bar underneath Parts and Labour.
AD: It's called The Shop at Parts and Labour. And
then Sean's other rock star band, Ladyhawk, played
two shows in a row and they ruled. Two sold out
shows in the next two days. It was kind of funny
being catered to by a five-star restaurant which was
right above the venue. The guy that flew everybody
out there was the head chef there.
D: And they picked Baptists to play that show?
AD: He didn't pick Baptists. He picked Ladyhawk,
Sports, and Duffy &the Doubters.
SH: No, we jumped on; we bum rushed the whole
thing. Itwas an afterthought to add us to the bill.
AD: He only had to pay for two more plane tickets
cause everyone else was already in one ofthe bands.
D: How did the show go for the rest ofthe bands?
SH: As good as it could have.
AD: Itwas weird playing after a band that should've
been playing after us. Headliners by default.
D: What was the GHPR story?
SH: It was just that we barely made it there. We
couldn't find the place.
AD: I got there on time.
SH: You were fine, but the rest of us...we were about
to turn around. We didn't even know where the place
was, we couldn't find it
AD: I got there at about 2 p.m.. And at around 12 a.m. I
was like, "fuck it they're not showing up" so I started
smoking weed, and I never smoke weed before shows.
I got pretty stoned and then the band showed up.
SH: Nick was pretty high on mushrooms because he
didn't think we were gonna actually go and play the gig,
so he dropped mushrooms right before we picked him
up. Wewere staying at Squamish Valley Campground,
which was a good hour commute to the gig.
AD: My favourite thing about GHPR was watching
Nick after we played. I was hiding and I watched
him for a good hour and a half and he didn't know
I was watching him. He was zooming. I was watching him zoom hard.
SH: My favourite part was making sure that Phil
from Haggatha didn't pass out again and fall over
and die. That kinda consumed the end of my night
D: Andrew's hand was squirting blood all over the
stage tonight You got it all over the monitors and
all over Nick's clear drum kit How did that happen?
AD: I don't know. I think it was the fence thing.
DM: It might've been the metal fence [laughs].
D: [To Drury] In Jaws you played while in a wheelchair, you played while using a cane and you once
fell off the stage and went unconscious. Have you
ever played a show where you weren't injured or
didn't get injured during the show?
AD: Yes.
DM: In Baptists, tons.
AD: It's a new me.
DM: We had some serious talks.
AD: I'm very cautious about that stuff now.
SH: It's a new Andrew.
AD: I punched Danny once for no reason.
DM: It's true. I had a hard time playing the next riff.
I had dead arm.
SH: Tonight?
AD: No, it was a long time ago.
D: Has being in Baptists been a good experience?
AD: Yes! I don't think we've had a single fight ever.
We've never raised our voices at each other. I'm
sometimes worried that Nick might take my bugging him seriously.
NY: No. I look forward to it. I need some direction
in my life.
SH: He needs some bullying.
NY: Yeah.
D: I wanted to askyou aboutyour cover art Whaf s the
story behind the taxidermy crow hung up on a cross?
AD: Awhile ago, like three years ago, I was on a bus
and I saw a homeless dude with that crow attached
to his backpack. I was in a rush and I really wanted
to jump off the bus and try to buy it off him. The
very next day at work my friend told me she had a
present for me. Then she gave me that She didn't
know I had seen it the day before and wanted to
buy it. She bought it off the dude and gave it to me.
So I've had it on my wall for a while. Then my lady
friend Jill took it to the forest and hung it up on the
cross and took a picture of it for me.
D: Can I ask a question for the ladies?
AD: We're all taken. *
10 BYRAIENNARAGHI
In a world ultimately too accustomed to illegal downloading and cyber
sharing, it shouldn't be difficult to imagine how hard it is to maintain a
record label these days—especially when your music disagrees with Justin
Bieber's personal playlist While on paper that should be the case with Jesse
Zubot's experimental jazz imprint Drip Audio, the local musician has been
running the label successfully since 2005. To celebrate the company's sixth
anniversary, the label owner is hosting a couple of concerts, March 4-6, at the
Signal (CBC Radio 2) that will showcase the current crop of talent Drip has
to offer: Fond of Tigers, the Inhabitants, Gord Grdina Trio, Francois Houle,
Aeroplane Trio, DarkBlueWorld and violinist Zubot himself.
To date, the label has released 31 recordings. Drip's music is not popular in
the commercial sense; Zubot is an avid supporter ofthe creative music scene.
That being said, sometimes finding funds to float an outsider jazz label in
today's floundering music industry can be a struggle.
"The setback for a more experimental based record label is always a lack of
financing to really do things properly," Zubot explains in an e-mail interview
from a tour stop in Montreal. "Today's industry is very focused on commercial
success and I would include indie rock in that scene as well. I find it slightly
weird how indie rock started against the grain and is now some ofthe most
rehashed and overtly promoted stuff."
That's not to say that there isn't a place for more "alternative" music, for
lack of a better word, in today's world. Many of Drip Audio's experimental
artiste have found acclaim for their work. Avant garde Vancouver septet Fond
ofTigers, for instance, were just nominated for a Juno Award for Instrumental
Album ofthe Year for their recent album Continent & Western. Zubot says that
his personal interaction with his artists, as well as the media, is the key to
successfully promoting his label.
"The way I run Drip Audio is somewhat unique in that I actually work
on publicity myself instead of hiring a publicist, and I get to know writers
somewhat personally," the entrepreneur explains of his business model. "This
way they really get to know more about the label and the artists involved. This
also makes them excited to hear the new albums coming out and they usually
go out of their way to talk about the music."
Local group the Inhabitants' album The Furniture Moues Underneath was
another album produced by Drip Audio that attracted attention, earning a Juno
nod in 2009. "It was quite a shock to me," says the group's trumpet player, JP
Carter, over a cup of coffee at a cafe on Commercial Drive. "I didn't think our
music would get to be heard."
Carter was approached with a record deal by Zubot years ago following an
Inhabitants gig at a downtown venue. Eventually the two would play in Fond
ofTigers together. Both multitasking musicians feel that the more you put
yourself out there, the more likely you'll succeed in this industry. "Musicians
should try to play at a variety of venues so you'll be showcasing your music
to different crowds," says Carter, who is currently readying himself to record
with local rocker Dan Mangan.
Zubot feels the same way. "I think it's great when musicians present
themselves in a variety ofways," he writes, "such as clubs, festivals (all styles),
underground joints (illegal/word of mouth) and alternative makeshift venues
(train stations, museums, art galleries, etc.)." As such, Zubot finds his musicians
through a variety ofways including magazines, word of mouth, and of course
live shows.
With the label doing so well, Zubot has no plans to fold the record label
anytime soon. In fact, he wants to expand "the stylistic range ofthe record
label even more." The violinist plans to release a solo disc some time soon and
has high hopes for what's to come in Drip Audio's future. "I'd like to blow
that wide open," he says ofthe label's potential direction, "but first I have to
figure out how to get more financial support and how to create more time to
work on things with the label." But with the big Drip Audio bash just around
the corner, Zubot is also ready let loose and have a good time. "It would also
be fun to have more parties for the label." fc
11 s=
tISTIAN VOVERIS
fflON BY TYLER CRICH
12 W EAT A HUNDRED TIMES BETTER IN ASIA ...
NONE OF THAT GAS STATION SHIT THAT WE EAT ON TOUR IN NORTH AMERICA.
Having just played a raucous show in Beijing, and getting ready for
another in Shanghai, one-man show Alex Zhang Hungtai, a.k.a. Dirty
Beaches, was busy stirring up the soundscape of Asia when he got
a hold of me over e-mail. Being bilingual with Mandarin as his first
language, the Vancouver-based musician has a.unique advantage
in being able to relate to the music scenes on both sides ofthe Pacific. Most
specifically with the growing scene in Beijing, which is currently following in the
footsteps of New York's golden punk era, with influences including the Velvet
Underground, Sonic Youth and Television. In the online interview, Hungtai
explained that playing shows in China is essentially the same as elsewhere,
but there are a few significant differences.
"The post show reception [in Beijing] was vastly different in comparison,"
he wrote. "Kids came up to me and were incredibly friendly and were very
hospitable and just pleasant in general. The crowds never get too rowdy, you
eat [a hundred] times better in Asia, and I always gain [five to ten pounds] on
my visits due to overeating. None of that gas station shit that we eat on tour
in North America."
Despite its inferior selection of food, North America was where Dirty Beaches
cut his teeth. Following pit stops in Hawaii, San Francisco and Toronto—not
to mention an abandoned real estate career in Shanghai—Hungtai started the
solo project after moving out to Montreal in 2005. He eventually made his way
over to East Vancouver in the fall of 2009. Over the past six years he's released
over a dozen seven-inches, EPs and tapes through various independent labels,
developing his sound through his constant experimentation. The result: grainy,
nostalgic loops that provide the backdrop for Hungtai's crooning baritone,
which conjures up a ghostly, burned-out Elvis as much as it does the low, soulful
moans of Suicide's Alan Vega. "Lord Knows Best" a haunting ballad from his
upcoming album, Badlands, features tastefully gritty, lo-fi production values as
a slinking, doo wop piano loop crackles in the background.
I asked Hungtai to explain how he developed his strikingly analog sound.
Though Dirty Beaches began recording material onto his computer, he soon
found that modern technology didn't offer him the sound he strove for.
"I recorded my first two releases for [Montreal imprint] Fixture Records
on GarageBand," he explains of his early, digitized recording sessions. "It
was really painful and really hard-for me to use as it felt counterintuitive for
someone from the pager generation."
His initial attempts at playing live shows using an iPod, and later a tape
recorder, as a backing track also proved to be unsatisfying. Soon after investing
in some unconventional equipment, Hungtai began redefining his sound.
"I threw all that out ofthe window and picked up a shoebox tape recorder
for $20 at a Jewish camera store on Pare Ave. in Montreal close to where I lived
and started recording more experimental works that were based on live takes,"
the musician writes, re-telling the history ofthe project's unique development
. "From there I became obsessed with live recordings, as it helped me capture
what was missing from the multi-track sessions. I was looking for a certain
grit and immediacy that told [of] the recording artists' environment, yet
[something] powerful and soulful like some of those old recordings I've
admired for so long (Sun Records Studio, Studio One in Jamaica, etc.)." An
admirer ofthe trademark sound ofthe studios that brought us Johnny Cash,
B.B. King, Howlin' Wolf and countless others, Hungtai confesses, "I think of
my recordings as a budget imitation of those studios."
Along with echoes of classic recordings, Dirty Beaches' sound bears an
omnipresent cinematic aspect. His tense atmospheres sound as though they
could give life to Film Noir. Badlands cut "Speedway King," for instance, plays
as if it could score scenes featuring a mysterious character wandering cities in
their dead hours, or racing a motorcycle through an endless stream of glowing
lights. Hungtai reveals that this isn't a coincidence.
"I think of my music like film," he explains. "The sound is your leading man,
as it becomes the look and spirit ofthe picture. However, surface aesthetics
can only take you so far. The characters must be fleshed out and the concept of
the project cannot over rely on aesthetics alone, as it will become stale, boring
and unrelatable for the artist very quickly."
Hungtai cites Wong Kar-wai as his main cinematic influence. The brilliantly
manic Hong Kong director is-known for his stylistic films which focus on
displaced and exiled characters. As a trans-Pacific nomad, Dirty Beaches finds
this extremely relatable. "If I could score any of his films it would be a dream
come true," he fantasizes.
Fittingly, on top of Hungtai's Dirty Beaches work, he's scored three
independent productions and is currently trying to land a permanent job
composing film scores in Vancouver. "If I could land that as my day job, that
would be the best," he gushes.
Film endeavours aside, between his current tour dates with fellow lo-fi
popsters the Dum Dum Girls, a showcase later this month at Austin, Texas'
South by Southwest festival and the release ofthe Badlands LP on March 29,
the road ahead for Dirty Beaches promises to be plenty exciting, fe
13 BY GAIL JUDY
ILLUSTRATION BY PETER KOMIEROWSKI
RAPHAELLE STANDELL-PRESTON, THE SINSER/GUITARIST FOR MONTREAL-BASED ELECTRONIC ART
ROCKERS BRAIDS, ISA REAL CHARMER. CAUGHT ON HER CELL PHONE AT A TOUR STOP IN FLORIDA, THE
CHARISMATIC YOUNG WOMAN EXUDES INTELLIGENCE AND INSIGHT WHILE DISCUSSING HER BAND'S
HIGHLY ACCLAIMED DEBUT DISC NATIVE SPEAKER.
14 so
MEBODY SPILLED KOOL-AID ON KATIE'S KEYBOARD ... OR WAS IT COCAINE?
Reached in the middle of an extensive North American trek, Standell-Preston
sounds excited and a little awestruck at the magnitude of their current tour
schedule. The band—which also includes keyboardist Katie Lee, drummer
Austin Tufts and multi-instrumentalist Taylor Srnith—have been on the road
non-stop since releasing Native Speaker this past January. "It's just hitting me
we're out on the road for three months," Standdl-Pre$t(^admits. "It's good.
|^»e gotten into the rhythm of it We're getting very little sleep, but staying
cheerful."
When asked about Braids' upcoming Vancouver pit stop, March 28 at
"/^pi'liiltmore, Standell-Preston expresses fond memories of playing here last
summer. "I've always liked Vancouver, it's a very beautiful city," she says.
"We played at the Goody Warehouse, and that was a very interesting night
Somebody spilled Kool-Aid on Katie's keyboard," she remembers ofthe event
"or was it cocaine? Yes, somebody was doing cocaine off Katie's keyboard.
That's a very ingrained, fond memory. Good ol' Vancouver."
Before Braids became critical darlings, however, the quartet lived in Calgary
and performed under the name The Neighbourhood Council. The young
group released their first EP, Set Pieces, in 2008. The band ended up catching
the ear of Deerhunter main man Bradford Cox, who gave the band a standing
ovation at their Sled Island performance the same year. Soon after, however,
the foursome changed their name and headed for Montreal. There were a few
key reasons why they made the move.
ff*5t was the time to move, being the ripe young age of 17 and 18," says
Standell-Preston. "Montreal has a wonderful, flourishing music scene and it's
v&jr cipse to New York. For the other three members, it was a dream for them
to attend McGill. [Moving to Montreal] was a good choice."
A great deal of attention has been placed on the band's dynamic use of
reverb, effects pedals and layers'upon layers of sound. Listening to "Glass
Deers," for example, is the musical equivalent of falling through the sky in
slow motion, with looping chimes and guitar lines interweaving and soaring
together ethereally. Standell-Preston uses her impressive range, which alternates
between a coo and a cracked scream, to make her reverberated refrain of "I'm
fucked up" sound positively dreamy. Opening track "Lemonade" likewise feels
deep, with slow-burn keyboards and guitar lines washing over you like a warm,
fuzzy wave. While The Neighbourhood Council's elaborate pop numbers
were hardly facile, the group's experimental period began once they landed
in Montreal. Standell-Preston also credits celebrated sonic explorers Animal
Collective for stoking their imaginations.
"We discovered the record Fields by Animal Collective," says Standell-Preston.
"It turned on another part of my brain for understanding new sonic textures,
sounds and creating environments. We were all very keen on figuring out exactly
how we could do that. That led into reverb delays and it flourished into the
band obtaining multi-effects pedals and playing with tremolo. We got really
into creating textural environments^ and one ofthe best ways to accomplish
that was through vocal processors and guitar pedals."
Along with their rich sound, many critics have made note of Standell-
Preston's direct and at-times sensual lyrics. Whil%the playful giddynes|:^f |f:
Native Speaker's ^|d,soundscapes make like an electronic Disneyland for
the ears, the singers' sometimes salacious wordplay will make you cott^p|^|
leaving the kids at home.
When asked if she finds it challenging to put herself out there in sti^|LyI<
direct manner, Standell-Preston responds: "Yes. Very much so, actually. I've
found, as I've gotten older I've begun retreating more into myself. My p|f^p|rj
and lyrics have taken more of a softened turn. Sometimes it's difficult to stand
on stage and talk about things I experienced when I was just figuring out my
sexuality at 17. The lyrics aren't all about sexuality; they're about people and
growing up. You have to stand behind ey^^irig you make and your art. You
can't condescend a form of self."
A repeated refrain in the swirling stunner "Lemonade," is "we're ail just
sleeping around," At its core, this song is about a lack of intimacy. "Thafs
exactly it," Standell-Preston confirms before discussing the song's roots. "I'd
been working in more of an artsy cafe\ and there was a lot of incest going on.
It was quite peculiar, so I decided to write about it There's definitely a lack of
intimacy, especially in the art world."
Braids have been highly praised by the arts community. Every major music
blog has gushed about the band. This is fantastic for increasing exposure and
knowledge of their music, but what happens when a site like Pitchfork doesn't
like your record? When asked if she thought some sites have too much sway
when it comes to determining a band's success, Standell-Preston agreed.
"It is very definite when they give you a bad review," she says. "You have to
live with that for the rest ofthe year and so many people are going to read it At
the same time, Pitchfork is always going to be there. You just have to toughen
up and shake it off your shoulders. "
Regardless of what the press says, be it good or bad, Braids wants you to
experience their music yourself and to draw your own conclusions on what
they're about. With a band so varied and out there as Braids, ifs best to just
sit back and soak in their sound.
"You have to let the music stand for itself, and the music will explain itself,"
Standell-Preston asserts. "The definition is up to the listener."
Braids will be in Vancouver on March 28 with Tbro Y Moi, who you can read about
on page 16. fe
IE BY ALEC J. ROSS
ILLUSTRATION BY MERIDA ANDERSON
With a glut of acts flooding the market these days, there are bound
to be countless bands that get swept under the rug. Only artists that allows themselves to shift directions and incorporate
multiple influences into their music will possess the power of
longevity. This is the case with the Toro Y Moi.
Started up in 2001 as a bedroom project by South Carolina native Chazwick
Bundick, Toro Y Moi has become an eclectic, genre-hopping phenomenon.
Discorder caught up with Bundick over Skype during his first tour of Australia
to talk about his music-enriched life, his new album, Underneath the Pine, and
his personal reflection on life as a recording artist.
Bundick began his musical endeavours at the age of eight when he learned
to play the piano, but the early artistic experimerlt didn't take. "It wasn't
my favourite thing to do" he admits, "it was a bunch of work." Bundick's
appreciation of music was given new life, however, when he discovered the
guitar a few years later.
Though he earned a BFA in Graphic Design at the University of South Carolina,
post-graduation Bundick decided to make music his life. "Graphic design was
my focus while I was in school," he explains, "now my focus is music."
Since then, Toro Y Moi has wildly explored the wide world of music.
Proving thatBundick's methods are constantly changing and evolving, his back
catalogue highlights a plethora of different genres, from Stevie Wonder-style
funk to R&B to French House. While heavily influenced by his parent's vinyl
16
and tape collection, he also possesses his own collection of around fifty vinyl
albums. Although not as large as some of his friends' collections, Bundick's
musical assemblage is as multifarious as they come. During the interview,
Bundick playfully showed off some newly purchased records (KPM Music
Library's Piano Cocktail, and Claude Denjean's Open Circuit were among his finds).
Over the past two years we have been graced with a number of eclectic
outings from Bundick, from his phenomenal chillwave debut Causers of This,
to the garage rock-tinged Leave Everywhere seven-inch and now with his latest
funky album, Underneath the Pine. The new disc is a significant departure
from the early, electronic sound of Causers OfThis, as itwas recorded with live
instrumentation. With hints of Stevie Wonder, Lonnie Listen Smith and Ennio
Morricone, the album is a giant leap forward for Toro Y Moi. The soul-disco
style of "Still Sound" includes a earth-rattling bass riff so funky it could move
mountains, while the airy, sexy synth-jam "New Beat" pays homage to Listen
Smith's atmospheric fusion period.
Bundick has established himself not only as a prominent artist ofthe
chillwave movement but also as one with the ability to transcend the genre,
moving onwards in a positive direction. With a new album to promote and
a host of upcoming tour dates—including a show at the Biltmore on March
28—it's shaping up to be a very successful year for Toro Y Moi. There's no
telling what the South Carolina wunderidnd will end up doing next, but we
have a feeling it will be just as astonishing as his previous efforts, fc BY PYRA DRACULEA
ILLUSTRATION BY LINDSEY HAMPTON
When your album is one ofthe most
anticipated releases on the indie
rock calendar, you can afford to
take a few risks with your choice
of a lead single. Vancouver's Mother
Mother decided to take that risk with the upbeat
party anthem "The Stand," off their new album
Eureka. Frontman/guitarist Ryan Guldemond muses
that "with a song like 'The Stand,' it's either gonna
bomb or explode, and I think when you're a band
who's anticipated it's good to take that risk and
not just put out the safe option. That was kind of
our motive in putting 'The Stand' out as the single,
because it is a misleading track on the record."
It's not a complete departure, however. The
song is heavy with the kind of quirky hooks, layered
vocal harmonies and catchy beats the band—which
also features keyboardists Molly Guldemond and
Jasmin Parkin, bassist Jeremy Page and drummer
Ali Siadat—are known for. It's the tricky wordplay
within the jam, however, that takes the tune to
another level.
Fortunately, their risk seems to have paid off. At
the time of this writing, "The Stand" is climbing
both Billboard's Canadian Hot ioo and the BDS
Top 40 Canadian Rock National Airplay charts. Not
bad for a band that hardly matches the stereotypical
"Theory of a NickelFault" CanCon sound that
dominates commercial rock radio. It's especially
impressive considering that the track was never
originally intended to be a song, let alone a single.
"Itwas a farcical conversation I was inventing on
the bus," Guldemond reveals. "I worked on it for
many years, actually, with no grand plans to make
it a song or a single or whatever."
In the song, a playful back and forth takes place
between a man and a couple of girls.
Girls: Tell me your weakness.
Man: Oh, I keep it a secret
Girls: Oh come on, just one vice.
Man: All right, it's vodka on ice.
But then there's women on bikes,
or just the women who straddle.
Girls: Oh now you are a handful.
Man: I forgot about handfuls.
While "The Stand" initially began as a set of
lyrics, Guldemond says he usually tends to start with
a melody and lets the rest ofthe song rise up out of it
"I try to find the words that want to attach
themselves to the melody and the syllables that are
starting to appear," he says. "It's a strange process and
I'm surprised anything coherentcomes out of it butl
find it kind of fun and educational and self-involved
and observational. Who knows whereitcomes from?"
Eureka, the band's third album, was produced
by Guldemond over the course of almost a year.
"We usually don't take that long, but it was kind of
nice to ruminate before it gets all crazy," he says.
"Songwriting started quite a while prior, and you
kind of hang on to little motifs and ideas over the
years and inevitably they find their way onto the
current record."
While songs often start with an idea from
Guldemond, the whole band is involved in the
creative process. This time around the group
undertook an extensive demoing process rather
than work things out in the studio like they did
in the past
"We made these elaborate demos so we could
really have a clear idea of our parte," Guldemond
explains. "Instead of fumbling around in the studio,
we could tap into how we emotionally wantedthem
to come out"
Just as the band's devoted followers are already
rubbing their hands in anticipation of Eureka,
Mother Mother can't wait to hit the road. "We're
itching to get back out there and get to work,"
Guldemond quips.
Having kicked off the first round of touring last
month with a jaunt down the West Coast the band
is gearing up to play both Canadian Music Week
in Toronto and Austin, Texas' South by Southwest
conference this month. And that's just the start
"We're doing a big Canadian tour in April,
which will be great," Guldemond explains. "It's
a headlining tour and it's been a while since we've
been able to gauge where we're at in every Canadian
market because we've often opened for other bands
or done the festival stuff." fc
17 IN THE NATIONAL FILM BOARD-PRODUCED INTERACTIVE WEB
DOCUMENTARY WELCOME TO PM POINT, PAUL SHOEBRIDGE
AND MICHAEL SIMONS, WHO MAKE UP THE VANCOUVER GRAPHIC
DESIGN TEAM THE GOGGLES, OFFER AN IRONIC WELCOME TO THE
REGION—THE IRONY BEING THAT THE SMALL MINING TOWN IN
THE NORTHWEST TERRITORIES IS NO LONGER THERE. THE TOWN'S
DISAPPEARANCE, OR RATHER, ERASURE FROM THE CANADIAN
LANDSCAPE BACK IN 1988 IS THE FOCUS OF THE PROJECT. r Kfrn, Plnfr.fjtoint became the kind of
Ihometowr? yiifkoQ in movies, the place she
I could leave behind, make her    ^^
jgHafephant return to, aspire away from."ljj
I When I look at people's face?
JMnirf pj'nepolnt'photos,th'
C '1' V 1^ 111 "i 11111  i tolintlh?:r
e day this ail mi*"
The interactive web doc is an exploration of memory and form, offering a
unique way of looking back at photographs of former Pine Pointers since we
now know what they didn't back then—that it would all, one day, come to an
end. "Would it be so bad," the pair ask, if "your hometown never changed?"
In a way, the question implies that memories preserve Pine Point exactly as it
was. As I navigated the site at my dining room table, I couldn't help but wonder
if memories could really preserve a place like Pine Point
There's solace in the idea that not being able to return means that the
town can, at least in its former residents' minds, live forever, altered only
by slight variations in memories as they're recalled. The doc recalls many of
these memories from the point of view of three past residents of Pine Point.
They each share old yearbook photos, video footage and memorabilia, which
have been pieced together on the site by Shoebridge and Simons. Looking at
the faces of ordinary, friendly people set against the industrial landscape of
Pine Point evokes a kind of sadness, but the images still give the impression
that everyone was glad to be there. Pine Pointers admit that the government's
decision to close the town after the mine's closure is sad because they can't go
back; nevertheless, they seem to look back fondly, admitting with pride that
Pine Point will always be their hometown.
Welcome to Pine Point's bittersweet walk down memory lane is accompanied
by the equally ominous and oddly triumphant sounds ofthe Besnard Lakes.
The documentary features several familiar sounds from their second album,
The Besnard Lakes Are the Dark Horse, along with an original score composed by the
band. They also offer up a cover of Trooper's "We're Here for a Good Time (Not
a Long Time)"—fitting not only for its obvious connotations but also because,
contradictory to what the song's tide suggests, Pine Point is still seemingly
living on through the memories ofthe people who once called it home.
The project which grew out ofthe observation that nobody uses traditional
photo albums anymore, might have just as easily explored the memory of
Pine Point in print But something about the marriage of new media and old
reflects how much has changed in how we archive our memories. The online
experience simulates turning the pages of an old photo album, but it goes one
step further by adding voices and music to score the experience. Further still,
we're shown old video footage from before the town's closure as we silently
read the accompanying-text When we're ready, we turn the page.
The doc could be summed up as a nostalgia, but it's so much more. The
interactive content accompanied by the sobering sounds ofthe Besnard Lakes,
serves as a lament for a time when "community" wasn't a buzz word exploited
by social media, it was a way of life. It asks us to reconsider our sense of place
and explores the validity of a collective memory, exposing both the humour
and sadness that coexist within it fc
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and tap into good vibrations
March 14: Celebrating
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Bhajans, Qawwalis, pop and
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Quincy Jones' birthday with
Hosted by Oswaldo Perez
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SHOOKSHOOKTA
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fTalk) io-nam
fun! This is not your average
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A program targeted to
TECHNO PROGRESSIVO
spirituality show.
March 21: Funky sounds
GIVE'EM THE BOOT
Ethiopian people that
(Dance) 8-apm
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Alternatina Sundays
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An indie pop show since
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traditional to modern on
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Get down!
this bilingual show. Un
Beautiful arresting beats
MONDOTRASHO
sweet and best enjoyed
March 28: Another Jones and
programma bilingue che
and voices emanating from
(Eclectic) 9-iopm
when poked with a stick
another birthday: Trumpeter/
esplora il mondo della
all continents, corners and
The one and the only Mon
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voids. Always rhythmic,
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Alternating Sundays
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improvised jazz and new
basically anything your host
Bringing UBC's professors
Real cowshit-caught-in-yer-
classical! So weird it will
Pbone can put the word
on air to talk about current/
boots country.
THROWDOWN FM
(Dance / Electronic) 12-iam
blow your mind!
"post" in front of. Stay up,
tune in, zone out If you had
past events at the local and
international level. Aiming
SHAKE A TAIL FEATHER
Hosts  Downtown  Stacee
NEWS 101
a radio show, Pbone would
to provide a space for fac
(Soul/R&B) 3-5pm
Brown and Jen Slator are
(Talk) 5-6pm
probably listen to your show.
ulty and doctoral level stu
Alternatina Sundays
proud to announce that our
Vancouver's only live,
dents to engage in dialogue
The finest in classic soul
playlist for each and every
volunteer-produced,
TUESDAY
and share their current
and rhythm & blues
show will be 100 per cent
student and community
research, and to provide a
from the late '50s to the
Vancouver, B.C. based under
newscast. Every week, we
PACIFIC PICKIN'
space for interdisciplinary
early '70s, including lesser
ground music ofthe sub-bass
take a look back at the
(Roots) 6-8am
thinking. Interviews with
known artists, regional hits
generation. This means you'll
week's local, national and
Bluegrass, old-time music
professors from a variety of
and lost soul gems.
never hear a track that's not
international news, as seen
and its derivatives with Ar
disciplines.
from our west coast province
from a fully independent
thur and the lovely Andrea
http://ubcproftalk.
CHIPS WITH EVERYTHING
of B.C. We call ourselves col
media perspective.
Berman.
wordpress.com
(Pop) 5-6pm
lectively: The Local Union 604.
pacificpickin@yahoo.com
proftalk(a)gmail.com
Alternatina Sundays
ThrowdownFM@gmail.com
SORE THROATS, CLAPPING
British pop music from all
HANDS
SOUNDS OF AFRICA
RADIO FREETHINKER
decades. International pop
MONDAY
(Roflue Folk, Indie)
(World) 8-9:3oam
(Talk) 3:30-4:3opm
(Japanese, French, Swed
6-7:3°Pm
Showcasing music, current
Promoting skepticism, criti
ish, British, US, etc.), '60s
BREAKFAST WITH THE BROWNS
Lyric driven, campfire
affairs & news from across
cal thinking and science, we
soundtracks and lounge.
(Eclectic) 8-nam
inspired. New and old tunes
the African continent and
examine popular extraorr
Your favourite Brownsters,
from singer-songwriters
the diaspora, you will learn
dinary claims and subject
QUEER FM ARTS XTRA
James and Peter, offer a
with an emphasis on Ca
all about beat and rhythm
them to critical analysis.
(Talk) 5-6pm
savoury blend ofthe famil
nadian music. Tune in for
and it will certainly kick-
The real world is a beautiful
Alternatina Sundays
iar and exotic in a blend of
live acts, ticket giveaways,
start your day.
and fascinating place and
An expose' ofthe arts &
aural delights.
interviews and talk, but
we want people to see it ,
culture scene in the LGBTQ
breakfastwiththebrowns@
mostly it's just music.
THIRD TIME'S THE CHARM
through the lens of reality
community.
hotmail.com
Find us on Facebook!
(Rock) 9:30-n:3oam
Open your ears and prepare
as opposed to superstition.
QUEER FM
STRANDED
EXPLODING HEAD MOVIES
for a shock! A harmless
IN THE CAGE WITH BARDS
fTalk) 6-8pm
(Eclectic) iiam-i2pm
(Eclectic) 7:30-9pm
note may make you a fan!
(Talk) 4:30-5pm
Dedicated to the gay, lesbian,
Join your host Matthew for
Deadlier than the most
Join Carlin Bardsley as he
bisexual and transexual com
a weekly mix of exciting
THE JAZZ SHOW
dangerous criminals!
welcomes the top names
munities of Vancouver. Lots
sounds, past and present,
(Jazz) 9pm-i2am
borninsixtynine@
in Canadian Mixed Martial
of human interest features,
from his Australian home
Vancouver's longest
hotmail.com
Arts to put up their dukes
background on current is
land. And journey with him
running prime-time jazz
and discuss the fastest
sues and great music.
as he features fresh tunes
program. Hosted by Gavin
MORNING AFTER SHOW
growing sport in the world.
queerfmradio(p)gmail.com
and explores the alternative
Walker. Features at 11pm.
(Eclectic) n:3oam-ipm
Recaps, interviews, tunes
musical heritage of Canada.
March 7: Trombonist/com
An eclectic mix of Canadian
and more... it's the most
RHYTHMSINDIA
poser Grachan Moncur IH
indie with rock, experimen
fun you can have without
(World) 8-apm
SYNCHRONICS
with Wayne Shorter, Herbie
tal, world, reggae, punk
being punched in the face!
Alternating Sundays
(Talk) ii-isoopm
Hancock and Tony Wil
and ska from Canada, Latin
www.facebook.com/
Featuring a wide range of
Join host Marie B and
liams: Adventurous sounds
America and Europe. The
inthecagewithbards
music from India, including
discuss spirituality, health
from the mid*' 60s in Some
Moaning After Show has
inthecagewithbards@
popular music from the 1030s
and feeling good. Tune in
Other Stujf.
local bands playing live on
hotmail.com THUNDERBIRD EYE
(Talk) 5-6pm
Your weekly roundup ofUBC
Thunderbird sports action
from on campus and off with
your host Wilson Wong.
FLEX YOUR HEAD
(Hardcore) 6-8pm
Punk rock and hardcore since
1989. Bands and guests from
around the world.
INSIDE OUT
(Dance) 8-9pm
CRIMES & TREASONS
(Hip-hop) 9-npm
crimesandtreasons@
gmail.com
CABARADIO
(Talk) upm-i2:3oam
For the world of Cabaret
Tune in for interviews,
skits, musical guests and
more. It's Radio with sass!
WEDNESDAY
SUBURBAN JUNGLE
(Eclectic) 8-ioam
Live from the Jungle Room,
join radio host Jack Velvet
for an eclectic mix of music,
sound bites, information and
inanity. Not to be missed!
dj@jackvelvet.net
POP DRONES
(Eclectic) io-n:3oam
ANOIZE
(Noise) n:3oam-ipm
An hour and a half of avant-
rock, noize, plunderphonic,
psychedelic and outsider
aspects of audio. An experience for those who want to
be educated and EARitated.
lukemeat@hotmail.com
THE GREEN MAJORITY
fTalk) i-2pm
Canada's only environmental news hour, syndicated by
CIUT 89.5 FM Toronto or
unvw.greenmajority.ca.
DEMOCRACY NOW
(Talk) 2-3pm
RUMBLETONE RADIO
A GO GO
(Rock) 3-5pm
Primitive, fuzzed-out
garage mayhem!
ARTS REPORT
fTalk) 5-6pm
REEL TO REAL
fTalk) 6-6:3opm
Alternating Wednesdays
Movie reviews and criticism.
DISCORDER RADIO
(Talk) 6-6:30pm
Alternatina Wednesdays
Discorder Magazine now
has its own radio show! Join
us to hear excerpts of feature
interviews, charts, concert
calendar picks and other
exciting morsels! For more
info, visit discorder.ca.
SAMSQUANTCH'S
HIDEAWAY
(Eclectic) 6:30-8pm
Alternating Wednesdays
All-Canadian music with a
focus on indie-rock/pop.
anitabinder@hotmail.com
SHAMELESS
(Eclectic) 6:30-8pm
Alternatina Wednesdays
Dedicated to giving local
music acts a crack at some
airplay. When not playing
the PR shriek, you can hear
some faves you never knew
you liked.
FOLK OASIS
(Roots) 8-iopm
Two hours of eclectic folk/
roots music, with a big emphasis on our local scene.
C'mon in! A kumbaya-free
zone since 1997.
folkoasis@gmail.com
SEXY IN VAN CITY
(Talk) 10-npm
Your weekly dose of education and entertainment in
the realm of relationships
and sexuality.
sexyinvancity.com/category/
sexy-in-vancity-radio
HANS KLOSS'MISERY HOUR
(Hans Kloss) npm-iam
Pretty much the best thing
on radio.
THURSDAY
END OF THE WORLD NEWS
(Talk) 8-ioam
SWEET AND HOT
(Jazz) ioam-i2pm
Sweet dance music and hot
jazz from the 1920s, '30s
and '40s.
DUNCAN'S DONUTS
(Eclectic) 12-ipm
Sweet treats from the pop
underground. Hosted by Duncan, sponsored by donuts.
duncansdonuts.
wordpress.com
WE ALL FALL DOWN
(Eclectic) i-2pm
Punk rock, indie pop and
whatever else I deem worthy. Hosted by a closet nerd.
www.weallfalldowncitr.
blogspotca
INK STUDS
(Talk) 2-3pm
Underground and indie
comix. Each week, we interr
view a different creator to
get their unique perspective
on comix and discuss their
upcoming works.
JAPANESE MUSICQUEST
(World) 3-3:30pm
Syndicated from CJLY
Kootenay Co-op Radio in
Nelson, B.C.
FRENCH CONNECTION
(World) 3:30-5pm
French language and music.
www.fccabc.org
NATIVE SOLIDARITY NEWS
(Talk) 5-6pm
A national radio service and
part of an international network of information and action in support of indigenous
peoples' survival and dignity.
ARE YOU AWARE
(Eclectic) 6-7:3opm
Celebrating the message
behind the music: Profiling
music and musicians that
take the route of positive
action over apathy.
EXQUISITE CORPSE
(Experimental) 7:3o-9pm
Experimental, radio-art,
sound collage, field recordings, etc. Recommended for
the insane.
artcorpse@yahoo.com
LIVE FROM THUNDERBIRD
RADIO HELL
(Live Music) 9-npm
Featuring live band(s) every
week performing in the
CiTR Lounge. Most are from
Vancouver, but sometimes
bands from across the country and around the world.
FUNK MY LIFE
(Soul/Dance) npm-i2am
Grooving out tunes with a
bit of soul and a lot of funk,
from the birth of rhythm and
blues to the golden age of
motown, to contemporary
dance remixes of classic soul
hits. We explore Brasilian
funk, Japanese breakbeat
anthems, the British motown
remix scene, Canadian soul
and disco that your parents
probably made out to and the
classics of American soul.
Soul in the City's Oker hosts
with guests to bring that
extra bounce to your step.
www.funkmylife.com
AURAL TENTACLES
(Eclectic) i2-6am
It could be global, trance,
spoken word, rock, the
unusual and the weird, or it
could be something different. Hosted by DJ Pierre.
auraltentacles@hotmail.com
FRIDAY
FRIDAY SUNRISE
(Eclectic) 7:30-9am
An eclectic mix of indie
rock, hip-hop and reggae to
bring you up with the sun.
ALTERNATIVE RADIO
(Talk) 9-io:ooam
Hosted by David Barsamian.
CITR LISTENER HOUR
(Eclectic) 12-ipm
Tune in each week as you,
the CiTR fan, get to program an hour of adventure
for the whole world to hear!
For more info, contact
program coordinator Bryce..
Dunn at citrprogramming@
club.ams.ubc.ca.
BARNBURNER
(Eclectic) i-2pm
The greasier side of rock
'n' roll, rhythm 'n' blues,
and country... Crack a beer,
order some BBQ, and get
your boogie on.
RADIO ZERO
(Dance) 2-3:3opm
An international mix of
super-fresh weekend party
jams from New Wave to
foreign electro, baile, Bollywood and whatever else.
www.radiozero.com
NARDWUAR
(Nardumar) 3:3o-5pm
Join Nardwuar the Human
Serviette for Clam Chowder flavoured entertainment. Doot doola doot
doo...doot doo!
nardwuar@nardwuar.com
NEWS 101
(Talk) 5-6pm
See Monday for description.
CITR SPORTS LIVE
fTalk) 6-io:30pm
THE VAMPIRE'S BALL
(Industrial) i2-4am
Dark, sinister music to
soothe and/or move the
Dragon's soul. Industrial,
goth and a touch of metal
too. Blog: thevampiresball.
blogspotcom.
thevampiresball@gmail.com
SATURDAY
THE SATURDAY EDGE
(Roots) 8am-i2pm
A personal guide to world
and roots music—with
African, Latin and European
music in the first half, followed by Celtic, blues,
songwriters, Cajun and
whatever else fits!
steveedge3@mac.c0m
GENERATION ANNIHILATION
(Punk) 12-ipm
A fine mix of streetpunk
and old-school hardcore
backed by band interviews,
guest speakers and social
commentary.
crashnburnradio@yahoo.ca
generationannihilation.com
POWER CHORD
(Metal) i-3pm
Vancouver's longest running metal show. If you're
into music that's on the
heavier/darker side of the
spectrum, then you'll like
it. Sonic assault provided by
Geoff, Marcia and Andy.
CODE BLUE
(Roots) 3-5pm
From backwoods delta
low-down slide to urban
harp honks, blues and
blues roots with your hosts
Jim, Andy and Paul.
codeblue@buddy-system.org
THE LEO RAMIREZ SHOW
(World) 5-6pm
The best of mix of Latin
American music.
leoramirez@canada.com
NASHAVOLNA
(World) 6-7pm
News, arts, entertainment and
music for the Russian community, local and abroad.
nashavolna.ca
NOTES FROM THE
UNDERGROUND
(Electronic/Hip-hop/More)
7-9pm
Start your Saturday night
off right with our weekly
showcase ofthe local
underground DJ and electronic music scene,
notesundergroundradio.
blogspotcom
notesundergroundradio@
gmail.com
SYNAPTIC SANDWICH
(Dance/Electronic) 9-npm
If you like everything from
electro/techno/trance/8-bit
music/retro '80s this is the
show for you!
www.synapticsandwich.net
24 ART PROJECT // JEFFRY LEE
S
ometimes I ask myself, "Jeff, what have you done with your life? Why couldn't you have done something important, something meaningful? Why, you could have been a doctor!" And I think to myself, "Yeah, I could have
been a doctor!" Sure, I thought about it; I considered getting my doctorate. My patients would be all, "Dr. Lee,
help me! This drawing I did fucking sucks!" tAnd I'd be all, "Hmmm... I see. Diagnosis: maybe you're drawing
doesn't suck enough!" Then I'd prescribe that they finger paint over it in black oil and redraw it with their eyes
closed. Jeff Lee, doctor at art! Man, how rich would that be?
25 ART PROJECT // JEFFRY LEE  ■MES BUKE
JAMES BLAKE
(Atlas Recordings)
Collecting a prodigious amount of
hype and anticipation for a musician
who began releasing music less than
two years ago, James Blake's first
full-length release rises from an unexpected synthesis ofthe deeply-rooted
London dubstep scene and a formal
musical upbringing, delivering a very
personal result
The album's opener "Unluck"
introduces Blake's striking vocals:
soulfully shaped, bent and mutilated
with electronics, fluttering over a
frantically clicking beat and an oscillating synth. This first glimpse at his
displaced and calculated offbeat vocals with an immediately catchy pop-
sensibility serves as a gripping introduction to something altogether very
different As the album moves into
the introspective "Wilhelms Scream,"
Blake makes fascinating use of his
repetition of a single lyric phrase,
which becomes a common theme in
the album, with a paradoxically dynamic effect The development ofthe
atmosphere with a hint of R&B shows
an apt use of space and scale which
begins with just a digital organ and a
basic beat swelling to cacophonous
reverberated dimensions in which
a nearly drowned-out Blake pierces
through, eventually returning you to
nearly exactly where it all began.
The two-part "Lindesfarne" is as
close to Justin Vernon's log cabin type
of intimacy that the young producer
gets through skillfully auto-tuned
and garbled vocals in the vein of Bon
Iver's "Woods," and a warm, almost
organic guitar following, driven by
a heartbeat of a rhythm. A fascinat
ing amount of emotion transcends j
i through a heavily altered voice utter- j
ing barely intelligible combinations j
of sounds throughout its entire two I
parts; however, the gaping silences \
in the song's cautious progression j
can drag, on occasion.
Probably the most unexpected j
highlight of the album is a cover of I
Feist's "Limit to Your* Love" which j
starts off with a raw and unaltered
Blake singing over a simple, soulful
piano riff and collapses into a deep  j
bass drop. The song finds itself in a j
striking juxtaposition of two disparate worlds which Blake masterfully
combines into a creation that belongs j
to a world of his very own.
From there on, the album navigates ]
this world with Blake's modest and j
careful yet daring control. Emotion
is given centre stage throughout the
album, and James Blake delivers it
through his raw vocals which aren't I
merely digitally altered to compensate for lack of talent but masterfully I
crafted through a cunning choice of j
tools to achieve an unmistakable effect   I
—Christian Voveris
BRIGHT EYES
THE PEOPLE'S KEY
(Saddle Creek)
Bright Eyes takes the mo re electronic j
route for their latest and possibly final I
album, The People's Key. There's a hint j
of their favourable indie-folk sound,  \
but it's mostly enveloped by a thick j
soundscape of futuristic sweeps and
pulsating synthesizers. The album
is full of sci-fi imagery, which continually guides the listener outward
to some spacey landscape before
bringing them back to that familiar
vulnerability that Conor Oberst'slyr- I
ics always exude.
The People's Key opens with a trippy,
spoken commentary by a Texas shaman named Denny Brewer. He shares
his random and intriguing theories
on evolution, time travel and the universe. Though the album puts out all
these heavy philosophical questions
about life and existence, it avoids feeling too serious or self-indulgent This
is in part due to songs like "Jejune
Stars" and "Triple Spiral," which are
just so damn catchy. These upbeat
electro-pop songs show off a melodic
side to Oberst's voice, which sounds
more polished than usual.
Beyond the catchy, upbeat stuff,
The People's Key also delivers memorable tracks like the moody and dark
"Approximate Sunlight" and the beautifully simplistic "Ladder Song." The
latter's imagery-laden lyrics "See now
a star is born / Looks just like a blood
orange / Don't it just make you want
to cry?" remind us of Oberst's poetic
talents. "One for You, One for Me,"
a kind of synth-styled protest song,
closes off the album with a hopeful
image of peace and harmony. Paradoxically, the song ends on, "You and
me, you and me / That is an awful
lie / It's I and I," returning back to
the uncertainty of self, existence and
spirituality. Oberst doesn't pretend to
have an answer to all the big, humanist ideas that constantly linger over a
Bright Eyes album—he's always been
just as lost as we are. But, this time,
the album leaves it up to this Brewer
fellow to pull things together. He ends
the album with a few words of wisdom, declaring something about our
need for love and compassion. And
so, if this simple, yet entirely meaningful message is what Oberst wants
to leave his fans with, then that's not j
bad for a formal farewell.
—Angela Yen
THE CAVE SINGERS
NO WITCH
Qa^aguwar)
Hailing from Seattle, but sounding
like they're from Mississippi, The Cave j
Singers aim to bring you 'round back |
for a foot tappin' good rime on the
porch. Listening to the band for hours j
at a time, however, will reveal a lack |
of individuality between their songs.
The threesome gravitates toward
a more unrefined brand of blues,
usually focusing on minimal instru- |
mentation and repeated musical
patterns, somewhat like The Stone j
Roses, except with more ofa pickup- |
truck-on-dirt-road sort of feel. Further j
classic influences can be heard on al- I
bum highlights "Black LeaP and "No j
Prosecution If We Bail," where the !
trio seemingly pay a raucous tribute I
to the old time Mississippi blues. But \
No Witch simply does not announce its
musical ideology and rest. Rather, ev- ]
ery song dabbles with different influ- I
ences and sounds while maintaining
honesty to its cause. "Outer Realms" |
is ap interesting blend of sell-your- I
soul-at-the-crossroads guitar rifts and I
middle eastern hand drum rhythms. )
"Clever Creatures" sheds a bit ofthe I
blues and adopts more ofa indie-rock |
feel, while "Haystacks" provides a i
harmonica riff and a gospel inspired |
chorus. Regardless ofthe mood or
temperament of its pieces, a binding j
element throughout the album is the !
band's propensity to take a guitar riff j
and exploit it to the maximum. Often,
there is no build up to a chorus. Some- I
times there isn't a chorus at all, but a '
28 meandering story set atop plucked,
picked and slid chord progressions.
Listening to the album from start
to finish is a non-event, however, with
vocalist Pete Quirk tending to sing
in the same whisky-soaked rasp for
most of its tracks, relying on Derek
Fudesco's guitar work to bring out
the character ofthe song. Individually,
there are some great tunes, but the
album becomes a tad tedious.
Nevertheless, with their third release, The Cave Singers have generated a broader, bolder sound. Every
track seems to draw something from
American music history, and whether
The Cave Singers use gospel, biker
culture or poetry as their inspiration,
their music is authentic and bears a
primal quality. Pick out some ofthe
highlights for your next blues mix
tape. You will not be disappointed, j
—Slavko Bucifal
CHINA SYNDROME
NOTHING'S NOT WORTH KNOWING
(Independent)
Vancouver's China Syndrome uses !
the ever-changing economy, social
media blitz and struggle between life
and work as the major inspirations
for Nothing's Not Worth Knowing. Self j
described as "musically expansive," i
the group try to capture the sounds j
of early Rolling Stones, psychedelic \
rock, '80s synth music and present- !
day melodic indie pop to create their |
perfect soundtrack.
The problem is not that the album |
fails to deliver an expansive experi- j
ence—hints of grunge and fuzzed j
out guitar present themselves on j
NNWN—but that the album lacks j
musical sense because of it The blaz- j
ing guitar solo on "Home" is great
especially when placed atop a thick I
and bluesy rhythm guitar section, but
when the lead fades out and disappears at the end of the song it seems
misplaced and awkward. The actual
musicianship is great hut China Syndrome mimics the music they love
instead of creating something new.
The lyrics are bold and honest but
lack ingenuity, sacrificing creativity
for upfront clarity, making things a
bit boring. The repetitive refrain of
"If s an underwater world / And I don't
want to jump in / Are we here to stay
in an underwater world," on "Lost In
The Bay"feels achingly bland. The album has some high points, but overall j
the album sounds like a bad mash-up.
—Kaitlin McNabb
CURSED ARROWS
DEATH RATTLE BLUES
(Independent)
Following the White Stripes' recent
break up, a sizable drum-and-guitar-
shaped hole was left in the dirty blues
scene. That hole can now be filled by
Halifax's Cursed Arrows.
The gender-balanced two-piece,
comprised ofRy N and Jack E Stanley,
step up to the plate and hit a strong
drive into centre field with their
new cassette Death Rattle Blues. It's
not quite a home run, but it's pretty
damn close. The tape features "Death
Rattle Blues," the first single off their
upcoming third full length The Madness ofthe Crowds. It also contains two
acoustic tracks and two cover tunes.
"Death Rattle Blues" is a kick in
the teeth in the best way possible. The
driving guitar lines and steady buildup showcase the rawness of Cursed
Arrows, with a dash of Pinkerton-era
Weezer shining through as the pair har
monize the line "Watching you watching me." Ifs a standout track, wetting
our appetites for Madness ofthe Crowds.
The PJ Harvey cover, "Rid of Me,"
contains great harmonies recorded in
an off-the-cuff manner. The acoustic tracks "Carefree Chemicals" and
"Not The End" are decent, but they
pale in comparison to the raw power
ofthe other songs. Cursed Arrows
are at their strongest with their instruments plugged in.
All in all, Death Rattle Blues is similar to a three-dollar breakfast at Bon's:
quick, dirty and satisfying.
—Cail Judy
GAH6QFF0UR
Content  .;
{YtpBM &&#?&)
Gang of Four-were orie ofthe leading
post-punk bands ofthe late '70s and
early '80s, fusing an eclectic mix of
funk, dub-reggae, punk and new wave
elements with lyrics that spoke of societies ills. The English outfit were a hard-
edged and politically motivated band
that were considered by many to be one
ofthe best at what they did. The '80s
and '90s saw some lineup changes and
a softening of their sound that veered a
litde toward hard disco and new wave,
but the albums kept coming on strong,
staying true to what they believed was
relevant for the times.
The band has just released Content
and, by all appearances, this is some
of their strongest material to date. I
was a bit young to latch onto then-
music when it first came out, but listening through their catalogue now, I
can appreciate their output Content is
great because it captures something
visceral and lacking in some of today's
music. There is an unapologetically
dated quality to some ofthe songs that I
mix well with modern day technologi-  j
cal advances. The lyrics come from a  j
place of thought, urging us to look J
more closely at the holes we dig for j
ourselves in our undesirable chosen
professions ("I Party All the Time"),
or at losing touch with our identity in a
consumerist-obsessed culture ("Who
Am I?"). These are well written songs
that don't rely on smash-mouth anger j
tactics in order to be affecting. The  1
messages are clearly stated and the 1
music is fun, driving and real. Long  j
time fans ofthe band will rejoice at I
this return to form and new listeners  I
will easily be drawn in.
>—Nathan Pike
THE 60! TEAM
ROLUNfi BLACKOUTS
(Memphis Industries)
Just to warn you, this review contains I
bad sports cliches and a lot of hype. j
But before we get to the crux, it is important to note that The Go! Team's
inspiration continues to sound like an
American college football marching
band combined with enticing beats,
aggressive lyrical tones and textured
noise-pop. Considering the group is
based in the UK, this combination is
somewhat surprising. Rolling Blackouts, The Go! Team's third album, is
a totally hyper listening experience,
and you can't help but be drawn to
the sports motifs, cheerleader chants,
break beats and indie pop goodness
that it provides.
Now, as with any competitive
sporting event, there exists a measure of achievement; therefore, it is
only fitting to assess this frenzied
soundtrack using a point system.
Let us begin: Ten points awarded
29 to the first few seconds ofthe opening track "TO.R.N.A.D.O." which i
will blow your socks off and give i
you the boost you need to leap over I
mountains. Fifteen points for being \
able to completely switch gears and
produce beautiful, bouncy, melodic
pop in "Secretary Song" and their supremely catchy single "Buy Nothing \
Day." Five points for having an album \
cover collage as interesting as the music. Fifteen points for 40 minutes of \
magnificent mayhem with no filler to j
be found, anywhere. Twenty points j
for chaotic turntable cuts and breaks j
placed at just the right moments. i
Twenty-five points for "Back Like 8 i
Track," the epic finale which would ;
perfectly score the next Rocky film. \
This last track is worth the price of j
admission on its own as it features the '
most exhilarating crescendo of brass j
ever to be put down on vinyl. Finally, I
ten points for sounding like the band i
had a lot of fun producing the record, I
as most ofthe choral incantations j
sound like they were recorded at a j
frat party.
One minor complaint: The album j
must be played on a good sound \
system, or at least a quality pair of \
headphones. The emphasis on the \
mid-range frequencies from the full
complement of sampled instruments,
beats and vocals makes for an uncom- j
fortable listening experience on small ;
ear-buds, and at times barely adequate \
on a good system; for this, I've de- I
ducted five points.
Overall, The Go! Team leave it
all out on the field as they continue
their tradition of creating upbeat,
danceable music that sounds like a \
backdrop to frosh week. Scoring 90 {
out ofa possible 100 points, the UK j
outfit definitely bring their "A" game j
on their third release.
—Slavko Bucifal
HEY ROSETTA!
SEEDS
(Sonic Records)
Picture yourself driving along the \
highway, enjoying a pleasant day on ;
the road, and then you hit rush hour. ;
Your momentum stops. And starts. \
And stops. Seeds, by Hey Rosetta!, is ;
reminiscent of such a drive.
Seeds, Hey Rosetfai's follow up to
2008's Polaris Music Prize shortlisted
Into Your Lun^s (and around in your heart,
and on through your blood), does not
measure up to its predecessor. While
it's a good record, the song writing
found here is not up to par with the
band's previous work. Seeds does find
the band experimenting with their
songwriting, but with varying degrees
of success.
The title track features an ill-placed
drum solo that while it may work great
live, does not belong on the recording. Similarly, the song "Parson Brown
(Upirngaangutuq Iqalunni)" features
three sections that do not complement
one another—the track soon dissolves
into a mess of loosely linked ideas.
In addition, most of the songs on the
album follow a formula: they build,
drop off, and build again. While ifs an
effective technique on some songs, it
becomes tiring, even grating, over the
course of an entire album.
Some songs offSeeds do, however,
exceed anything found on their previous releases. "Welcome," a song
written for a friend's newborn child,
evokes both the harshness and joy one
can expect out of life.   •
I would recommend purchasing
this album on CD, rather than as a
download, as the cover is a work of
art. The physical release also comes
with a poster and a package of seeds.
—Adam Clarke
THEUPTONIANS
LET'S ALL MARCH BACK INTO THE SEA
(Head in the Sand)
Let's All March Back Into The Sea is the
second offering from the Winnipeg-
based Liptonians, and on it, founding members Matt Schellenberg and
Bucky Driedger have surrounded
themselves with a roster of various
other musicians. This revolving door-
policy gives their music a wonderful depth that is both engaging and
stimulating. "Growing Old in the
City" is a swaying, drunken mess of
a song that conjures tip memories
of stumbling home after a night on
the sauce. "The Privatest Parts" is a
lovely, dream-like track with divine
vocals courtesy of Driedger. The final
track, "March Back Into The Sea" has
a similar feel to the National, with its :
epic piano-based soundscape.
Let's All March Back Into The Sea os- I
dilates between beautiful pop-driven
melodies and raucous mash-ups, but |
it always maintains an element of integrity. Ifs a pleasure to listen to. The |
tiny nuances found within each song j
are a trainspotter's delight. See if you |
can figure out which track features
the sound ofa railroad spike (and
no cheating by looking at the album
notes). This is the band to get into \
before all your friends do.
—Katherine Boothroyd
MOGWAI
HARDCOREWHL NEVER DIE BUT YOU WILL
(Rock Action Record-Sup Pop)
Some bands take a while to find their \
footing, but Mogwai arrived on the j
scene fully formed back in the 90s, \
helping define the post-rock genre |
with their debut, Young Team. The
question is, where do they go from j
there? Perform a stylistic about-face j
like Radiohead did with Kid A? Or, like j
AC/DC, just re-record the same album 1
over and over again? The answer is
this: do neither. Since then, Mogwai
have explored every potential variation on the themes laid out in their
debut, slowly and subtly developing s
and adding to their sound.
HWNDBYW, the band's seventh
album, starts awkwardly with "White
Noise," which—pretty as it is— j
sounds like the theme music to a BBC
wildlife documentary. Things improve I
on the next track, "Mexican Grand
Prix," as they employ elements of elec- j
tro and end up sounding a lot like i
Trans Am, which isn't a bad thing.
Tracks "San Pedro" and "George |
Square Thatcher Death Party" are un- j
characteristically upbeat and almost j
cheerful in tone, the former's melody
reminiscent ofa Johnny Marr or Peter I
Buck guitar motif. Elsewhere on the j
album, cuts like "Death Rays," "How
to Be a Werewolf" and "You're Lionel j
Richie" utilize the rather hackneyed ]
"quiet / loud / quiet" formula, albeitin
a less obvious and more adept manner
than many of their post-rock peers,    i
Above all else, this album reiterates Mogwai's talent for creating
powerfully evocative music that is
both ecstatic and life-affirming and
gut-wrenchingly sad. Though this
emotional resonance roots their music in the human experience, the music's generally instrumental approach
invites the listener to follow their
imaginations beyond the concerns
ofthe self and find transcendence
in its dynamic shifts and sweeping,
panoramic melodies.
—WillPedley
RADIOH@|iii
THE KING OF LIMBS
(Ticker Tape/XL)
The King of Limbs is a bit ofa mystery.
Musically and artistically, it isn't what
we were expecting. It isn't a logical
follow-up to In Rainbows. It doesn't
sound like the product of three-plus
years in the studio. It doesn't follow
in the footsteps of "These Are My
Twisted Words." For all that it isn't,
then, what is The King of Limbs? It's
short, confusing, frustrating, bleak
and brilliant
The most noticeable change is evident from the very beginning. Glitchy,
pre-programmed breakbeats are present in half the album's songs, often
paired with similar five drum work
from Philip Selway. The connection to
Thorn Yorke's The Eraser is obvious and
strong (particularly with songs like
"The Clock" or "Atoms for Peace").
"Bloom," the huge opening track to
Limbs, sounds fresh, but it also sets
the tone for the rest ofthe album. The
composition sounds as though it were
filtered through a very Yorke-centric
prism. The following track "Morning
Mr. Magpie" is guitar-heavy, but after
"Bloom," ifs hard to hear stringed
instruments as anything more than
frantic digital noise. Colin Greenwood supplies a great, driving bass
line through the track, but if s lost in a
fury of delay and percussion. "Little by
Little" helps to focus the sounds and
this is certainly the most conventional
song on the album (save maybe "Separator"), but even it has shakers, drum
machines and a rolling beat from Selway livening things up to surprising
%jU levels. It is songs like this one, and
later "Lotus Flower," that point to the
eccentricity that Radiohead is chiefly
concerned with on their latest release.
In their own bizarre way, these are
some of Radiohead's most danceable
songs, and this tends to be one of the
album's most enjoyable qualities.
"Lotus Flower" has great vocals, but
wouldn't be nearly as good if it didn't f
allow you to dance along with Yorke.
Things get even more difficult on ]
the back half of the album. "Codex" is |
downright gorgeous. The simple piano
evokes memories of an old favourite,
"Pyramid Song," while its touching lyrics remain unparalleled. It too has a digital heartbeatkeeping pace, but thafs a
minute detail compared to the song's
soaring horns. "Separator" brings the |
album to a close with a contemplative j
mood and has the most noticeable
whole band instrumentation.
Some may hear this album and
be disappointed. Ifs Radiohead's |
shortest album, although only by five \
minutes, but it feels like the shortest j
too. Thafs a tough pill to swallow
when One remembers all the fun that j
In Rainbows brought on. The King of j
Limbs doesn't have a show opening ]
"15 Step," an "All I Need" vs. "Reck- |
oner" debate or a grand and emotional
"Videotape" finish. What it does have
is eight great tracks, a deep need for
repeat listening and not a clue as.to its j
intent For now, we have to take Limbs 1
at face value. The coming weeks may j
reveal more material, a tour schedule
or nothing at all. Any of those things
would shine a light on the band's intentions and how the band views the I
album as a whole. But we don't have j
that insight yet. All we can do now is {
enjoy the eight gorgeous, context-free
tracks that the band has delivered.
-r-Jasper Walley
RECKONER
RECKONER
{Independent}
I can't claim to be an authority on metal
or progressive hardcore to any degree, |
but what I can say is how this kind of
music makes me feel when it strikes  |
the right chord, or in Reckoner's case, I
pummels the right chord into a happy I
submission. This self-titled release is
the band's first full-length and it features one mighty blow after another,
bringing about the same gut-churning
feeling that washed over me upon first
hearing Mastodon a few years back.
The music is intense, intricate and
layered and has that epic quality that
brings to mind images of Norse Gods
laying waste to goblin armies and plundering riches from the fortunate.
But this is not mindless, aggressive metal full of darkness and
despair. Reckoner's lyrics deal with
issues such as our wounded earth
and the scars we as humanity place
upon her. But to call this a "world
weary" album, or music with a message might cheapen it a little. Sure, the
messages exist in the music, but they
are stamped in place when needed
and not hammered down your throat.
That these dudes play hard and
have a blast doing so is what makes
this album a winner. Recorded at
Vancouver's Armoury Studios with
producer/engineer Shauh Thingvold
(Strapping Young Lad, Lamb of God),
Reckoner's first full-length is a heaving, churning, frothing monster of an
album that is of superb quality and
sound. One ofthe best tracks here is
the short but brutal "Waves of Perception" which kicks straight into the
huge riffs of "Grey Spot." Vancouver
definitely has a growing metal scene
that deserves more attention, and with
albums like Reckoner, we are well on
our way to earning a place on the
heavy metal map.
—Nathan Pike
THE RURAL ALBERTA ADVANTAGE
DEPARTip^ii
$$0t Bag Records)
Departing is the follow up to the Rural
Alberta Advantage's successful debut Hometowns. With band leader Nils
Edenloff firmly at the helm, the indie
three-piece deliver a wonderful record. Despite being based in Toronto,
their sound has that West Coast feel.
"Stamp" is an absolute standout. Between some superbly frenetic
drumming courtesy of Paul Banwatt
and Amy Cole's gorgeously cooed
backup vocals, the track practically
jumps out ofthe speakers.
"North Star" is a beautiful track that
is its own quiet revolution. EdenlofPs 1
vocals become an instrument of their
own, guiding the song to epic heights.
Overall, Departing is a slow build, j
It demands a few listens and a certain j
level of attention to be fully appreci- (
ated, but it is worth it They will be \
heading west to Vancouver, playing
at. Venue on April 7, and from all ac- j
counts they put on a red hot show. If 1
Departing is an accurate depiction of j
the talents ofthe Rural Alberta Ad- I
vantage, it will be well worth checking j
them out.
—Katherine Boothroyd
THE SURFDUSTERS'
SAVE THE WAVES
(Fireball Records)
The Surfdusters have gained legend- j
ary status in the surf rock world. Not \
only are they the only Canadian band j
featured on Rhino's Cowabunga! The I
SurfBox (alongside the Beach Boys and j
the Trashmen), but they have shared
the stage with icons like Dick Dale I
and the Ventures, and their music was j
used numerous times on the beloved ]
cartoon Spongebob Squarepants.
Saue The Waves is a compilation cov- j
ering their 20-year career, with old 1
favourites hand-picked by the band at j
the urging of founding member Rich j
Hagensen. The result is a 27-track \
album of masterfully composed, j
bonafide surf rock. From opening ]
foghorn in "Radar Hill," it is evident j
that this is genuine surf that holds j
its own against anything produced in j
the '50s or '60s. There is little kitsch j
here; these songs weren't written by j
greasy kids in aloha shirts who spend <
more time with their head up the tail j
pipe of an old Buick than they do at 1
beach, nor are the songs just a mash- j
up of ripped-off riffs and regurgitated I
hooks. The Surfdusters have managed j
to find depth in a genre that is often |
just passed off as novelty. These are j
completely original, honestly con- ;
ceived tracks from a group of people j
who obviously love both the music j
and the ocean. Saue The Waves is a well- j
rounded collection of fuzzed out rock- \
ers, mid-tempo ramblers and mellow I
cruisers that are fun, rambunctious
and, at times, oddly serene.
—MarkPaulHus
WOODLAND TELEGRAPH
FROM THI FIELDS
(Hort^rti MMore)
From The Fields is the second album in
Woodland Telegraph's Canadian Landscape Trilogy, each of which documents
a specific area of Canada through
folklore and music. Full of rich instrumentation, each song tells a story
of prairie life that singer-songwriter
Matthew Lovegrove wrote after having rummaged through newspaper
archives and having spoken with the
"oldtimers" ofthe Canadian flatlands.
Woodland Telegraph's togetherness is undeniable throughout their
songs. The open and airy "White Pelican" gives bassist Eric Mosher a perfect opportunity to shine, while "Wind
Out On The Prairie" owes its pleasant mood to some cheerful strings.
Every instrument played, from banjos and guitars to the drums, is rich
with precision and fluidity. However,
Woodland Telegraph falters via band
leader Lovegrove's weak vocal performance. Although his talent in songwriting is obvious, he should take a
step back and allow someone with a
stronger voice to do the lead vocals.
The Prairies are a rough climate, and
they deserve their stories to be told by
a voice that doesn't rely on trying to
be pretty, rather than just belting out
the raw, unadulterated stories ofthe
middle of Canada.
Regardless, From The Fields is ail
enjoyable album full of bluegrass and
folk and it is tight and together in its
instrumentation. This is definitely
wOrth a listen.
—Alec J. Ross
FOR MORE REVIEWS,
CHECKOUT
DISCORDER.CA
31 TENNIS/AIR WAVES
Media Club /January 31
! If the typical description of Tennis— j
the married couple from Denver who j
sailed along the Eastern Seaboard for
almost a year and then wrote an album's worth of songs about their journey—is awash in nautical metaphors,
ifs because thafs the most natural way
to talk about them. Ifs hard to hear
about this band without also hearing
their backstory, so as PatrickRiley and
Alaina Moore filled the Media Club
with breezy tunes, many in the audi-
| ence must have had similar images in
their minds: lapping waves, flapping
sails and sunsets on an open sea. These
mental images were picture-perfect
just like the performance, as the sway
in Moore's vocals and the jangle in Riley's guitar made "Pigeon" achingly
sweetand "Seafarer" a bouncy delight
Elsewhere, the Hammond organ bubbled up beneath the climbing melody
of "Cape Dory" and the fuzzy chords of
"Baltimore" as Moore crooned about
life away from land.
If Tennis took us on a maritime
I sojourn, opener Air Waves settled for
what amounted to a bland staycation.
Their sunny-sounding indie pop was
enjoyable but unremarkable. Besides
the ironically-titled standout "Humdrum," which sounded like a sedated
version ofVancouver's Better Friends
Than Lovers, there was little about
them worth recalling, especially when
compared to the wonderfully evocative
headliner they were paired up with.
Tennis evoked more than all that
nautical stuff, though. In Moore and
Riley's attire, which can be described
as pre-'8os, and in the "ooh ooh
ooh's" and "sha na na's" sprinkled
throughout the performance, the two
brought to mind a more old-fashioned
brand of love song, in which the only
concern is the carefree feeling of
spending time with someone special. There was an older couple down
at stage right: he in a suit, she in a
flowery summer dress and both of
them dancing and embracing flamboyantly to the light-hearted romanticism that Tennis conveys. More than
anyone else, they got it
—Simon Foreman
NOBUNNY/DREAM DATE/
INDIAN WARS
Railway Club / February 3
Stan from the Railway is the greatest
bouncer in the world. He always makes
you feel welcome with a smile and a
laugh. He greeted us with enthusiasm
about the Love DVD he gave me awhile
ago, and most importantly, about No-
bunny's imminent set Well, he and
200 others were in for a treat The bar
featured one ofthe more varied crowds
I'd seen at the Rail in a while, ranging from denim-and-studded leather
sporting crust punks to the ironic Les
Miz t-shirt wearer to actual Nobunny
groupies sporting bunny masks.
Indian Wars singer/guitarist Frase
With, the best Jay Reatard look-alike
I've ever seen, stated "We never made
a setlist," which explained a set that
hopped from rootsy rock 'n' roll to
noisy, sloppy blues complete with
Jonathan Richman-style yelps. A great
way to start the night
I'm an absolute sucker for dual
female guitarists singing lilting harmonies to a solid drum beat, which
is why I was utterly enraptured with
Dream Date's set Slumberland records influenced twee pop with beats
that make ya wanna giddy up. I will
be dreaming of dates with these gals
for a while.
I had heard about Nobunny's
legendary live shows for quite some
time. I had always thought he was a
one-man band, so I was surprised to
see him with a full rock ensemble.
His fur was looking a little tattered and torn, but I think that was
because of all the jumping around
that he did all night His new record,
Raw Romance, is a collection of his
earliest material, so he focused on
that for most part. He did, however,
pull out other favourites like "I am a
Girlfriend" and "Boneyard." He kept
us hopping all night until Stan politely
had to kick everyone out Then I went
out and got drunk off my ass with an
old friend until 5 a.m.
—Luke Meat
THE BLOW/SONNY & THE
SUNSETS
The Biltmore / February 5
Itwas nice to see the crowd ofbearded, plaid-clad hipsters already filling the
shabby-chic basement backdrop ofthe
Biltmore when openers Sonny & the
Sunsets took the stage. Early shows
can be erratic and unreliable—I once
saw Of Montreal do an early gig at the
Starfish Room where there were more
people on stage then in the rabble.
Uh, awkward.
Sonny Smith warmed the crowd
with his methodically shambolic pop.
Like a junior Jonathan Richman, his
stage banter and idiosyncratic songs
were a gift of garage-y goodness.
"Death Cream" and "Too Young to
Burn" were particularly fun-filled, but
not everyone was as appreciative of
Smith's wry sense of humour. When he
amiably told the room in a dead pan that
he would "remain frosty and removed
because Only sadness can Come from
sharing," the crowd stood silent
By the time New York performance-
pop artist Khaela Maricich, aka the
Blow, breezed in with a surprising a
capella cover ofthe Eagles' "Peaceful
Easy Feeling," the Biltmore was a-
boppin'. While the charmingly funny
Marichich was full of good humour and
anecdotal asides, her minimalist lo-fi
electronic pop melodies seemed to wear
thin at times. Luckily, her limitations
as a musical muse were dashed by her
confidence and candour. Marichich's
set was highlighted with theatrics and
witty tangents, but if she'd done more
ditties like promenade promising "Parenthesis" or catchy set closer "True
Affection, "she might have left a bigger
impression, especially since she seemed
to merely underscore sonic statements
alreadymadebymoreliltingperformers
like the X-Ray Spex and Bratmobile.
Most ofthe assemblage didn't seem to
mind, however, and found it cute how
she spent a lot of time talking about a
recent unnamed collaborator whilst
fussing with her lengthy lod$TJ"£he
thing about the hair," Maricich shared
with a knowing wink, "is you gotta be
strong enough to control it otherwise
ifs gonna control you."
Clearly the Blow was m control at the
Biltmore, though, as she amassed an
often amused and appreciative throng
on this elated evening.
—Shane Scott-Trams
DAS RACIST/HOT SEX AND HIGH
FINANCE/WINNIE COOPER DJS
Fortune Sound Club / February 7
Following a couple of recent cancellations, Das Racist finally brought
their self-described "Weed Edge /
Hare Krishna Hard Core / Art Rap
/ Freak Folk" to the Fortune Sound j
Club. Third time's a charm! Ofthe
wild snows that caused the Brooklyn
trio to reschedule a late January appearance, Das Racisf s Heems claimed
they were an attempt to censor the
group's political views because, after |
all, snow is an unacknowledged white
supremacist conspiracy.
But wait let's start from the beginning. Fortune was packed. It was a
sold out show and the Winnie Coo- I
per DJs kept it bumping as the crowd •
mingled. Vancouver locals Hot Sex
and High Finance then pulled out a
solid opening performance of gritty,
white boy electro crunk. Pop Pete had
the crowd moving while he gruffly
rapped in a style that suggested what
it would be like if the anticon posse's
Sole fronted banal electro outfit Adult
But on to the main show. By traditional standards, you could have
called Das Racist's performance an
utter failure. I had heard some bad
news about their live show and I'm
not going to lie, they were mumbling
their way through lyrics, rapping over
each other in a cacophony and I think I
Heems was on something strong. At
one point he started staring off into
space before wandering around the
stage aimlessly; Kool AD teetered with
a stiff drink in one hand and his mic in
the other. Hype man and spiritual advisor Dap acted more like an MC, but
his near-constant rapping just added
to the already difficult soundscape.
That being said, these guys are
brilliant. In a more straightforward
sense, they pulled off "Chicken and
Meat" and "Hugo Chavez" in a stellar
fashion. When you remove yourself
from the immediate musical experience and engage with Das Racist conceptually, things get more interesting.
Their "hahahaha jk?", for instance,
featured the paradoxical hook, "We're
not joking—just joking / We are joking—just joking / We're not joking."
So are they, as the critics claim, just a
joke-rap band that met at a liberal arts
college? Evidence suggests that they
are joking, but they aren't just joking.
Das Racist uses goofy stoner
humour and dope beats to get their
audience to swallow the bitter pills
of racism and oppression, but the
heart of their stage performance is a
confrontational form of conceptual
art. The Bottom line here is that appreciating Das Racist live means you
need to understand that they are trying
to fuck with their audience. Heems
briefly apologized to the crowd late
in the show, claiming that the band
finds what they do really funny, but
admitted ifs kind of an inside joke.
In this sense, they evoke the stagecraft of Andy Kaufman or, due to their
intoxicated madness, the legendary
01' Dirty Bastard. My only complaint
is that they don't take it far enough.
They had a room full of (mostly)
privileged (mostly) white hipsters who
paid to hear them make some social
critiques, and to that end, they did
deliver a few quick jabs. Yet there were
white folks in the audience wearing
stereotypical native attire ironically, a
commonplace occurrence that takes
a baffling lack of awareness when it
comes to race relations (see nativeap-
propriations.blogspot.com for more
examples).
Das Racist, you were at a hip
nightclub in a gentrifying area ofthe
Downtown Eastside. Fuck with these
people! For all the name dropping of
Gayatri Spivak and Edward Said, some  j
fools only sank their teeth into "Com-  j
bination Pizza Hut and Taco Bell."
—Anthony Meza
SEBADOH / QUASI
The Rickshaw / February 18
The night began at Zulu Records
with a solo acoustic performance
from Sebadoh leader Lou Barlow.
He played some simple three-chord ]
songs, cracked a few Self-deprecating jokes and looked like he had just
rolled out of bed—basically what you j
would expect from Lou Barlow was
admittedly unprepared and took suggestions from the audience for what
to play, but then proceeded to deny '
the majority of them because he had
forgotten how those songs went. It
was an intimate and open start to a
satisfying night.
After Zulu, my journey took me
to the Riekshaw. The intimacy continued here, with Barlow turning up
pre-show to sell t-shirts and sign autographs . He willingly posed for photos
with fans while dealing with stupid
comments like my, "Awesome show at
Zulu, man." I'm sure he hadn't heard
that one yet.
Quasi opened the evening. They
seemed strangely familiar and I
couldn't quite put my finger on it
until I realized that they had opened
for Pavement way back in September. They are a solid opening act, I
suppose. Nothing spectacular, but
they had energy and a few standout
moments, such as when singer Sam
Coomes had to fix his keyboards in
the middle ofa song while band mates
Joanna Bolme and Janet Weiss supported him with a fantastic build-up
of driving bass and drums. Some of
the luster of this moment was lost,
however, when I remembered that
the same gimmick was pulled back
in September —except that time he
was fixing a guitar string.
Sebadoh didn't exactly arrive in
style. They simply walked onstage and
set up most of their equipment themselves. This, of course, fit perfectly;
any other entrance would have seemed
pretentious and out of place. They
introduced themselves with some
goofy chants and then proceeded to
blast through what must have been
30 songs. At the Zulu show, Barlow
had mentioned that they planned on
playing 30. The thought of such an
ambitious set seemed daunting, but
once the show began, things really
started rolling. The constant barrage
of hits included "Sister," "Rebound"
and "Skull," with only the briefest of
interludes allowing Barlow and Jason
Loewenstein to switch up their instruments between songs.
The somewhat straightforward
alternative rock of their classic Bake-
sale album was turned into a whole
new monster live. The performance
opened my eyes to what the essence of their music was. What at first would
have seemed to me a great disappointment—the complete absence of any
tracks from their album III—turned
out to be a negligible omission, as I
learned the beauty ofthe raw lo-fi of
Bakesale and Smash Your Head On The
Punk Rock. Particularly impressive
was. "License to Confuse," which is
very simplistic and lacks creativity on
record, but became a vital, fast-paced
piece in concert. Another standout
was the fantastic "New Worship,"
which shifted from quiet toe-tapping
rhythms to insane thrashing. I came
out of the Rickshaw with a much
greater appreciation for the group.
They are no longer just Lou Barlow's
Dinosaur Jr. side project They are
no longer even just Lou Barlow's
band—Loewenstein was fantastic
and, perhaps even better that night
than Lou. I'll conclude the same way
Barlow announced their performance:
"Way to go, Sebadoh!"
—Andy Resto
GODSPEED YOU! BLACK
EMPEROR/TOTAL LIFE
The Vogue J &brfiartj x$
The long-awaited return ofthe mysterious and reclusive Montreal collective Godspeed You! Black Emperor
was received with a looming air of
anticipation. In an unusual and cryptic
pre-tour announcement, the recently
reunited post-rockers warned that
"ifs been a while, and left in the rain,
the brakes have rusted and seized—
we'll have to go at it with hammers
probably, with elbow grease and fury."
Based on my experience at their show,
I can confirm that they did just that
As I walked into the theatre, I was
greeted to the deeply ambient drone
of opening act Total Life. The one-
man show consisted of atmospheric
soundscapes mixed, produced and
tweaked Jive using a table-full of
synths, effects pedals and other nifty
devices. The artist's music built up
and climaxed with a drum machine
beat dropping into the ambience,
almost turning one piece into a club-
worthy dance track. As captivating
as some ofthe moments ofthe set
were, however, Total Life's music developed at an evolutionary pace. And
frankly, you can only sit and watch an
almost motionless man bent over a
table for so long.
Godspeed You! Black Emperor's
presence filled the hall gradually,
starting with a subliminal build up
of bass feedback that I realized had
taken the place of background music
for the 20 or so minutes we waited for
the band to show up on stage. As the
mysterious bass sound swelled up,
the eight members ofthe band took
their places one by one and started
adding to the ambiance, eventually
easing into their first piece ofthe
night. Goldeh-yellow saturated images of idyllic plains looped from
the fluttering 16mm projectors in
the back as the band launched into
"Storm," an expression of hopeful
melancholy driven by a soaring crescendo of guitars and strings.
As the band played a good deal
of Lift Your Skinny Fists Like Antennas to
Heaven, the projected images revealed
an apocalyptic peek at the world
through the band's very own looking glass: glimpses of city scenes,
flaming oil refineries, snapshots
of renaissance books and writings
depicting harrowing urban wastelands. Spoken word interludes with
prophetic-sounding voices occasionally contributed to the orchestration
of an otherwise wordless play. The
music remained the focus ofthe
show, however, as the the string section (three guitars, two basses and a
violinist) worked together with the
two percussionists to paint incredibly
detailed pictures of intense beauty
and emotion that often outshone the
vivid backdrops.
Despite their eight-year hiatus,
Godspeed's tight and intricately
woven set showed no signs ofthe
group having spent any time apart.
Moreover, considering most ofthe
content played was written over a decade ago, ifs fascinating how moving
and relevant the material proved to
be. The riveting closing track, "Blaise
Bailey Finnegan III," which had the
projectionist screening flashes of police lights, reeling stock tickers and
protesting crowds on the backdrop,
proved that the news headlines and
issues ofthe world at the dawn ofthe
last decade still ring true today.
Slightly disappointing for some
was the group's setlist, which excluded some distinct favourites,
such as "East Hastings," a piece that
would only seem fitting played in the
city whose infamous street name ifs
named for. However, as the band left
the stage as gradually and carefully
as they had entered two hours earlier, there was not a doubt amidst the
awestruck audience that Godspeed
had made their mark with a tactfully
powerful comeback.
—Christian Voveris
HARD FEELINGS /PINEAPPLE/
MEN AT ADVENTURE
Interurban Gallery / February xB
While billed on Facebook as a night
to "sweat off your Valentine's Day
depression," the show at Interurban
Gallery also featured the Theft, Spillage and Rock 'n' Roll art opening,
presenting photography and band
posters by Jeffry Lee and Ryan Walter
Wagner. The special case ofthe night,
however, Was that Hard Feelings
were set to play their first Vancouver
show since their former drummer
Devon Clifford, also of You Say Party!,
34 passed away last April. Getting back
on track, Hard Feelings made a very
loud comeback.
Perhaps because an art show
opened the evening there was a more
chatty, social atmosphere within the
Interurban Gallery. I must admit, I
expected a rowdy bunch of hyperactive teens moshing wide eyed as beer
splattered all around, but in reality it
was an older, more refined hipster
crowd that merely headbopped—not
banged—at the right moments.
First up were Men At Adventure.
The four-piece unleashed their grange
rock sound in deafening fashion. One
song in and this reviewer's ears were
numb. Between the shouted vocals and
guitarist Jeffry Lee's floppy afro, the
band came off as extremely energetic.
Maybe the audience was too cool to
enjoy the opening act, but aside from
a core group of thrashers, the majority
ofthe crowd stayed near the back. It
was probably because the music was
just so cochlea-blowingly loud.
A set change and a small keyboard
set up later, we were introduced to
a troupe of bearded, vested gents:
"We're Pineapple—like the fruit'"
Pineapple's cheery, poppy set was
a fun insert between the two louder
bands. Feel-good songs like "Happy
Birthday 2000X" incited more movement and more dancing in the crowd.
People started filling the floor
as Hard Feelings got ready to play.
Though heralded as a comeback show,
there was no mention ofthe past or the
passing of Clifford. After a few initial
problems, the four-piece band, featuring new drummer Nick Yacyshyn, also
ofBaptists, was ready. "We're stoked,"
vocaUst/guitaristAl Boyle grinned. "Ifs
been far too long."
Guitars shredded, drums rumbled and vocals growled as the
band kicked into new track "Smithsonian." Hard Feelings' fast paced,
frenetic punk sound continued to
explode into the crowd's ears with
tunes like "Burnt Offerings," "Wait"
and "Ah Snake." The group smiled as
they plied out rock riffs, while Boyle
pulled some rock star moves as he
played with his guitar resting on his
head. They ended the night with the
blistering number "E On The 3."
All in all, it was a night of three
solid sets from three local bands.
Hard Feelings were back after moving
forward after their tragic loss. Art was
appreciated, music was heard, drinks
were drunk and everyone left with
ringing ears as a parting souvenir.
—Ming Wong
BLACK WIZARD /WILDILDLIFE
Zoo Zhop / February 1S
There's no better way to spend a
Friday night than being packed in a
room with your closest friends, cheap
pale ales and some burgeoning local
talent This night was no exception,
as I was in the back ofa record store
and stuck in the middle ofa mosh-
pit at the CD release party for New
Westminster's psychedelic metal
champions Black Wizard.
Getting the show off to an enjoyable, sweaty start was Seattle trio
Wildildlife. Sounding like a heavier
Animal Collective, Andy Crane, Matthew Rogers and Willy Nilz filled the
small venue with lengthy passages of
atmospheric sounds and 4:20 friendly
boogie metal. The best part about
up-and-coming acts is that they are
generally friendly to their fans, and
Wildildlife was no exception. After
an energetic performance, the audience and the venue were thanked and
Wildildlife stuck around for the rest
of the festivities. „|§f$f§Hi
With the night half over, and
my shirt already fully soaked from
sweat, local boys Black Wizard pushed
through the crowd and took to the
stage. I have honestly never heard
kids in their 20's tear it up like this
in a long time. Black Wizard's awareness of each other makes their music
sound tight and fluid, even in times-
of heavy thrashing. Vocalist Adam
Grant's voice has such an impressive
range. He's capable of grinding his
vocal chords during choruses, but he
also has an impressive falsetto when
needed. Not everyone can sing metal
well, but after listening to Grant's expertly controlled vibrato on "Waves,"
itwas obvious that he sure as hell can.
The rest ofthe band are just as
talented. Kyle Fee's bass lines kept
up with the full-throttled guitars,
while drummer Eugene Parkomenko
slammed his kit as if it were his last
chance to ever do so. Guitarist Johnny
De Courcy's stunning lead work on
"Drugs" proved that quality metal is
not an oxymoron, and that it is still
very alive and well in Vancouver.
—AlecJ. Ross
YOLATENGO
The Kkkshftw / ftfmmii 19'
You never know what to expect at a Yo
La Tengo show. With no given explanation, the long-running outfit took
the stage at the beginning ofthe night
to inform us that they would not only
be the headliners, but also—drum roll
please—the opening act! Employing a
novel "spin the wheel to decide what
we play" gimmick, they invited a fan
on stage to spin the circle. Some possibilities included, among others, a set
from bassist James McNew's Dump
solo project and songs that begin with
the letter "S." One option would haVe
found Yo La Tengo acting out an entire
episode from a TV sitcom; that was the
one I was hoping for. The tiny arms
ofthe guest spinner, however, spun
the wheel onto the group's lengthy,
instrumental film score, The Sounds
ofthe Sounds of Science.
The surprising opening set suggested—in the best possible way—
what it must sound like when instruments are struggling with cognitive
dissonance. Melodic arrangements
met with abrupt drum crashes as Ira
Kaplan's guitar was brought to life
via his cornucopia of effects pedals.
Unfortunately, it was obvious that
Yo La Tengo was losing their audience. The Sounds ofthe Sounds of Science
was meant to be heard while viewing
high definition shots of jellyfish and
seahorses—the album was made to
score filmmaker Jean Painlev^'s underwater documentaries. Although not
entirely engaged, the audience was still
appreciative, applauding whenever a
soundscape ended. Afterwards Kaplan
thanked the audience. "We're going
to .pick it up a notch and then take a
break," Kaplan said, and like a sun
brightly shining in the break of an overcast sky, he, along with McNew and
drummer / co-founder Georgia Hubley,
broke into some inspired blues.
After a short break, the group
once again took the stage, but this
time with some bounce in their step.
First they performed songs from their
Condo Fucks project, as well a few selections from the critically acclaimed
Popular Songs. Then the band struck
into some fan favourites. Kaplan's
voice on "Autumn Sweater" was as
pristine as it was when it popped up 12
years ago, while Hubley's percussion
work on the number was as heavy and
lucid as ever. Yo La Tengo later ended
their set with a praiseworthy rendition of Daniel Johnston's "Speeding
Motorcycle."
In a nutshell, Yo La Tengo are a
multifaceted musical powerhouse.
They are experts at cover songs, experimental musicanship, and, quite
frankly, whatever else they attempt.
Their diverse back catalogue makes
it possible for anyone to enjoy their
music and itwas an absolute privilege
to see these experts at work.
—AlecJ. Ross
Home of
Vancouver's
Music Directories
BANDS MUSICIANS RESOURCES
COMMUNITY
DRIVEN
MUSIC
USTINCS
35 [0^0§^^^M^M^^M^^k  (212) Productions
Blim
Fresh is Best Salsa
Pacific
Temple of the
454 W Cordova St.
115 East Pender St.
2972 W Broadway
Cinematheque
1131 Howe St.
Modern Girl
604-685-2426
604-872-8180
778-737-2442
2695 Main St.
604-688-8202
778-737-8953
Antisocial
Bonerattle Music
Gumdrops
Skateboard Shop
2012 Commercial Dr.
2029 W 4th Ave.
•People's Co-op
True Value Vintage
2337 Main St.
604-251-BONE
604-733-1037
Bookstore
710 Robson St.
604-708-5678
1391 Commercial Dr.
604-685-5403
Devil May Wear
Hart and Sole
604-253-6422
Audiopile
3957 Main St.
Clothing Inc
Vinyl Records
2016 Commercial Dr.
604-216-2515
843 Granville St.
Prussin Music
319WHastlngs*St
604-253-7453
Dr. Sun Yat-Sen
604-630-9151
3607 W Broadway
604-736-3036
604-488-1234
Band Merch Canada
Chinese Garden
Highlife Records
The Wallflower
www.bandmerch.ca
578 Carrall St.
1317 Commreciai Dr.
Red Cat Records
Modern Diner
604-662-3207
604-251-6964
4332 Main St.
2420 Main St.
Banyen Books
3608 W 4th Ave.
604-708-9422
604-568-7554
Dream Apparel +
Hitz Boutique
604-732-7912
Articles for Peopie
316 W Cordova St.
The Regional
UBC Bookstore
311 W Cordova St.
604-662-3334
Assembly of Text
6200 University Blvd
Baru Cafe
604-683-7326
3934 Main St.   .
604-822-2665
2535 Alma St.
The Kiss Store
604-877-2247
604-222-9171
The Eatery
319CambleSt.
Westcoast Music
3431 W Broadway
604-675-9972
R/X Comics
3454 W Broadway
Beatstreet Records
604-738-5298
2418 Main St.
604-682-4422
439 W Hastings St.
Koerner's Pub
604-454-5099
604-683-3344
The Fall Tattooing
6371 Crescent Road
Woo Vintage
644 Seymour St.
604-822-0983
Rufus' Guitar Shop
Clothing
Big Mama
604-676-3066
2621 Alma St.
4366 Main St.
www.bigmama.ca
Flaming Angels
Lucky's Comics
3972 Main St.
604-222-1717
604-687-8200
The Bike Kitchen
Boutique
604-875-9858
Scratch Records
Zoo Zhop
6138 SUB Blvd.
4307 Main St
1 East Hastings
223 Main St.
604-822-BIKE
604-689-3224
Neptoon Records
3561 Main Street
604-324-1229
604-687-6355
604-875-9958
A Frienis of CiTR Card
scores you sweet deals at
Vancouver's finest small
merchants and supports
crra mmo 101.9 fm.
citr.ca //CiTR 101.9 FM CHARTS
STRICTLY THE DOPEST HITZ OF FEBRUARY
#
ARTIST	
ALBUM  ■	
LABEL
#	
ARTIST	
ALBUM
LABEL
?vi
SubtractiveLAD*
Kindred
N5MD
26
Envy
Recitation
Temporary
Residence
2
Destroyer*
Kaputt
Merge
27
Ghostface Killah
Apollo Kids
Def Jam
,/$';.J
The Wailin' Jennys*
Bright Morning Stars
True North
28
Los Fabulocos
Dos
Delta
Groove Music
4
Braids*
Native Speaker
Flemish Eye
29
Jon Mueller
The Whole
Type
5
Swans
My Father Will...
A Rope To The Sky
Young God
30
Sonic Youth
Simon Werner a
Disparu/OST
SYR
6
Channels 3 & 4*
Christianity
Gilgongo
31
Jim Bryson &
the Weakerthans*
The Falcon Lake
Incident
MapleMusic
7
Wanda Jackson
The Party
Ain't Over
Third Man
32
Various*
Little ... of And Probably Never Will
Little Whore
8
The Decemberists
The King is Dead
Capital
33
Eskmo
S/t
Ninja Tune
9
Mogwai
Hardcore Will
Never... You Will
1 Sub Pop
34
Michael Rault*
Ma-Me-0
Pirates Blend
10
Buck 65*
20 Odd Years
Warner
35
Brian Eno
Small Craft
on a Milk Sea
Warp
11
Nobunny
Raw Romance
Burger
36
Tennis
Cape Dory
Fat Possum
12
The Smith
Westerns
Dye It Blonde   '
Fat Possum
37
The Streets
Computers
and Blues
679
13
The Dears*
Degeneration
Street
Dangerbird
38
Daniel Martin
Moore
In the Cool
ofthe Day
Sub Pop
14
Fergus &
Geronimo
Unlearn
Hardly Art
39
The Rural Alberta
Advantage*
Departing
Paper Bag
15
Deerhoof
Deerhoof vs. Evil
Polyvinyl
40
The White Wires*
The White Wires II
Dirtnap
16
Jandek
Chicago Wednesday
Corwood Industries
41
Richard Pinhas
Metal/Crystal
Cuneiform
17
The Go! Team
Rolling Blackouts
Memphis Industries
42
Crocodiles
Sleep Forever
Fat Possum
18
Iron And Wine
Kiss Each
Other Clean
Warner
43
The Hobophobes*
s/t
Independent
19
Miesha &
the Spanks*
Gods Of Love
Transistor 66
44
Various*
Deep Wireless 7: Radio Art Compilation
New Adventures
In Sound
20
The Good Lovelies*
Let the Rain Fall
Independent
45
Eddie Spaghetti
Sundowner
Bloodshot
21
Colin Stetson
New History Warfare
Vol. 2: Judges
Constellation
46
LCD Soundsystem
London Sessions
DFA
22
Tommy Guerrero
Lifeboats
and Follies
Galaxia
47
Personal 8c
the Pizzas
Raw Pie
1234 GO!
23
Akron/Family
S/T IT. The Cosmic
Birth... Shinju TNT
Dead Oceans
48
Ducktails
Ducktails III:
Arcade Dynamics
Woodsist
24
Amos Lee
Mission Bell
Blue Note
49
Bardo Pond
s/t
Fire
25
The Black
Sun in the Day
Moon at Night
Moon Records
50
Social Distortion
Hard Times and
Nursery Rhymes
Epitaph
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian. Most of these excellent albums
can be found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music coordinator a shout at (604) 822-8733. His name is
Luke Meat If you ask nicely he'll tell you how to find them. Check out other great campus/community radio charts at www.earshot-online.com.
?9 Zulu's March Selections
MOGWAI
Hardcore Will
HeverOie,
totYo»Witt
2CD/IP
P J HARVEY
Let England
Shake
BEANS
Eno* It Mi
H#DOTT
HERON
We're Hew
Here
j C0/U*
UoROY
| MOI
k underneath
| The Pine
1 CDAjlf
«e.m. r.r,
Col/apse
tofo Now
DEVOTCHKA
100 Lovers
CD/LP
LYKKUI
Wounded
Rhymes
CD
RURAL
ALBERTA
ADVANTAGE
Departing
if
LUANDA
WILLIAMS
«»WES/$
%Sl^Perates
J#f|£flr Lines
CDAP
CD fl
I KURT VILE
Smoke Ring For
MyHalo
CD/LP
WYE OAK
Civilian
CD/LP
K«if till
SMOKE «im RJR M¥ S*LS
B «*. MASflS
Several Shade
of Why
CD/LP
^HEaimos
Wo Color
SI CD'
JAMES
BIAKE
SplL'
3741
M
X
AHMIKAHD
A HACKSAW
Cerv8|$§|«<
llC0
Moon of
Wepfone
4k^^^2s
More Reasons ftjfJEnake friends
with us on |
or follow us on
Plus... Mark fur Miewv
Find out about alt the exciting events that happen at Zulu Records
- like last month's amazing acoustic instore fron^lOU BARLOW
of SEBADOH! Hear about our vinyl appreciation nights and
all the exciting in store sates, contests and mdM^
.MERGE] RECORDS
K£Cd*RD£
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed 10=30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-0

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