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 YOUR LOVER MAGAZiilttMtttfSt 101.9 FM
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CRYSTAL SWELLS
WtZEROZ
MICHELLE FORD
KARAOKE
READER'S POLL RESUL RESTRICTED ENTERTAIHIVIENT
PROUDLY SUPPORTING ALTERNATIVE CULTURE MUSIC I NIGHTLIFE
/'ar.de.a/ noun
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2. a town in Italy; .
3. a lovely bookstore
in Vancouver
Sitka
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Art
Hello.
We have books
i«8tart:
2025 W4 Ave
Vancouver, BC
www.ardeabooksandart.com
info@ardeabooksandart.com
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SANCTUJWY
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MARCH 5 | 23 WEST
SCI-FI THEME PART-Y^-
MORE INFORMATION AT GETRESTMCTED.COM EDITOR'S NOTE
First and foremost, let me introduce myself by admitting that for every experience I've had in my life, there's been a Sheryl Crow song that sums up said
experience quite nicely. Long story short, "All I Wanna Do" is have some fun.
Every summer I strip off my shirt, slap on a pair of shorts and bike on over to
Third Beach so I can go "Soak Up the Sun." On a more serious note, though,
considering the ups and downs of this crazy, unpredictable life of mine, I've
come to realize that "Everyday is a Winding Road." For instance, I can't say
I ever imagined myself penning an editor's note, let alone one so focused on
my love for a certain rock 'n' roll cougar.
Playing into this mind-boggling, Top 40-geared analogy I've set myself
up with, I can't help but wonder how good old Sheryl would help me define
this new chapter of my life. I'd like to think that she'd strut into the Discorder
office with her Telecaster slung low and her chestnut locks a-flowin'—we
keep the windows open all year long, apparently—singing "A Change Would
Do You Good." Maybe it'd be in reference to me, maybe about our new Under
Review editor Sarah Charouf (Hi, Sarah!), or maybe she'd just be talking about
Discorder in general.
So here we are with the first new issue ofthe year and what's changed?
Admittedly, beyond our personnel, not a whole heck of a lot I can't say that's
a bad thing, though.
This is, of course.-still a music magazine, and one that's focused on covering
some ofthe best bands Vancouver has to offer. This issue alone has at least
four local acts you need to check out Cover star Teen Daze, for instance, is an
enigmatic electronic artist from Abbotsford that has already started to make a
splash worldwide through his undeniably catchy string of chillwave records.
This month we've also profiled all three winners of last year's Shindig
competition: the Oh Wells, Wizerdz and Crystal Swells. With each up-and-
coming act earning studio time, not to mention a little bit of dough, we're hoping
to rock their new tunes in the office sometime soon. Considering the local buzz
these guys are getting, chances are you'll be cranking these tecords too.
It's hard to say what the future of Discorder will entail. While I can't imagine
the formula will be changing too drastically, we'll definitely be tweaking
things here and there to make this era our own. And, of course, there will be
fresh, exciting new bands to read about every month. Much fresher than, say,
Sheryl Crow.
On a personal note, you can expect a lot of truly groan-worthy, Dad-style
humour in forthcoming editor's notes. I hope you're all "Strong Enough" to
stomach the puns.
Discorderly yours,
Gregory Adams
EDITOR
Gregory Adams/Jordie Yow
ART DIRECTOR
Lindsey Hampton
PRODUCTION MANAGER
Debby Reis
COPY EDITORS
Sarah Charouf, Steve Louie,
Debby Reis
AD MANAGER
' Maegan Thomas
UNDER REVIEW EDITOR
Sarah Charrouf
RLA EDITOR
Steve Louie
WED EDITOR
Reilly Wood
CALENDAR LISTINGS
Debby Reis
ACCOUNTS MANAGER
Corey Ratch
PROGRAM GUIDE
Bryce Dunn, Debby Reis
OFFICIAL TWEETERS
Debby Reis, Dorothy Neufeld
CiTR STATION MANAGER
Brenda Grunau
PUBLISHER
Student Radio Society of UBC
PROMOTIONS INTERN
Dorothy Neufeld
COVER
Michelle Ford
styling by Mila Franovic,
hair & makeup by Jenna Kuchera
FEBRUARY
WRITERS
Dan Adelman / Slavko Bucifal / Nathaniel Bryce / Bryce
Dunn / Dan Fumano / Brenda Grunau / Cail Judy / Tony
Kess / Kamil Krawczyk / Douglas Mackenzie / Miranda
Martini / Kaitlin McNabb / Olivia Meek / Chibwe Mweene
/ A.B. Murray / Dorothy Neufeld / Mark PaulHus / Will
Pedley / Jen Perutka / Nathan Pike / Debby Reis / Andy
Resto / Shane Scott-Travis / Racan Souiedan / Jasper Wally
/ Brad Winter / Ming Wong / Angela Yen / Jordie Yow
PHOTOGRAPHERS & ILLUSTRATORS
Noah adams / Merida Anderson / Tyler Crich / CodyFen-
nell / Michelle Ford / Peter Komierowski / Steve Louie /
Louise Reimer / Ryan Walter Wagner
PROOFREADERS
Simon Foreman, Steve Louie, Debby Reis
©Discorder 2011 by the Student Radio Society of the
University of British Columbia. All rights reserved.
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MARCH 30-RICKSHAW THEATRE
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AND  OUGGA^fcTTg,
TABLE OF CONTENTS //
FEBRUARY 2011 "
°% I TEEN DAZE 	
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dance party started. andhOWheman^stogettheMennonite
10 / THE OH WELLS
As our own Cail Judy found out |
P% just about anywhere, any dme Even     § "^ *" °h WdIs «
Mke them apples?. ^ 3t a grocery s*>re. How do you    ,
*i / WIZERDZ :
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18 / SING IT OUTi
Vancouver has to offer. SOngbo0ks and *e d«W drinks
% / CRYSTAL SWELLS
Local ln.fi „—l _ ~        _
: 20 / CALENDAR / hvT>
: ^* ' byPeterKomierowski
; Z2 I PROGRAM GTJWE
2 5 /ART PROTECT / L*
^J11^*  / Michelle Ford
37/CHARTS
of Fugazi. BOyS me,odKS «"* *e punky post.hardcore
Damned if we know how s ^B ^
-eer with b„sy L schedule"J ^^f » M»« » "cording   ;
Wa&mily,ife,butwe,regkdheS^a«P'oJectSa„d,mostimportantly,    |
-reaiirriedissapoLed^^sX18^^--^
the cm. Seriously, guys... "bucks nor McDonald's made
C/3
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: 28/ UNDER REVIEW
Akmn/Family / Buke & Grass I iv,^
'Hansen nmagi„a,c:::";:rHe:,i;r'TheDec™b--
Superstitions / Pete Samples   J,     Hal1'Ml<* ^'ade, Modem
foundAlovebird P'MaWai"S1;"n Dl»k'Son Airway, We
M / REAL LIVE ACTION
Bonobo / Th» d^„i„ , „. *
ss;^**-"^ (Mokes up for Geoff not getting
People's wS©#st Man AftveD
EST. 2001
riehced CD's & Records
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BY BRYCED
It feels like forever, vinyl lovers, but I have returned feeling fine and ready
to shine—a light that is—on some new releases that have come my way in
recent weeks. Starting us off are locals Shimmering Stars, with their seven-
inch EP of embittered longing and wistful dreams of revenge. Wrapped in
a cloak of hazy, echo-laden harmonies and downright gleeful guitar, it's
hard to believe that singer Rory McClure wants to set this town on fire in "I'm
Gonna Try," his thoughts of violence only quelled by the hope he'll win over a
lost love. The '50s bubblegum-style balladry that propels this song—as well
as the single's other three tracks—is a sure-fire, stick-in-the-brain-for-weeks
formula that works wonders, but lyrically this song hits you where it hurts.
The skipping syncopation ofthe line, "And despite my an-ti-path-y/I am longing to be someone better" is akin to the skipping of your own heartbeat at the
sight of your sweetie in the arms of another. It takes you a second to figure it
out, but by then it's too late. Rory continues his lament with the bleak, "I've
lost my mind/I'm losing you/It's just as well." Damn, life sucks. Things don't
seem to get any better for him on tracks "East Van Girls" or "Believe" either,
but by the time the gloriously uplifting, Gilbert Becaud-by-way-of-the Everly
Brothers number "Let It Be Me" rolls around, you can't help but feel a small
victory for Rory and his crew. They may be down, but they're certainly not out.
Don't wait another minute, get this now.
Much like Vancouver's uncanny ability to morph its musicians into myriad
different projects, Montreal is also known for its shape-shifting talent pool. It's
no surprise, then, that when members of Red Mass, the Peelies and Amanita
Bloom get together as Vicious/Delicious, the results are spooky and spectacular.
Both tracks off their recent release ("Loose Girls" b/w "Houses") balance the
shoegaze-gloom of acts like Swervedriver and Spacemen 3 with the modern
psych flourishes ofthe Warlocks and the Black Angels. Full of fuzzed-out guitar,
dark and driving bass lines and an almost ghostly vocal delivery that suggests
these guys are fans of Italian horror movies, the set recalls nights spent among
the drug-fuelled basement parties of troubled youths. The collection creeps,
slithers and slides into your mind and won't let go.
Down the 401 we go to Toronto, where two bands who share a side apiece
crash headlong into each other, and the results aren't pretty. Maximum RNR
are a little road-worn and weary on this latest slab of hellbent-for-glory, punk/
metal posturing. Unfortunately we've heard this style before: a burly singer with
four dangerous-looking dudes backing him up with Mwotorhead-meets-the-
Mentors-inspired riffage. There's potential for greatness, but a song about a
pretty-boy Scientologist ("Kill Tom Cruise") does them in before even getting
to song two ("Welcome To Sodomy"). Perhaps this is my age showing here,
but shouldn't these songs be sung by a bunch of teens? Seems like these guys
have taken a step backward and put this muscle car in reverse. I've liked what
these guys have done before, but this intellectually regressive outing pales
greatly in comparison. Likewise, garage rockers Electric Blood give us three
songs that should probably have stayed in park until the paint dried a little
longer. Judging from what little I found but about them, it seems they've
already hung up their biker boots and bandannas, so it's just as well. "Shoot
Now," "Skin & Bones" and "Nothing's Free" are tales of drug-addled days and
wasted-beyond-belief nights that musically don't quite catch the vibe being
described. A valiant effort, but it doesn't get my motor runnin', if you catch
my long-winded allegorical drift
Finally, the Los Angeles-based originators of "Dirty Reggae," the Aggrolites,
have just released a limited single featuring two tracks from their forthcoming
full-length, Rugged Road paired with some exclusive b-side content Recorded on
reel-to-reei for a more vintage feel, "Dreaming On Erie" and "Trial And Error"
will appear on the aforementioned record, due Feb. 22, and both are prime
examples of their knack for melding old-school ska, soul and just enough punk
grit to get the floor moving. The flipside features "Enemy Dub," an exercise in
languid bass grooves, and the playful, carnival-organ-led "Eye Of Obarbas."
Anyone who's hip to these cats undoubtedly knows that the proof has always
been in the pudding in the Aggrolites' live show, and they'll showcase those
traits when they take a detour off their current tour with Social Distortion to
play Venue on Feb.io. To paraphrase an earlier Aggrolites track, "we're gonna
have a wild time," for sure!
More next month. Stay tuned! )  BY DAN FUMANO
PHOTO BY MICHELLE FORD
STYLING BY MILA FRANOVIC, HAjftft MAKEUP BY JENNA KUCHERA
■§ he ascent of TelpDaze is a thoroughly 21st century story. It begins in
I    Abbotsford with a Columbia Bible College student in his dorm room
playing around with his laptop, creating something he intended to
share with his circle of close friends. He didn't intend for his music
I     to be taken seriously.
"It was supposed to be funny," said Teen Daze, who prefers not to attach
his real name to his music.
Early cuts merged dreamy electronic pop with sounds the from viral videos
that he and his friends had been watching over and over. "I played it for my
friends and throughout the song, they weren'tlaughing as much as I hoped they
would," Teen Daze recalled between sips of beer in the Paper Rock Bar above the
Biltmore (which has since closed). "So at the end, I was nervous, like, 'Umm,
how was that?* And they said, 'Well, it was actually kind of^ood.'"
Following the positive reception, he posted a pair of songs on MySpace in
April of last year. The Internet liked what it heard, with bloggers praising the
mysterious character from just outside of Vancouver. By the first week of May,
Teen Daze's track "Shine On, You Crazy White Cap" appeared on tastemaker
Pitchfork's site. A week later, they posted his "Gone for the Summer (Part 2)."
These blissed-out electro-pop gems later went on to form Teen Daze's debut
EP, Four More Years. Propelled by pulsing electronic beats, the dreamy melodies
float through layers of fuzz and echo hazily, like bittersweet memories. His
*8os-inspired chill-wave sound (Teen Daze points to current artists like Toro
Y Moi and Washed Out as stylistic touchstones), the EP's retro art and the
project's name itself all evoke a profound sense of nostalgia, which, it turns
out, is appropriate.
"The whole reason I made the record to begin with was I wanted to have
something for my group of friends when we left for the summer after the school
year," he said. "So we could have something to remember the year."
Obviously, though, Teen Daze's music resonated with people outside his
circle of friends, with word ofthe artist spreading across North America. All
this before Teen Daze had even played a show.
While Teen Daze seemed to have come out of nowhere, the "overnight
success" tag doesn't exactly ring true. Before becoming a web-boosted critical
darling, Mr. Daze made folk music under the name Two Bicycles. Prior to
that he composed and recorded electronic music as Tremulance. The artist
estimated that between 2004 and 2008, he produced about seven full-lengths'
worth of Tremulance music. v
The Teen Daze project's genesis as a bedroom-laptop venture, combined
with the significant buzz the music received before playing a single show, belies
the impressive stage show that it has now become. By his own admission, it
was conceived as "more of a headphones record," but Teen Daze has become a
great live act, evolving from a man and his laptop to a full band. His current line
up includes guitarist Matthew Joel Vanderkwaak, bassist Brendan Ratzlaff and
drummer Greg Atkinson. Daze holds down the vocals, synth and laptop.
Having recently completed a music degree from Columbia Bible College,
Teen Daze has a fascinating perspective on the correlation between church
services and live performance.
"I see a lot of similarities between a worship service and a rock concert."
he said. "I remember seeing Radiohead at Thunderbird Stadium in 2008 ...
My friends and % w&e dancing in the rain and it was an incredibly spiritual
experience. Sharing it with all those people... that's something that worship
music shojil^tbe [and] should strive for. Let's dance together and have it become
this very spiritual event"
;??'"¥ou know, it's hilarious. Especially in Abbotsford, where there's this huge
Mennonite community, there's this stigma thatMennonites just don't dance.
And literally my entire family tree has a Mennonite background, and, of course,
I'm a dance artist," Daze laughed. "In the Bible, actually, there's countless
examples of ways that dance was a form of worship. And I've had so many
moments in my life at different shows, it's hard to not see it as something
very emotional and spiritual."
Aiming for a spiritual moment with a crowd is a lofty goal, then, when a
lot of musicians might just be looking for a chance to shout on stage and get
a bar tab. But Teen Daze isn't shy about trying to do something special with
his live performance, nor does he hold back when it comes to releasing music
and trying new things. After the acclaim that met Four More Years, Teen Daze
made another pair of releases available for download on his website (teendaze.
bandcamp.com): the summery, lo-fi pop of Beach Dreams and the four-to-the-
floor techno of My Bedroom Floor, both of which sound vastly different from
the chill-wave crooning of his debut EP.
This year will also see the first "proper" Teen Daze full-length release
and, as a way to give attention to some of his friends' music that he feels is
deserving of a larger audience, Teen Daze will be launching the online record
label Cultus Vibes on Feb. 1. "So much ofthe Teen Daze material came out of
a summer experience that had its centrepoint at Cultus Lake," he said. "[The
name Cultus Vibes) just felt appropriate."
Whether he's making his own music or releasing that of other artists, Teen
Daze hopes to keep music fans dancing. As it says in Jeremiah 31:4, "Go forth
in the dances of them that make merry."   h THE OH WELLS
BYCAILJUDY
ILLUSTRATION BY LOUISE REIMER
10 WHEN YOU'RE A NERDY HIGH
SCHOOL GIRL, ALL YOU DO
IS STAY AT HOME AND READ
HARRY POTTER.
For Any of us, high school was an awkward time of life. We crushed on
thft;cutie in math class, ate too much poutine for lunch and listened to
8l||ljpf$ we'd later label "embarrassing." Pianist Sarah Jickling and ukulele
toting guitarist MottyGriffin, the masterminds behind White Rock's the
i|iitl%ells, on the other hand, used this formative time to write songs.
Mainly about boys, or lack a thereof.
^^^^^S totally not serious at first," Jickling admits ofthe group's early days.
lHH|ote ridiculous songs about ridiculous things."
However silly their songs were, it wasn't soon after recording some demos
HBi||MacBook and posting them on their MySpace page that the Oh Wells'
music started to get them noticed at their school.
lilflll&Dple were stopping us in the halls, saying 'Hey, we really like your band.'
|j||e;wefe pretty nerdy, shy girls so that was really big for us," says Jickling, adding
that this was how Griffin met their bassist, Dan Roberts. Roberts already knew
Jickling from elementary school, butwhen the girls decided to add bass and drums
to the group, they asked him and percussionist Nathan Rice to join. Rice has since
left the Oh Wells, leaving the outfit's current line up incomplete.
Despite Jickling and Griffin's tight writing partnership, the group's recently
■ released set The EP That We Love reveals the varying musical tastes between the two
gHlSjJTm a big fan of Otis Redding and Sam Cooke," explains Griffin. "I wish I
| was a black man in the sixties." Jickling, however, cites Kate Nash and Beyonce
as her influences. "Powerhouse women," she says with a smile.
"We like a lot of different music," Griffin continues, "but whenever we've
tried to be like our favorite bands, it doesn't pan out. The music just comes out
of us, so we gave up [trying to force our sound] and now we go with whatever
comes out"
Despite their attraction to soul music, the Oh Wells' sound dances somewhere
between indie-folk and straight-up pop, not unlike Scottish twee group Camera
Obscura. It's a comparison the band understands all too well.
"I've listened to Camera Obscura's newest album, My Maudlin Career, over and
over," Griffin admits."We didn't mean to [sound like them]; we wrote all those
songs before I got into Camera Obscura. It's probably why I like them, because
I can relate."
Musical direction notwithstanding, lyrics are the initial focus ofthe Oh Wells'
songwriting process.
"Usually I have one line in my head when I sit down at the piano. Then it feels
like I'm just vomiting the rest out," Jickling explains. "As.long as I have an idea
and one line I can rhyme with, it all comes out at once. It usually takes me 15
minutes to write a song."
Quirky humour and self-deprecating lyrics adorn tracks like the upbeat,
ukulele-driven "Secret Society," while the jangly folk-pop of "Is It Too Late To
Apologize" has its share of humorous Harry Potter references.
"We're obsessed," Jickling says with a laugh. "When you're a nerdy high school
girl, all you do is stay at home and read Harry Potter."
Griffin agrees with her bandmates' assessment wholeheartedly. "Harry Potter
was my best friend in high school until I met Sarah."
The bespectacled boy wizard gets praised in "Is It Too Late To Apologize,"
where the girls sing: "And yes I am a little lazy / And J.K. Rowling does amaze me
/1 read those books 'til I went crazy / And you can laugh but it won't faze me."
With such quirkiness in mind, perhaps the biggest draw ofthe Oh Wells is
their sense of humour. For instance, a hilarious online comic (which you can
read at theohwellscomic.tumblr.com) depicts the band playing to a Bellingham
grocery store. Ladies, was this for real?
"We thought it was some kind of fair when we signed up for the gig and we
were freaking out," recalls Griffin. "We had to get across the border at a certain
time. Dan couldn't find his passport, so he couldn't come. And we got over there,
and it was like, a Choices. They had a little corner for us. We sat down and just
started playing, basically to no one. Well, except the employees. We turned itinto
a funny jam. It's okay, we got Dairy Queen after."
But whether you're laughing or crying, the Oh Wells want you to relate to their
music on a deeply personal level. "I would want people to not feel so alone," Jickling
hopes ofthe impact of her band's music. "I love it when you're listening to a song
and it's like 'Oh my god, there's somebody who feels the exact same way as me!'
It would be great if someone [takes that away] from our music."
Having long outgrown the halls of their high school, the Oh Wells are moving
up in the musical world. Considering they just won the grand prize at CiTR's 2010
Shindig competition, they've already proved that their witty lyrics and ukulele
skills are a force to be reckoned with, fc
11 BY JORDIE YOW
ILLUSTRATION BY TYLER CRICH
Placing second in CiTR's Shindig was Wiz-
erdz, a group of guys who conjure up
catchy dance tunes while dressed in flowing robes and fake white beards. Each
Tuesday they played they would boom
out grand statements like, "We summon thee to
the dance floor," before getting the audience to
break a sweat to their rock-inflected techno music.
Discorder recently caught up with the spell-casters
—Ferrobear Porridgebeard ofthe Forest Fair (a.k.a.
Barry Warren), Voltus Ambrosius, Lord of Eldemort
(a.k.a. Matt MacEwing), Grandmar (a.k.a. Bryce
Dundon), Nintendore Wiiz (a.k.a. Gowan Gillis)
and Segoth Genisis (a.k.a. Dave Gens)—at their
enchanted practice space to chat about what it's like
to be a magical musician in a dance rock band.
Discorder: So why do you guys dress as wizards?
FP: We are wizards. It just made sense for wizard
fashion to dress how we feel. When we get up on
stage we feel like wizards. We feel like having fun
and not taking it too seriously. Our wizard costume i& what we need to wear to really bring out
the magic.
VA: There's a real satirical aspect to the band and
part of that is having nonsensical fun.
G: It makes all the sense that needs to make
sense.
D: How did you guys meet each other?
NW: Our castles were close to each other in wizardry
school and we gradually became friends.
FP: Once the chance came to prove ourselves, which
was at the battle ofthe bands at our school, we decided to unite to form the most radical techno act
D: What school was that?
FP: It was UVic School of Witchcraft and Wizardry.
D: Why the focus on dance music?
G: We're going to have a lot more percussion now
because [Segoth] can drum, and I drum as well. So
we're adding on a drum section... It's going to be
more percussion-based.
VA: Dance music was getting a little to sexy for our'* VA: Auxiliary percussion adds a lot to dance n
old wizard ways. So we wanted to bring it back to     D: What else is the band doing?
a more fantastical style.
NW: We just wanted to make a fun band that made
people want to move.
D: Are you planning on recording any of your
spells?
FP: We're going to use some ofthe Shindig prize
hours to go towards recording and I think we're also
going to try and get some more [recording time]
and try and release a full album.
VA: We currently have an EP out that we sell at our
shows. We customize each cover so that every one
is one of a kind.
NW: We're really trying to capture the magical feel,
the raw feel, the live feel of our live show. We figure
it will either work out great or be like The Ring and
people will die seven days after listening to it
FP: Magic can sometimes backfire when recorded.
D: What's it going to be called?
NW: Tentatively Party Owl the Time with a picture of
an owl on the cover. That's subject to change.
D: [To Segoth Genisis) So you're new in the band,
what do you do?
SG: I do all sorts of different things; whatever needs
to be done for whatever song. So thafs the drums,
the bass, the guitar...
VA: We don't really have consistent instruments.
Everybody switches around.
FP: I think the big things are recording, having
a fifth member in the band and rethinking our
songs—or our spells—to incorporate five people.
Also we want to start playing more shows out of
town and more shows in town, too.
G: We've also been applying to festivals and stuff.
VA: That too we're hoping to get into Shambhala
and we applied for Music Waste.
D: Are you guys serious about being a not serious
band?
NW: Oh yeah! We're serious about not being serious.
VA: Every once in awhile we'll have someone come
up to us and say, "You know, you guys are actually
making really interesting, fun music. You really
don't need the costumes." We kinda do, though.
Everybody loves the costumes.
FP: The response we get from people who have never
seen us and just came in... assuming any other band
was playing and who are just blown away by the
spectacle. Seeing how excited those people get really
motivates us to keep bringing the silliness.
Wizerdz will be playfruj at Lucky Bar with the SSRIs in
Victoria on Feb 11. Voltus Ambrosius is going to study the
secrets of the ancients in Asia/or a couple months, so the
band will be on hiatus until April. ^
12 BY ANGELA YEN       M LI
ILLUSTRATION BY MERIDA ANDERSON
Coming off the hype of winning third place
at Shindig, locals Crystal Swells have become just as known for their energetic
live shows as their intense, lo-fi sound.
Their recently released EP, Goethe Head
Soup, for instance, was issued on cassette. You can't
get more lo-fi than that! The tape, however, also
contains a free digital download.
Though Crystal Swells unfortunately had to
postpone a recent show at the Princeton Pub due
to a family emergency concerning guitarist Tim
McRobbie, the rest ofthe band—Ross Lalande
(percussion), Nick Price (guitar/vocals), and Joel
McDonald (vocals/bass/organ)—were kind enough
to sit down with Discorder at the bar that night for
a quick chat.
Discorder: So you guys are from Maple Ridge. How
did you guys get started?
Nick Price: Well, we all had played in different
bands in high school and knew each other since
then. Then, all our bands were kind of dissolving
or on hiatus. We got together in Joel's basement
and started jamming out some covers.
D: And now you guys are releasing your second EP.
It's called Goethe Head Soup, right? I was wondering,
does it have anything to do with the German writer
Johann Wolfgang von Goethe?
NP: Yeah, a little bit Yeah, there's some Faust going on in there. And it's a pun off of Goafs Head
Soup, the Rolling Stones album and then I worked
in Goethe and, I don't know, ifs... yeah, there is.
Yes. [laughs].
D: How does this record differ from your first EP
Crystal Mountain Girls?
loei McDonald: I think it kind of sounds a little bit
fuzzier. I think ifs kind of louder.
Ross Lalande: Lit] is.
JM: [laughs] Yeah, it just happened. We recorded it
and it came out louder. Also, there's a litde bit more
noise and a little bit more surf. I think it was the
summer time and we were, like, all into surf music
at the time. I think it kind of comes through.
NP: I think the songs on Goethe Head Soup are generally better.
RL: I'd say the same thing. A lot ofthe stuff we
recorded on Crystal Mountain Girls, we don't usually
play too often at our shows anymore.
D: Well you mentioned the surf influence, and I definitely hear a surf undertone to a lot ofthe songs on
Goethe Head Soup. Especially "Mellow Californian." I
feel like recently a lot of indie bands have had that
hint of surf in their music, like Wawes, Dum Dum
Girls, etc. So why do you think if s so popular? What
do you find so appealing about it?
NP: It sounds like ifs made by young people. I mean,
ifs reminiscent of the '60s, obviously. Like the Beach
Boys and Jan & Dean. I think it just sounds like young
music made by young people for young people, and
I think thafs what's appealing about it
RL: Ifs fun to dance to. Ifs fun to play!
NP: I don't feel like a lot of our structures are necessarily surf based. Ifs kind of like an aesthetic sheen
we sort of put over stuff. I mean, we get compared
to Fugazi sometimes, which is so cool. Joel and
Ross, they bring a more complex writing style in,
so it gets kind of prog-y with some math-rock parts.
And that's kind of cool. Then the surf thing just
kind of glazes over it.
D: Yeah, ifs definitely like a hint of it
JM: I think it stems from listening to a lot of garage
rock. You can kind of hear that essential, bare bones
rock 'n' roll. Ifs probably because a lot ofthe music
you hear on commercial radio is the opposite of
that like the pendulum ofthe other side, because
everyone is so sick of everything else.
D: So who are your influences?
JM: I think originally when we started the band,
Nick and I had a radio show out in Abbotsford—
we were both going to school at UFV [University of
the Fraser Valley)—and I think at that point [we]
realized [we] were on the same wave of music and
were both into a lot of'90s lo-fi, kind of loser-rock.
Like Sebadoh and Guided By Voices. And once we
realized that, it seemed like it would be a good idea
to jam and play music.
D: Before we end. Do you guys want to tell the people
how they can get a copy of your new EP?
JM: You'll either have to catch us at a show, which is
probably the best way to get one because then you
get to come to our show. The other way is we might
be able to get some ofthe local record stores to carry
it so maybe look out for it there. We're also selling it online on our Bandcamp site [crystalswells.
bandcamp.com] and...
RL: Google it
NP: Yeah, Google it. Just Google it [laughs], fc
13 ^A No
SAN FRANCISCO MS BORN 4/
ACTS LIKE THE GRATEFUL DEAD
CREATIVELY AND CULTURALLY /
THAT THE PR8UFIC Am PERSON
MAY OF MJ$!CALrV0i€ESr FROM PRECOCIOUS CULT
■AM mmCRITY LIKE THIRD EYE BLIND. ITS IN THIS
PE—AT THE VERY CRUX OF THE COUNTERCULTURE—
SMITH RESIDES.
14 BY SHJglE SCOTT-TRAVIS
ILLUSTRATION BY LINDSEY HAMPTON
™ JUST HAPPYTO GET AROUND
AND MAKE MUSIC IN DIFFERENT
PLACES, Y'KNO^
Smith is the bandleader of Sonny & the Sunsets, whose 2010 long player,
Tomorrow is Alright, was mooned over critically, but was missed by many as
yet another one of those great records you've never heard of. However, with
momentum slowly building behind the band—though initially issued on the
niche Minneapolis label Soft Abuse, Tomorrow is Alright was recently re-released
by the notable Fat Possum imprint—a follow-up is already hotly anticipated. But
will tomorrow really be alright?
"I don't know," Smith deadpanned regarding his group's future. "I have
no crystal ball."
One could argue that Sonny & the Sunsets are garage rock revivalists, but
they're also purveyors of paisley pop's psychedelic freak flashes. Generous dollops
of doo-wop and the occasional dip into country-tinged territories fill out the
gaps. Think along the lines of Camper Van Beethoven, the Falcons or Jonathan
Richman and you'll be splashing in Sonny & the Sunsets' warm waters.
"Speaking of Jonathan Richman," said Smith, with something matching
child-like wonder, "He's a genius. I'm certainly influenced by him. I once saw
him play at a fundraiser and he had the audience in the palm of his hand within
seconds. He was marvellous. He danced around. He cracked a few jokes, played
a song or two; he really filled the entire hall with a magical feeling."
Many would agree there's a lot of magic with Sonny & the Sunsets, too.
Back in 2007, Smith summoned an impressive cadre of musicians to make up
his band. You've got Tim Cohen and Shayde Sartin (both from garage rock
band the Fresh & Onlys), Tahlia Harbour (ofthe Beach Boys-influenced psych
pop band Citay and the Americana act, the Dry Spells) and Sub Pop paragon
Kelley Stoltz. Not to be outshone by his Sunsets, Smith himself is more than
an established musician—he began his musical career as a blues pianist in his
teens. The band leader is also a multimedia artist and playwright.
For proof of Smith's lofty and lively musical accomplishments, one needn't
look further than his 2010 project 100 Records. The installation found Smith
assembling 100 artists to create record artwork for a slough of imaginary bands.
Smith then wrote two songs, an A-side and a B-side, for each fictional act,
visiting and exploring different genres and personas throughout the project.
You think Stephin Merritt had a rough time penning 69 Love Songs? Well, Smith
somehow conjured up 200 songs as if he were a bedevilled black magician.
After wrapping up its initial seven-week stretch at Gallery 16 in San Francisco
last May, the 100 Records show also made its way through Austin and later New
York City. To go along with the art work and albums, Smith had a custom
built jukebox loaded with all 200 songs score the show. Talk about a
visionary enterprise!
"Oh I don't know," Smith said modestly. "100 Records was ambitious, I guess.
It was fun and it was hard. I felt a little empty after it was over."
Interestingly, what may have been the creative catalyst for Smith's oeuvre
was a near-drowning experience off the Northern Californian coast a couple
years ago. Watery imagery and pitch black humour permeate Tomorrow is Alright.
In songs like "Planet of Women" and "Bad Vibes & Evil Thoughts" Smith
presents off-kilter narratives that play like B-movie cock-and-bull mortality
tales. In the breezy, bouyant and hook-filled "Death Cream" Smith teases, "I
put it on you and you put it on me / Da da death cream," and it doesn't sound
like a grungy way to give up the ghost at all.
As if he weren't busy enough, Smith started writing a novel, titled Adelard
the Drowned, though he may not get around to finishing it Perhaps when
death brushes by so closely ifs best to distract oneself from less ghoulish
designs, right?
"I prefer to skim board now," chuckled Smith, "which is like surfing for
people afraid of drowning, like me."
Smith has reason to keep running and to pick and choose his water sports
warily and with tact. Sure, he's diligently finishing his new, as yet untitled
album, and he's rehearsing for his tour, but paramount for Smith is spending
time with his girlfriend and their six-year-old son.
"Raising my kid can make me feel more than a little proud, y'know? The
musician's life isn't totally conducive to child-rearing," Smith admitted, "but
I've kept my shoulder to the wheel on that end. I've made some career sacrifices
to stay in there, to stay dedicated. Any musician out there with a kid reading
this knows what I'm talking about."
As dedicated a dad as he maybe, sometimes Smith just has to follow the call
ofthe road. Though Sonny & the Sunsets stopped by our city justlast October,
the group is hitting up Vancouver again with Brooklyn's the Blow for a gig at
the Media Club, Feb. 5.
"I'm just happy to get around and make music in different places, ya
know?" Smith enthuses.
But does it look like Smith and company will ride off into the proverbial
sunset, flushed with success?
"Hmmm..." he teased, giving a thoughtful pause. "Jeez, I don't know. I'm
not some highly centred person at peace with myself and everything, nor am I
on a constant manic emotional rollercoaster. Is that considered success?" fc
15 DISCORDER READER FAVOURITES REVEALED!
IN OUR L$ST ISSUE WE ASKED OUR READERS TO TAKE OUR POLL AND TELL US ABOUT THEIR FAVOURITE THINGS IN THE CITY.
HERE WE'LL LIST YOUR TOP THREE IN EACH CATEGORY, BUT FOR A FULL LISTING OF FAVOURITES, INCLUDING HONOURABLE
MENTIONS, VISIT WWW.DISCORDER.CA. THANKS ALSO TO JJ BEAN AND ARDEA BOOKS (FORMERLY SITKA) FOR GENEROUSLY
DONATING PRIZES TO POLL PARTICIPANTS, THE TWO POUNDS OF COFFEE AND A TEN DOLLAR GIFT CERTIFICATE FROM JJ
BEAN WAS AWARDED TO AMANDA H. AND THE $25 GIFT CERTIFICATE TO ARDEA BOOKS WAS AWARDED TO JOE S. CONGRATS
TO BOTH OF YOU AND THANKS TO EVERYONE WHO FILLED OUT THE POLL!
OFavourite albums released in 2010
1) THE SUBURBS BY ARCADE FIRE
2) MOUNT BENSON By APOLLO GHOSTS
3) *TIE* PUBLIC DOMAIN M FINE MIST; GRINDERMAN 2'BY GRINDERMAN;
MY BEAUTIFUL DARK TWISTED FANTASYVI KANYE WEST
OFavourite CONCERTS IN 2010
(Many of you voted without noting the date or location ofthe show, so we tallied votes based on band name alom
1) *TIE* CITR FUNDRIVE FINALE '90S COVERS SHOW; ARCADE FIRE
2) *TIE* THEE OH SEES; APOLLO GHOSTS
3) WW PAVEMENT; DAN MANGAN; GORILLAZ; FINE MIST
OFavourite Active local band or solo artist
1) APOLLO GHOSTS
2) FINE MIST
3) "TIE* BLACK MOUNTAIN; HANNAH GEORGAS
OFavourite concert venue
1) THE BILTMORE
2) THE RICKSHAW
3) THE COMMODORE BALLROOM
OFavourite place to shop for
records/CDs/tapes
1)ZULU RECORDS
2) RED CAT RECORDS
3) SCRATCH RECORDS
OFavourite places to go for a drink
1) SIX ACRES
2) THE ALIBI ROOM
3) THE CASCADE ROOM
OTHER FUN ANSWERS INCLUDED "MY LIVING ROOM" AND "OVERPRICED CHAIN RESTAURANTS."
OFavourite restaurant in Vancouver
DTHENAAM
2) THE FOUNDATION
3) *TIE* BANDIDAS TAQUERIA; CALABASH BISTRO; THE EATERY
OFavourite place to get caffeinated
DJJBEAN
2) OUR TOWN CAFE
3) BEAN AROUND THE WORLD
SOMEONE VOTED FOR "ITALY." WE'D LIKE TO GET CAFFEINATED THERE TOO.
"710 ML ROCKSTAR CANS FROM THE 7-11" IS PROBABLY MORE LIKELY.
16 20101
COftOER    ,
thanks for donating prizes
JJBeari
JfJf coffee roasters
Ardea Books &Art
Favourite shopping destinationo
for books/literature/magazines
DPULPFICTION BOOKS
2) CHAPTERS/INDIGO
3) *TIE* BOOK WAREHOUSE; OSCAR'S ART BOOKS, LUCKY'S COMICS
AS HAPPY AS WE ARE THAT MANY OF YOU CHOSE "THE LIBRARY," ITS NOT ACTUALLY
A SHOPPING DESTINATION. DON'T STEAL FROM THE LIBRARY.
Favourite shop for vintage o
and/or locally designed clothes
1) *TIE* FRONT & COMPANY; TRUE VALUE VINTAGE
2) MINTAGE
3) SALVATION ARMY
WE GUESS "THE DUMPSTER BEHIND MY HOUSE" COUNTS AS VINTAGE CLOTHES. "I ONLY BUY
SHIRTS AT CONCERTS ANYMORE." (GOOD ON YA FOR SUPPORTING THE MUSIC SCENE.)
Favourite hair salon/barber shop o
1) THE BELMONT BARBERSHOP
2) EAST VANITY PARLOUR
3) *TIE* BANGTOWN HAIR SALOON; BARBARELLA HAIR SALOON
"I'MDALD."
Favourite media outlet for newso
DCBC
2) THE GEORGIA STRAIGHT
3) TWITTER
Favourite media outlet for music O
1) DISCORDER MAGAZINE
2) CITR
3) *TIE* PITCHFORK; THE GEORGIA STRAIGHT
Favourite media outlets for fashion O
(This category had so many different answers that there's no clear winner!
The following all had equal votesJor the top spot.)
1) *T1E* LOOKBOOK; THE FUTURISTS; CITR; ION MAGAZINE
»«|| "MY EYEBALLS"
Favourite media outlets to keep up on O
LOCAL GENERAL TRENDS AND INFO
1) VANCOUVER IS AWESOME
2) TWITTER
3) THE GEORGIA STRAIGHT
WHAT'S VANCOUVER'S BEST KEPT SECRET? O
* ;*"'$"?if Check out discdrder.ca jbr a Jull listeing.
"AN ENDLESS SUPPLY OF BEAUTIFUL WOMEN"
"THE WEIRD AND WONDERFUL WORLD OF FRONT STREET IN NEW WESTMINSTER."
"I CANT TELL SERIOUSLY."
"THERE WILL BE A NEW DRINKING HOLE!"
"THAT DESPITE ALL THE 'NO FUN CITY' DOGMA THERE IS ACTUALLY A LOT OF FUN TO BE HAD,
YOU JUST HAVE TO BE WILLING TO LOOK FOR IT."
"THE TREE HOUSE BY THE SECOND NARROWS BRIDGE. GOOD LUCK ON YOUR SEARCH!"
"THE OLYMPIC TORCH WHEN THE SUN GOES DOWN...SOUNDS OBVIOUS, BUT IT'S BEAUTIFUL"
"FREE PING PONG AT COMMUNITY CENTRES."
17 14HEASUBES
AUTO-TUNE NOT INCLUDED
SINmrSBEGIN^^
WORLD. WHETHER IT'S IN THE SHOWER, IN THE CAR, OR ON A KARAOKE STAGE, PEOPLE LOVE TO
SING. BUT WHAT MAKES KARAOKE GOOD? A FRIEND OF MINE SAID IT'S ALL ABOUT COMMITMENT.
YOU PICK A SONG AND YOU HAVE TO SING IT. YOU HAVE TO PUT YOUR ALL INTO IT, PERHAPS
SINGER, MA .AUGHANI
EUGHIT     E ARE JUST OKE NIGHTS A
TH PRIVATE     OMS.
.r   1
HIP HOP KARAOKE
WHERE: FORTUNE SOUND CLUB, 147 EAST PENDER
WHEN: 3RD MONDAY OF EVERY MONTH, FROM 9:00 P.M.
COST: $7 AFTER 10:30 P.M.
The rules of Hip Hop Karaoke (HHK) at Fortune Sound Club are as follows: i) be
good and 2) don't be a dick. The latter was added when someone threw something
at the first performer ofthe night just as he was stepping up to the stage. HostDJ
SEKO made no bones about calling out dickish behaviour all night
Fortunately, he didn't have to do it often.
HHK is hardly as intimidating as it could be—more high school talent show
than ironic hipster karaoke bar. Most ofthe performers had clearly practiced into
their toothbrushes at home, and the audience, for all its occasional brattiness,
wanted to support their efforts.
The karaoke was separated into three segments of four to five songs, so
that people could dance to the real tracks between sets. Each segment had its
highlights, but the night's ultimate props go out to the four girls who were
called up on stage to each sing a line from Jay-Z's "Empire State of Mind," with
the best one winning a free CD. A good test of grit is to get someone drunk and
then make them sing without preparation in front of a crowd of heckling hip
hop fans. Luckily, the unspoken third rule of HHK is that a mastery of rhythm,
pitch and lyrics takes a back seat to owning the stage; even the drunkest, most
timid girl up there was a rock star for four or five seconds.
—Miranda Martini
is w
MAIN STREET LEGION
WHERE: 3917 MAIN STREET
WHEN: WEDNESDAYS AND SATURDAYS FROM 8:00 P.M.
COST: FREE
If you're looking for a karaoke venue that makes you feel like a
struggling musician in a sketchy bar, then the Legion is the spot
for you. The venue is definitely not for the shy type as it draws one
ofthe largest crowds for karaoke in Vancouver. The night is held
every Wednesday and Saturday with no cover and features two dollar
beers on tap, and four dollar bottles. Keep in mind that it is actually possible to avoid the monstrous line for the bar. Servers walk
throughout the venue, so if you catch their attention, waiting in
line is unnecessary.
The night consistently draws a large, intimidating crowd that
ranges from twenty-somethings to senior citizens (it is a Legion
after all). If you plan on performing, you absolutely must come by
nine o'clock and put two songs in right away, otherwise you'll only
be observing other karaoke enthusiasts.
The songbook is decent, ranging from the Beatles to the Backstreet
Boys, and current Top 40 hits in the "New Additions" section. An
older gentleman that has a Richie Sambora essence about him
hosted the night. Unfortunately he has a bias for young, pretty
girls, as well as the regulars, and I have witnessed many who don't
fit into either category grow frustrated with him skipping over their
requests. Whatever you do, do not harass him about where you are
in the queue. It will guarantee an end to your karaoke days at the
Legion. However, if you impress him with your skills you might
score a free drink!
—-Jenn Perutka
PATS PUB
WHERE: PAT'S PUB, 403 EAST HASTINGS
WHEN: TUESDAYS FROM 9:30 P.M.
COST: FREE
Dave "the Beaver" Brooks has provided a memorable karaoke experience to Vancouver's willing and able amateur singers for years, offering a fun and relaxed night that caters equally to local pensioners from
the adjacent Downtown Eastside and residents of nearby Strathcona.
During my last visit, karaoke at Pat's Pub featured cheap highballs,
free shooters to early arrivals, and a song selection of classics (mostly
rock and pop) and new hits that appear to get updated on a regular
basis. This makes the Beaver's night a great way to sit back and enjoy
a few drinks with your friends while witnessing a ritual event that
has been an important meeting ground for Vancouver's independent
arts and music community for the better part of a decade. In my
myriad experiences, singers typically ranged from incredibly talented
elderly crooners to drunken and shy newcomers, but most graciously
spared me the horrific irony of repetitive garbage like "Bohemian
Rhapsody." Better yet, I've always found the friendly crowd at Pat's
to be respectful and encouraging of anybody with the nerve to belt
out a tune, but the bar is large enough that you could actually hope
to blend into the woodwork, assuming that you just weren't up to
singing on a particular night. With a unique host and historic venue
to its credit, karaoke at Pat's has remained a very special night for
me, regardless of how much time passes between visits.
—Racan Souiedan
THE PRINCETON
WHERE: THE PRINCETON PUB, 1901 POWELL STREET
WHEN: SUNDAYS FROM 8:00 P.M.
COST: FREE
On Jan. 21,1 headed to the Princeton Pub with three loyal friends in
tow, ready to experience karaoke in Hastings Sunrise. Resplendent
with wooden tables and hockey jerseys, the Princeton translocates
you to a small town affair along a railway track. The passing of
trains in the night and the union logo on the wall welcome train
hoppers and other characters from the neighbourhood.
An amazing cast of locals sat in ones and twos with their
beers, slowly taking turns with the microphone, treating us to
country hick numbers, sweeping Alice Cooper renditions and
other oddities. Despite the desire to only stay for an hour or
two, we got caught in a feeding frenzy of karaoke, as the warmth
ofthe room and smiles in strangers' eyes invited the flutter of
karaoke forms.
The song selection was decent, the beer wasn't costly and the
wait to sing was short. Lyrics streamed across big screens, letting
the peanut gallery sing along as karaoke regulars danced as kin.
The talent wasn't mind-blowing nor intimidating and the sound
system wasn't loud enough to cause pain. For those suffering
from performance anxiety, the Princeton Pub is the perfect place
to come out ofthe karaoke closet.
—Brenda Grunau
WEEKEND LEISURE
WHERE: THE ASTORIA, 769 EAST HASTINGS (AND VARIOUS SPECIAL EVENTS)
WHEN: MONDAYS FROM 9:30 P.M.
COST: FREE
I went to the Weekend Leisure Karaoke New Year's Eve Eve Eve
Eve Edition on Dec. 28, and was impressed with the large binders
housing a wide selection of music. What's also super impressive
about the night is thatyou have the option of searching through
their offerings on their website and printing out song slips before
going out to sing.
Members ofWeekend Leisure (a collective made up of Christy
Nyiri, Erich Gerl, Curtis Grahauer and Pietro Sammarco, who also
create video art, comedy and more), broke the ice by singing a few
songs, including Smashing Pumpkins' "Today," and "playing"
the faux instruments left on stage for anyone who wanted to take
their air guitar to the next level.
The night's patrons were quick to get their songs in, including
Heart's "Barracuda" and Journey's "Don't Stop Believing," while
yours truly sang Carly Simon's "You're So Vain."
Although there was a fair share of '70s powerpop on display,
there were also a wide selection of'80s New Wave and hits from
the '90s, including Next's "Too Close."
A fantastic karaoke experience, especially since people dance
while you sing!
—Debby Reis
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S //CiTR 101.9 FM PROGRAM GUIDE
DISCORDER SUGGESTS LISTENING TO CiTR ONLINE AT WWW.CiTR.CA EVERY DAY.
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
tern
7
CiTRGhostMix
Pacific Pickin' (Roots)
CiTRGhostMix
CiTRGhostMix
QTR Ghost Mix
CiTRGhostMix
Mm
7
QTR Ghost Mix
(Eclectic)
8
Breakfast With The
Browns (Eclectic)
Sounds of Africa
(World)
Suburban Jungle
(Eclectic)
Endof the World
News (Talk)
1 he Saturday Edge
(Roots)
9
Alt Radio (Talk)
9
^^M^toe'sThe
Charm (Rock)
10
^^Hbokta (Talk)
Pop Drones
(Eclectic)
Sweet And Hot (Jazz)
. Aih .
MH
11
KolNodedi (World)
Stranded
(Eclectic)
n
Morning After Show
(Eclectic)
Anoize CNw#,-•, 4
12pm
-   The Rockers Show
(Reggae)
(Talk)
Duncan's Donuts
Eclectic)
\Cl^I88imerH0tH: -
. (Eclectic)
Generation Annihilation
12pm
1
Parts Unknown (Pop)
Fill In
The Green Majority
(Talk)
We All Fall Down
(Eclectic)
Barnburner
(Eclectic)
Power Chord
(Metal)
1
1
* Gfee'Bm the Boot
. -CWorfd)
Democracy Now (Talk)
Ink Studs (Talk)
Radio Zero (Dance)
3
1    Shake
Blood On     ATaii
Mantis Cabinet
(Eclectic)
Wings (Talk) | Prof (Talk)
Rumbletone Radio A
Go Go (Rock)
Japanese Musicquest
(World)
Code Blue (Roots)
3
Radio Freethinker
(Talk)
French Connection
.    (World)
Nardwuar
(Jfardwuar)
(J
, (Roots) *
(Soul/
R&B)
The Rib (Eclectic)
1*'
In The Cage With Bards
5
Chips
(Pop)
Fill In
News ioi (Talk)
Thunderbird Eye
(Talk)
Arts Report (Talk)
Native Solidarity News
(Talk)
News 101 (Talk)
The Leo Ramirez Show
(World) '
5
•
QueerFM (Talk)
Career Past Track (Talk)
-  Flex Your Head  "'
(Hardcore)
RT.R,
Discorder
Are You Aware
(Eclectic)
: J&sW^blna (World)
§§B?f
Sore Throats, Clap*
ping Hands (Eclectic)
squantch
(Eel)
Shameless
(Eclectic)
#;
7
CiTR Sports Live
(Talk)
Notes from the
Underground
(Slecttonic/Hip-hop)
7
Exploding Head
Mo**e»
(Eclectic)
Exquisite Corpse
'   (Experimental)
1
Rhythms
(World)
Techno
Progressivo
Inside Oik
(Dance)
Folk Oasis (Roots)
1
9
Mondo Trasho
(Eclectic)
^^^^Show (Jazz)
XrhnesJ^nd Treasons
(Hip-hop)
J^e^ErojmThur^erbirs
vJ^ioBeJttlLiw)
Synaptic Sandwich
(Dance/Electronic/
Eclectic)
9
to
. <■ Transcejidajice
Sexy In Van City
(Talk)
9H8II
Fill In
11
CabaRadio (Talk)
Hans Kloss Misery
Hour (Hans Kloss)
FunkMyLife
(Soul/Dance)
CiTRGhostMix
11
i2m
ThwwvdownFM
(Dance/Efemordc) -
Canada Post-Rock
(Rock)   ~
Aural Tentacles
(Eclectic)
The Vampire's Ball
^iH^lwstrial)
123R1
CiTRGhostMix
1
1
3
■'' CiTROhostMh( ;
CiTRGhostMix
CiTRGhostMix
1
B
3
MB
QTR Ghost Mix
MM
5
5
22 SUNDAY
A mix ofthe latest house mu
PARTS UNKNOWN
ting with Bobby Huteherson,
Morning After Show has
sic, tech-house, prog-house
(Pop) i-3pm
Larry Young and Elvin Jones.
local bands playing live on
SHOOKSHOOKTA
and techno.
An indie pop show since
Feb. 14: One great Modern
the Morning After Sessions.
(Talk) io-nam
1999, it's like a marshmal-
Jazz trumpeter, Joe Gordon
Hosted by Oswaldo Perez
A program targeted to
MONDO TRASHO
low sandwich: soft and
and an unsung voice of alto
Cabrera.
Ethiopian people that
(Eclectic) 9-iopm
sweet and best enjoyed
sax, Jimmy Woods play
encourages education and
The one and the only Mon
when poked with a stick
Lookin' Good!
GIVE'EM THE BOOT
personal development.
do Trasho with Maxwell
Maxwell—don't miss it!
and held close to a fire.
Feb.21: Today is composer
Tadd Dameron's birthday.
(World) 2-3pm
Sample the various fla
KOLNODEDI
MANTIS CABINET
Drummer Philly Joe Jones
vours of Italian folk music
(World) nam-iapm
TRANCENDANCE
(Eclectic) 3-4pm
leads Dameronia in tribute
from north to south,
Beautiful arresting beats
(Dance) iopm-i2am
in Look, Stop and Listen!
traditional to modern on
and voices emanating from
Join us in practicing the
THE RIB
Feb.28: A powerhouse
this bilingual Italian/Eng
all continents, corners and
ancient art of rising above
(Eclectic) 4-5pm
session with Johnny Grif
lish show. Un programma
voids. Always rhythmic,
common ideas as your host
Explore the avant-garde
fin, Blue Mitchell, Julian
bilingue che esplora
always captivating. Always
DJ Smiley Mike lays down the
world of music with host
Priester, Wynton Kelly, Sam
il mondo della musica
crossing borders.
latest trance cuts.
trancendance@
Robyn Jacob on the Rib.
From new electronic and
Jones and Albert Heath in
The Little Giant.
etnica italiana.
THE ROCKERS SHOW
hotmail.com
experimental music to
WINGS
(Reggae) i2-3pm
improvised jazz and new
CANADA POST-ROCK
fTalk) 3-3:30pm
Reggae inna all styles and
THROWDOWN FM
classical! So weird it will
(Rock) i2-i:ooam
Alternating Tuesdays
fashion.
(Dance / Electronic) 12-iam
Hosts Downtown Stacee
blow your mind!
Formerly on CKXU, Canada
Post-Rock now resides on
PROF TALK
BLOOD ON THE SADDLE
Brown and Jen Slator are proud
NEWS 101
the west coast but it's still
(Talk) 3-3:3opm
(Roots) 3-5pm
to announce that their playlist
(Talk) 5-6pm
committed to the best in
Alternatina Tuesdays
Alternatina Sundays
for each and every show will be
Vancouver's only live,
post-rock, drone, ambient,
Bringing UBC's professors
Real cowshit-caught-in-yer-
100 per cent Vancouver, B.C.
volunteer-produced,
experimental, noise and
on air to talk about current/
boots country.
based underground music of
student and community
basically anything your host
past events at the local and
the sub-bass generation. This
newscast. Every week, we
Pbone can put the word
international level. Aiming
SHAKE A TAIL FEATHER
means you'll never hear a track
take a look back at the
"post" in front of. Stay up,
to provide a space for fac
(Soul/R&B) 3-spm
that's not from our west coast
week's local, national and
tune in, zone out If you had
ulty and doctoral level stu
Alternating Sundays
province of B.C. We call our
international news, as seen
a radio show, Pbone would
dents to engage in dialogue
The finest in classic soul
selves collectively: The Local
from a fully independent
probably listen to your show.
and share their current
and rhythm & blues
Union 604. ThrowdownFM@
media perspective.
research, and to provide a
from the late '50s to the
gmail.com
TUESDAY
space for interdisciplinary
early '70s, including lesser
CAREER FAST TRACK
thinking. Interviews with
known artists, regional hits
MONDAY
fTalk) 6-6:30pm
PACIFIC PICKIN'
professors from a variety of
and lost soul gems.
Join host and author
(Roots) 6-8am
disciplines.
BREAKFAST WITH THE BROWNS
Philippe Desrochers as
Bluegrass, old-time music,
http://ubcproftalk.
CHIPS WITH EVERYTHING
(Eclectic) 8-nam
he teaches you how to
and its derivatives with Ar
wordpress.com
(Pop) 5-6pm
Your favourite Brownsters,
dramatically INCREASE
thur and the lovely Andrea
proftalk(cDgmail.com
Alternatina Sundays
James and Peter, offer a
your income doing work
Berman.
British pop music from all
savoury blend ofthe famil
you LOVE.
pacificpickin@yahoo. com
RADIO FREETHINKER
decades. International pop
iar and exotic in a blend of
(Talk) 3:30-4:3opm
(Japanese, French, Swedish,
aural delights.
SORE THROATS, CLAPPING
SOUNDS OF AFRICA
Promoting skepticism, criti
British, US, etc.), '60s sound
breakfastwiththebrowns@
HANDS
(World) 8-9:3oam
cal thinking and science, we
tracks and lounge.
hotmail.com
(Eclectic) 6:30-7:3opm
Sore Throats Clapping
Showcasing music, current
affairs & news from across
examine popular extraordinary claims and subject
QUEER FM
STRANDED
Hands relies on simple
the African continent and
them to critical analysis.
(Talk) 6-8pm
(Eclectic) nam-i2pm
melodies and poignant lyri
the diaspora, you will learn
The real world is a beautiful
Dedicated to the gay, lesbian,
Join your host Matthew for
cism to drive our passions.
all about beat and rhythm .
and fascinating place and
bisexual and transexual com
a weekly mix of exciting
We embrace music that
and it will certainly kick-
we want people to see it
munities ofVancouver. Lots
sounds, past and present,
takes little production and,
start your day.
through the lens of reality
of human interest features,
from his Australian home
for that reason, is extremely
as opposed to superstition.
background on current
land. And journey with him
accessible to play, share,
THIRD TIME'S THE CHARM
issues and great music.
as he features fresh tunes
create and enjoy—music
(Rock) 9:3o-ii:3oam
IN THE CAGE WITH BARDS
queerfitnradio@gmail.com
and explores the alternative
that can be produced with
Open your ears and prepare
fTalk) 4:30-5pm
musical heritage of Canada.
little more than clapping
for a shock! A harmless
Join Carlin Bardsley as he
RHYTHMSINDIA
hands and sore throats.
note may make you a fan!
welcomes the top names
(World) 8-gpm
SYNCHRONICS
Deadlier than the most
in Canadian Mixed Martial
Alternatina Sundays
(Talk) i2-i:oopm
EXPLODING HEAD MOVIES
dangerous criminals!
Arts to put up their dukes
Featuring a wide range of
Join host Marie B and
(Eclectic) 7:30-9pm
borninsixtynine@
and discuss the fastest
music from India, including
discuss spirituality, health
hotmail.com
growing sport in the world.
popular music from the 1930s
and feeling good. Tune in
THE JAZZ SHOW
Recaps, interviews, tunes
to the present; Ghazals and
and tap into good vibrations
(Jazz) 9pm-i2am
MORNING AFTER SHOW
and more... it's the most
Bhajans, Qawwalis, pop and
that help you remember
Vancouver's longest
(Eclectic) n:3oam-ipm
fun you can have without
regional language numbers.
why you're here: to have
running prime-time jazz
An eclectic mix of Canadian
being punched in the facet
fun! This is not your average
program. Hosted by Gavin
indie with rock, experimen
www.facebook.com/
TECHNO PROGRESSIVO
spirituality show.
Walker. Features at 11pm.
tal, world, reggae, punk
inthecagewithbards
(Dance) 8-gpm
Feb 7! Street OFDreams puts
and ska from Canada, Latin
inthecagewlthbards@>
Alternatina Sundays
Grant Green in a great set
America and Europe. The
hotmail.com
23 THUNDERBIRD EYE
(Talk) 5-6pm
Your weekly roundup of UBC
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
fTalk) 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) 10-11:30am
ANOIZE
(Noise) ii: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
UMUJ.greenmajority.ca.
DEMOCRACY NOW
fTalk) 2-3pm
RUMBLETONE RADIO
A GO GO
(Rock) 3-spm
Primitive, fuzzed-out
garage mayhem!
ARTS REPORT
(Talk) 5-6pm
REEL TO REAL
fTalk) 6-6:3opm
Alternating Wednesdays
Movie reviews and criticism.
DISCORDER RADIO
(Talk) 6-6:3opm
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
Alternatina 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 shtick, 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 interview 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) 7:30-gpm
Experimental, radio-art,
sound collage, field recordings, etc. Recommended for
the insane.
artcorpse@yahoo.com
LIVE FROM THUNDERBIRD
RADIO HELL
(Liue 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) iipm-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 Brazilian
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.
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, gets 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) 2-3:30pm
An international mix of
super-fresh weekend party
jams from New Wave to
foreign electro, baile, Bollywood and whatever else.
www.radiozero.com
NARDWUAR
(Nardwuar) 3:30-5pm
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:3opm
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.
crashnbumradio@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 ofthe
spectrum, then you'll like
it Sonic assault provided by
Geoff the Metal Pimp.
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 *8os this is the
show for you!
www.synapticsandwich.net
24 Fill
ieheltewasJopr litj smalt tfwi rWtebufart^eal. She graduated in 2008 from Emily ^
"iarr lHBiM.wi»llft »#w^a$i^%)tr most recent work has focused on the
idea of nostalgia and wilderness: "I am forever haunted by the idea of nostalgia. An
incredible feeling of wistfulness^ottttnually lingers throughout my creative process.
Creating a photograph that captures this feeling is what I thrive on, whether it is focus-
ijngjw the solRarjpss fjlddeo. iOJJgflljftfiQt or encapsulatlpj^lliaj egdles^momjit of
NHI ART PROJECT//MICHELLE FORD 27 UNDER
REVIEW
AKRON/FAMILY
S/T lh THE COSMIC BIRTH AND JOURNEY
OFSHINJUpf    ]
(Dead Oceans}
Imagine placing Animal Collective
and Neutral Milk Hotel in a blender,
spamming the pulse button, and
adding hints ofthe Flaming Lips every once in a while for extra flavour.
The sound emitted by this concoction
would sum up Akron/Family's newest album, S/T II: The Cosmic Birth and
Journey of Shinju TNT, quite well. Noise
and more noise—albeitwell applied—
is the staple of this nearly hour long
trip into foreign territory. But there's
a deeper side to it, a calmer side, and
that is why Journey is such a fantastic
album—it evokes so many emotions,
tugs at so many imaginative desires,
and simply ushers in a sense of peace
and tranquility, despite being so intricate and often rambunctious.
"Silly Bears" brings the adventure
to a start with a combination of dirty
synthesizer and heavily modulated
guitars, all entwined with a droning
percussion rhythm. Seth Olinsky, singing in his very best Avey Tare voice,
tugs along the wall of sound. Then, the
mood changes, and the happy-go-lucky
tone ofthe opener quickly transforms
into a smooth, slowly sung ballad that
brings both peace and serenity. And
that's justwhat makes Journey so damn
good—the sheer variety.
"So It Goes," the album's strongest
track, is a solid rock song with haunting vocals and a great instrumental
performance by both Dana Janssen and
Miles Seaton. This effect is recreated
well on the very next track, "Another
Sky" (reminiscent of Paul Simon's solo
work) with easily one ofthe catchiest
melodies of 2011 thus for.
The second half of the album further exemplifies the band's talent at
crafting beautiful psychedelic melodies.
The last two songs on the album flow
smoothly and sweetly, with serene vocal harmonies and subtle string work,
ending with a crescendo of synthesizers
and drum rolls. The simplicity ofthe
excellent "Creator" closes the album
so acutely ifs almost uncanny.
Though not severe enough to
hamper this amazing record, the album does carry one fault: The production is hit or miss. For some songs,
it's perfectly adjusted to accompany
Olinsky's voice with the rest ofthe
band; on other tracks, the man's poor
voice is drowned out by all the noise
and commotion, leaving the songs
both empty and overpowering.
Akron/Family have crafted a sensual experience by creating a serene,
trippy audio landscape adorned with
creativity and spark. This is the perfect
relaxation album, an album to enjoy
with a cup of coffee before heading
out into the bustling world. It'll help
slow down time and rouse the mind.
It may be derivative here and there,
clearly inspired by musicians of our
time, but it stands its ground well.
Journey is a great start for the already-
immense 2011 year.
—Kamil Krawczyk
BUKE & GASS
RIPOSTE
(Brasslanjp
I should probably start by pointing
out that Buke & Gass make their
own instruments and that the duo
has taken their name from the musical chimeras that they play—seeing
as how everyone else who writes of
Buke & Gass begins by stating the
same. But that's a cheap and useless
fact about the band—you can't really
tell that these are unique, homemade
instruments. Riposte, their latest full
length offering, sounds like a twangy,
high-tension prog-punk record with
mesmerizing vocals. The homemade
instruments are a forgettable detail
compared to Arone Dyer's vocal range
and ability to belt out engaging choruses while miming the style of a host
of'90s female vocalists. Capable of
sounding like everyone from PJ Harvey to Liz Phair, Dyer's singing is the
focal point throughout Riposte, and it
proves to be* the driving force behind
the best tracks ofthe album, opener
"Medulla Oblongota" and the neurotic "Bundletuck." Riposte doesn't
really sound like many other records
being released right now, and while
this uniqueness could be attributed
to some wacky instruments, it's the
duo's creativity in songwriting and a
powerful set of pipes that really make
Buke & Gass stand out.
—Tony Kess
DEADHORSE
DEADHORSE
(Saved by Radio)
Like a psychedelic zombie stallion,
Calgary's Deadhorse burst from the
gate with their self-titled debut album. After having spent a summer
honing their chops playing at campgrounds across B.C. and Alberta, the
band teamed up with the awesome Jay
Crocker to record their debut They
spent two weeks recording live off
the floor at a band member's house
and then put the finishing touches
on at Sea Legs, Crocker's analogue
"recording grotto."
You can tell that they've put in the
hours to gel as a unit, but the feel is
never stiff or forced. Rather, With
a bit of swing and a lot of attitude,
Deadhorse confidently lays down a
set of psychedelic, blues-inflected
garage rock.
With a serious Nuaaets compilation vibe, Deadhorse has brewed a
bubbling potion of vocal harmonies,
shuffling rhythms and raucous guitar overdrive. The album's analogue
recording really meshes with the
band's classic sound. It would have
been a disservice to the songs to have
recorded them onto a computer with
ultra-clean, digital sound. The spring
reverb, tape echo and tube amps add
j character that would be hard to get
j with modern recording techniques.
Standout track "Upon a Mountain
I High" starts out with ghostly wailing
I from co-lead vocalist Jennifer Crigh-
| ton, and then morphs into a power-
l chord-driven stomper with stream-
l of-consciousness lyrics that narrate
! a mystical experience of digging deep
j into the heart ofthe earth with one's
I hands and pushing the displaced
dirt up into a mountain. Also great
j is "I'm a Lawyer," with its awesome
j -use of silence and space—the better to
showcase Danny Vescarelli and Crigh-
ton's harmonized lead vocals—and
"Cushion," with its steady beat and
resonant melody.
Deadhorse works well because
it sounds like a band writing what
comes naturally to them: raw garage
rock freak-outs balanced with calm
28 passages of psychedelia. You get the
feeling that they'd be great live.
—Douglas Mackenzie
SPIRITUAL MENTAL PHYSICAL
(Drag City Records)
For over 30 years, Detroit proto-punks
Death's sole legacy laid in the grooves
of an obscure and highly sought after
self-released seven-inch. That was until Bobby Hackney Sr., one ofthe three
brothers that made up the little known
power trio, dusted off the old demo
tape he had in his attic and handed it
into eager hands of Chicago's Drag
City Records. In 2009, Drag City
released ...For the Whole World To See,
seven blistering tracks that garnered
acclaim from the likes of Jack White
and Mos Def. Two years on, Drag
City has decided to unleash another
compilation of demos from these
unlikely punk visionaries. Spiritual
Mental Physical offers ten more low-fi
tracks from the Hackney brothers that
continue the story of a talented band
ahead of their time.
Spiritual Mental Physical is comprised of tracks that show the many
faces of Death. The quirky opener
"Views" and the hardcore riffs in
"The Masks" predict punk rock. In-
strumentals like "David's Dream" and
"Dannis on the Motor City Drums"—a
two minute and 15-second drum solo—showcase the brothers' youthful
talent. Then, of course, there is the
pure Detroit muscle of "Can You Give i
Me a Thrill?" and "The Storm With- j
in," which take their influence from I
the Stooges and MC5. In its entirety,
Spiritual Mental Physical further proves  I
Death are just as important to the his- j
tory of punk rock as any of the bands
I that typically make the list.
—MarkPaulHus
THE DECEMBERISTS
THE KING IS DEAD
{Cdjpitoi Records)
"The King is Dead isn't an album of returns for the Decemberists. It lacks the
operatic bombast of Hazards ofLove, for
one, and there are no grisly folktales
or 13-minute murder ballads to use
as bookends. Apart from a few ofthe
band's trademark nautical references,
the album steers clear ofthe usual Decemberists' fare. Instead, the band settles into a lush, bucolic sound that has
more in common with the musicians
that inspire them than their own back
catalogue. The pageant of Americana
all-stars featured on the album includes
Gillian Welch, who sings on seven of
the ten tracks and brings out the rich
grain of Meloy's voice, and Peter Buck
ofRJLM., to whom several ofthe songs
are a direct homage.
On the surface, it is an album
about country life and charting the
pits and swells ofthe seasons. But
these aren't the broad strokes of an
idealist depicting a lush, Utopian
natural world. A closer listen reveals
that it is also about community, rural
and urban, as influenced by frontman
Colin Meloy's recent move from the
band's long-time base in Portland
to a more pastoral area outside the
city. On opener "Don't Carry It All,"
when Colin Meloy sings, "And you
must bear your neighbour's burden
within reason / And your labours will
be born when all is done," he seems
to be singing as much to his former
neighbours in the city as to rural labourers, reflecting upon the way the
seasons affect us all, no matter how
muffled they are by human constructs
and individual concerns.
Throughout the turning and returning ofthe seasons in this urban
pastoral, a little sun always manages
to filter in and remind us that the Decemberists are, at their heart, devotees
of Americana. While it may not be
their most epic or thematically challenging work to date, it's nice to see
them in natural light again.
—Miranda Martini
HAUSGHKA
FOREifiN LANDSCAPES
(Fat Cat)
Volker Bertelmann, the Dusseldorf-
based pianist better known as Hauch-
ka, is known for his explorative and
evocative instrumental compositions
and his ability to modify parts of instruments to achieve perfect arrangements and sounds, to which Foreign
Landscapes also abides. Drawing upon
a similar concept noted in his previous album Ferndorf, Foreign Landscapes
extends his reference and inspiration
from his childhood village to the various cities he has traveled to throughout the world. Though the concepts
mimic each other, there is a noticeable
shift in tone and presence in this album. Ferndorf contains more subtly
sweet moments influenced by familial
nostalgia, whereas Foreign Landscapes is
a moody, intricate and overall haunt-
ingly serious album, due to the sense
of exploration and discovery projected
by his prepared piano and 12-piece
string and wind ensemble. "Sunny
Mission" conveys tones of frenzied
movement and thought with the heavy
use of piercing violins and sporadically timed strings. It is a flourish of
intense movements, but opening to
I a moment of tenderness and potential sadness—a vision amongst the
I wreckage of spastic sounds. Juxta-
I posed entirely is "Kouseiji" which is
intimate and soothing on account of
Hauchka using just his piano, know-  |
ing the sincerity of his technique and
the sentiment of the instrument it-
| self. It is the perfect match for this \
intended purpose.
Foreign Landscapes is beautiful and I
creative, unsurprising considering |
its creator; however, for how good  \
I some ofthe moments are and how |
I ingenious some songs can be, there j
is not the same sense of completeness j
and finality that has been present on j
other Hauschka albums, specifically j
Ferndorf. Foreign Landscapes is great be-  i
I cause of Hauschka's use of imagina-  j
I tive instrumental arrangements and j
his vivid characterization of songs;  \
j yet, it leaves a sense of lingering, a |
void needing to be filled with a final j
purpose or that last note that could  !
I not be found.
—Kaitlin McNabb
IMAGINARY CITIES
THiPD8ARY RESIDENT
t Now this is my kind of music. Haunt-  |
j ing, sweet, uplifting, soulful and emo-  !
tive. Simply a two-piece with a little
] backup here and there, Imaginary Cit-
j ies plays music that makes me want
to cuddle with my lover as we watch
I the windows fog up and listen to the
rain come down. Blues/folk singer
j Marti Sarbit and Waking Eyes/Weak-
| erthans multi-instrumentalist Rusty
I Matyas met one evening when Matyas
I was pulling sound duties for Sarbit's
Motown cover band. Such a fan of j
I Sarbit's smoky pipes, Rusty penned  I
29 a song and asked her to sing on it
When the finished product turned out j
as well as it did, it was clear that a mu- j
sical partnership was in the making, j
Temporary Resident, their debut album
is the result, and it is pretty stunning
from top to bottom; "pretty" being
the key word here. But in an album
ripe with the pretty, I balk at trying
to find a super-favourite, although
"Where'd All the Living Go" is pretty j
great. Then again, I am a sucker for j
bare instrumentation and sweet vocal
harmonies, even when the content has
to do with failed love. A couple other
stellar tracks are the rousing "Hummingbird" and "Ride This Out," the
latter sounding like an after hours :
church hoedown that makes me want I
to sin and be forgiven. With tight (
learned immediacy in the music, and a
voice that reaches into the dusky dark
and humid parts ofthe soul, Imaginary Cities is butter. Thick, rich, and
when mixed with the right elements,
it helps create something moist and
fluffy. But this isn't muffin music, nor
is it simply icing. This is more like
blues-fried cornbread with a hint of \
dark honey.
—Nathan Pike
JUYINIiEMAU
JUVENILE HALL
(Independent)
Vancouver's Juvenile Hall bears no I
bones about celebrating female punk j
rock by generating in your face lyrics, I
while loosely sticking to the concept
of musical timing. Armed with guitars , drums and a somewhat surprisingly polished d.i.y. studio setup, the I
threesome exploit three-chord motifs !
with their raw harmonies. The album j
is simple in its delivery, which aids in
its appeal—and you very well might I
find yourself humming a tune from j
the seven-inch all weekend long.
A note of caution: when you decide to
sing "EatShitand Die," ensureyourpart-
ner or roommate receives a disclaimer.
Truth be told, you might find the song
perfect for navigating through your angst
while biking in the traffic packed city I
streets. Another highlight is "High on I
Drugs," which likens an intimate expe- j
rience to an LSD trip, furthering their 1
theme of fury and fun. "Loser" warns of j
the impact your social life could have as
a result of "deadly rumours." The sound
is punchy, but not overly aggressive. Ju- I
venile Hall have the potential to abuse j
thekmstnmients.butinsteadtheysettle I
for more of a refined feel on the debut, 1
though I am sure their live act would not I
subscribe to that notion.
Sadie O., Krissy D. and Sid Stid
Suicide make up the trio, and this I
seven-inch is a reflection of days jj
spent in the garage jamming. Delete j
the lighter app on your iPhone, as I
there is no room for ballads or candy
laced lyrics here.
—Slavko Bucifal
MODERN SUPERSTITIONS
AUTBISIflfpS WETff 8EINT01B
(KOtbeat Music)
Fret not, Ontarians; despite the Leaf's j
outright terrible performance this year, I
Toronto has much more to offer than
just bad hockey. Enter the Modern Su- I
perstitions, Eastern Canada's answer
to Mother Mother and the Yeah Yeah j
Yeahs. Produced by none other than I
Sloan's Patrick Pentland, this short
EP (clocking in at a mere 20 minutes)
is a fun, casual romp through indie I
music's recent history. The music is I
solid all around, but despite being a |
relatively new band, Modern Super- J
stition's sound seems dated. Is the j
indie formula slowly withering away? I
Not quite. Simply put, All These Things j
We've Been Told is the EP that sounds j
like every other EP—but that's not I
necessarily a bad thing.
Bands today face the gruelling J
challenge of sounding unique. Many j
new acts are automatically described J
as 'generic' or accused of lacking j
any originality. Many will make
the mistake of judging the Modern I
Superstitions far too quickly; "Go- J
Between," for instance, begins with I
a typical indie pop riff, jumping into I
typical indie pop lyrics, and so on and
so forth. Despite this opener, the al- I
bum rapidly expands into something j
far more diverse and tangible. Ny§sa I
Rosaleen delivers wonderfully catchy I
vocals that almost mimic Karen O at I
times. The guitar, drums and bass are J
all standard—nothing new or ground- I
breaking, just clean, well-played and j
solid. The band is highly melodic, but
yet so derivative. Finally, at the end of
the short ride, "Mercy Line" comes
across and delivers a shocker. It's easy
to say that the Modern Superstitions
saved their best effort for last—the
closing track is teaming with great
guitar-play, fantastic drumming,
rhythmic bass lines and an amazing
vocal performance.
As expected, lyrically the tracks are I
witty yet devoid of any real depth or
imagery; Rosaleen sings that she'll "Be
the girl between / For this modern love"
and "The lines we draw are / The lines
we cross;" nothing but simple phrases
to fill the album up. Not that this is a
bad thing. The Modern Superstitions
utilize simplicity to avoid clutter.
Even though they've established a I
sound, the Modern Superstitions still
need refinement Despite plenty of talent, they just feel cliche' and, blatantly
put typical. All These Things We've Been
Told is merely a beginning, though;
a sort of landing pad for the future.
What is now a new-born band will
soon grow and mature into something
far more diverse. The Superstitions I
have their foot in the door.
—Kamil Kraurayk
MICE PARADE
WHAT IT MEANS TO BE LEFT-HANDED
Mice Parade's newest offering What j
It Means to Be Left-Handed is a metamorphosis, both in the progression
ofthe album and the band's overall
discography. What begins as a fusion j
of flamenco guitar, jazz rhythms and
West-African inspired melodies in
"Kupanda," for instance, ends as a
darker shoegaze indie rock tune. The
binding element, as with any Mice
Parade record, is Adam Pierce's ex- I
pertly crafted rhythms, often flirting 1
with jazz beats and fast breaks. The 1
band has transformed over the years |
by adding extremely talented musicians, including classical guitarist
Dan Lipper, whose perfectly plucked
strings often provide brilliant leads.
But there is one element that separates this album from any other in
the band's history.
Continuing the movement toward
musically complex, yet accessible and
catchy pop driven tunes, as evidenced
by their previous self-titled effort, What
It Means to Be heft Handed instantly attracts the listener with gorgeous pop
melodies, often outlined by the sweet
vocals of Caroline Lufkin. Her presence
on the album simply pushes the sound
into another dimension of greatness.
After the worldly, folk-infused opening,
the band presents their blend of indie-
folk-pop with "In Between Times," a
song that moves from soft and sweet
to sonic chaos, all the while indulging
the listener with a super catchy chorus.
After listening to the first two songs, it
is advisable to stop and reflect, perhaps
press the repeat button and really take
the time to hear the complex nuances
ofthe music.
Enough can't be written about the
rhythms that keep that album flowing. It is rare to have a band's sound
highlighted by the rhythm section,
but Pierce's skins are worthy ofthe
distinction. The drums sound as if
they were recorded in an open room,
creating a natural and organic feel j
without ever overpowering the other
components. Just when you think they
have created the perfect song, along
comes "Old Hat" an absolutely beautiful soundscape of dizzying classical
guitar, pinned with piano and more
of an electronic consistence to the
drums. The crescendo is brilliant.
If there's a criticism, it is a faint I
one. The album finishes on a darker,
slower mood in "Marry Anne," which
is tad out of place from the energy generated from the previous songs. Be that
as it may, What It Means to Be Left Handed  j
should be placed early as a nominee for i
an album ofthe year award.
—Slavko Bucifal
PETE SAMPLES
BmopcoT
(Independent)
Named after the outdoor miniature j
village in Beaconsfield, UK, Bekonscot I
is the last of four Pete Samples al- \
bums by Montreal/Winnipeg multi- !
instrumentalist Brent Freedman. "The j
narrative just seemed right to retire I
this Pete Samples guy," Freedman !
w said on his website. The album was
self-released, and comes either as a
free download from his website, or
in a handmade limited edition package containing the CD, with a booklet
of photographs of miniature models
made by Samples.
Listening to the album, it seems
that Samples approaches music-making as he does his miniature art—with
patience, meticulousness and an eye
for detail. He wrote all the songs and
played all the instruments, and as such,
without a label to answer to, he has
complete control over his art You can
hear this in the music—it is lush and
layered, with dulcimer, xylophones,
accordion and keys complimenting
the guitars, bass and drums. Samples'*
vocals are worth mentioning too—
breathy and hushed, but multi-tracked
for a stereophonic chorale effect The
songs have varied structure, with extended buildups, breakdowns and
long instrumental interludes. What
they have in common is a tendency
towards simple, positive pop chord
progressions and driving, four-on-the-
floor lack drum rhythms. It's quite cool
when Samples takes a simple, repetitive melodic motif and gradually builds
a song up around it to a climactic intensity. What this means is that the music
will appeal to those who appreciate
Samples' tightly controlled, composed
style of songwriting, but people who
like more of a loose, live feel may be left
wanting by the lack of group dynamics
and improvisation.
Bekonscotis Freedman's farewell to
his eight years of working under the
Pete Samples moniker, and according
to him, it is the first of his albums
"thatfeels complete." Attunes melancholy but always sounding hopeful, it
seems as though Samples has taken a
project to a conclusion that is satisfying to him.
—Douglas Mackenzie
ROUAMMY
THE RETURN OF TNI LONESOME PAW
WORK PULPIT, AND SUNDRY OTHER
TALES FROM THE RAINBOWS END
(Independent)
There is a divide for me with this
album, the fourth from Vancouver
transplants Rollaway. Part of me really
enjoyed this music, a light quirky play
on folk/country that reminded me of
the Buttless Chaps. Singer Benton
Roark adopts a nasally, syrupy country voice that taps into Bob Dylan's
Nashville Skyline croon and a touch of
Neko Case, if she were a dude with
less range. At times it's fitting to the |
music and; at other times it just falls
flat—especially when the music itself j
is of such-quality listening. But to be
fair, the album is really good and despite a near stumble out of the gate in
the first song or two, The Return ofthe
Lonesome Coyote Patchwork Pulpit, and
Sundry Other Tales From the Rainbow's
End does a decent job of pulling me in
with some seriously pretty guitar work |
and well written songs that create little 1
ripples in the places where I feel my 1
emotions. "Paperhat Loveboat" is |
one of a few songs that fit Roark's I
and shaker/vocalist Sarah Wolfman-
Robichaud's vocal interplay perfectly,
while "Northern Star" sounds like it
might have been born in a basement
sometime in the mid '70s, with its
fancy-free, woodsy sort of folk feel.
There is a dirty-southern-gothic-rock-
country-folk thing going on with mis [
music, which was hard for me to get |
into. Part of me wanted to pass it off
as "not being my thing" but the mu- j
sicianship and lyrical quality is just \
too good to deny.
—Nathan Pike
SyttfDUNK
THE SHIVERS
The Shivers, the new release by Victoria \
four-piece and CiTR chart favourite l
Slam Dunk, isn't actually all that j
new—it's a collection ofthe previ- I
ously released bonus tracks from
their self-titled seven-inch debut on j
Old Life Records with two new tracks j
added. The repackaging of old ma- \
terial aside, why mess with a good \
thing? On The Shivers, Slam Dunk |
avoids the frequent shortcoming of |
a lot of garage rock bands—engaging \
in concert, yet dull on record. That
this record slays almost as hard on my \
shitty laptop speakers as Slam Dunk
does in a live venue is a testament to I
the quality ofthe recording. They're
undoubtedly one of the most fun
bands to see, and the price of admission usually comes with a free burrito
or two (really).
The Shivers is ten songs of expertly
crafted garage rock, heavy with hooks
and sing-along choruses. Within the
album, "Do The Slam Dunk" stands
out as it is addictively catchy. Meanwhile "Ratcatcher," a newer track,
shows that the band is capable of doing more than just tearing through
fast and fun rock tracks. The album is
set to release on vinyl on March 3. Until then, all the tracks are available for
free download through BandCamp.
—Tony Kess
SUN AIRWAY
NOCTURNE OF EXPLODED CRYSTAL
CHANDELIER
(Dead Oceans)
How aptly named. This Philly band's
first full length effort is indeed an
explosion of crystal prisms hitting
the light and reflecting kaleidoscopic
sounds back upon its listeners. Ifs the
type of lazy, hazy pop that will putyour
head in the stars, in clouds or in cotton candy. Wherever it is, it's bound
to be colourful, and sweet
The opening track "Infinity" bursts
like a hopeful reawakening dawn, and
this bright tone maintains throughout. "Shared Piano" and many others sound like those sparkling, clean,
wide-eyed outfitted intros from the TV
show Skins. "Oh, how we put the days
away / We just danced beneath the
sea of snakes," is the sort of youthful escape bandleader Jon Barthmus
writes about on "Put The Days Away."
Along with Patrick Marsceill sculpting
the thick textured sound atmosphere,
they recorded the album in Barthmus'
basement studio and, although the
reverb Is heavy, there is an overall
sleek sound. It's pretty pop: bright
and delightful.
Sun Airway might not be entirely
memorable, since all their songs
are similar enough to blend into a
thick mess, but then again, can you
remember clearly the last time your
head was in the stars? I think not And
if you can, then your head wasn't deep
enough in the cosmos.
—Ming Wong
WEFOUNDA10VEBIRD
WE FOUND A LOVEBIRD
(Independent)
When looking for inspiration, Vancouver's We Found A Lovebird traverse no further than the city they
reside in. Scrawled across their lyrics
and etched onto their album artwork,
the influence ofthe city is ever-present
on their self-titled release: it shapes
their personal experiences, musical
styles and lyrical content
We Found A Lovebird's self-titled
release is a bit indescribable; it is not
quite indie pop, yet not complete rock
m roll or folk either. Instead, it is a
hybrid of melancholic voices, a brass
section, femininity, shoegaze sounds
and rock guitars most epitomized by
"I Need A Good Drunk." This is a laid
back tune that's smooth and thoughtful, up until each factor culminates into
a tempo breakdown before ultimately
starting back up into its soft melody.
Edged with darkness, "The Lament"
is definitely the best cut on the album.
Soft yet strained vocals with a surly
demeanour add an ominous presence
to an otherwise upbeat affair. Harmonized and muted trumpets, along
with the drumbeat and guitar, make it
punchy and danceable, while synthesizers provide an organ chorale sound
supporting the feeling of "Thank Heaven for those bound for Hell /Thank
God if s never easy to tell."
Perhaps the minor downfall is
that the exhaustive genre changes
that occur do not always make sense.
"The Lament," a song so filled with
cynicism and charm, is preceded by
an almost calypso-like song "Concertina" and followed by the heavily
rock tinged "Reality TV." As separate
entities, most ofthe songs are fun,
quirky and interesting (save "O Avenue Park") but compiled together do
not compliment each other like a more
fine-tuned album would. We Found A
Lovebird captures space within the
Vancouver music scene, but has yet
to really formulate an identity.
—Kaitlin McNabb
31 M
51|
SALEM DY STEVE LOUIE
GRINDERMAN /ARMEN-RA
November 26" The Commodore
The pre-show scene was just as I imagined it would be: multiple bearded
older men wandering around, some
lounging with their significant others, hoping to relive the glory days.
The younger generation was still
represented plentifully, however,
which became more evident as the
show neared and the floor began to
crowd. A tremendous excitement and
a rebellious punk energy hovered over
the mass as the shades lowered on
the windows. Critics have claimed
Grinderman to be an effort on Nick
Cave's part to reclaim his youth, to
explore the roots ofthe Birthday Party.
We weren't here to serenely enjoy the
Southern blues, folk, and lovely poetic
monologue of Cave as heard in the
Bad Seeds. This was going to be pure,
chaotic rock 'n' roll.
This energy certainly wasn't
tapped by Armen-Ra, a strange,
androgynous figure who strolled
out to play Armenian laments on
his theremin and to generally freak
us out in preparation for the main
act. The crowd was largely left
speechless. The feelings of confusion
and displacement Armen-Ra caused
in me didn't quite coincide with the
total ecstasy and fulfillment I would
experience later by witnessing one
of my musical idols up close and
personal. I still haven't figured out
the reason for this opener, but the
complete absurdity ofthe choice is
spectacular in its own way. When
Nick Cave finally walked on stage,
following the other three members,
a surge went through the crowd,
manifesting itself in a pulsating
thrust toward the stage. This pushing
and shoving, tending primarily
toward the figure of Nick Cave like a
compass pointing northward, would
continue throughout the show. While
bothersome at first, this constant
ebb and flow, this discomfort, this
heat, gave a whole new life to the
performance as Grinderman throttled
and blasted through almost their
entire discography (be it only two
, albums). The vitality ofthe 50-plus-
year-old Cave-looking like the image
of his younger self that I had seen in
the chaotic Birthday Party DVD Pleasure
Heads Must Burn-was infectious.
A surprise was the fact that Cave
played guitar throughout most ofthe
tracks. Having gotten so
used to a Nick Cave who recited
poetry while playing the piano or
buzzing on a harmonica, this change
was another representative of the
fantastic flood of youth that can be
heard in Grinderman's albums.
While his musicianship was nice,
the greatest moments were those
when Cave roamed about the stage,
howling out his lyrics while pointing,
thrusting, sweating and occasionally
grabbing fans' hands. At one point he
even pulled a crowd-surfer on-stage,
tossing him to the floor and stomping
his foot on the guy's chest until the
song was finished. One moment
that sticks out was when he hovered
straight above me, screeching into the
microphone "I just want to relax! I just
want to relax!" and I was immediately
brought back to the young Cave from
the Birthday Party, and I felt like I was
a part of that; I was somehow closely
connected with this man I had heard
so many times, at a distance, through
headphones or speakers.
—Andy Resto
32 THE BOOKS /THE BLACK HEART
PROCESSION
The Vogue Theatre j December 6
I Though I was thoroughly absorbed
by the Black Heart Procession's background visuals, maybe too absorbed,
they didn't really seem to make any
sense. I wondered if the looped pic-
I tares ofvampires, dragons, the Alps and
the Pope were put in place to sublimi-
nally envokes emotion to go with the
: music, or if it was just a Google image
I stream. Either way I think I laughed too
loud at the Dracula images and I hope
the band didn't think I was laughing at
them. The best part ofthe Black Heart
Procession's set was the musical saw
that was played in the last song—that
and Dracula.
I had no expectations going into
experimental Boston band the Books'
set but it was extremely enjoyable.
They have great inspirational visuals
featuring mashups of YouTube clips
and educational footage with innovative effects and text The three-piece
played live bass, guitar and cello, and
were accompanied by prerecorded
backing tracks.
There was one song in which they
used tapes from an early '90s kids
recording toy, TalkBoy (or the pink
TalkGirl) which you might remember
from Home Alone 2. Using a TalkBoy
tape found in a thrift store, the Books
manipulated quotes like "I'm gonna
rip your hair off and you're going to
be bald," "I wish I was a boy" and
"Lwanna blow your brains out" and
made it into a song called "A Cold
Freezin' Night"
The Books' live experience was
dependent on both their musical and
video components. One song featured
a family movie montage featuring a
band member's brother, Mikey, who
helped write the song (and made a guest
appearance. Lots of people yelled "Yeah
Mikey!"). Another was set to a mash of
educational acupressure footage. They
also used the soundscapes of Tokyo,
like the scraping of high heels in their
song "Tokyo." Overall the show was
great but one could have a very similar
experience by watching their videos on
theDVDPlayall.
—Olivia Meek
BISON B.C./HAGGATHA/
WEAPON/PURPLE RHINESTONE
EAGLE
The Biltmore / December 10
Vancouver is not exactly well known
for being a fertile breeding ground for
successful metal bands. Aside from
Black Mountain, Strapping Young Lad
and 3 Inches of Blood, there haven't
been any other credible heavy groups
from this city to gain any significant
recognition outside of Canada.
Bison B.C. definitely deserves to be
added to this exclusive club. Combining thrash, stoner, death and most
other metal subgenres you could care
to mention, they're vital and contemporary while retaining the spirit of
their musical heritage. In creative
terms, they are only one or two steps
behind Mastodon and High On Fire,
arguably the leading lights in modern-
day metal.
Opening the night's proceedings
was the only band from out of town,
Portland's Purple Rhinestone Eagle.
Whilst some of their song writing is
a little unrefined, they still crank out
some seriously cool Sabbath-inspired
riffage. Their flair for this was particularly evident on set highlight, "Burn
It Down," complete with some super
sexy bass-wah action. Ifs not often
that the opening band on a bill gets
calls for an encore either.
Things took a decidedly heavier
turn when Weapon took the stage.
The modicum of melody in their
songs was expressed through some
impressively nimble bass playing.
This brought some extra depth to
their otherwise visceral sound, like a
more stoner rock take on Neurosis.
Any band that introduces a song as
being "about doing mushrooms in
the woods" is obviously going to
be good.
Haggatha picked up where
Weapon left off, pushing heaviness
to even further extremes. Their bleak
and misanthropic noise was hard to
stomach, especially when combined
with their horrific strangled vocal
style, reminiscent of the seminal
Burning Witch. Uneasy-listening
indeed.
The sheer ferocity of Bison B.C.
threatened to cause the Biltmore to
implode. "Slow Hand of Death" was
frustratingly hampered by some over-  j
excited moshers up front who got j
caught up in both the moment as well
as vocalist/guitarist James Farwell's
mic stand, prompting fellow vocalist/  \
guitarist Dan And to diplomatically
plead for "peace in the mosh" in order
to calm the situation.
Three releases into their career,
the band are already spoilt for choice ;
when it comes to putting together :
their set list. While most ofthe songs
. they played were taken from their last
album, Dark Ages, (including the awe-  I
inspiring "Stressed Elephant" and
"Fear Cave") we were also treated to
a savage "Dark Skies Above" from i
their debut. Bison B.C.'s music is so
densely complex that even if you're  :
familiar with their work, it was hard  j
to follow what was going on. As they \
piled through riff after riff, some of
the subtleties were regrettably lost in  j
the maelstrom. Ifs best to pay attention when seeing them live, because if
you don't keep up, you'll get crushed
in the stampede.
—WillPedley
MYTHS
The Astoria/I
I'm a little embarrassed to admit that
I never really appreciated noise music
(loosely defined as the contemporary
avant-garde mobilization of atonality
and dissonance for listening pleasure)
until I caught Lief Hall's performance
at a small event at the Western Front
this past summer. A friend of mine,
a talented local drummer and noise
aficionado, invited me to the event
with the hope of cracking open my
dormant noise chakras. In any event
I showed up, exhausted and sceptical just as Hall was starting her set.
She stood in front of the mic and
emitted what I can only characterize
as otherworldly creaks, crackles and
shrieks that simultaneously made my
skin crawl while pushing all the noise
pleasure buttons I didn't know I had.
I immediately recognized that she was
accessing and amplifying something
that a broad spectrum of music lovers
unconsciously crave—pure timbre, the
unadulterated grain ofthe voice. But
she divested it of all of its unnecessary
packaging, like meaningful lyrics and
comfortable harmonies. No, this was
the raw cacophonous feed and it made
me tingle all over.
So when I heard that one of her
other projects, Myths, was going to
be playing at the Astoria, I was eager
to check them out. I was pleased to discover that the two-girl band, consisting
of Hall and Quinne Rodgers, channels
the dissonant timbric richness I encountered at the Western Front show
through melodic, occasionally lyrical,
poppy-punk synth tunes thatyou can
actually dance to. And a lot of folks I
were doing just that. "Deadlights" was
a particularly catchy crowd favourite.
Unfortunately, Myths's set was really short (half an hour, tops). I would
assume from their mini-CD, which
features only four songs, that this is
because they're still working on a corpus of material. Here's hoping that
they keep on producing because ifs
such a breath of fresh air to encoun- ;
ter inspired local acte that aren't just
blandly mimicking the trends radiating out of more cosmopolitan urban
centres. These guys are doing totally
singular sonorous work that flirts with
the thresholds between sense and disorder. Some of their tunes come off like
sonic epilepsy while others are more
like shrill siren calls from another dimension. This is the-kind of musical
dynamism Vancouver needs much
more of. But I fear that genuinely tal- j
ented acts like Myths will be drowned
out by a sea of schlocky Nickelback
clones, some of which will go on to
win multiple Junos.
—Dan Adelman
LITTLE DRAGON /BILLYGOAT
Fortune Sound, Club /January xi
Despite being a snowy Tuesday night,
the sheer turnout for Little Dragon's
show at Fortune Sound Club—one of
my favourite venues in Vancouver—
was impressive. The crowd ranged
from drunken British twenty-something's, to devoted fans ofthe Gothenburg-based band, to even Polaris Prize
nominated rapper Shad. Regardless of
33 one's background, we were all packed
in like sardines, waiting anxiously for
the show to begin.
A hush carried over the crowd by
the time Billygoat took the stage. The
group managed to captivate the audience immediately with their electronic
melodies, not to mention their stop-
motion animations, which made the
whole experience like none I've ever
seen before. The best way to describe
their artistic style would be a marriage
of folk art and digital media. Their
j folk-electronic instrumentals were
just as enigmatic as their animations,
leaving plenty ofthe narrative to the
audience's imagination. Their hour-
long set had accomplished its goal of
captivating the audience while leaving
them hungry for more.
The crowd rejoiced as Little Dragon took the stage. Some people were
so excited they yelled out, "ai shiteru!"
(the Japanese phrase for "I love you!")
at leading lady Yukimi Nagano. Their
devotion came as no surprise, as the
singer's performance took the show
to a whole new level. The sight of
her glow-in-the-dark, hot-pink nail
polish and silver sparkling shoes, for
instance, was enough to get the crowd
frantically excited before the troupe
even played a note.
Little Dragon's sound is original, without a doubt, but the way
in which their pieces were played,
re-edited and extended from their
recorded counterparts only made
me appreciate them more. Their set
list consisted of songs mainly from
Machine Dreams, with a few classics
from their self-titled debut and unreleased material from their forthcoming album, Ritual Union. The vocals
were smooth and rich with soul. The
melodies were catchy without being
stagnant. The drums were energetic j
and crisp, while the bass kept it all >
groovy and grounded.
Little Dragon's musical talent was i
reinforced by the chemistry the members have with one another. Fredrik
Kallgren and Hakan Wirenstrand
played their instruments with much
focus and conviction, both possess- ;
ing the mastery and discipline of
skilled surgeons. Erik Bodin played
his drums with so much enthusiasm that at times it felt as though he
had multiple hearts pumping blood }
through his veins.
Inevitably, as the front woman,
Nagano stole the show. Not because
of her looks, or anything superficial,  j
but because of how at home she was I
on stage. She made grand, symbolic
gestures as she sang her lyrics. She
danced with the music as though it
were a spiritual entity. She played
drums alongside Bodin, adding her
own percussive elements to the music.
It was like watching a Sufi perform her
own brand ofneo-soul music. She was
queen ofthe stage that night, at one
with her music.
—ChibweMweene
SEX CHURCH/DUFFY & THE
DOUBTERS/TO BAD CATHOLICS
Interurban Gallery /January 15
No one in Vancouver shows up on
time for anything. This is why the
Scratch Records show at the Interur-
ban Gallery with Sex Church, Duffy
& the Doubters and To Bad Catholics
started late. At 10 p. m. the largely open
space was pretty sparse, with about
25 people mulling around drinking
Bowen Island beers and Dixie cups
of wine, but after an hour the space
felt snug and cozy.
To Bad Catholics started things off
with a weird set The showmanship
ofthe duo was perplexing to more
audience members than just myself.
We were trying to figure out if their
performance was artfully staged silliness or just poorly rehearsed. Having trouble seeing their instruments,
they asked for the floodlights to be
turned back on, struggled with their
equipment, forced their voices and
were generally amateurish but well
timed in their dance moves. Slowly the
audience began to smile and laugh,
first one person then another, because
even if we weren't sure if we should be
laughing-at or laughing-with, we were
sure we should be laughing. It turns
out (and I couldn't see this because
I'm not tall and was standing towards
the sound booth) neither keyboard set
or the borrowed bass picked up for
a bit of epic performance had been
wired into the sound board. Pantomime! In the end, rec-room charm
won over skepticism and To Bad
Catholics got the closing verdict that
their stage show was pretty good but
could have used a director.
Next up was Duffy & the Doubters,
and I have to be honest, they were
pretty enjoyable. Rolling rhythms and
rocking instrumentation paired with
dissonant harmony had the crowd
pleased (who would have expected
such sweet convergence in songs with
such primal thrust?). Unfortunately
for this reviewer, an early appointment Sunday morning mixed with a
later than guessed start to a Saturday
rock show meant I had to leave only a
few songs into Duffy & the Doubters'
set Verdict? If you haven't seen Duffy
& the Doubters you should, just don't
book yourself for an 8 a.m. wake up
call the next morning.
[ed. A.B. was a last minute jill-in jbr
our planned reviewer, but unfortunately she
couldn't stay the whole show. The review
initially ran online incorrectly, identifying
Duffy & the Doubters as Sex Church. We
apologize/or the error.]
—A.B. Murray
SALEM/ANIMAL BODIES
The Waldorf Hotel /January 22
First off, the show was really, really
great The Waldorf's Cabaret Room
has an excruciatingly good sound
system, and a friend of mine put it
right when she described how the music touches your brain. The volume
was full blast for Salem, whose rich
chords, ghostly textures and piercing percussion penetrated intensely.
34 People were dancing and really feeling it Musically, it was stunning. The
band featured live rapping as well as
their characteristic, shadowy female
vocals. Visually, they, were also stunning. The whole show pretty much
consisted of a dark stage where you
could barely make out the figures performing, interrupted occasionally by
white strobes that flashed in front
ofthe audience. Later in the show
the strobes started flashing quickly,
causing me to perceive bluish-green
colours in the white light. It was a
supernatural experience. Animal Bodies opened, and while they are one of
my favorite local acts, I unfortunately J
missed their show that night.
I want to address the genre of
music people are generally calling
"witch house," although there are
other terms too (some less politically
correct than others). I don't think that
the sound should be defined or pinned
down so that we can do an iTunes
feature on it, but I know that this term ;
springs to mind for many people reading a Salem show review, and I want to
contribute by discussing the group's
influences. At first I didn't understand
why it was called "house." The tempo
is typically super slow, which explains I
the "drag" and "dub" terms used, but I
house music is usually much faster.
But after experiencing the simultaneous danceability and dark emotional f
richness ofthe live performance, I
made the connection. If you listen to
'80s house from Chicago (the origin
of house music) some of it has droney
high pitched synth chords floating
overtop a vocalist and rudimentary :
drum machine sounds. Many ofthe
lyrics discuss longing and lost love or ;
dismay about their world and the need ;
to move to another planet. Straight
up, house music is ghostly and sad.
Just like Salem and their peers. Listen
to "Face It" by Master C&J and you
will know what I mean. I read a quote i
somewhere (I wish I remember who ',
said it) that said something along the
lines of: "the best dance music is sad."
A huge misconception is exemplified j
in the Expatriarch blog in their witch \
house article:
'"House" doesn't fit, as house I
music has always maintained a joyous connection with the dancefloor,
something definitely absent here."
Many people look at dancing as
a form of light hearted escape even
thoughn it actually can be an integral
component ofthe experience ofhuman
life, and dance music needs to encompass the full spectrum of emotions that
any kind of music deals with.
Salem captures the essence of
house's haunted ghostly roots and
delivers a slowed down approach
with modern, piercing percussion.
Wikipedia cites Texas rap imprin
Swishahouse as the originator of Salem's percussion technique. The hip
hop influence is undeniable, even if
you don't take the rapping into account. I can't help but feel like I'm in
a southern rap video when I dance to
this kind of music! As a dance music
nerd, percussion is what I respond j
to the most, and the intricacy of Salem's rhythms is strong and moving.
Whatever this new sound is, Salem
does it right
—Brad Winter
WEEN
The Queen HizabemTlietrtre/January 24
We all make mistakes. Being a Ween
fan for over 20 years, I don't think my
heart could have taken writing a griping
report ofthe band's recent gig at the
Queen Elizabeth Theatre, which a lot
of people are calling a big disappointment In a way, I can't say I'm surprised
that one ofthe Weeners got too messed
up to perform with his usual flair. But
Ween has gained a reputation for enjoying illicit substances in the past and
playing for pockets of equally messed
up people. This staffhappens in a business where you're being passed free
drugs most places you play, and it clearly
happened to Gene Ween at the Queen
Elizabeth Theatre.
An overly-high rock star shitting
the bed amongst an otherwise ridiculously tight and professional band is
bereft of excuses. Again, we all screw
up, but fans also paid upwards of $50
a ticket to watch a band meltdown
on stage. Looking thinner, older
and more ragged than I remember,
a clearly off his rocker Aaron "Gene
Ween" Freeman started out
pretty rough,train-wrecking
especially hard on the 20-min-
ute long "Reggaejunkiejew" as
he disappeared and then came
back to lay down on the stage
for a while. After a couple more
songs, the band lost patience
and left him on his own to play
sad versions of "Birthday Boy,"
and "Sarah." He was a mess the
entire time. Then he walked off
and it was over.
Though I wish I could recollect set list gems or personal
highlights, I really don't have
much.T sat down with my mates,
felt elation at seeing the band,
got giddy when they played "Fiesta," giggled when my buddy
called "Mister Richard Smoker" seconds before they played
it and then soon after I lost it
Jitei^uly} 3^**;'
What I can report is that the
rest ofWeen was spot on. Mickey
"Dean Ween" Melchiondo pulled
off some insane guitar work,
and drummer Claude Coleman
was fantastic. As a band, Ween
have always been oddly talented,
even back in their days of huffing
Scotchguard, smoking too much
grass and writing bizarre songs
about ordering Mexican food.
With a cult-like following, their
shows have become the stuff of
legend and, for some, this show
was a dream come true. Ifs a
shame that so many people went
home unhappy, promising never
to see the band again. But this
wasn't a Ke$ha gig full of dance
choreography, it was Ween, and
they're known for being brown.
Unfortunately for many this
night was just a lot browner
than expected.
—Nathan Pike
Home of
Vancouver's
iuslc Directories
BANDS MUSICIANS RESOURCES
*^?
COMMUNITY
DRIVEN
CONCERI
LISTINGS
lucky's      ^ *niftr
Gallery opening Bilriyi
feb.lO-Tiffen Breen        SHU
3972 MAIN ST.
VANCOUVER luckys.ca
604-875-9858
35  //CiTR 101.9 FM CHARTS
STRICTLY THE DOPEST HITZ OF JANUARY
#
ARTIST
ALBUM
LABEL
#
ARTIST
 ALBUM
LABEL   _
1
Nobunny
Raw Romance
Burger
26
ShiYi*
s/t
Holy Darkness
2
Ihe Russian
Futurists*
The Weight's
on the Wheels
Upper Class
27
Ducktails
Ducktails III:
Arcade Dynamics
Woodsist
3
Ihe Weirdies*
Volatile
Independent
28
Crocodiles
Sleep Forever
Fat Possum
4
Surf City
Kudos
Fire
29
Violens
Amoral
Friendly Fire
. 5
Stereolab   .
Not Music
Drag City
30
Microbunny*
49 Swans
Independent
;     6
the Black
Sun in the Day
Moon at Night
Moon Records
31
Black Mountain*
Wilderness Heart
Outside
7
Fergus &
Geronimo
Unlearn
Hardly Art
32
Grimes*
Halfaxa
Arbutus
8
Fine Mist*
Public Domain
Independent
33
The Ugly Beats
Motor!
Get Hip     .
9
Swans
My Father... Up a
Rope to the Sky
Young God
34
Daft Punk
Tron: Legacy
Walt Disney
Records
10
Salem
King Night
Iamsound
35
Tennis
Cape Dory
Fat Possum
11
The Go! Team
Rolling Blackouts
Memphis Industries
36
AHNA*
s/t
The Broadway
To Boundary
12
Social Distortion
Hard Times and
Nursery Rhymes
Epitaph
37
Y La Bamba
Lupon
Tender
Loving Empire
13
Syl Johnson
Complete
Mythology
Numero Group
38
The Budos Band
The Budos Band III
Daptone
14
Orange Juice
Coals to Newcastle
Domino
39
Grasscut
1 Inch: 1/2 Mile
Ninja Tune
15
White Fence
Is Growing Faith
Woodsist
40
Fond of Tigers*
Continent &
Western
Drip Audio
16
Brian Eno
Small Craft
on a Milk Sea
Warp
41
Various*
MusicWorks #108 J
MusicWorks
, Magazine
17
Diamond Rings*
Special Affections
Secret City
42
Sean Nicholas
Savage*
Mutual Feelings of Respects and Admiration
Arbutus
18
Elvis Costello
National Ransom
Hear Music
43
Eskmo
s/t
Ninja Tune
19
The Valuables*
EP
Independent
44
Charlie Louvin
The Battles Rage On
True North
20
Small Black
New Chain
Jagjaguwar
45
The North Sea
Bloodlines
Type
21
The White Wires*
2
Dirtnap
46
Hot Panda*
How Come
I'm Dead?
Mint
22
The Hobophobes*
s/t
Independent
47
Melvin Davis
Detroit Soul
Ambassador
Vampisoul
23
Gang Of Four
Content
Yep Roc
48
AfrpCubism
s/t
World Circuit
24
The Walkmen
Lisbon
Fat Possum
49
Jon Mueller
The Whole
Type
25
Sex Church*
6 Songs by Sex
Church
Convulsive
50
Aids Wolf*
March To The Sea
Skin Graft
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 atwww.earshot-online.com.
37 (212) Productions
Blim
Gumdrops
Pacific
Scratch Records
454 W Cordova St.
115 East Pender St.
2029 W 4th Ave.
Cinematheque
1 East Hastings
604-685-2426
604-872-8180
604-733-1037
1131 Howe St.
604-688-8202
604-687-6355
Antisocial
Bonerattle Music
Hart and Sole
Temple ofthe
Skateboard Shop
2012 Commercial Dr.
Clothing Inc
People's Co-op
Modern Girl
2337 Main St.
604-251-BONE
843 Granville St.
Bookstore
2695 Main St.
604-708-5678
Devil May Wear
604-630-9151
1391 Commercial Dr.
604-253-6422
778-737-8953
Audiopile
3957 Main St.
Highlife Records
True Value Vintage
2016 Commercial Dr.
604-216-2515
1317Commrecial Dr.
Prussin Music
710 Robson St.
604-253-7453
Dream Apparel ♦
604-251-6964
3607 W Broadway
604-736-3036
604-685-5403
Band Merch Canada
Articles for People
311 W Cordova St.
Hitz Boutique
Vinyl Records
www.bandmerch.ca
316 W Cordova St.
Red Cat Records
319 W Hastings St.
604-683-7326
604-662-3334
4332 Main St.
604-488-1234
Banyen Books
604-708-9422
3608 W 4th Ave.
The Eatery
The Kiss Store
The Wallflower
604-732-7912
3431 W Broadway
319CambieSt.
The Regional
Modern Diner
604-738-5298
604-675-9972
Assembly of Text
2420 Main St.
Baru Cafe
3934 Main St.
604-568-7554
2535 Alma Si
The Fall Tattooing
Koerner's Pub
604-877-2247
604-222-9171
644 Seymour St.
6371 Crescent Road
Westcoast Music
604-676-3066
604-822-0983
R/X Comics
3454 W Broadway
Beatstreet Records
2418 Main St.
604-682-4422
439 W Hastings St.
Flaming Angels
Lucky's Comics
604-454-5099
604-683-3344
Boutique
3972 Main St.
Woo Vintage
4307 Main St.
604-875-9858
Rufus' Guitar Shop
Clothing
BigMama
604-689-3224
2621 Alma St.
4366 Main St.
www.bigmama.ca
Fresh is Best Salsa
Neptoon Records
3561 Main Street
604-222-1717
604-687-8200
The Bike Kitchen
2972 W Broadway
604-324-1229
Zoo Zhop
6138 SUB Blvd.
778-737-2442
223 Main St.
604-822-BIKE
604-875-9958
A Frienis of CiTR Card
scores you sweet deals at
Vancouver's finest small
merchants and supports
CiTR Radio 101.9 FM.
citr.ca  Don't break your resolution yet... Buy more music!
K   Zulus trending releases for February.
Apnltom-ThelfearofMa^al&rliikfiigCD
(Merge!
BflgbtlYCS-TliePetptesteyCII/LPfSaiWteCrei*)
IH£ath~SplritBa)-llenmi-PlnrsBeaiee/LP
(DragCity)
The Oe^mliGrisir- Ths King Is 0£ad CD (CapiloS)
TiiiolTcamiiIl»SlicteiisSSWtipMs;ri*sifi8sl
Iron and Wine-Kiss Each Other Clean CD (Warner)
KwWesi-IITOiatM
UtwenLP!!
liS8fiewrrieilbciger-llapiile«iisetl£ga(TIir«IIJ8ctey)
Wtef^-tHIi|iilSiiteCIIPil|pBi)
^ JUpt-Napa Asylum CD/LP(DragMr)
SmitiiW^tems-iyeRBIoB<ieeD/LP(FatPossam}
SiH^Distortwn~R»dTinesaiidNiirsf^l^ynesl»/IP
The Streets-Comr»iters and Blues CD (Atlantic)
Tennte-CapeOeryCD/LPtFatPessiiiii)
Tfiilteclfir~IUwileath.»?2«B/LP«raBky)
WiK-RedBarkedTrecCO/LP
(PtakFtag)
YienCaiaiy-shapcshiningCDjPapcrbu)
K£Cd*RVS\
Zulu Records
1972-1976 W 4th Ave
STORE HOURS
Mon to Wed   10:38-7:00
Vancouver, BC
Thurs and Fri 10:30-9:00
tel 604.738.3232
Sat             9:30-6=30
www.zulurecords.com
Sun            12.00-6:00

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