Discorder CITR-FM (Radio station : Vancouver, B.C.) 2009-09-01

Item Metadata


JSON: discorder-1.0050199.json
JSON-LD: discorder-1.0050199-ld.json
RDF/XML (Pretty): discorder-1.0050199-rdf.xml
RDF/JSON: discorder-1.0050199-rdf.json
Turtle: discorder-1.0050199-turtle.txt
N-Triples: discorder-1.0050199-rdf-ntriples.txt
Original Record: discorder-1.0050199-source.json
Full Text

Full Text

Art abject mm^^^i
3 Inlfies of Blppd.
BevffcqMes £\
ioicgS 25 years (ot free for siaUon members! f
212 Productions Ltd
454 W Cordova St.
Skateboard Shop
2337 Main St.
2016 Commercial Dr.
Band Merch Canada
Banyen Books
3608 W 4th Ave.
Baru Cafe
2535 Aima St.
Beatstreet Records
439 W Hastings St.
The Bike Kitchen
6138 Student Union
197 E 17th Ave.
Bonerattle Music Ltd
2012 Commercial Dr.
Devil May Wear
198 E 21st Ave.
Dream Apparel +
Articles for People
311 W Cordova St.
The Eatery
3431 W Broadway
The Fall Tattooing
644 Seymour St.
Flaming Angels
644 Seymour St.
Fresh is Best Salsa
2972 W Broadway
Grindhouse Video
2911 W 4th Ave.
2029 W 4th Ave.
Hart and Sole
Clothing Inc
843 Granville St.
Highlife Records
1317 Commrecial Dr.
Hitz Boutique
316 W Cordova St.
Hotbox Accessories
2560 Main St.
The Kiss Store
2512 Watson St.
Lucky's Comics
3972 Main St.
1131 Howe St.
People's Co-op
1391 Commercial Dr.
Prussin Music
3607 W Broadway
Red Cat Records
4307 Main St.
The Regional
Assembly of Text
3934 Main St.
Royce Clothing
and Shoes
2817 W Broadway
R/X Comics
2418 Main St.
Rufus' Guitar Shop
2621 Alma St.
Scratch Records
726 Richards St.
Slickity Jim's
Chat and Chew
2513 Main St.
Spank Clothing
1027 Commercial Dr.
856 Granville St.
2082 W 4th Ave.
Spank Shoes
1181 Commercial Dr.
2066 W 4th Ave.
3467 Main St.
604-736-5651 •
True Value Vintage
710 Robson St.
Twigg & Hottie
3671 Main St.
Vinyl Records
319 W Hastings St.
The Wallflower
Modern Diner
2420 Main St.
Woo Vintage
321 Cambie St.
Whip Gallery
209 E 6th Ave.
AFriends of CiTR Card scores
you sweet deals at \fenoouveiJs
finest small merchants and
supports CiTR 101.9 FM.
Show it when you shop!
citr.ca 2868 w. 4th ave. @ macdonald in kits 604-739-7796 skuUskates.com  Table of Contents
September 2009
Jcfpandroids by Gerald Deo
13—Bev Davies: Play It Loud
Legendary Vancouver photographer Bev Davies
showed a fraction of her huge collection of images
that document our city's music scene.
14—Art Project: C/R/I/T/I/C/S/
A selection of images from a recent collaborative
project by Andrea Lukic and Justin Gradin.
17—A Room-A Loom
Deep in the heart of East Vancouver, there's a loom
and anyone can sit down and become part of an art
project and a community'
18—3 Inches of Blood
Cam Pipes talks to Discorder about his band's
reinvention as a serious metal band... that sings in
falsetto about medieval fantasy
X&te^reback! Vancouver's favourite dance trio have
returned from their year long journey of playing
music in Europe and talk to us about how that's
changed their sound.
30—Todd Fancey
Is he a rock star? Is he a social worker? He's both!
The New Pornographers' Todd Fancey talks about
how he balances his selfless side with his musical
The Rickshaw Theatre /The Cobalt
11—Textually Active
Burlesque West: Showgirls, Sex and Sin in Postwar
Vancouver by Becki L. Ross
12—Riff Raff
Boats! / The B-Liries / Random Cuts / Devil Eyes,
22—Program guide
32—Real Live Action
The Clips / Go Ghetto Tiger / Grouper / Hard
Drugs / Japandroids/ Makeout Videotape /Mika
Miko / SSRIs
37—Under Review
Arctic Monkeys / Datarock / The Dustin Bentall
Outfit / Extra Happy Ghost!!! / Grand Archives
/ Humans / John Wort Hannam / No Age / Sian
Alice Group / Spiral Beach
25—Charts Could use your help.
Discorder is a non-profit magazine devoted to
covering local and independent music and culture.
We rely on the help of hard working volunteers to
provide quality content each month. Throughout
our 26 year history, sustaining the magazine in
print form has always been a challenge, and even
more so as print publications across the board
are facing tough times and advertising dollars.are
Donate online:
Donate by mail:
send in a cheque to #233-6138
Student Union Blvd., Vancouver,
B.CV6T 1Z1
Donate by phone:
call (604) 822-1242 with your
credit card on hand
Show Discorder that you think we deserve to
continue doing what we do by making a donation
to support the magazine. All donations of $10 or
more will receive a tax receipt.
Thank you!
Sept. 19th Pit Pub
:'o§|p*1^ St. Andrew(s-We$ley United Church
>'W.     -•--    '*^" "'''   &/** m        '    5
Art Director-
Nicole Ondre
Production Manager
Debby Reis
Copy Editors
Liz Brant, Debby Reis, Alex Smith,
MeUssa Smith
Ad Manager
Marie Benard
Under Review Editor
Melissa Smith
. RLA Editor
Alex Smith
Web Editor
Calendar Listings
Melanie Coles
Promotions Director
Leanna Orr
Program Guide
Bryce Dunn
Peter MacDonald
CiTR Station Manager
Brenda Grunau
Student Radio Society of UBC
Image from C/R/I/T/I/C/S/ by Justin Gradin.
See more on page 14.
©DiSCORDER 2009 by the Student Radio
Society of the University of British Columbia.
All rights reserved. Circulation 8,000. Discorder
is published 11 times a year by CiTR, which
can be heard at 101.9 FM, online at www.citr.
ca, as well as through all major cable systems
in the Lower Mainland, except Shaw in White
Rock. Call the CiTR DJ Une at (604) 822-2487,
CiTR's office at (604) 822-3017, email CiTR
at CitrMgr@ams.ubc.ca, or pick up a pen and
write #233-6138 SUB Blvd., Vancouver, B.C.,
V6T 1Z1, Canada.
Editor's Note
Dear Discorder:
We've been changing. We might be pubUshing every other month starting in October at least for a
Uttle while. That's important, but what I feel is more
important has been a gradual shift in Discorder's
With the start of a new school year, new website,
new format and a new print schedule, it seems Uke
a good time to talk about the change. Over the past
year Discorder has moved to cover more and more
local, Vancouver-based music and art. In the future
you wiH find less about bands and artists from out of
town and more about our local heroes.
This isn't because we have any particular dislike
for music from the rest of the world. We love music
from aU over the place, but it's siUy for us to try and
compete with establishments like Pitchfork and Exclaim in trying to teU you who the hottest new band
from Sweden or Montreal is.
What we can do, and do weU, is report on what's
going on in our city Vancouver is a vibrant and talented community, which deserves to be discussed
and reported on. We'U be doing our best to fiU our
pages with stories relevant to the local scene. We
might not be musicians or artists here (weU not
me anyways), but by putting out a magazine about
Vancouver's music and culture we can give something back to aU the talented artists out there in the
In this issue check out the doings of local metal
heroes 3 Inches of Blood (page 18) and an interview with ace Uve performers BasketbaU, fresh back
from a year abroad (page 26). In TextuaUy Active
this month MeUssa Smith provides us with a look
at Burlesque West, a history of burlesque in our city
(page 10). New Pornographer Todd Fancey's professional Ufe as a social worker is explored by Dan Fumano and Dan HoUoway (page 30). We look at Bev
Davies, whose photography has long documented
our music scene and was.shown to the pubUc last
month (page 12). We check in on the struggles of
the Cobalt and the Rickshaw Theatre with running
their venues in Venews (page 10), and our feature
on A Room-A Loom looks at how Goonies new
art project is working to build community in the
Downtown Eastside (page 17).
On a final note, it is our art director Nicole On-
dre's last issue. She's been making this magazine
look amazing since she started last year and we'U
miss her. We wish her aU the best, and hope our new
art director is up to the task of filling her shoes.
Until next month,
Adriane Lake's name was mispeUed in Under Review in the August issue. It is Adriane Lake, not Lak.
September Contributors
Andrew Candela, Jules Chladni, Gerald Deo, Bryce Dunn, Robert Fougere, Dan Fumano, Dan HoUoway,
Alex Hudson, PhiUppa Lavery, Tamara Lee, Scott Lyon, Adam Mannegren, Sean Nelson, Quinn Omori,
Mark PaulHus, Nate Pike, Gavin Reid, Alanna Scott, Alex Smith, Saelan Twerdy
jf|k||p| Photo & Illustration
Merida Anderson, BasketbaU, Aisha Davidson, Gerald Deo, Justin Gradin, Robert Fougere, Tamara Lee,
Andrea Lukic, Nathan Matthews, Nicole Ondre, Nathan Pike, Ryan Walter Wagner.
Proofreaders iiifer1
Anne Emberline, Robert Fougere
To submit written
content to Discorder,
please contact:
gmail.com. To submit
photography or
iUustrations, please
Send in a cheque for
$20 to #233-6138 SUB
Blvd, Vancouver, BC,
V6T 1Z1 with your
address, and we wiU
mail you a Discorder
each month to your
Ad space is available
for upcoming issues
and can be booked   •
by calling (604) 822-
3017 ex. 3 or emailing
gmail.com. Rates are
available upon request.
To distribute Discorder
in your business, email
gmafi.com. We are
always looking for new
Be a part of a live studfflaudience with these intimate Thursday
afternoon recording sessions for CBC Radio 2's Canada Live series.
Aside from the skillful delivery of their unique fe^nd of
infectious pop music, what sets Vancouver-ba$||i> *•
Hey Ocean apart is the spirited character they i$|f»g to the
stage. Three mischievous personalities combine to form a
dynamic live presence that keeps concertgoer^^ptivated.
Since recording her first album at the tender age of
fourteen, Whistler-native AH Milner has wowed audiences
nation-wide with her sweet, pure sound and amazing
vocal depth. For this concert, Ali accompanies herself on
piano and is backed by guitar, bass and drums.
Since forming in 2003, JUNO nominated Victoria band,
Jets Overhead, has mesmerized crowds at home and abroad
with their atmospheric approach to harmony and melody.
ALL AGES!     Student tickets only $10
Ticketmaster.ca | 604.280.3311 (service charges apply) or Chan Centre Ticket Office (in person only)
=1      straight
105.71 Available September 22 Photos of the
Rickshaw by Robert
Fougere. Clockwise
from bottom: night
manager, exterior
and interior.
The Rickshaw/The CoJoalt
by Jordie Yow
After a montU of growing pains it seemed
Uke an excellent time for us to get in
touch and see how the new 1,000 person
Rickshaw Theatre was dealing with things.
"We tried to do a very soft opening," MaUce
Liveit said on the phone whUe he took a break from
installing a new Ughting system tha,t had been purchased from Richard's on Richards.
Although he had not originaUy wanted to open
the new venue until September, he thought it was
necessary to open to provide a space after venues
such as Richard's closed down and the Cobalt was
served with an eviction notice.
Situated at 254 East Hastings, the venue is currently hosting a few shows a week whue it continues to undergo renovations. By September, Liveit
expects the outside of the theatre to be redone with
a neon sign with the venue's name in both English
and Chinese, thanks in part to funding from the city,
which is encouraging neon signs to return to certain
areas of Vancouver.
The Rickshaw is in the heart of the DTES, but Liveit
isn't worried that the location wiU be a problem.
"There are people who think it's going to be harder to seU the room," Liveit said. "But reaHy there's no
problems in the neighbourhood."
Liveit pointed out that despite the neighbourhood being a bif rough, worried parents can drive,
right up to the entrance of the buUding and drop
their kids off for all-ages shows and then the Rick
shaw staff wiU keep an eye on things.
Being situated in the DTES offers the theatre a bit
of an advantage, as it is conveniently located for the
artists that Liveit wants to perform there.
"Most of the real art and music coming out of this
city is from the Downtown Eastside," Liveit said. "So
they're here already''
Those local artists might have a bit of trouble
ruling the large venue to capacity, but Liveit plans
on subsidizing local shows with more lucrative big
name shows. He's excited that he's been ableto announce that Pink Mountaintops and Skinny Puppy
have booked shows in the upcoming months. Liveit
said that both the Japandroids' and Jaws' shows had
approximately 600 people in attendance and he expects to seU out at least one concert before October.
Though he dreams of setting up a curtain that can
drop down halfway through the room for smaUer
shows, Liveit is taking things slowly. As far as Uquor
sales go, the Rickshaw is stiU being run as a test case
by the city with extra red tape for every event—but
hopefuUy that won't be for too much longer.
MeanwhUe, Wendy 13, manager of the Cobalt,
was given an eviction notice by her landlords on
July 31. The eviction is set for Sept. 30 and is reportedly in order for the Cobalt—the venue she runs devoted to punk, hardcore and metal—to be renovated
for soundproofing.
The eviction was given without notice in the
middle of a concert. Wendy 13 said it was originaUy
because owners claimed she was underusing her
Uquor Ucense, though the owners now say it's for
sound renovations. The buUding is owned by the
Sahota family who also run numerous other Downtown Eastside locations, including the Balmoral and
the Astoria.
Wendy 13 has been running the Cobalt for
three years and has been an employee since 2000.
She hopes that she wiU be aUowed to keep the bar
and venue open until Dec. 1. December and January are typicaUy slower months for the business so
she hopes to do the necessary renovations then and
continue to run the Cobalt afterwards.
"I would love to stay at the Cobalt," she said, "I
love the Cobalt so much."
Wendy 13 said that conversations with the city
had indicated that city staff did not require the
building to be soundproofed this quickly and would
not need work to begin as early as the date of her
currently scheduled eviction, Sept. 30.
Lucia Cumerlato, who works at Licenses & Inspections for Vancouver city hah, spoke to Wendy 13
regarding the Cobalt's soundproofing. Cumerlato
said that the city would like the work to be done
"as soon as possible" but would be willing to make
aUowances depending on the situation. The city is
currently waiting to hear from the Cobalt's owners
before making any decisions.
1Q Burlesque posters from the book, legs by Merida Anderson
,      vri. _   1
mki   7(1
Textually Active:
Burlesque West: Showgirls, Sex and Sin in
Postwar Vancouver
by Becki L. Ross—University of Toronto Press
by Melissa Smith
Written by Becki L. Ross, a sociology professor at UBC, Burlesque West traces
the trajectory of the burlesque moment
from the 1950s to its reemergence on the cultural
landscape today.
UnbeUevably for an urban centre that has now
earned the moniker No Fun City, in the 1950s Vancouver was regarded as the Las Vegas of Canada due
to its vibrant burlesque scene. The '50s represented
the glory days of erotic entertainment in Vancouver, marked by neon signage and a developed sense
of community, with designers loaning costumes
to dancers to secure employment. Offering Uve
musical accompaniment and elaborate costumes,
cabaret shows were viewed as an art form and were
frequented by respectable couples for an evening's
entertainment. This trend continued throughout
the '60s with the advent of topless dancing, ushered
In by way of Chinatown, which at the time was a
booming and vibrant entertainment district.
The Industry changed drasticaUy as fuU nudity
was decriminalized in 1972 and bottomless shows
came into prominence. Lunch shows began to operate in bars and this trend developed into the 1980s
bar culture—which survives to this day—with beer
parlours playing prerecorded music and featuring
onstage showers and being pressured to do spread
shows, where performers exposed themselves in the
most graphic way possible, [ed. I asked Melissa what
a spread show was and she said it was "showing the
pink" which clarified it enough for me at least] Prior
to this time, women in their 40s could command a
higher salary than newcomers to the scene, due to
their experience and abUity to put on a weU crafted
show. However, as the climate changed from artistry
to Ucentiousness, women's economic UveUhood became less about talent and more about a willingness
to completely expose themselves; veterans of the
cabaret scene left the business.
Aside from tracing the downward spiral of
disrobing as an art form, what makes this book a
particularly interesting read is the definitive role
that governmental regulations played and the effects their actions had on the once thriving cabaret
scene. In order to obtain a cabaret Ucense, a venue
needed to provide a three-piece band and a vocalist. City councUors granted cabaret Ucenses fairly
UberaUy, but Uquor Ucenses, which were a necessary
component in helping to pay the costs of operating
a cabaret, were granted separately by the Uquor control board and seemed to operate on an East/West
The West End consisted of establishments primarily owned by white men and frequented by
white, middle-class cUentele, whUe the East Side
businesses were leased to men of colour and catered
to a raciaUy diverse cUentele. The dancers in the
West End tended to be white A' list dancers whUe
East Side cabarets presented both white dancers and
women of colour and featured the first transsexual
performers. West End premises were granted Uquor
Ucenses (the Penthouse being an exception, presumably due to the variety in its customer base) which
helped offset their operating costs whUe East Side
venues were repeatedly denied Uquor Ucenses with
Uttle explanation. This situation resulted in East
.Side businesses turning a blind eye to BYOB practices and selling ice, mixers and sometimes even alcohol to keep their economic Uvelihoods afloat. East
Side premises were repeatedly raided and fined (in
the case of Harlem Nocturne, the only estabUsh-
ment in town with a black owner, raids sometimes
occurred two or three times daUy) for disobeying
liquor laws that they had repeatedly sought permission to obey.
To compound this, the legalization of bottomless dancing saw bars beginning to offer fuUy nude
shows. As bars and cabarets were granted different
Ucenses, they had a definite advantage over traditional burlesque venues. WhUe cabarets were bound
to reduced operating hours and the need to supply
Uve entertainment, bars were Ucensed to open much
earUer, stay open twice as long, and could use prerecorded music. This development had devastating
effects on cabarets, as then* profit loss meant they
could no longer afford to offer Vegas-style acts and
were forced to close their doors, spelling unemployment for many of the city's musicians who earned
their UveUhood at the cabarets, as weU as those
dancers who were more interested in putting on a
real show rather than a spread show.
Although the author does not draw this comparison, it is impossible not to see a paraUel between
post-warcabaret culture and the climate surrounding Vancouver city councU's current position on
Uve music venues. Just as the refusal to grant Uquor
Ucenses to cabarets based on a misguided stance
of moral protectionism resulted in degradation to
both culture and community, one only has to visit
the government-sanctioned cultural wasteland
known as the GranvUle "entertainment" district to
see that history has repeated itself. And Uke the neo-
burlesque revival that is gaining popularity in the
city, supporters of alternative venues wUl organize,
mobilize and form their own resurgence.
11 Riff Gaff
Now On Sale!
by Bryce Dunn
Hard to beUeve summer is on
the outs, dear readers, but
at least Boats! has the right
idea in taking their summer vacation
while they have the time. They swung
through Vancouver last month and I
was quick to swipe up their debut 7"
Summer Vacation—aptly titled after
their seasonal excursion and the sunny disposition left by their weU-craft-
ed pop punk hooks. It wUl leave you
(as it left me) yearning for long lost
days at the beach. Tracks like "Heart
of Gold," "My Mother Was Right"
and "Twenty One" give off an early
Queers/Scared of Chaka vibe whUst
guitarist Matt sings with a scratch in
his throat and his heart on his sleeve.
MeanwhUe "Pool Party is the only
cut that reaUy sums up a favourite
summer-past, but stUl bounces like
the inflatable tube you're floatin' on
while soaking up some rays. Like our
fleeting hot months of the year, soak
this one up whUe it lasts.
Speaking of fast and fleeting, blink
and you'U miss the B-Lines EP come
at you Uke a horde of pesky mosquitoes lookin for blood. Singer Ryan
Dyck has been known to draw some
of his own whUst the band plays its
KUled By Death Records-styled punk
mess—and who better to satisfy the
needs of the A.D.D. generation than
these fine gents. Barely two-minute
blasts of songs about faUed relationships, corporate stiffs and death by
household appUance, I heard the
Urinals, Dead Milkmen and early
Rip Off Records in among brother
Bruce Dycks herky-jerky drumming
of "Leaving," "Busy Man" and "Crazy
Glue," but somehow it sticks together
with Adam FothergiU's sturdy bass
anchor and Scotty Colin's punchy
and punctuated guitar bursts—Uke
on "Social Reatard," a song that definitely won't make the request Ust at
the next PTA dance. PoUtical correctness be damned, the B-Lines are
poised to take on aU comers with
label honcho Sean Nominal sparing
no expense (and no trees apparently)
as this release comes equipped with
digital download coupons, as if your
attention span is going to be better off
downloading a megabyte the size of a
speck of dust. Meh, who am I to stand
on the way of progress? Just go get this
record already!
. And whUe you're at ity score yourself ex-Mutators Justin Gradiris new
combo Random Cuts on the aforementioned label. Not as noisy and discordant as his prior project, Gradin's
got a brand new bag of tricks that lay
somewhere between the post-punk-
isms of Wire and the new-school pro-
to pop of their contemporaries Defektors (particularly on "Rat Capacity,"
but "Destroyed" also displays some
chops that fans of some of the current
crop of In The Red Records groups
Uke the Intelligence may agree with).
Apparently two more singles are hot
off the press and ready to go, so you'U
probably see more ink being spiUed
on this group in future.
With such a diverse array of influences as Devil Eyes lay claim to, from
Motorhead to Ministry to Muddy
Waters and back again, it should be
a no-brainer that these Montrealers'
difficult comparisons be a watermark
for the band's sound, rendering it
jaw-droppingly unclassifiable. After
aU the good tunes I've heard up until
this point, unfortunately the only thing
dropping on this release is my mood. I
found "Rip My Heart Out" and a cover
of Johnny Kidd & the Pirates rocka-
bUly rave-up "Please Don't Touch" just
barely remarkable—and it's not for
their lack of trying, I assure you. Maybe they just tried too hard. The first
song could have benefited from vocals
that absolutely HOWL instead of just
scratching the surface. Instead this just
bombs, and when the cover song fares
better than the original, something's
missing. HopefuUy these guys and gal
find it on their next outing.
Over and out folks!
Boats! | May Cause Dizziness Records
B-Lines & Random Cuts | Nominal
Devil Eyes | Signed By Force Records
www.signedbyforce.com Bev Davies and Jim Cummins, a.k.a.
I, Braineater, photographed by
Robert Fougere
by Gerald Deo
Bev Davies displays a consistent and practiced
eye at capturing the performer freed of the
self-awareness that often plagues formal or
posed photos. Her retrospective show Play It Loud,
which ran at Chapel Arts in July and August, is a selection of concert photos from the last 30 years and
is a fascinating sUce of local Uve music history in addition to a coUection of stunning photography. The
show features a selection of black-and-white photos
shot on film in the late '70s to mid '80s and colour
prints of digital photographs that date from 2007.
The unexpected surprise of the show, though, is
undoubtedly Davies herself. Her presence placed
the photos in a context of both local history and
personal art by reversing the distUlation of a concert
from the sensory entanglement of sound, motion
and presence into the visual stimulus taken from
a minuscule fraction of these. Davies didn't skimp
on providing technical detaUs and freely discussed
the rigours of shooting concerts on film as a photographer for the Georgia Straight in the 1980s. It
was with her guidance that I saw an otherwise unremarkable pair of shots, looking markedly unlike her
other works. The photos taken at Maple Leaf Gardens in AprU 1965, are in colour, in that oddly saturated way that only old film stocks seem to get aght.
These two shots, taken from the Rolling Stones performances, were Davies' gateway into concert photography, and though they lack the verve or poUsh
of her future work, her talent is akeady apparent.
The works from the first half of Davies' career
float away from the waU, pairing the impact of
monochrome imagery with a unique mount evoking the d.i.y. ethos of the '80s punk scene. Each
photo was scanned from the negative and printed
on plastic and mounted on adapted metal shelving.
The shelves have their sides covered in coUages created from reproductions of punk show posters dating from the same era as the photos, and the whole
construction is attached to the waUs by three-inch
bolts that terminate with wingnuts, regular nuts or
metal anchors. The complex mount doesn't distract
from the photos themselves, and the posters around
the sides provide a subtle reminder of the era of the
The second half of the retrospective begins with
2007. After leaving the Georgia Straight in the mid
'80s, Davies' output waned significantly .and the lack
of feedback from processing constant shoots led
her to stop shooting. The purchase of a digital camera and its instant feedback reignited her interest,
and a meeting with Anton Newcombe (The Brian
Jonestown Massacre) rekindled her old affair with
concert photography. Behind glass and bordered
by wood, her new works are printed in colour and
framed more conventionaUy but are no less impact'
ful. Ranging from Jan. 2007, right up to Arrested
Development at the Vancouver Folk Music Festival
in July 2009, her shots in colour are saturated and
whUe they lack the historical authenticity of her
earUer work, her keen eye for expression remains
in effect.
Play It Loud is an impressive distUlation of a
historicaUy fascinating and visually potent body of
work, and with a narrator as exciting as the work, it
is an unforgettable art'show.
More of Bev Davies' work can be found at www.
bevdavies.com or at flictor.com/photos/bevdavies.
C/R/I/T/I/C/S/ is a coUaborative "band" with Justin
Gradin and Andrea Lukic. It is tape loops, guitars,
coUages and drawings compUed in a 50-page book
borrowing from themes of sectarianism, the occult,
pornography and pop culture.
The book of coUages contains a 45 record of
sound coUage recorded at the Emergency Room
C/R/I/T/I/C/S/ was formed in the faU of 2008 to
explore a mutual obsession with sound and coUage
using mediums of music paraphernaUa to create
overly saturated conceptual entities of fandom
and novelty. Acting and producing material as a
band without the constraints of any specific genre
or outside influence is whatd&ived the work.
The work is realized through various production
methods which adhere to the standards of other
bands recorded on the Grotesque Modern label,
but C/R/I/T/I/C/S/ is not a band in practice, only
in performance and theory.
15 muwMmmm&iM,
i_i Participants at Goonies. Merida Anderson photo.
Weaving Together a Sense of Fellowship
by Gavin Reid
On the corner of Colombia and East Hastings, where people who walk the streets
are often observed with accusing eyes
and where people who legitimately need help can
be overlooked and ignored, Goonies Art Space has
recently presented the area with an opportunity for
feUowship—the chance to take part in a project'and
make something beautiful. Without a trace of discrimination, intolerance or ridicule, the people at
Goonies have taken a simple step toward strengthening a community and helping people to find hope,
self worth and meaning. Empowerment through
acceptance is at the crux of this effort and it is as
simple as weaving on a loom.
"I thought it was a reaUy neat idea. I was reaUy
into the fact that it was so coUaborative and non-
threatening in the sense that anyone can participate
in the weaving," Merida Anderson, operator and director of Goonies, explained. She immediately saw
the potential for this innovative and artistic concept
to foster a community-buUding atmosphere when a
friend forwarded her the proposal to bring A Room-
A Loom to Vancouver.
The project is the work of Julia Sherman. Currently
residing in Los Angeles, Sherman is the director
and founder of Workspace, an arts/performance
space there. Sherman took her love of weaving
and developed  the idea. Taking  appointments
and extending invitations within her community,
Sherman encouraged artists and art enthusiasts to
gather the material of their choice and contribute in
the weaving of a collaborative textile. The loom itself
spanned the entire gaUery, giving those involved the
sense that they are in the art piece as weU as part
of the project. Sherman's vision is currently being:
adopted by artists in spaces and gaUeries across
North America and wiH culminate in a group show
of the finished pieces from the various participating
spaces. On her website, Sherman noted that her
work "must be understood as performance and is
often translated through elaborate instaUations."
fhe project incorporates and reflects these qualities
of coUaborative and constructive exhibition.
The influence of A Room-A Loom and its benefit
to participants goes beyond art and creativity—a
point that was not lost on Anderson. "I think I was
most attracted to the idea because of where Goonies
is located. I don't want to be aUenating to the community here. I want Goonies to be a part of it So
having something in here going on that is simple to
teach and is so interactive and inviting, I think, is a
reaUy great idea."
Anderson recognized the importance of having a
communal activity like this to reach out to neighbours
that many business owners might be quick to shun.
WhUe artists, exhibits and projects of this nature can
often be perceived as being self-serving, elitist and
egocentric A Room-A Loom could not be less so.
The two most important requirements are participation and imagination. With each new addition to the
loom, whether it be pom-poms, bubble wrap, computer cables or dog fur, it is obvious that something
beautiful and noteworthy is being created
Out of such a simple and easy-to-learn project
comes many rewards. "It is what it is. I just like that
people can come out and be involved and be a part
of something fun," Sherman said, explaing the feeling of accompUshment participants experience.
"The response has been great. Even those people
who come in and are hesitant do eventuaUy reaUy
get into it. Ifs been the first time I have gotten people who Uve down here to come in and take part,"
Anderson said.
Now completed, A Room-A Loom wUl provide
Goonies with a unique piece of art to exibit. More
importantly, this coUaborative project has shown
that there are beautiful rewards to be gained
when you treat your neighbours with decency and
Want more info?
Goonies: www.goonies.ca
Julia Sherman: www.ftdiasherman.com
H art by Nathan Matthews
Reinventors of the Fait
by Scott Lyon
If there's one thing 3 Inches of Blood are used to by
mow, its a good fight From
being accused of musical insincerity in their early days, to
being treated like a red-headed
stepchild by their former label,
3IOB have too often played the
role of Sisyphus in their quest
for metal domination.
With their latest release Here Waits Thy Doom,
their search for credibUity and respect should come
to an end. Displaying a maturity and breadth in
sound hinted at in previous releases, Doom, then*
debut for record label Century Media, is a fist in the
face of detractors. It's a statement that's been four albums in the making—a statement that vocaUst Cam
Pipes was excited to discuss with Discorder.
"It's all stuff that we've tried in earlier albums,
like experimenting with keyboards. We've just expanded upon it a little," Pipes explained. Known
for their trademark New-Wave-of-British-Heavy-
Metal style gallop, opening track "Battles and
Brotherhood" showcases 3IOB's talent for capturing the early '80$ feel so dear to many metalheads'
hearts. By the second track, "Rock in HeU," it's
clear that 3IOB are further experimenting with
earlier forays into '70s rock.
"EssentiaUy aU of the same people that wrote
the last album [Fire Up the Blades] wrote this one.
Our heads were maybe in a different space, but the
songs come from the same people and influences,"
Pipes said.
The progression in sound that Doom exemplifies
can be attributed to a few factors. Pipes describes the
creative process for the album as, "a lot more varied
and organic, whereas before, we'd sit down as a unit.
This album was more about people writing on their
own or in duos and bringing it back to everyone."
And whUe having Joey Jordison (SUpknot) pro- Denim, D&D and
whiskey... it doesn't get
much more metal than
ducing their last album is no discredit, Doom saw
legendary producer Jack Endino (Nirvana, High on
Fire) take the helm, a move that Pipes said helped
the album's production to be "more about feel, about
the sOul of the songs, and less about laser-precision."
And whUe Pipes said the writing of Blades was a
long, drawn-out process, he said the band was incredibly focused during the writing of the new album. "BasicaUy, we were just in writing mode. For
about, two, three months, we practiced every day.
Songs just seemed to come a lot quicker and flow a
lot better in our heads."
Much Uke a woman scorned, heU hath no fury Uke
a band shunned by its label. Previously on Roadrunner Records, 3IOB found themselves relegated to the
cheap seats as their former label's office experienced
severe personnel changes and developed an obvious
indifference to furthering the band's career.
"We pretty much only knew our A8cR guy at the
end of it," Pipes lamented.
Pipes remains civU, but he was clearly stung by
the experience. "I mean, I know it's a business, and
everyone is trying to seU records, but it became clear
that they felt we weren't the kind of band that seUs
records for them ... We were just kind of forgotten."
When Roadrunner made it clear that they were
not going to exercise the option on their latest album, Pipes stated that he "couldn't have been happier. When Century Media found out that we had
been dropped—before a lot of people knew at aU—
they approached us with an enthusiasm and desire
that we connected with and that we felt we deserved.
They've made it clear that we're a priority to them."
Though 3IOB have gone through many Uneup
changes throughout the years—Pipes remains
the only constant throughout the bands' four fuU-
length albums and two EPs—the biggest change to
the current lineup is the departure of other longtime standing member Jamie Hooper, who provided
the death growls that achieved a vocal counterpart
to Pipes' Rob Hafford-esque screams. On the 2007
Ozzfest Tour, Hooper began experiencing vocal
problems, and he has officiaUy caUed it quits with
the band (guitarist Justin Hagberg now handles the
lower vocal duties). It's obvious in speaking with
Pipes that Hooper's departure was dUficult.
"In the two years that Jamie's been out, his voice
hasn't improved to the point where he can play
shows with us consistently. He finaUy said that rather than us wait for him to maybe get better, it was
just best for us to move on without him and not be
left in Umbo," Pipes said.
FoUowing the release of Doom, 3IOB are heading
out on a faU tour with In Flames, Between the Buried and Me & the Faceless. Pipes is understandably
enthusiastic about the tour.
"In Flames do pretty weU for themselves, so
it'U be great to put ourselves in front of a sizeable
crowd that maybe know nothing about us and get
them stoked on our new material" Pipes explained.
But don't expect them to dig too far back into their
catalogue. When asked about the gang vocals in
"Preachers Daughter" off Doom, and if that poten-
tiaUy signaled the return of gang-vocal 3IOB classic "BaUs of Ice" to the set list, Pipes balked. "Yeah, I
don't see that one coming back anytime soon. That
song is from a period where a lot of people considered us more of a joke band. There's just too much of
a stigma attached to that song. Maybe in the future,
but not as of right now."
WhUe Doom represents a leap forward for 3IOB,
longtime fans can be assured that Hooper's influences and motivation remain the same. Those questioning his metal integrity can find him at many
local shows wearing his densely-patched denim
jacket ("European festivals are wicked for finding
the obscure patches," Pipes exclaimed.), and those
debating the seriousness of 3IOB's lyrical content
should know that the frontman stUl plays weekly
games of Dungeons & Dragons when he's in town.
Pipes hasn't quite taken to "Wizard Sticks"* yet, but
he merely said that's because he's "more of a whiskey guy these days." Denim, D&D and whiskey... it
doesn't get much more metal than that.
Here Waits Thy Doom comes out Sept. 8 on
Century Media, and 3 Inches Of Blood play the
Commodore Ballroom Sept. 11 with Bison B.C.
and the Golers.
*The Rules of Wizard Sticks:
Wizard Sticks is a drinking game in which players or "wizards" create a wizard stick by duct taping
cans of beer together after they have been consumed. Wizards are considered to be of a level equal
to the number of cans in their staff. The first wizard to achieve each level is allowed to create a rule
that must be followed by other players of the game such as "Instead of saying T am feeling drunk.'
you must say 'I am feeling wise.'" There are many variations beyond these rules. A common variant
involves boss fights where upon reaching a level that is a multiple of five, you must do a shot before
being allowed to advance. ("It's time to fight Boss Captain Morgan.") Wizard Sticks can be incorporated into many other varieties of games with prizes of empty cans awarded to winners. Playing
Wizard Sticks is not recommended as it will encourage you to imbibe more alcohol than is safe.
lciTRl01.9    J
I FM presents i
I its annual |
I battle of I
I the bands, |
I Shindig, at |
I the Railway]
I Club!      a
I SEPTEMBER               I
1 Sept. 15                    |
| Aunts & Uncles,        1
| Humans, Modern     1
| Lakes
| SeeL22                   1
| Catamaran, Half     1
| Chinese, No Time     1
1 SeeL29                    |
| MT-40, Thes
I AHs, the Living
| Deadbeats <
1 Brought to you by: 1
| the Hive Creative Labs, |
| Backline Musician Services, |
| Mint Records, AMS Events, |
| Music Waste 2009, North by |
| Northeast, Thunderbird Radio |
| Hell, Scratch Records, Band |
| Merch Canada, Vogville |
| Studios, Fader Master Studios |
| and the good people at
| Discorder Magazine.
^iiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiif  ? to*
At* j
I ^ 2 ?
"S es » "3 r
3Q ® U ® E i ® A (j
ll«3    !
§ 8 i I  :
j « "8 5 § §o
!p ®
« I « I ^
<§) 3 ,3 d»
Is ®
2 * 3 "2 § -a o
5 >S, cs ^ w a S
S %£ lf£ SO
£ ®-s A ® I m
-4   £
< ^-f «      t> _k
^ I ° ? J 8 "5 8
"*S M -a o   u    .  __
<S» O ^ 2**^
ia « w S c <"">. cq
B vs m PQ (§■ P* ® pq
i' < <§> £ ® o <§>
a|^1e) Ǥdo
-  ii       ""3
I   1
o   =1
■_\ *
"3 £ | o _
e<  w>§
-a  a
N f  I
»  «  q -fl
^ „Q 13
^f3 I
s-5| :§> ©.
■^^ fe£*3Q S
1 ffi @) U @> O X'pS
C/5   S
Sag       w
-II      1
« ^ o | ,j «
il t2 (§) pq <§) m '
£ |  ^ j?
**3 "S 3 -~
A cq  Qs«;
5 i i
lo « ^ '
5 *±f -S  o ^
I ! 3 S *
O M _&K
li ®p ®
1'iS Q
-6 ^ 9 .S «a  |
g   R if)   p   S   S
wh jg op § p-; a
|1 J £ |2
. fi ® P P ^ ®
a ^
^ u
O li
iff! i
4 I .E ■< "S I
^ ® dp "
ll? -
Discorder suggests listening to CiTR online at www.citr.ca, everyday.
i       I
7 J    CiTR Rebroadcast
9     Tana Radio (World)
■ Shoc4cshookta{Talk}
KolNodedi (World)
The Rockers Show
CiTR Rebroadcast
Breakfast With Ihe
Browns (Eclectic)
Japanese Musicquest
Alt Radio
Blood On
The Saddle
5     Chips      Saint Tro- Fillln
(Pop)      pez(Pop)  Career Fast Track (Talk)
*| ofMonday      Nfte
I    Queer PM (Talk)        (Eclectic)    (Eclectic)
O  '—
l„v ■|v r-r       Radio Free Gak
ata par  .»-»
9     Mondo Trasho (Eel)
' *  Pahee)'     '
Parts Unknown (Pop)
Lets Get Baked
The Rib (Ed)
Pacific Pickm* (Roots)
Give'em The Boot
Third Times Ihe
Charm (Rock)
Morning After Show
Laugh Tracks (Talk)
Wings (Talk)
Red to Real (Talk)
Democracy Now (Talk)
Native Solidarity News
Radio Freethinker
Weners BBQ (Sports)
Flex Your Head
The Jazz Show (Jazz)
Crimes And Treasons
CabaRadio (Talk)
CiTR Rebroadcast
Suburban Jungle
CiTR Rebroadcast
End Of Ihe World
News (Talk)
CiTR Rebroadcast
Pop Drones
Anoize (Noise)
The Green Majority
Rumbletone Radio A
Go Go (Rock)
Arts Report (Talk)
Way (Ed)
Folk Oasts (Roots)
Sexy In Van City
Hans Kloss Misery
Hour (Hans Kloss)
CiTR Rebroadcast        CiTR!
Sweet And Hot ( Ja»)
Duncan's Donuts
We AU FaU Down
Ink Studs (Talk)
French Connection
Care Radio (World)
Stereoscopic Redoubt
Synchronicity (Talk)
Ska-Ts Scenic Drive
these Are The Breaks
(Hiphop) ,
Radio Zero (Dance)
Nardwuar Presents
The Saturday Edge
-Gener&fcHi Angulation
Power Chord
Code Blue (Roots)
Hot Mess
Exquisite Corpse        . Aftican Rhythm
(Experimental) ("fefeelfc)
live From Thunderbird
Radio HeBCUve)
Rainbow Groove
The Leo Ramirez Show
flash* Volna (World)
Shadow Jugglers
Synaptic Sandwich
 ■—-—     Shake A Tail Feather
Hypnotic Groove    j (Soul/R&B)
It Like Hie Scribbles
 Cfedecficf "~*•'"
4     Beats From Ihe
Basement (Hip-Hop)
Ihe Vfcmpire's Bali
CiTR Rebroadcast
I® *
22 mmMmsmm
Tana Radio
(World) 9-10am
(Talk) 10-llam
A program targeted to Ethiopian people that encourages education and personal
(World) llam-12pm
Beautiful arresting beats
and voices emanating from
all continents, corners and
voids. Always rhythmic,
always captivating. Always
crossing borders.
The Rockers Show
(Reggae) 12-3pm
Alternating Sundays
Reggae inna all styles and
Blood On The Saddle
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-
boots country.
(Eclectic) 3-5pm
Alternating Sundays
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.
Chips With Everything
(Pop) 5-6pm
Alternating Sundays
British pop music from all
decades. International pop
(Japanese, French, Swedish,
British, US, etc.),'60s soundtracks and lounge.
Saint Tropez
(Pop) 5-6pm
Alternating Sundays
Welcome to St. Tropez! Playing underrated music from
several decades!
st. tropezl 01. 9@gmail. com
Queer FM
(Talk) 6-8pm
Dedicated to the gay, lesbian,
bisexual and transexual communities of Vancouver. Lots
of human interest features,
background on current issues and great music.
queerfmradio@gmail. com
(World) 8-9pm
Alternating Sundays
Featuring a wide range of
music from India, including popular music from the
1930s to the present; Ghaz-
als and Bhajans, Qawwalis,
pop and regional language
All Awesome In Your Ears
(Eclectic) 8-9pm
Alternating Sundays *
Mondo Trasho
(Eclectic) 9-10pm
The one and the only Mondo
Trasho with Maxwell Maxwell—don't miss it!
(Dance) 10pm-12am
Join us in practicing the
ancient art of rising above
common ideas as your host
DJ Smiley Mike lays down
the latest trance cuts.
Breakfast With The
Your favourite Brownsters,
James and Peter, offer a savoury blend of the familiar
and exotic in a blend of aural
Japanese Musicquest
(World) llam-12pm
Syndicated from CJLY Koo-
tenay Co-op Radio in Nelson,
Alternative Radio
(Talk) 12-lpm
Alternating Mondays
Hosted by David Barsamian.
Canadian Voices
(Talk) 12-lpm
Alternating Mondays
Parts Unknown
(Pop) l-3pm
An indie pop show since
1999, it's like a marshmallow
sandwich: soft and sweet and
best enjoyed when poked
with a stick and held close
to a fire.
Let's Get Baked
(Talk) 3-4pm
Vegan baking with "rock
stars" like Laura Peek, the
Food Jammers, Knock
Knock Ginger, the Superfan-
tastics and more.
The Rib
(Eclectic) 4-5pm
Explore the avant-garde
world of music with host
Robyn Jacob on the Rib.
From new electronic and
experimental music to improvised jazz and new classical! So weird it will blow
your mind!
Career Fast Track
(Talk) 5:30-6pm
Son Of Nite Dreams
(Eclectic) 6-7:30pm
Alternating Mondays
Join jolly John Tanner, radio
survivor for almost half a
century now, heard alternating Mondays with an eclectic
musical mix of many eras
from the '50s to today.
This Side Of Monday
(Eclectic) 6-7:30pm
Alternating Mondays
Fun and independent music
supported by a conversational monologue of information, opinion and anecdotes
focusing on the here, the
now.and the next week.
Radio Free Gak
(Eclectic) 7:30-9pm
The Jazz Show
Qazz) 9pm-12am
Vancouver's longest running prime-time jazz
program. Hosted by the
ever suave, Gavin Walker.
Features at 1 lpm.
Sept. 7: In honour of Sonny
Rollins' Birthday (he's 79
today), a milestone recording, "Way Out West," with
Ray Brown (bass) and Shelly
Manne (drums).
Sept. 14: Our traditional
"Back to School" Feature: "A
History of Jazz" narrated by
Julian "Cannonball" Adderley.
Sept. 21: Part 2 of the "Back
to School" Feature: "What is
Jazz?" narrated by Leonard
Sept. 28: "Jazz Guitar," a quiet
classic with Jim Hall, Carl
Perkins (piano) and Red
Mitchell (bass).
Pacific Pickin'
(Roots) 6-8am
Bluegrass, old-time music,
and its derivatives with Ar- '
thur and the lovely Andrea'
Give 'Em The Boot
(World) 8-9:30am
Sample the various flavours
of ItaUan folk music from
north to south, traditional
to modern, on this bilingual
Italian/English show.
Un programma bilingue che
esplora il mondo della musica etnica italiana.
myspace. com/givetheboot
Third Time's The Charm
(Rock) 9:30-11:30am
Open your ears and prepare
for a shock! A harmless note
may make you a fan! Deadlier than the most dangerous
. bortiin$ixtynine@hotmail.
Morning After Show
(Eclectic) ll:30am-lpm
An eclectic mix of Canadian
indie with rock, experimental, world, reggae, punk and
ska from Canada, Latin
America and Europe. The
Morning After Show has local bands playing live on The
Morning After Sessions.
Laugh Tracks
(Talk) l-2pm
Laugh Tracks is a show about
comedy. Kliph Nesteroff,
from the 'zine Generation
Exploitation, hosts.
com, musicalboot@yahoo.ca
(Talk) 2-2:30pm
Reel to Real
(Talk) 2:30-3pm
Movie reviews and criticism.
Native Solidarity News
(Talk) 3-4pm
A national radio service and
part of an international network of information and action in support of indigenous
peoples' survival and dignity.
Radio Freethinker
(Talk) 4-4:30pm
Promoting skepticism, critical tliinking and science, we
examine popular extraordinary claims and subject
them to critical analysis. The
real world is a beautiful and
fascinating place and we want
people to see it through the
lens of reality as opposed to
Wener's Barbeque
(Sports) 4:30-6pm
Daryl Wener talks about the
world of sports. Everything
from the Canucks to the
World Rock Paper Scissors
ethanwener@hotmail. com
Flex Your Head
(Hardcore) 6-8pm
Punk rock and hardcore
since 1989. Bands and guests
from around trje world.
Life On Jumpstreet
(Dance) 8-9pm
Crimes & Treasons
(Hip-hop) 9-llpm
(Talk) 11pm-12am
For the world of Cabaret.
Tune in for interviews, skits,
musical guests and more. It's
Radio with sass!
Suburban Jungle
(Eclectic) 8-10am
Live from the Jungle Room,
join radio host Jack Velvet
for an edectic mix of music,
sound bites, information and
inanity. Not to be missed!
22 Pop Drones
iMsctic) 10-ll:30am
(Noise) 11:30am-lpm
An hour and a half of avant-
rock, noize, plunderphonic,
psychedeUc and outsider aspects of audio. An experience
for those who want to be
educated and EARitated.
lukemeat_Photmail. com
The Green Majority
(Talk) l-2pm
Canada's only environmental
news hour, syndicated by
CIUT 89.5 FM Toronto or
Democracy now
(Talk) 2-3pm
Rumbletone Radio   i||^|
a go go
(Rock) 3-5pm
Primitive, fuzzed-out garage
Arts Report
(Talk) 5-6pm
(Talk) 6-6:30pm
Ihe juiciest Canadian writing:
poetry readings, author interviews, short stories, spoken
word, etc.
(Eclectic) 6:30-8pm
Alternating Wednesdays
AU-Canadian music with a
focus on indie-rock/pop.
The Canadian Way
(Eclectic) 6:30-8pm
Alternating Wednesdays
Folk Oasis
(Roots) 8-10pm
Two hours of eclectic folk/
roots music, with a big emphasis on our local scene.
C'mon in! A kumbaya-free
zone since 1997.
Sexy In Van City
(Talk) 10-11PM
Your weekly dose of education and entertainment in
the realm of relationships
and sexuality.
sexyinvancity. com/category/
Hans Kloss' Misery Hour
(HansKloss) llpm-lam
Pretty much the best thing on
End of the World News
{Talk) 8-10am
Sweet And Hot
Qazz) 10am-12pm
Sweet dance music and hot
jazz from the 1920s,'30s and
Duncan's Donuts
(Eclectit) 12-lpm
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by
duncansdonuts. wordpress.
We All Fall Down
(Eclectic) l-2pm
Punk rock, indie pop and
whatever else I deem worthy.
Hosted by a doset nerd.
Ink Studs
(Talk) 2-3prn
Underground and indie comix. Each week, we interview
a different creator to get their
unique perspective on comix
and discuss their upcoming
French Connection
{World) 3:30-5pm
French language and music.
Cafe Radio
(World) 5-6pm
/Iranian talk and music syndicated from CJSF Simon
Fraser University, Burnaby,
Stereoscopic Redoubt
(Rock) 6-7:30pm
PsychedeUc, acid punk,
freakbeat, prog and other
grotesque and socially relevant artifacts from 1965 to
today, with an emphasis on
Vancouver's freak flag with
Exquisite Corpse
(Experimental) 7:30-9pm
Experimental, radio-art,
sound coUage, field record-
ings, etc. Recommended for
the insane.
artcorpse@yahoo. com
Live From Thunderbird
Radio Hell
(Live Music) 9-1 lpm
Featuring Uve band(s) every
week performing in the
CiTR Lounge. Most are from
Vancouver, but sometimes
bands from across the country and around the world.
Hypnotic Groove
(Techno) 11pm-12am
Aural Tentacles
(Eclectic) 12-6am
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
(Talk) 9-lOam
Join host Marie B and discuss spirituality, health and
feeling good. Tune in and
tap into good vibrations that
help you remember why
you're here: to have fun! This
is not your average spirituality show.
Ska-T's Scenic Drive
{Ska) 10am-12pm
Canada's longest running Ska
radio program.
djska_t@hotmail. com
These Are The Breaks
(Hip-hop) 12-lpm
Top notch crate digger DJ
Avi Shack mixes underground hip-hop, old school
classics, and original breaks.
beatstreet@telus. net
Radio Zero
(Dance) 2-3:30pm
An international mix of
super-fresh weekend party
jams from New Wave to foreign electro, baile, BoUywood
and whatever else.
www. radiozero. com
(Nardwuar) 3:30-5pm
Join Nardwuar the Human
Serviette for Clam Chowder
flavoured entertainment Doot
doola doot doo.. .doot doo!
nardwuar@nardwuar. com
News ioi
(Talk) 5-6pm
Hot Mess
{Eclectic) 6-7:30pm
African Rhythms
(Eclectic) 7:30-9pm
Rainbow Groove
(Dance) 9- 10:30pm
Shake A Tail Feather
(Soul/R&B) 10:30-12am
The finest in classic soul
and rhythm & blues from
the late '50s to the early'70s,
including lesser known artists, regional hits and lost
soul gems.
I Like The Scribbles
(Eclectic) 12-2am
Beats mixed with audio from
old films and cUps from the
The Vampire's Ball
(Industrial) 2-4am
Dark, sinister music to
soothe and/or move the
Dragon's soul. Industrial,
goth and a touch of metal
too. Blog: thevampiresbaU.
The Saturday Edge
(Roots) 8am-12pm
A personal guide to world
and roots music—with African, Latin and European music in the first half, foUowed
by Celtic, blues, songwriters,
Cajun and whatever else fits!
Generation Anihilation
(Punk) 12-lpm
A fine mix of streetpunk and
old-school hardcore backed by
band interviews, guest speakers and social commentary.
crashnburnradio@yahoo. ca
Power chord
(Metal) l-3pm
Vancouver's longest running
metal show. If you're into
music that's on the heavier/
darker side of the spectrum,
then you'U Uke it. Sonic assault provided by Geoff the
Metal Pimp.
Code Blue
(Roots) 3-5pm
From backwoods delta low-
down sUde to urban harp
honks, blues and blues roots
with your hosts Jim, Andy
and Paul.
The Leo Ramirez Show
(World) 5-6pm;  •    /
The best of mix of Latin
American music.
leoramirez@canada. com
Nasha Volna
(World) 6-7pm
News, arts, entertainment
and music for the Russian community, local and
Shadow Jugglers
(Dance/Electronic) 7-9pm
Broaden your musical
knowledge with DJs MP,
Socool, Soo and their guests.
Working across music genres
including electronic and
dub-based music.
Synaptic Sandwich
If you Uke everything from
music/retro '80s this is the
show for you!
www.synapticsandwich. net
Beats from the Basement
(Hip-hop) llpm-lam
Hosted by J-Boogie and
Joelboy. Ihe latest tracks,
classics, rare and obscure,
current events and spedal
features of peeps coming
into the studio. Listeners  <:
can expect to be entertained... church.
klymkiw@gmail. com
24 CiTR 101.9 FM Charts
The Wind
The Rural Alberta
Lightning Dust*
Black Mold*
The Wailin' Jennys"
Extra Happy
Ghost !!!*
Ihe Got To Get Got*
Little Girls*
Endangered Ape*
No Bunny
Dan Mangan*
Pretty Vanilla*
Pissed Jeans
Canucky Bluegrass
Sunset Rubdown*
l    Album        	
_ __lccbeL
Animals Are People
Simple Minds
Graffiti Soul
Sanctuary Records
MusicWorks #104
Music Works Magazine
Pony Up!*
Stay Gold
The Tranzmitors*
Busy Singles
Last Gang
Sonic Youth
The Eternal
Infinite Light
Beacons of
Thrill Jockey
Snow Blindness Is
Crystal Antz
Flemish Eye
Live at the Mauch
Chunk Opera House
Sam & the Plants
Vancouver's Punk As
Fuck Vol. 2
The Donnas
Greatest Hits,
Vol. 16
Purple Feather
How The Beach Boys
Sound... Feelings
Saved By Radio
Wolfgang Amadeus
The Fresh 8c Onlys
Cattle Face
Paper Bag
Reverie Sound
Hoi PoUoi
Hive Creative Labs
Church of the Very
Bright Lights*
Pagoda Faults
Ape Shall Not
Kill Ape
Mammoth Cave
StiU Life StiU*
Pastel EP
Manoeuvres 3: A Collection ... Electronica
So CaUed
Jack-oft the
Tennessee Tear jerkers
The Disco Outlaw
Songs of Shame
Fruit Bats
The Ruminant Band
Love Visions
1234 GO!
Animal CoUective
Nice, Nice,
Very Nice
File Under: Music
Gobble Gobble*
Neon Graveyard
7 Inches Deep
Little Red Sounds
Apostle of Hustle*
Eats Darkness
Iggy Pop
King of leans
Sub Pop
The Church
Untitled #23
Second Motion
See Mystery Lights
Sounds Like Zeus
Rock Paper Scissors
Asthmatic Kitty
Standin Up
The Dead Weather
Third Man
Wait For Me
A Wild Pear
Hope Freaks
Skin Graft
CiTR's charts reflect what's been spun on the air last month. Rekkids with stars (*) come from this great land o' ours. Most of these phat platters can be found at fine
independent music stores across Vancouver. If you can't find 'em, give the Muzak Coordinator a shout at 604-822-8733. His name is Luke Meat If you ask nicely
he'U teU you how to git 'em. Check out other great campus/community radio charts at www.earshot-online.com.
25 art by Aisha Davidson
26 phptos from Basketball's time abroad
courtesy of Basketball
»Basketball has finally arrived home in
Vancouver from a year long stint in Europe
| and they bring with them a spirited collection
of sounds and stories mapping their journey
through at least 17 countries. Meeting with two
| of the three members the day after their first
jam, Discorder caught up with David Rogria
\ and Tome Jozic to talk about how their music
I has changed, their new influences and the
| poetics of losing their English.
I Discorder: How has your music has changed since travelling? Is
[ there still a huge dance aspect?
David Rogria: Yeah, definitely, it's changed a lot because we were doing a tour, but we were travelling as weU, so we didn't bring our instruments with us and had to improvise a lot. Some of the improvisation
| created a whole new electronic backbone that is completely different
j from when we left.
Tome Jozic We weren't ever really that techno inspired. [ While travelling]
we were only able to utilize dectronic equipment and make sketches on
the go, so there is stiU that dance dement a lot, but it's more varied, definitely. We were able to illustrate our moods.... We were always in different
situations and different venues and always plugging into sockets, different
circuits—so that had an influence on us.
Hi §.
DR: There was no predetermination; it was aU just random, completely.
We really never had to be anywhere, other than where we chose to go
and when.
D: How would you say audience participation affected your performances with the constant change in venue? Were there certain
| constants or was it also a different experience playing for people
| every time?
DR: There's something interesting about what I heard the singer of the
Monotonix say, about the reciprocation of being a performer [for] the
audience: you always have to be a Utde bit crazier, than the audience
to get them to react in a crazy way. I don't necessarily beUeve that, but
it's interesting. On the other hand, it was always very, very different,
depending on the show, depending on the country, depending on who
we were playing with.
27 BasketbaU cont.
TJ: We were trying to be as provocative as
possible, as involving as possible. Whether it
be lending out instruments, always trying to
have cooperation between the audience and us
on stage—very important, there has to be this
equilibrium, so to speak. That's what it is! That
is the essence of what we try to make. It was
always changing. It was a challenge.
D: Are there any major new influences in
terms of feme or style? Or any artists that
you met while you were traveling that had a
lug influence?
DR: Ifs pretty hard to say. Between the three of
us, Luka [Rogers] is not here,... but all three of
us are pretty all over the map. A lot of the artists
we like are from Iraq, Iran, Syria, Egypt, Morocco, that whole area. I'd say those countries
especially have a big influence. Even places like
Thailand or China. Its not one denned thing. I
find a lot of that music has so much more heart
and passion behind their songs than a lot of
Western music.
DR: And people we met... El Hijo de Cumbia
... His music is amazing!
D: Are you anticipating any change in your
performance? You've yet to play a show in
Vancouver since you got back, and now that
you have aU your old gear and your jam space,
what do yon foresee happening here?
DR: We developed completely differently. I feel
so much stronger.... The sounds that we have
are just limitless. And being back home is great
because we have this cacophony of sounds and
ifs just kind of overwhelming! TJ: It's reaUy exciting to come back and involve
more people in the project. The best thing about
travelling was just meeting people and having
people perform with us, or the idea that they
would lend their music to us to sample if they
couldn't come from North Africa or Bosnia. It's
that, on the first level, we have electronics and we
have percussion and we have some minor effects
that we can play with for a Uve show, but we were
missing so many Uttle pieces. And this is where
the idea came from, that "How are we going to
decorate our songs with our ideas?" and so we
decided that involving and sampling people that
we met, wherever we go, Would be such a fantastic idea, that we could incorporate them into our
DR: Like their spirit was there.
TJ: Yeah, and now that we're back home, levd two::
we can continue to use the samples that we've collected, but incorporate more of the instruments
that we want to use and have more people join us
on stage and play more Uve instruments.
D: That's really exdting, to think about having all
of those samples with you... how would you describe that? Collage?
DR: Um, an ode. I fed that way.
D: What do you think about recording? How
do you negotiate putting together a really defined track, as opposed to a live performance?:
DR: At the moment, I don't know. And right
now the newest section of what we've done is
unrecorded—unrecordable—at the moment.
TJ: It's a mystery, I'm not sure how we're even going to find room for aU the things we. want to do.
There's so many sounds.
DR: On some of our tracks we made flaws on
purpose. Making imperfections, along with recording analogue instruments, or at least micing
everything rather than just plugging everything
in, is something that we would reaUy like to get
TJ: There is an art to [mics] ... I mean I could
think of records that I would want it to sound
Uke, but I don't know how to do that, I don't know
who to ask. We have friends who record a lot of
electronica, but in the next few months that's our
next project, figuring out how we're going to do
that. We've never recorded electronic aspects like
that before.
DR: So exdted about it!
.    0
:= US
1 Pi
After witnessing their show at the Rickshaw
Theatre on Aug. 21, their excitement shone
through. While the high energy trio bounced
back and forth through their collection of
instruments, falling in and out of formation
like playful migratory birds beating the air
with their wings, the audience seemed to
respond to the wave of sound with similar
fury. With no specific recording dates or
plans for track releases, we will have to
continue to light the torch for Basketball's
live performances in Vancouver as they
share their dreams of a worldly music
project that we're all invited to.
photos from Aug. 22 at the
Rickshaw by Nicole Ondre Todd Fancey [right] and band mate Anastasia Siozos photographed in Reece Terris' Oughf Apartment by Robert Fougere
Balancing his time
between troubled
youth and the New
by Dan Fumano 8c Dan HoUoway
Todd Fancey has been performing in the Vancouver music scene for over a decade, playing
in different bands and working on his solo
project, releasing two albums (with a third on the
way) with Anastasia Siozos under the name Fancey.
He's most widely known for his work as a guitarist
in one of Vancouver's favourite local rock bands, the
New Pornographers. But we wanted to talk to him
to find out more about his other gig as a residential
care worker at a group home for troubled youth in
The New Pornographers are one of the biggest
rock bands to ever come out of Vancouver; critic's
darlings with a string of exceptionaUy weU-received
albums, they've won Juno Awards and other accolades, while touring aU over the world. We were surprised that a band as popular and successful as the
New Pornographers has a member who also works
a day job in Vancouver, between playing the Late
Show with David Letterman and appearing at the
HoUywood Bowl. And of aU the jobs that Fancey could be doing
to supplement his work with the band, he's chosen
a job that a lot of people wouldn't want (or be able)
to do: working with kids in some very tough situations, kids who have nowhere else to go. It's worth
noting that other members of Vancouver's music
community have similarly worked in demanding
private-pubUc social health jobs. Fancey pointed
to Black Mountain, another celebrated Vancouver
band whose members have worked at the Insite Supervised Injection Site. Other local musicians who
do (or have done) social work in Vancouver, include
members of Japandroids, You Say Party! We Say
Die! and the Choir Practice.
Fancey, who walked over to meet me at a bar in
Mount Pleasant straight from a rehearsal with the
New Pornographers, is friendly, funny and personable right away. Over the course of the evening (and
some beers and Caesars), the conversation veers,
from AustraUa's most dangerous creatures, to Sein-
"All hell does break loose
sometimes ... I had a syringe
thrown at me that was full of
feld, to Fancey's admiration for Lady Gaga's "Poker-
face." When we began to talk about bis day job at
the group home, he obUgingly repUed, "Sure, I'U teU
you whatever," before laughing and adding, "I just
hope it's not too boring."
Fancey works for a Vancouver-based children's
and family sodal services agency. The organization
is a pubUc-private partnership, and its main focus is
the operation of fuUy-staffed group homes that are
scattered throughout East Van. At any given time,
each home wiU have between three and five youths
in residence, ranging in age from about 10 to 18.
Fancey said his job is different each day. "It's just
making sure everything goes weU in the house. It
could involve so many things; it could be breaking up a fight, taking someone to a hockey game,
calling a social worker, sitting around watching TV
with the kids, playing basketbaU. It's kind of cool,
cause you're just airdropped into their Uves for eight
hours." Currently, Fancey works at the group home
part-time. "I was fuU-time between 1999 and 2005,
but then, with the New Pornos, we just got really
busy and started making a more legitimate living off
it, so I just took a leave of absence at one point, and
then came back and now I'm just on the casual list,
where I just do a few shifts."
On a more grim note, Fancey teUs how his work
with the group home has occasionaUy run into his
life outside it. "Kurt, the drummer from the New
Pornographers—we used to .rehearse at his place,
and he Uved on Cordova. When we would see them
[the kids] on Cordova, a lot of them were heavily involved in the sex trade and you see them and they're
in reaUy rough shape. And a few have been known
to pass away, and you hear about it when they're 20
or so, and that's happened a few times as weU. Its
Working at the group home for over a decade
has certainly had its share of sad, difficult and outright scary moments. "A typical day you're just there,
making breakfast, reading the newspaper, chatting
and watching the sun come in through the window.
But then, aU heU does break loose sometimes... I had
a syringe thrown at me that was full of blood. That
was the closest caU ever," Fancey rdated calmly without sensationalizing. "And she actually has Hepatitis
C. Great kid, I love her, but that was the most dangerous thing that ever happened to me."
Dealing with situations Uke this can't be easy, so
why does a successful musician like Fancey—a talented, smart, likable guy who could certainly find
work somewhere else—work a job as emotionally
draining and potentially dangerous as this one? He
acknowledges that part of the appeal is how it fits
around his schedule, aUowing him to go on the road
to tour or 'take time off to record. "But also it's just
    such a great job. I'm so lucky to get into
that field. I used to work at the bank.
I used to wash dishes. I used to be a
security guard. Those are not run jobs,
but working with the kids you do actuaUy feel like you are kind of helping."
Asked if he finds the job rewarding,
he repUed that "It can be. It can be really rewarding. I think the most reward-
< ing thing is when you're able to toss in
a Uttle encouragement. It doesn't happen that often,
and you don't want to push it, you don't want to be
phoney with them. Fairly recently, I've actually met
a few kids who are musically inclined, and I don't
know if they're Ustening to me or anything ... but
that can be rewarding when you're able to provide
some encouragement."
He is also keeping busy with his own musical
endeavours, including a stiU-untitled upcoming album with Siozos (the first single "AU My Friends"
wiH be released Sept. 27) and a forthcoming New
Pornographers album with a "pretty solid" rdease
date of spring 2010. "Carl [Newman, front man for
the New Pornographers] actuaUy Uves ... in upstate
New York now ... and I'm going to go record my
guitar parts there. I'm really looking forward to it,
because I'm going to pretend we're Led Zeppelin,
Uke when Led Zeppelin used to record in the country... that's what this is going to be like; we're moving the gear to, basically, a cottage. So that record's
sounding reaUy good."
As exdted as Fancey gets discussing riffs and
records and concerts, he also obviously cares
about the kids he works with in the group homes.
It's refreshing to meet someone like Fancey, whose
grounded, friendly manner and the altruistic nature
of his work (though he tries to downplay it as such)
stand starkly at odds with many people's idea of the
hedonistic, egocentric life of a "rock star." This may
not last though—"As soon as we get some more play
on American radio stations," Fancey joked. "Then its
Lamborghini time."
The first Wednesday of
every month Discorder &
CiTR 101.9FM host bands
for your listening pleasure at
the Astoria!
Good musky
cheap drinks,
$5 cover,
friendly people.
Wednesday Sept. 2:
—Kidnap Kids
—Shane Turner Overdrive
See you there!
poster by Aisha Davidson BMMW&,
Japandroids photographed by Gerald Deo
Grouper | Empty Love | Diadem
July 18
St. Andrews-Wesley Cathedral
You've got to love Twee Death. Their taste is unimpeachable, their posters (and even tickets) are beautiful, and when these guys put on a show, you know
it's because they want to see the artist in question
even more than you do. If noise, drone, psych and
the deep end of folk is your thing, you've probably
been to a number of Twee Death shows already
(Tiny Vipers, Mount Eerie, and the double-biU of
Psychic flls and Indian Jewelry being just a few recent ones), but this Grouper show was undoubtedly
their most ambitious undertaking. They'd brought
her to town before to play a tiny stage at Hoko's, and
no doubt she attracted a bit more attention when
she opened up for Animal CoUective at the Commodore, but that show was also an inevitably poor
fib. her quiet, meditative dream-folk was almost
entirely drowned out by crowd clamour. No doubt
Twee Death's Kris Charlton was betting that enough
Grouper fans would pay to see her in a bigger venue
by herself, so he boldly booked St. Andrews-Wesley
Cathedral, arguably the most beautiful venue in
town, and sadly underused. Its grandiose columns
and arches inspire a reverent awe even in the devout
unbeUever, and its beU-clear acoustics are perfect for
attending closely to quiet wonders. AU the same, St.
Andrews is usuaUy home to the likes of Final Fantasy and Joanna Newsom, and Grouper's Liz Harris
simply doesn't command that level of popularity.
The night of the show, the venue was weU-attended
by the usual Twee Death suspects, but the church
was stiU cavernously unoccupied, for the most part.
But aU the better—those, that turned out were rewarded with a rare treat: a small, private audience
with three exceUent abstract sound artists in a space
that virtuaUy never hosts such things, with the added bonus of a spectacular PA that Charlton turned
up LOUD.
Diadem, composed of Vancouver's number one
drone couple, Gabriel Saloman (formerly of YeUow
Swans) and Aja Rose Bond, deUvered a candleUt set
of smaU sounds (plucking, bowing, moaning) carefully processed, a slow-burning exercise in tension
and release, masterfuUy paced. FoUowing them, the
normaUy-solo Empty Love was joined by Erin Ward
(a.k.a. Les Beyond) from Shearing Pinx, who contributed intricate guitar figures to Brad Lynham's
burbling ambient synths. FinaUy, Liz Harris, unassuming and hiding her face behind her dark hair,
took to the stage accompanied by a video projection
of her own design, a Rorschach snowstorm of black
and white shadows that resembled drifting leaves
at one point, flocking birds at another—a perfect
analogue of her cryptic brand of evocatively blurred
shoegaze. Her themes are immersion, evaporation,
disassociation and ephemeraUty, usuaUy couched
in terms of non-human elements and natural forces
(wind and water, especiaUy), and her self-effacing
stage presence is typical of her approach to lyrics
and sonics: she throws up an infinite series of gauzy
curtains to hide behind, shrouds of mist, tsunamis
of oblivion, aU pointing towards a non-being, a disappearance of the self that represents, if not euphoria, a kind of peace and reUef. It's very sad music, but
it was a very good night for it. I hope Twee Death
didn't lose too much money.
—Saelan Twerdy
Mika Miko photogrpahed by Nate Pike
Go Ghetto Tiger
luly 18
BUtmore Cabaret
My memories of the 1980s are foggy at best. Though
I'm practically a senior citizen of the decade, aU of
eight years old in '85,1 stiU can't remember much
more then big bangs, Michael J. Fox, crew-neck
sweaters and my trusty Atari. In fact, I would go
so far as to describe the whole decade as "the Atari
years": a time of sights and sounds that were simple,
jagged, space age, radioactive and downright weird.
If pressed to summarize, the Atari years could be
described as a time of bleeps and dots.
Now, why do I spiral into this strange fit of tech-
nostalgia? Because I find myself at the BUtmore
watching Vancouver's Go Ghetto Tiger, whose music puts my brain to bleeps-and-dots mode. This
three-piece maxes out the weirdometer; from outfit choice to instruments, they reaUy are a piece of
work. MarQuo B sings lead and plays bass, and is
backed by Jason Quirk on an electronic drum kit
and Super J on the keyboard. The three appear on
stage in assorted miUtary coveraUs, a la Top Gun.
And then there are the stage antics. WhUe Mar-
Quo and Super J show us their latest robotic dance
moves, Quirk dramaticaUy pauses between drum
beats to hold a single drumstick to the sky. Between
songs MarQuo keeps the crowd occupied with
unconventional banter, telling them that he knew
they were wondering if he "has sex like he plays
bass." (How did he know?) He also teUs them that
it's GGT's last show ever, only to reveal that this is
completely fictional a few songs later.
Nobody could accuse these guys of lacking in
personaUty. Their electric synth rhythms set a dance
party going that would mobilize even the stiffest of
butts. Wrapping nicely into spacey organ melodies,
the techie sounds march your mind through an
inter-dimensional journey, seasoned with heavy ef
fects that can only be described as maximum Atari.
Eighties revivalists are a dime a dozen, but Go
Ghetto Tiger stands out. Maybe it's the use of interesting space age musical effects. Perhaps it's because
they aren't just putting us on for fad's sake—they
just have a good time being their unusual selves.
Whatever the reason, GGT brings uniqueness to the
stage that at the very least scores off the charts on
the weirdometer, the techometer and 100 per cent
bona fide bleeps and dots. Seeing GGT at the BUtmore was something special—or maybe someone
sUpped a haUucinogenic substance into my drink.
Let's hope it was the former!
—Tamara Lee
On July 22 at the mighty BUtmore, the nerd punks
were out in fuU force, toting backpacks, art degrees
and a fair bit of attitude. Nii Sensae, White Lung, the
Audacity and Mika Miko rip-roared their way into
a bunch of kids' hearts with their intelUgent brand
of yappy punk rock madness. The room was full, the
crowd was pumped and there was an element of sex
in the air. Whether it was the cute, awkward girls
fronting intimidating bands or the attractive couple
in the corner dry humping their way through the
evening, this night was shit hot!
I arrived just in time for White Lung's set, which
was short, loud and punchy as heU. The fringe-haired
waif belting out lyrics appeared cooUy detached,
and her band was poised to set the place ablaze. I
didn't understand a word, but it stiU got me sugary
and ready for some headliner—but not before the
Audacity from California took the stage with an interesting stew of garage rock, punk and jacked-up
The Audacity photogrpahed by Nate Pike'
pop. They played tight jams that got the crowd surfing and plastered a stupid grin on my face with their
cute young boy antics. If I was a girl I'd be screaming
"Dreamy!" and calling it a night, but I was. there for
Mika Miko, who pretty much destroyed!
The dense crowd was bubbling and popping
everywhere and the band was on fire. Playing few
older songs and a host of tracks from their latest
disc, We Be Xuxa, these CaU kids deUvered. Though
Pitchfork approval has painted a thin coat of rock
star pink on Mika Miko, and some lineup changes
have shifted the energy level and overaU tightness of
the band, it didn't stop them from rocking, sassing
and whipping the crowd into happy submission. I'd
say it was a job weU done!
—Nate Pike
Mika Miko | The Audacity | White Lung |
Nu Sensae
luly 22
The Clips
BUtmore Cabaret
luly 24
The Astoria
Edo Van Breemen, ddest son of university professor
, Cornelius Van Breemen, is presently to Vancouver's
synth-rock garage scene what Calvin Johnson was to
Olympia's lo-fi scene of the late '80s. Van Breemen
has been very busy making things happen as of late,
what with running UnfamUiar Records with Greg
Ipp, playing with his other band Brasstronaut and
touring with high-profile UnfamUiar Records artist
Japandroids. Of aU Van Breemen's projects, though,
the Clips are a definite fan favourite, and their Uve
performances have become a rare treat. The Clips'
sound is heavUy synth-riff driven, and the keyboard
melodies alone could entertain a dance party. Nicely
fiUing out the ensemble's sound are Mike Jones (guitar), James Steidle (keys) and Andrew Seeton (bass),
with very danceable drum beats and violin provided
by Jeremy Gruman.
Friday's show went down in true summertime
32 The CUps photographed by Robert Fougere
fashion: as bicycles pUed high outside the Astoria,
the CUps blasted proven tracks from their lone fuU-
length release, Matterhorn. Fans bounced and sang
along, jostling for space in front of the box fan on
the dance floor. The CUps' next performance was
on Aug. 13 at the Red Room as part of OUo festival.
[ed. Sadly, the Olio performance was also their last,
as Van Breemen announced that guitarist Mike Jones
was leaving the band, and that they would be retiring
the Clips'repertoire out of respect for the lineup. This
puts an end to what has become a Vancouver institution. But they'll be back, in one form or another, and
we're looking forward to it!]
—Robert Fougere
Hard Drugs | Adelaide    ?!i/>'1<
July 25
BUtmore Cabaret
After the heavy blanket of thunder and rain dissipated, releasing Vancouver from one of its most
spectacular storms in memory, the city was treated to
an even greater spectacle of nature. The sky held an
electric orange glow, a slow-burning Ught show that
spread just to the western side of Quebec St., leaving
the east side of Mount Pleasant in a deep brown and
purple haze. Though any deep divide between Van
couver's East and West may be long gone, nature's
Ught and shadow play had me imagining there was
stiU, deep differences between East and West. Walking into the dimly Ut BUtmore basement where the
PBRs were on spedal and greasy hair and fiannel was
the norm, the night felt Uke an East Van experience.
I saw Adelaide once years ago and felt indifferent. Not so tonight. They've honed southern grunge
rock to a science. Remember the time before Pearl
Jam and Nickleback, when singing in a sustained
drunken drawl had some charm, and the lyrics (although barely discernible) were gloomy, thoughtful
and interesting? How a generation of drunk drivers and hicks hijacked and ruined a singing style is
a mystery to me, but Jesse Booi from Adelaide has
found a way to sing with a southern slur and make it
sound shit hot (rather than just shit.) Assisted by the
pool of incredible talent that plays alongside him,
bassist Ty McLeod and drummer Ben Frey kept the
crowd luUed with a trance-inducing rhythm, whUe
their lead guitarist John Rogers crafted each of his
leads into a sweUing melodic narrative of grungy
lamentation, drawing from the most tasteful elements of the late '60s and early '70s. The low point
was when a string broke and the band couldn't get a
new guitar fast enough.to keep the feeling going. A
difficult finale, for a great set.
Hard Drugs were quick to assemble their nine-
piece aU-star group, which included members of
Bend Sinister, Black Mountain and Blood Meridian. There were some serious cult overtones to
the spectacle. AU the musicians were clad in white
(save frontman Jeff Lee), and had confused shit-
eating-grins on their faces. Lee, despite his scruffy
and broody demeanor, was obviously pleased to be
there, and announced that this would be, the first,
and likely last time, the entire Hard Drugs self-titled
album would be played live. What ensued was a
sweaty, finely-tuned alt-country musical landscape,
bringing the audience over an hour's worth of love,
addiction, tragedy, murder and gunfights. WhUe the
telling of Terminal City's junkie love story could
have used a sUghtly more nuanced perspective (the
double LP has some questionable pictures of band
members posing Uke "real Ufe" junkies), the audience and members were so enthusiastic that it was
impossible to dweU on the politics of presentation.
The backup vocals were executed and arranged with
razor sharp precision, the keys and guitars were dynamic and subtle in their interplay, and everyone in
the band took a turn singing.    .
The whole night felt Uke a beer and pot soaked
homecoming party. Very East Van indeed.
—Andrew Candela
34 Hard Drugs photographed by
Ryan Walter Wagner
SSRIs | Ghost House | Hermetic
luly 30
BUtmore Cabaret
A beer to the wind and already planning to head to
the BUtmore in a few hours, I agreed without a second thought when asked to review this show. Ghost
House and Hermetic are a couple of my favourite
bands in Vancouver, and I was stoked to check out
the SSRIs. Armed with only an iPhone camera and a
good friend, we arrived part way through Hermetic's
set, to a respectable crowd who were enjoying themselves! Bart Newman and Eric Axen played some
good tunes and praised the extra sweaty few who
were dancing along. My love of minimalism extends
to music—Hermetic's stripped down combination
of drums and baritone guitar leaves room for the
ears to rest without leaving you wanting more. Their
music makes me think of a handful of my aU-time
faves, without trying to imitate them. It's a pretty
great combination.
After a quick break Ghost House took the stage.
This band is made up of a soUd group of people
who both write and play great music, and I've always been a huge fan of Katie Lapi's guitar playing. Wielding my tiny camera, I took photos as I
Ustened. Everyone—including mysetf— was having
a good time! The BUtmore is a comfortable venue
(not too smaU) and has decent sound most nights.
It's definitely a favourite at the moment. After Ghost
House, the SSRIs played to a hot and sweaty crowd
of loyal music fans. This was the first time I had seen
them play, but it won't be the last!
—Alanna Scott
Makeout Videotape | ApoUo Ghosts | Madonna
' Bangers | Bash Brothers
luly 31
There was a show even before this show started at
Hoko's. The East Van fixture ran karaoke mostly featuring performances from band members and a few
brave folks from the audience, induding a comi-
caUy mistranscribed rendition of "Eye of the Tiger"
("It's the eye. of the tiger / It's the never give up!").
Synth-heavy karaoke warmed everyone up for the
bass and drums duo of Nanaimo's Bash Brothers.
Wasting no time, the band launched into a loud and
fast set, rocking out hard to songs about guitar parties, partying babies and going to see Andrew W.K.
(which is synonymous with partying). The group's
fierce tunes and playful tone even inspired, appropriately, a Hawauan-shirted baby and his mom to
dance outside the restaurant, setting a perfect mood
for the rest of the show.
The foUow-up band, Madonna Bangers, got
right down to business, evangelizing like traveUing
priests between songs to contradictorily explain
their chugging punk rock and psyched out bar jams.
This playfulness wasn't lost on an audience fuUy accepting of the gospel.
The stars of the night were Vancouver's Apollo
Ghosts. This band, as usual, played an amazing
set to an audience packed with foUowers, with
singer Adrian Teacher proving yet again that he is
a consummate showman. With call and response
choruses between the band and an audience that
knew aU the lyrics, ApoUo Ghosts' songs abounded with involvement—this band truly plays music
vumt 07's t>iscoR.i>ea.
out new on CD / I J* / iTunes
Saturday September 12
The Biltmore Cabaret BMYEWA,,
Japandroids photographed by Gerald Deo
for the people; readers, if you haven't heard this
band and its melodic indie rock, do yourself a favour and check their LP, their EP and see them
play live. And Mint Records: sign this band! [ed.
I know, right?]
Makeout Videotape was hard-pressed following up ApoUo Ghosts, if only because of the outrageous heat that was filling the room (a third of
the audience had left, surely to avoid heatstroke).
The band soldiered on with their distinctive reverb soaked guitar riffs and Mo Tucker-style
stand-up drum squaUs. Despite some unfortunate
attempts at audience participation, Makeout Videotape proved a cool end to a sweltering evening
of musical community.
—Sean Nelson W%®$M
Japandroids | Listening Party | Twin Crystals
August 7
Rickshaw Theatre
After a handful of glowing reviews of their fuU-
length debut Post-Nothing unleashed a wave of hype,
Japandroids found their name on the Ups of critics
and music fans everywhere, which is why, after sing*
er/guitarisf Brian King healed up from an unfortu
nate illness, they spent the early part of the summer
hitting as many places as they could. So, after going
from coast to coast and as many places in between
as possible, this was their big homecoming.
The night started off with Twin Crystals, who
tore through a short but typicaUy intense set of
noisy punk. Just six months ago, if they'd shared
a biU with these headliners, they'd be playing to a
group made up mostly of their friends, but with Japandroids attracting so many new fans, the bulk of
the crowd seemed unfamUiar with one of Vancouver's best acts. StiU, whUe they weren't on stage for
long, their performance was good enough to convert more than a few new fans before they caUed it
a night.
Shawnigan Lake's Listening Party was up next.
The band's inventive percussion and tight harmonies lent a refreshing air to their summery pop. But,
as Party lead singer Lindy Gerard noted when he
jokingly quipped something about being the stuffing in a "pussy sandwich," they sounded a bit awkward, being the calm both before and after a storm.
This is certainly not a criticism of crowds at local shows, but when you're famiUar with a band and
they're famUiar with you, a lot of the theatre of rock
'n' roU gets thrown out the window. So usuaUy when
a Vancouver act takesthe stage at home, people hold
their applause until they've played a song or two, or
at least a few notes. But when Japandroids hit the
stage, I was surprised to find that the crowd, who
now fiUed the entire lower half of the rather cavernous Rickshaw Theatre, roared to life like Pitchfork's
next big thing was rolling through town. Noticeably
tighter since their last local show, the duo rewarded
the hungry crowd with the longest set I've ever seen
them play (and I've seen them more times than I
can remember), running through almost aU of the
LP, as weU as a handful of songs from their two self-
released EPs and a cover of Big Black's "Racer X"
that saw drummer Dave Prow*** take lead vocals for
the second time in the evening (he's also the main
crooner on "Rockers East Vancouver").
Old numbers like "Darkness on the Edge of Gastown" rocked hard, but, in a testament to the band's
growth, it was the songs from their much lauded
fuU-length that reaUy shone. "CraZy/Forever" (introduced as a "slow jam" for "the ladies") built slowly
to an extended, beautiful outro; a chorus of voices
joined King and Prowse on the gleeful "whoa-oh-
ohsT on "The Boys Are Leaving Town"; and when
they launched into the sublime "Young Hearts Spark
Fire," any doubters that Were left in the room immediately found out what aU the fuss was about.
—Quinn Omori t
Arctic Monkeys/Dcrtarock/The Dustin Bentall Outfit/Extra Happy
Ghost!!!/Grand Archives/Humans/John Wort Hannam/No Age/Sian
Alice Group/Spiral Beach
Arctic Monkeys—Humbug
British rockers the Arctic Monkeys have
returned with their third long player,
Humbug. FoUowing from their previous
albums, Humbug is also meUow and
sombre with lead singer Alex Turner's
voice rarely changing pitch or volume.
Arctic Monkeys have received some
rather harsh critidsm since their inception back in 2002 with the band being
caUed over hyped and one dimensional.
Perhaps they are worthy of this criticism, as the band has never quite Uved
up to the expectations placed on them.
There is no denyingthat the foursome
are talented musicians who put together
weU crafted songs such as "My Propd-
lerr'Crying Lightning" and "Pretty Visitors" but they unfortunately lack variation. Maybe the reason why they have
sj^p(f$evoted fans is because they do
not churn out typical mainstream songs
like^countless other bands. Nonetheless
you can't help but feel a Utde cheated by
the Arctic Monkeys. Humbug no doubt
wUl be a hit with the band's long time
devotees who wiH appreciate their style
of music, but those who have never
quite gravitated towards the band wUl
find it lacklustre and difficult to digest.
This album appears to be lacking that
certain something that makes an album
go from being just OK to out of this
world. Humbug is a good effort, but it's
nothing to get overly exdted about.
—Philippa Lavery
Nerdy Norwegian'80s drenched electro,
rockers Datarock are back, with a huge
helping of undeniable dance-demanding
music. The Beigen-based duo step it up
with quality tunes to make you shake and
groove whether at home or in concert
WhUe the sound is light-hearted, Datarock obviously take their music seriously.
The improvement over their 2005 self-
titled debut is palpable. Clocking in at a
rather short 40 minutes, the song writing
and overall sound is more polished and
demonstrates the range Datarock is capable of. Red channels some of the better
aspects of the musical past whfle keeping
the flavour its own with a spectrum of influences from the Smiths to the Talking
Heads making an appearance over the 13
Datarock confronts the status quo
with a couple songs leaving the standard 4/4 time signatures behind It's a
challenge to a friendly non-Eudidian
dance off, and everyone wins. The
sound is weU produced with prominent
guitar riffs over a bed of synths arpeg-
giating and pitch-bending in true '80s
fashion. "Fear of Death" is a short but
catchy synth-pop infused Morrissey-
channeling track with spoken word
narration candidly musing on feelings
about mortaUty. The closing track,"New
Days Dawn" is a slower lounge jam, fit
for an above ground jazz dub and is
a nice doser to an otherwise high intensity album. OveraU, a soUd deUvery
from these groove happy Scandinavians
wearing matching track suits in (what
else?) bright red.
—Adam Mannegren
The Dustin Bentall Outfit
-»-S*» Shooter
There was a Uttle hesitation going into
reviewing Six Shooter, the newest album from the Dustin BentaU Outfit.
Truth be told, country tunes aren't exactly this writer's cup of El Paso WUd-
West salsa, but resistance soon shifted
to respect as this terrific album made
its' Way into my ears with its Ught
hearted, humorous and self-reflective
take on modern alt-country music.
For example, the second track, "Take
The Money And Run" features the
chorus, "AU I ever wanted to be was a
cowboy on the movie screen / Riding
the range, firing my guns / Getting the
girl, riding into the setting sun." As dieted and corny as this may sound, for
some reason it works quite weU, and
lends an engaging quaUty where one
can fed the beauty in riding the plains
and kicking back a few beers as the
sun settles into the horizon—even if
the lines are sung with tongue sUghtly
planted in cheek.
With real stories to teU and a
gifted way of telling them through
song, BentaU has deUvered a gem of
an album that employs aU manner of
country tricks from the new and old
school. Six Shooter travels beyond the
borders, whUe perfectly capturing the
essence of country Ufe so thoroughly
that even corny cowboy words sound
romantic. Now let's holster our guns
and git to ridin'!
—Nate Pike
Extra Happy Ghost!!!
—How The Beach Boys Sound To
Those With No Feelings)
(Saved By Radio)
Calgarians Extra Happy Ghost!!! bring
a decidedly lo-fi selection of tracks on
their six-song EP. Their music is a bit
Uke a Jackson PoUock painting transmogrified into sound art: splotchy,
questionable and occasionaUy disorienting. WhUe the sound is gritty
and abrasive, the songs themselves are
simple, at times even adolescent, and
the intended musical flourishes end
up feeling misplaced and aUenr
The EP aspires to the romantic
ideal of the lo-fi demo tape of an up-
and-coming band, but instead comes
off as self-important and ends up in
the land of kitsch.
Recorded on bargain bin equipment
with simple melodies and rhythms
piped through plumbing-like reverb,
the over-distorted and occasional
gratuitous delay make for a mush of.
sound that is not altogether unpleasant. But the constant musical misfiring
make it a hard pUl to swaUow.
The highUght is the second track,
"mash-up: neither being nor nothingness," which is the most balanced and
clear of the six track selection/There
is some energy and life to the track,
and it deftly walks the tight rope of
passable without any unwelcome,
wince-inducing surprises. There is
potential here, but it remains unclear
whether the music is nascent or on
life-support. Perhaps next time out
they should turn down the pretension, put the songs through a proper
mix and master and crank up the
musicaUty. The talent is there, but between the sonic stomach punches, it's
hard to appreciate.
—Adam Mannegren "*AjJ?2&
Grand Archives—Keep in Mind
(Sub Pop)
Fronted by Mat Brooke, formerly of
Band Of Horses and Carissa's Weird,
SeatUes Grand Archives is a dreamy,
low-key project that is chock full of surprising but subtle twists and darkened
turns. The music has a very West Coast
folk feel, with its vocal harmonies and
guitar rich songs that sometimes buUd
and gust Uke the wind off the ocean, yet
never fed Uke they're too much to navigate through.
Opener "Topsy's Revenge" is a
hushed, bittersweet tribute to Topsy,
a circus dephant gone loopy, whose
electrocution in 1903 is immortalized
in an old newsreel filmed by Thomas
Edison. The pace picks up a bit as the
album progresses, but the shady mood
remains, even in the more upbeat songs
like"Witchy Park/Tomorrow WUl (Take
Care Of Itself)" and the album doser,
'WiUoughbyT which are both superb
and showcase the band's subtle stormy
edge and interesting song structures. A
Utde darker than their self-titled 2008
debut, Keep In Mind Frankenstein is
a nice sophomore effort that tends to
grow on the Ustener and is absolutely
worthy of the attention it wUl undoubtedly receive.
—Nate Pike
This five-song EP, the first release
from Humans, a new Vancouver duo
made up of Robbie Slade (on guitar and vocals) and Peter Ricq (on
sequencer/synthesizer and backup
vocals) is one to keep an eye on. This
is a remarkably assured and surprisingly weU-recorded debut effort for
such a new act. At the time of pubU-
cation, you could count on one hand
the number of shows these guys have
played together.
31 /_W////_W////A
There's an undeniable pop sensibU-
ity to the EP and the duo have an ear
for great hooks, with the beats bursting
out of Ricq's Roland MC-505 just begging to be cranked up to 11. Based on
the instrumentation and pure dance-
abiUty of these songs, electro-pop
seems Uke the most apparent styUstic
touchstone on first Usten. But you can
hear a lot more influences seeping in,
such as the reggae rhythms provided
by syncopated guitar on "Bike Home"
and by organ on "Dub Paris." WhUe
the slinky bass line and crooning falsetto on "Witness" provide a funky,
soulful feel reminiscent of Prince. It's
impressive how Humans manage'to
combine these variegated influences
into a cohesive sound.
This d.i.y. disc is recorded, produced and distributed by the band
and there should be a new version
with additional tracks avaUable soon.
Humans is perfect party music and if
this exceUent debut is a sign of things
to come, the duo should have No Fun
Qty up and dancing again soon.
—Dan Fumano
John Wort Hannam—Queen's Hotel
(Black Hen Music)
Recorded live off the floor whUe
contributing musicians played in a
communal circle, this cozy setup has
permeated the sound of Hannam's
fourth release—and you'U find yourself
intuitively singing along to songs
you've never heard before. Although
Hannam resides in Fort MacLeod,
Alberta (of which vintage photos
grace both covers and the liner notes),
Queen's Hotel has quite a connection
to our predpitous city. In addition to
being recorded here, his label, pubhcist,
recording engineer and producer/
contributing musician Steve Dawson
aU caU Vancouver home.
As you might expect from a man
who was once a language arts teacher
(untU hearing Loudon Wainwright
III inspired him to pursue a career
in music) storyteUing played a
huge role in the formation of this
album. Opener "With the Grain" is
a song about forging your own path
in life, whUe "Worth a Damn," an
upbeat duet with Torontonian Jenny
Wrriteley.effectively utilizes metaphor
to communicate need. But Uke aU
good storyteUers, Hannam realizes
that skUl Ues not just in the tale, but
in the teUing as weU. "Come Back to
Me" offers the poetic line "Where you
stood the stars would shine just a little
bit brighter" but when he sings the
poignant chorus "Come back, come
back, Oh come back to me my dear,"
the moment is so exquisitely beautiful
in its simphcity that it almost breaks
your heart.
WhUe Hannam's music is classified
as folk, it definitely has at least a few
toes tapping the country border.
AtmosphericaUy Queen's Hotel shares
that sense of heartfelt integrity and
compeUingly immediate famiUarity
that has made Blue Rodeo a national
treasure. It's country music's timeless
heroism of the working class, but
coupled with enough folk inspired
idealism to dispel any notion of bar
room brawls from creeping in.
—Melissa Smith
No Age—Losing Feeling
(Sub Pop)
L.A. art punk staple No Age is set to
release a four-song teaser EP on Oct.
6. Losing Feeling, like many of the duo's
releases, wiU only be avaUable online
(for lap top minimalists) and on 12" vinyl (for those purists who need to look,
touch, file, pack and move).
Losing Feeling starts off quietiy as
Randy Randall lulls you into the title
track with a simple, swirling guitar riff
that would make John Cale smile. Add
gentle vocals and a soft yet Uvely drum
beat from Dean Spunt and record it
in a basement hallway and you have a
beautiful track that is oddly reminiscent
of the Jesus & Mary Chain. The strum
of "Genie" is shghtly rougher and the
track less atmospheric, but the tempo
and lack of drums, along with the sweet
jangle of the background riff, keep it
quiet—especiaUy in comparison to the
duo's rambunctious back catalogue.
"Aim at the Airport" is a meUow instrumental interlude for the more arty type,
and whUe pleasant to Usten to, is UteraUy
no more than background noise. Finally, on the last track "You're a Target," No
Age explodes into form with a sound
that is upbeat, fuU, noisy and fun.
Losing Feelingis a document of a maturing band, proving that they can Uve
up to the expectations that come with
the critical acclaim they've garnered,
without losing their original vision.
—Mark PaulHus
Sian Alice Group
Troubled, Shaken, Etc.
(The Social Registry)
The members of Sian AUce Group
are aU from the UK, but judging by
the sound of Troubled, Shaken Etc.,
you might guess that they haUed from
somewhere further north. The trio's
sophomore album is largely made up
of hypnotic dirges and haunting ballads which evoke Sigur Ros or Bjork at
her meUowest. The album opens with
"Love That Moves the Sun," over four
minutes of pattering jazz percussion
and chiming guitar arpeggios. Aside
from some indecipherable, angehc
vocals and the introduction of a torn
drum halfway through, nothing much
changes throughout the entire song.
This sets the tone for a coUection
that favours atmosphere over songwriting, scarcely ever offering something with a recognizable structure.
"Airlock" is three minutes of pulsing,
ambient tones; "Vanishing" is an electro-tropical jam that sounds a bit Uke
(bear with me here) the soundtrack
to the Crash Bandicoot videogames.
For most artists, such tracks would be
experimental interludes; here, they're
the main attraction.
OccasionaUy the band lifts the
mood shghtly, as on the four-on-
the-floor thump of "Low Lights," but
singer Sian Ahern's waifish singing
means that even these songs end up
sounding Uke spectral creep-outs. It's
not your ideal party soundtrack, but
it sure is pretty.
—Alex Hudson
Spiral Beach—The Only Real Thing
(Sparks Music)
InstrumentaUy, Spiral Beach is more
or less Uke any other Canadian indie
rock band with gritty guitars and the
occasional buzzy keyboard. On The
Only Really Thing, however, the Toronto four-piece draws on a much
stranger set of influences, sounding
most often like a post-punk version of
Beirut's Balkan gypsy folk.
Lead single "Domino" is the most
straight-forward tune of the bunch,
mixing fuzzy speed rock riffs with
sudden start-stops and a punk tinged,
radio-ready chorus. Things get bizarre
on "Orange," a gently harmonized
acoustic baUad that threatens to explode at any moment. It never does..
Instead it morphs into a ceUo-driven,
Eastern-inflected waltz. "After Midnite" has a bombastic cabaret swagger, but in place of pianos and horns,
it opts for a minimalist bass groove
and an arena-sized chorus hook. Elsewhere, "May Go Round (in a Mania)"
is grounded by a robotic techno pulse
and the breezy "Cerhetary" cops its
melody from Blondie's "CaU Me."
What's most surprising about this
disorienting mish-mash of influences
is how organic it all sounds. Inexplicable title aside, The Only Really Thing
never seems affected or unnecessarily
quirky—it sounds Uke the product of
an eclectic record coUection rather
than a pretentious art project with
envelope pushing aspirations. It is, at
its core, a pop album—albeit a very
weird one.
—Alex Hudson
The Dustin Bentall Outfit
Grand Archives
Extra Happy GhostUi
38 Jim O'Rourke
The Visitor CD/LP
Jim O'Rourke s first JSgbfd since 2001! The
Visitor is a seriously all-O'ftourke affair: ail the
sounds you hear are Jim and Jim alone, reconlex-
tualizing everything W%, done over the years and
throwing out the crap. Speaking of sound, ail the
classic 0'Rourke*4smsarrtwe,for you musicologist types: percolating bariiOS, ^nooth electric   -
leads, organi&1|pking drum soun% the flickering of shakers to the left and rlgf*,. *
mellow but ojcpfcis woodwinds^ijiunds that indicate vintage" (before" turning-left
and riisritn^pl'the door), sonic jokes, sonic tear-jerkers sonic Jerkoffs, ali wrapped
in spacious ^subtle left to ft$l| placement ol everytlung k the ptcture The one
thing you won't hear is Jfe «llldme of The Visitor is tracked so-deep, it |ook two* *
hunired tacks to hold Italk It doesn't sound like it though—to Jim's credrtj the mix
sounds-pry minimal, very straightforward. Thei e $re motuenfe of K^eofoedy next
t^higfeJrama and juicy melancholy w|b a seeming lack of regard for proximity
CQ 16.98    LP 18.98
In Prism CD/2LP     J§
f\n\y at this point in life would Polvo bei"* p|
\J assured, so casually stormy and intensely Jlj
cal^^ffui and free with their power without ,
setting ailp$ighing that made them the roc^S
artists they wefllii#|^ieir first, unblemished
run. There is not a tblft^ftl^lWsni that they
aren't doing better than beforenle'sidewinder guitars and the mighty roar and the moody atmospheres and tie psychedelic explosive-
ness; the writing, the singing, the words you carflwp^d, ft^ps^^ owiW--
Polvo spent 1990-98 giving voice to a chorus of d&£rel$i^i|ji9£ ideas teat ra|pk
hadn't been heard before. And while there was nothing wrf^^^^it's now so
much more right — perhaps because after ten years none of the peripteral stuff matters anymore, in Prism is the best Polvo record yet even before you get to the majestic A Link in the Chain', serene and tempestuous like few other things you'll hear.
Six Organs Of Admittance
Luminous Night CD/LP
CD 16.98   2LP 24.98
Taken By Trees
East Of Eden CD/LP
As you already know, Victoria Bergsman is the
gorgeous voice behind The Concretes and
Pater Bjorn ant John's defining moment, "Young
Folks." What you probably don't know is that she
has a deep passion for music of ail sorts, and with
that in mind she traveled the globe teaming up with
musicians steeped in the Pakistani and Sufi traditions. Weaving in a plethora of sources —■ rhythms, flutes, drums — into a extremely
rich and absorbing listen, Bergsman s East Of Eden as the name suggests is a trance
inducing journey into near spiritual realms. As a result, this is morelllfltefflsjsic,
it is a testament to diversity, cultural difference, as well as the revolutionary pdw$f%^
music. Victoria, we take our hat off to youl
CD 16.98   LP 16.98
■      *    'f      n i
Zulu Ait News!
Francesca Bennett
What You're Showing
Is Very Ming
September 1-30,2009
I n answer to the question what's heavier, a pound
i of rock or a pound of feathers, Six Organs of
Admittance has devised this for Luminous Night:
a pound of rock covered with a pound of feathers
— twice as heavy, but feathery light to the human
eye. For its blanketing sound, Luminous Night
draws inspiration from such cinematic sources as
Jodorowky s El Topo soundtrack and the scores of Kurosawa's samurai films, but is
at the same time music that could only have come from the singular sound worid of
Six Organs of Admittance.
CD 16.98   LP 16.98
The Cave Singers
Weioome Joy CD/LP
Seattle's finest indie folk act and dear dear
friends of ours, The Cave Singers, return with
this beautifully crafted sophomore release for
Matador Records. Featuring hometown guests
Ashley and Amber Webber of Lightning
Dust/Black Mountain, there is a sort of magical
uplifting vibe to Welcome Joy, as the songs themselves pulse with the serenity associated with the back porch — which is exactly
where one can envision these guys writing. Also, there is an old-time sort of feel,
without degenerating into flaky nostalgia folk-rock, which makes these 10 songs
more of their own idiom rather than a rehash of the classic folk aesthetic. One might
even use the word epiphany!
CD 16.98   LP 16.98
Bay Of Pigs 12"
Ail J887, "Bay Of Pigs" is the longest of   j
Besireyer songs, it is also Destroyer s first
foi'a^^l^mbient disco market. The song was
recorded fllp^^ut the winter of 2009 with longtime Destroy collaborators/members John
Collins and David Carswell at their JC/DC Studio
in downtown VanGOU"f^"Bay Of Pip" is an
account of the 19^|I^Mi inVligion of Cuba, often referred to as The Bay Of Pigs.
The music for the b^id%w|m?, was played entirely on analogue synthesizer, and I
recorded in April 200S. tt-sxptofes some of the more meditative realms of 20th
Century classical o^mfbri^ft song itself is a casual rumination on parties,
political parties, madness and nfering (for one's art).
Apples in Stereo-#1 Hits Explosion CO/IP
Reverend Horton Heat -LaugWrt, and
Crying With Reverend Horton Heat CD
Sumy Day Real Estate-Diary &LTC CO/LP
Vivian Giris-Everything Goes Wrong CD/LP
The Clean-Mister Of Pop CD
Various-Tneme Time Radio Hour With
Host Bob Dylan Season 2 CD
Various - lookout! We Cot Soul! CD Bear
Various-Wayfaring Strangers: Lonesome
Strangers CO/LP
Henry Joe-Blood from Stars CO
Nick Drake-Five Leave Left LP
Biitzen Trapper-Black River Killer CDEP
Grand Archives--teep hi MM
Frankenstein CB    -ft  -;
Joe Pernice-ft Feels So Good When I
Stop CO
The Andi»s~ Hospice COAP
I K£CdVbS\
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Jay Reatard
Watch Me Fall CD/LP
Jay Reatard is easily one #||e most
hard-working people teteftff fS^.Who
else would agree to do a free in-store tour
to promote Ifpew record!?! Maybe Jay
still has one foot in with his people add 1
knows what is like to really be a band — to .
travel around, load in, load <pfeat at roadside dig, not know exactly yjfnere you are
sleeping that night, meet a bunch of people, make a bunch of noise and welt,
simply have the time of your life! Jay's new record for Matador is a record that
you stiould get behind Here is a champion of the people, making music for the
people, and playing & aMhej»c*^||^punk without sounding punk — it simply kicks ass. You will be hall pressed to find a rock record with more passion
than this! Keep up the good work, Jay.
CD 16.98    UM6.98
Arctic Monkeys
Sheffield's Ardte-Jimkeys must have
definitely been out (_. sorts in the blazing heat of the Mojave Desert alongside
Humbugs producer Queens of the Stone
Age's Josh Homme. That said, I am sure
that the heat would really help as they
cooked up with this scorching follow up to
the smash hit Favourite Worst Nightmare!
in fact the sessions at Homme's Rancho De La Luna studio will probably go
down in history as some incredibly inspired crazed recordings! Featuring Pretty
Visitors", Crying Lightning "Potion Approaching  "Rail Right Hand" and
"Secret Doot", the sound of Humbug is one that touches upon the more guitar
freakout aesthetic of the Monkeys and even speaks of a serious infatuation with.
full blown psychedelic rock! Add the stream of consciousness lyrics of Alex
Turner and you have a real tippy time!
CD 16.96
%o La Tengo
Popular Songs CD/2LP
You can always count on Yo La Tengo to
not play it safe. That is what makes
them cool, confident and cavalier. One
-" could argue that they are ultimately one of
the finest examples of American rock music j
and that their legacy was cemented long
ago back when Barnaby was hardly working in Hoboken. One could also posit that
James, Ira and Georgia are the quintessential three-piece. Recorded in Nashville
a|d New Jersey, Popular Songs furthers all these claims, while also adding
another vital detail in their full chronicles, as the band unselfconsciously digs
deeper into the popular traditions to find those thrilling aesthetic moments that
populate a Yo La Tango record, ba sounds cool (believe it), Georgia is the best
drummer on the planet, James brings his understated greatness to everything
yet again and the adventure that is Yo La Tango is renewed again. We need
more people in the music business like these guys.
CD 16.98   2LP 26.98
Pissed Jeans
King of Jeans CD/LP
If 2005's Shallow was Pissed Jeans coping
with moving out of their parents, homes, and
2007's Hope lot Man their initial reaction to the
mechanical lifestyle of a wage-earner, King of
Jeans is their formal and uneasy acceptance of
adulthood, by way of one hell of a rock record.
Working with renowned producer Alex Newport
(who holds a Fudge Tunnel pedigree and has
worked with such luminaries as At the Drive-In, The Locust and Sepuitura), Pissed
Jeans have pushed further into the raw, minimal core of heavy rock music with King
of Jeans. Masters of the mundane, beasts of the banal, high priests of the humdrum:
these four, white, male high school graduates hardly look further than their own
appendages for artistic inspiration, content to execute their own brand of brash and
heavy punk music in the Joe Carducci-approved standard rock formation of guitar,
bass, drums and vocals. From simple minds and simple fabrics comes this King of
Jeans. And there can be only one.
CD 16.98   LP 16.98
The Dodos
Time To Die CD/LP
This Tlie Dodos' record everyone was longing
for!! Produced by Phil Ek (Tha Shins, Fleet
Foxes, Built To Spill) there is an instant classic
anthemic quality to the songs while still maintaining the hushed folky intimacy of the duo of
Merle Long and Logan Kroeber. Known for their | £^t
use of dense textures in their craft, Long and
Kroeber s return since their classic Visiter, is
chock a block full of crazy strumming, percussive rhythms, and electric vibes, and
thus has an enchanting quality to it. Much like their pais in Fleet Foxes, the richness
of voices also plays a major part in their infectious sound. Ail in all The Dodos prove
that they are ready to grow and with that their audiences will also!
CD 16.98   U»16.98
Black Mold
Snow Blindness is Crystal
Antz CO
A warped and mutated blend of the futuristic
and the organic, Snow Blindness is Crystal
Antz is the debut album from Black Moid — the
instrumental electronic alter-ego of Chad
VanGaalen. The album is the product of several
4|Wkpf late-night instrumental experimentation,
mahify on vintage analogue and hand-built modular synths. Both CD and limited edition brown vinyl (2XLP) comes witfwiBgitg#owfl||tei code to get you 100+ minutes
of glitchy odds & ends and aptogue improvisation. Cookin'l And, heck, that's not alt,
pre-orders of the album will come with a large fold-out Black Meld poster. Put your
shades on, this one's going to be a late-night, sneak-in, scorcher!
Zulu Records     Utore
1972-1976 W 4th Ave      MontoWed
Vancouver, BC ThursandFri
tel 604.738.3232 Sat
www.zulurecords.com I
MontoWed   10.30-7:00


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items