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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2009-07-01

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that smaller, thicker magazine
•:. Supporting
|  lir%ioouver's
music corrmLunity
for over 25 years
mm The AMS represents over
44,000 UBC students as
well as students at
affiliated colleges.
The AMS operates student
t\ TTfl S    services, student owned
businesses, resource
groups and clubs.
@jP       firstweek i
fwrwwtj        f ^fflS _Wr ii's
Here to Listen.
Here to Help.
at the Qfftff^Centre!
Vcilring, dedicated people to help with
'|^Ar 24/7 Distress Services and our
Community Education programs.
To find out more about how you can save
ives, help your community and gain valuable
skills applicable to everyday life, educational
goals and the workplace, visit:
that better everyday magazine from
CiTR 101.9 FM
Advertise with Discorder. We'll
treat you real nice and give you
a damn good deal.
You can advertise with both CiTR
and Discorder and get a discount.
Web ads on our brand new site
also available.
Contact our ad manager at:
promotions. discorder @ gmail. com CO
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F co co Editor
Jordie Yow
Art Director
Nicole Ondre
Production Manager      '£&$?§
Debby Reis i*^§* -^l
'Copy Editors if J^,
Liz Brant, Simon Foreman, Debby Reis, Alex
Smith, Melissa Smith
Layout & Design
Nicole Ondre, Debby Reis, Steve Masuch
4 i) f I ■    Ad Manager
Marie Benard
-  Under Review Editor
Melissa Smith
RLA Editor /^
Alex Smith
Calendar Listings
Melanie Coles
. | Promotions Director
Leanna Orr
Program Guide
aPjfsljJIi        Bryce Dunn
Luke Meat
Peter MacDonald
Brenda Grunau
Student Radio Society of UBC
Juty Cover Art
Andy Dixon
^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 line at (604) 822-2487,
CiTR's" office at (604) 822-3017, email CiTR
at, or pick up a pen and
write #233-6138 SUB Blvd., Vancouver, B.C.,
V6T 1Z1, Canada. wMSM
Editor's Note
Dear Discorder:
You being an astute reader holding a physical copy
of this magazine have probably noticed that your
issue of Discorder looks a Uttle bit different from
the last one. It is indeed smaller and thicker, it is
shaped less like a newspaper and a lot more like a
magazine. Being a monthly publication, it makes a
lot more sense to align our look with the magazine-
style content we provide. We should be able to fit
the same amount of content into this format as we
did in the previous, our pages may be smaller now,
but there's more of them.
If you are reading this on the Internet, you may
be a Uttle confused by the statements I just made.
Discorder is now printing in demi-tab which is a
smaUer size that wUl fit nicely on your shelves next
to any magazines you coUect. Those of you reading
this on the Internet may also have noticed that our
website looks a lot different. We're very pleased to
do a major overhaul of what has become a website
that was a bit dated. Complaints about the website
didn't faU upon deaf ears. We're doing our best to
stay on top of all the useful things that a music
magazine on the Internet can be, so take advantage
of the new easier to browse, pretty, searchable,
commentable website and if you want to check out
what the paper version looks like onUne you can do
that on the Internet, too. The redesign was carried :
out by the very talented Alanna Scott, who also
coUaborated with our Art Director to redesign our
wordmark on the front page. If you need a website
designed and you want it to look good she is an
exceUent person for the job. More of her work can
be seen at
The change of our magazine's.look could not
have happened without the suggestions and very
hard work of Nicole Ondre, our art director, who, I
should point out, is the main reason our magazine
consistently looks so damn good.
We hope you didn't miss the party to celebrate
our magazine's format change. It has more than
likely already taken place by the time you read this
with Gang Violence, MT-40 and Reflektionss playing at the Astoria on Canada Day. A special thanks
to Aisha Davidson for making a beautiful poster!
If you did miss it though, never fear! We're going
to continue to have events on the first Wednesday
of every month at the Astoria. On Aug. 5 come
down to check out Fine Mist and Humans play. It's
going to be a non-stop dance party.
Those of you reading the physical magazine
should now turn your eyes to the right, pick something out and get your read on. Enjoy the issue.
Jordie Yow
July Contributors
Jessica Barrett, Sarah Buchanan, Curtis ColUer, Bryce Dunn, Robert Fougere, Dan Fumano, Akex Hudson,
Andy Hudson, Justin LangiUe, Duncan McHugh, Luke Meat, Quinn Omori, Leanna Orr, Mark Paulhus,
L.E. Portelance, Amy Scott-Samuel, Chad Thiessen, Saelan Twerdy, Jackie Wong.
Simon de Bre'e, Gerald Deo, Andy Dixon, Robert Fougere, Monika Koch, Lindsey Hampton, MicheUe
Mayne, Quinn Omori, Jill Southern
Anne Emberline, Robert Fougere, Debby Reis, Josh Tran, ReiUy Wood, Graeme Worthy
To submit written
content to Discorder,
please contact: , 'ij** 4
editor.discorder@ To submit
photography or iUus-
trations, please contact:
Subscriptions are
available upon request
and cost simply the
current rate of postage.
Please contact editor.
for more information.
Ad space is avaUable
for upcoming issues
and can be booked
by calling (604) 822-
3017 ex. 3 or emailing
promotions.discorder@ Rates are
avaUable upon request.
To distribute Discorder
in your business, emaU
distro.discorder@ We are
always looking for new
friends. FEATURES n
10. Safe Amplification Site Society
The directors of this non-profit society are
determined to open a dedicated aU-ages venue in
Vancouver. Isn't that a good idea?
12. Life After Radio
Host Sarah Buchanan chats with our reporter
about her narrative based podcast, and gives us
some insight into Why it is so rad. U%«*'   *
14. Unfamiliar Records
Vancouver's newest label is fast making a name for
itself as one of the best at picking talented acts to
back. Their local rep Edo Van Breemen, from the
Chps and Brasstronaut, spoke with our reporter
about their quick (and ongoing) rise.
19. Twin Crystals
Lead singer Jesse Taylor from Twin Crystals waxes
about the Okanagan, Vancouver's music scene and
Twin Crystals' prolific nature.
22. Green Mount Music Festival
Chicken Soup for the Indie Music Fan, this
Nanaimo fest is probably the most universaUy positive and heartwarming festivals in existence.
24. Art Project: Andy Dixon
He runs Ache Records, has been playing in bands
since he was 11, does freelance graphic design and
exhibits his visual art internationaUy. Damn.
28. More Than This
GranviHe street has a thriving late night party
• industry, but not everyone finds it to be wdcoming'.
Jessica Barrett puts together a diverse body of opinions to look at what hope there is for live music in
Vancouver on GranvUle and off.
JULY 2009
the Trdnmutors by
6. Textually Active
Alex Ross' The Rest is Noise
7. Riff Raff
Pretty VanUla | the Jolts | Let's Dance | Jeffrey
Novak | the Shackles
8. Venews
Bicycle Tour | Heather Deal | Location X | Pro Fun
City | the Cobalt | Little Mountain | the Peanut
GaUery | the Rickshaw Theatre
9. Film Stripped
Barry Doup£'s Ponytail
16. Program guide
20. Calendar
35. Charts
31. Real Live Action
Animal CoUective | Black Dice | Julie Doiron |
Chain & the Gang | Handsome Furs | Jens Lekman
| Mt. Eerie | the Tranzmitors
36. Under Review
Animal Names | Apostle of Hustle | Falcao 8c Monashee | Field Assembly | Ford Pier | Grizzly Bear |
Kathryn WUHams 8c NeUl MacCoU | SUBB | Sunset
Rubdown | The Wind Whistles - Textually
The Rest Is Noise: Listening to the
20th Century | by Alex Ross
by Andy Hudson
I listened to Alex Ross' popular history of avant-garde music whUe
driving a rented Dodge Caravan
for 11 straight hours, up from our
nation's capital to the mosquito-rich
hitch-hiker's heU of Wawa, Ontario.
The idea, I guess, was to subvert the
wUds of northern Ontario. Thundering past a mess of porcupines, "Jesus
Saves" bUlboards and a container
truck painted with the American flag-
raising at Iwo Jima, we heard Ross
explain how in the cafe's and concert
haUs of 19th century Europe, composers like Strauss, Stravinsky and Bartok
opened the door to the kind of obscure, atonal music that sent box-seat
Do I care that the
American composer
Charles Ives ran two
marching bands past
each other just to sit
and hear them clash?
Sure I do.
sophisticates into fist-fights.
The Rest is Noise reads like a pack
of biographies. Ross skips back and
forth across decades as he revolves
around the public reception and
private lives of composers from
Sibellius to John Cage. In a velvety
style that wUl please the CBC Radio
2 crowd, Ross the scholar detaUs how
Mahler circled this particular line of
Nietzche's Zarathustra or explodes
that long-running rumour about
Debussy leading a weird order of
Catholics who claimed to know the
secrets of the Holy Grail.
In the Dodge, Ross' chronicle of
20th century Zeitgeist had to compete
with my first taste of satellite radio—a
good test of his storytelling. Do I care
that the American composer Charles
Ives ran two marching bands past
each other just to sit and hear them
clash? Sure I do. And I can't believe
an orchestra played Strauss' Sympho-
nia Domestica to 5,000 New Yorkers
packed into the city's first two-Mock
department store.
Ross excels at detailing changes in
public taste and lifting juicy tidbits
from composers' private lives, like
the three-hour therapy walk where
Freud and Strauss decided that his
music stemmed from a childhood
episode where Strauss ran into the
street to avoid his fighting parents
and heard the cheerful folk tunes of a
street performer.
- The book also does a
good job situating these
detaUs in a sweep of 20th
century history—we learn
what the Kaiser said about
Mahler's "Symphony No. 8"
and hear how Hitler and
Stalin changed composition. Ross pays special attention to racial politics,
describing how first Jewish
and then African-American composers struggled
to find work in the midst of
a racist upper-crust
But when Ross writes about pure
music, Whether it's a six-tone gamelan
scale that inspired Debussy or an
hour-long tone poem by a composer
steeped in Dada, we found ourselves
switching the Dodge's stereo over to
NPR, the Sabbath channel and Playboy's sexy stories. Ross is best When
chronicling the personalities behind
the music—to explain the sound itself, I'd rather turn to books by John
Still. The Rest is Noise is a weU-
researched, detaUed sweep of a huge
shift in what used to be a popular form
of music. If it faUs to evoke much of
the music itself, you can always read
it with The Rite of Spring on the stereo
beside you.
anonymous fan art found by Debby Reis Riff Raff
by Bryce Dunn
Summer is here and we've got more bounce
for the ounce this month, dear readers, with a
couple local acts to kick off the proceedings.
Firstly, I can imagine Pretty Vanilla caused quite
the stir by bringing the glam and shazam to the
Vancouver Aquarium in order to create the cover
that adorns their newly pressed EP, 7 Inches Deep.
ThankfuUy, no animals were harmed in the photo
shoot—'cause the music does the damage instead.
Recorded at the upstart studio to the stars, Little
Red Sounds, the four songs herein each dip into decidedly different waters, but they do so with a strong
undercurrent of fun and catchy rock andxoU. From
the Dion-esque doo wop of "Lost in the Soda Shop"
to the bubbly Bay City Rollers stomp of "Radio
Glow" to the T-Rex inspired rocker "Paper Tiger"
and the roUickin' Romantics-styled power-pop of
"New Love," Pretty VaniUa will have you shakin' in
your skinny jeans and rarin' for more deep sea adventures. Recommended.
Another local by-product of the aforementidned
Little Red Sounds stable is the latest baU-bustin'
slab-o-wax from the Jolts. Just like the explosive
firebaU depicted on the front cover, Joey Blitzkrieg
and company blaze through two new tunes of chew
'em up, spit 'em out rock of the highest order. Both
"Born Speedin" and "Gimme GasoUne" conjure the
spirits of Nordic riff masters like Gluecifer or the
Hellacopters, but if you need further convincing,
close your eyes whUe listening to each track and tell
me you don't hear either of those tracks being out
of place on Turbonegro's ear-shattering Apocalypse
Dudes. Once finished, open your eyes to watch the
video shot for "Born Speeding have a chuckle at the
expense of the other local band featured in their piss
take of the rockers versus mods (and therein lies
your first due) clash of the titans, and catch these
leather-clad no-goodniks on a stage near you.
Armed with more reasons to let your inner mosh
out are frequent show mates of our beloved Jolts,
Edmonton's pogo-inducing punks Let's Dance.
Their new EP displays keen songwriting thanks
to hyperkinetic front man Ben Disaster and even
* some pseudo-ska flourishes thanks to some added
keyboard in the tune "Out On Top." "Calling AU
Cars" takes the Clash to task with a punchy number
about running from the law, whUe "X-Ray Eyes" and
"Outta Time" barely leave you time to breathe with
their manic hardcore-styled hijinx. You've got some
heavy duty dancin' and listenin' to do.
Lastly, two new records from the Sweet Rot Records factory of twisted punk and fractured pop
deUghts: the first, a solo outing from Jeffrey Novak
(main man behind NashvUle band Cheap Time)
which displays his affection for Donovan on "Short
Trip Home" with its shghtly anglicized 70s glam-
pop stance and "One Of A Kind" which flirts with
psychedelia whUe buzzing around your brain. The
second being the Shackles, a Seattle-based band
with at least one member of the Coconut Coolouts
and more off-kilter pop than you can shake a stick
at. "Broken Arm" will resonate with anyone fanul-
iar with the Clean due to its subdued, but playful
keyboard and drum interplay, and "Funeral Shroud"
rings loud and boisterous, not gloomy and dark like
the song -name may suggest. With its choir-like intro and snappy halftime beat, the song happUy skips
along only to derail around the halfway mark, but it
quickly shifts the tempo into overdrive and finishes
with an almost Sunday service-inspired finale.
And with that, I am done. Thanks, as always, ft»r
Pretty Vanilla
Paper Tiger Productions
The Jolts
Eat Shit And Die Records
12012 95th St. Edmonton AB, Canada T5G 1M7
■   Let's Dance
No Front Teeth Records
www.nofrontteetl"U"«t :Mj
Jeffrey Novak / the Shackles
Sweet Rot Records
20°/oOffNew Vinyl
40% Off Used Vinyl & CD's
Saturday July 18th ft Sunday July 19th
__S__J___l_Wi photos of various venues visited with city council by roJbarazzz'.Jbiz
Discorder and Pro Fun City take city council for a ride
by Jordie Yow
On a sunny evening in June, city councUlor
Heather Deal from Vision Vancouver, myself and Kalin Harvey from Pro Fun City
went on a bike ride. On our ride we stopped by a
number of venues that seem to keep coming up in
the pages of this paper for the trouble they've been
having with Vancouver. We met with those who
run Little Mountain Studios, the Cobalt, the Peanut
GaUery (now defunct) and some of the directors
of the Safe Amplification Site Society [ed. We don't
get into the discussion with SASS much here, but
check out the profile on them on page ten]. We also
met with one other venue that preferred to remain
anonymous out of fear of reprisal. For the purpose
of this article we wUl refer to their venue as Location X and the owners as Jack and Jill. These various
groups spoke with Deal about the problems they'd
faced and what could be done to make it easier to
run a venue in Vancouver. Deal put forward some
big ideas for change that could help venues run in
the city.
The owners of Location X identified an attitude
problem amongst those who enforce the bylaws that
venues have to abide by. PoUce and bureaucrats who
dealt with the situation universaUy came at Jack say^
ing, "We wiH shut you down," he said.
At a hearing to determine the fate of Location
X's Uquor license, Jack and Jill related that the adjudicator of the case told them their business should
not be run Uke a community haU and that if people
don't buy food they should be kicked out.'
This exemplifies one of the biggest problems in
Vancouver's music scene: the seemingly antagonistic attitude between the more official and authorita
tive channels at City HaU and the actual musicians
and music fans.
In the case of Location X, Deal said that people
seem to be coming at it with an attitude that "music equals excitement which equals trouble which
equals bad." &P^Wiil
This may be changing with some priorities for
bylaw enforcement being rethought Deal said. "My
highest priority for [bylaw] enforcement is health
, and human safety," she said.
WhUe Deal said she was unlikely to get in there
and micromanage staff decisions about individual
situations, she and her party, Vision Vancouver,
want to prioritize issues such as human safety rather
than foUowing a strict rules-based bylaw method of
enforcement. , liijyl
»cont. on page 38
ftcwfCf our
OUTSIDE "''/?'■
Deal said that people
seem to be coming
at it, with an attitude
that "music equals
excitement which
equals trouble which
equals .bad." Barry Doupe's
A movie that is really,
truly strange.
by Sarah Buchanan
\\T think the term 'Lynchian' is lazy? claimed
1 Barry Doupe", a Vancouver artist whose first
L feature-length computer-animated film Pony-
tail has eUcited many a comparison to the work of
David Lynch. "There's a lot of work out there that's
creepy and weird and interesting, but there's an authenticity about some weirdness. There's something
truly strange. Like, you start to think that a person
couldn't have made that, there had to be some kind
of macrobiotic fungus that formed it"
Ponytail is a movie that achieves this level of true
and unadulterated strangeness, leaving a wake of
frustrated narrative-hounds searching for a coherent structure, and the rest of us searching for the
fungus that created it. But you can't watch a Barry
Doupe* film if you're looking for something. You
also can't watch a Barry Doupe* film if you have
an aversion to computer-animated nudity, rotting
computer-animated animal corpses and dialogue
that references both NeU Hamburger jokes and B.C.
filmmaker Stan Douglas in the same breath.
I realized upon viewing the film for the second
time that the trick is to kind of lean back, grab a bag
of cheezies, find a good chair (one that is hopefuUy
more comfortable than those provided by VIVO at
the film's Vancouver premiere—let me just say that
I totaUy love that space and value their programming immensely but they really need to do something about those chairs), and take in the amazing
visual wonderland of computer-animated colour
and movement From the first images of a woman's
face spouting ink from her eyes, a telephone off the
hook and a tape player turning itself on, you get the
feeling that these images interact in a similar way to
the characters, who aU speak a sort of broken-German dialect of pop-culture references and truisms.
Doupg's attachment to text-to-speech technology,
in which a computer translates text into a mechanical spoken language, mirrors the unnatural imagery,
taking it one step further with inverted syntax and
jarring sentences.
And why choose German with subtitles instead of
EngUsh? Was it simply ah effort to add another layer
of weird? Have his screenings st the Tate Modern
and various European gaUeries made him reach out
for an audience that seems to appreciate his work
more than... weU... Vancouver? Apparently not. "I
had made some previous films using text-to-speech
in English, but people couldn't really understand
what they were saying," he claimed. "So as an experiment, I did a talk in Chicago and tried one dip in
German text-to-speech with subtitles. Afterwards
people were talking to me about things characters
were saying—it felt to me like people knew what
was going on."
The subtitles really did add another dimension
to the dialogue, which helps viewers interpret the
sometimes cryptic-yet-beautiful phrases that seem
to come out of nowhere. Phrases like "Do you like
finger?" or "Does anyone notice when the young
move youthfully?" The final effect comes off as the
mutated offspring of a hacked copy of The Sims and
(caU me lazy) a David Lynch film, with the kind
of narrative stream that runs through your weirdest nightmares. It makes sense on one level of your
brain, whUe the other level is trying to figure out
what the fuck is going on.
»cont. on page 38
You also can't watch
a Barry Doupe film if
you have an aversion
to computer-CLnimqted
nudity, rotting computer-
animated animal
corpses and dialogue
that references both
NeH Hamburger jokes
and B.C. filmmaker Stan
Douglas in the same
breath. I
Ponytail stills courtesy Bairy Doupe I s^pl
illustration by Monika Koch
by Jordie Yow
1   ■     ■        **>*      ™   . ^ twicf
V\ .TThave a seven-
year-old son who
has seen me play
twice in his life/-'.This is.,
a heartfelt statement
by Rose Melberg, a
director for the not-for-
profit Safe Amplificcdibn
Site Society and a local
singer-songwriter best
known for her beautiful
acoustic live set.
T5 "We're in the business
of selling alcohol. We're
not a fucking daycare."
--<monymous Richard's
on Richards employee
Though the seven-year-old Sam may be a bit younger than the average, youth trying to see some live
music in Vancouver, Rose brings up a good point.
Venues in town that are bars may have their own set
of problems, but rurming an aU-ages venue in this
town is a whole lot tougher—they can't seU Uquor
to minors and that cuts a big source of revenue that
helps most venues in tpwn pay rent.
Jarrett Evan Samson, another director of the society and a musician who plays with CoUapsing Opposites and Shipyards, had a story that reaUy drove
the point that bars and kids don't mix. When he was
16 he desperately wanted to see Matthew Sweet play
at Richard's on Richards. He wanted to see Sweet so
badly, but he had a conscience, so he decided that
instead of sneaking in, he%ould try to appeal to the
owners of Richard's to work out some way he could
go. They have lots of concerts there, they must love
music. Surely they would understand the desire of a
rabid music fan to get in and see his favourite band.
So he sucked up his pride, asked his mom if she
would be wiUing to come supervise him at the show
and caUed Richard's. After explaining his desire to
see Sweet he was rudely told "We're in the business
of selling alcohol. We're not a fucking daycare." Then
he was hung up on. Samson got a fake ID and went
anyways, but the memory of those final words stuck
with him. iWmm
Situations such as the ones described and more
prompted the directors in the group start thinking
about the necessity for a dedicated underage venue
in Vancouver. When they realized that they'd aU
"been thinking the same thing they realized they had
enough people to start an organization dedicated to
their coUective goal. ^ot^
Samson and Melberg were sitting in a circle in
the Shed with three other directors of SASS: Ryan
McCormick from CoUapsing Opposites, Caitlin
Gilroy from Melodia and UnreUable Narrator, and
David MattataU from Shipyards. It's easy to see why
they wanted to meet to chat with me in the Shed.
The Shed is pretty much exactly the sort of place
that SASS hopes to run; located in East Van, it acts
as a jam space and smaU venue that's popular for
those who don't feel it's necessary to drink at a show.
It's a great space and popular with the younger
folk in Vancouver's music community, but it does
have some problems. It's just a shed in someone's
backyard—tiny, not soundproofed (jamming ends
at 9 p.m.), is being sustained by the goodwiU of the
XXI don't think there's one
artist yet who hasn't
said Yes, that's what
Vancouver needs/"
Mattatall said.
home's tenants and neighbours and is definitely not
zoned or Ucensed with the city as a proper venue.
"We want something that's sustainable, that's permanent," said McCormick.
They've got a wish Ust of their ideal space. They're
working towards creating a venue/art space that is
soundproof (or soundproofable) with a capacity between 85 and 200, that is accessible to the people
of Vancouver, legal, affordable (for the society and
people who go there) and most importantly, aU ages,
so it won't be making its money on alcohol sales either. That's a taU order, but SASS has a lot of determination, and it goes beyond the five directors who
spoke with me.
SASS currently has 35 people signed up and
those members participate in various committees that are working towards goals such as raising
awareness and raising funds. The group is getting a
lot of support from performers and the local music
"I don't think there's one artist yet who hasn't said
Tfes, that's what Vancouver needs,'" MattataU said.
They're still a long way from achieving their financial goals, but they're working towards it with an
admirable determination and patience.
"We want to find a space that's right for us, but we
want to find a space that's right for us at the right
time," said McCormick. They're not going to cut
corners to open a space before it's able to sustain
itself through some sort of funding.
The group is spending a lot of time brainstorming ways to gather the funds that wUl be necessary
to run this space.
"We're artists primarily" said Samson jokingly.
"We don't have bags of money."
They've been looking at other cities for inspiration on how such art spaces are run, such as the
Vera Project in Seattle, the SmeU in L.A. and the
Department of Safety in Anacortes. These spaces
are able to operate because of private donations
and government grants in addition to any revenue
brought in from concerts or retaU sales at the location. As McCormick pointed out, they're not too
picky about what sort of organization wants to fund
them either.
"This is an opportunity for CEOs to get in touch
with the grassroots community' McCormick said
with a grin. He said it jokingly, but you can teU he
meant it. This space is important to SASS.
Until they get some heavy hitting donors or government grants, though, the group is happy to put
events together with the proceeds going to the eventual funding of the space. There have been concerts
and film screenings and they are currently putting
together donations for a garage sale which wiU have
aU proceeds go towards the society. If you're interested in donating, volunteering, attending an event
or just want more information about SASS you can
check out their website at
An Interview with
Sarah Buchanan of
by ^Robert Fougere
The foUowing is an interview with Sarah Buchanan, host and inventor of the internet
podcast Life After Radio and former host of
Tiny Machines, a Uve broadcast radio show aired on
CFUV 101.9 Victoria. Sarah's radio experience has
also included a stint at CBC Radio 3, where she was
trained as a producer. Buchanan's current project
Life After Radio, is a monthly podcast focusing on
the most interesting and lesser-known aspects of
life in and around Vancouver. It is avaUable for free
download from
Discorder: So Sarah, what have you been up to
since the days of Tiny Machines.
Sarah Buchanan: I kinda bumped around Vancouver for a year, got into doing some writing and
more media stuff and wasn't doing radio the first
year I was in Vancouver and missed it a whole heU
■ of a lot.
D: How did you get back into radio?
SB: I started working in a smaU position at CJSF at
SFU, which got the bug going in my system again.
D: How did you land your job at CBC?
SB: I just land of applied on a lark to Radio 3
because there was host position open. I knew I
wouldn't get it, but just wanted to get my resume in
there. A couple of months later I got a caU to come
do some production.
D: How was that?
SB: I feel like I learned a lot there. They were so
great about training me and being patient. Working there made me want to do my own thing more
and more. I reaUy liked it but it wasn't always the
style I wanted to foUow. I was working on contract
there when the economy went to shit After my last
contract was up, I had the feeling they weren't going
to caU me anymore and I felt as though I had to sink
my teeth into something, so I started podcasting in
February of this year—on Valentines Day!
D: Do you have your own home studio now?
SB: I've got a really good field recorder and Adobe
Edition on my laptop. I'm pretty addicted to it!
D: Do you get a lot of comparisons to This Ameri-
can Life from National Public Radio?
SB: Yeah, I find them funny. I understand it with
the first episode, because it was in three parts. I find
it reaUy amazing that people seem to be in contact
with so few narrative-based shows that it would au-
tomaticaUy be assumed that I'm trying to copy this
12 one show. It seems intuitive to me that this would be
a format people would want to Usten to.
D: Are your friends receptive to being interviewed
for the show?
SB: The ones that seem to Uke it and do weU with it
are the ones I go back to. There are certain people
that seem to be knowledgeable in a lot of areas So
they just have a charm about them. I like the idea of
repeating characters and people that you might be
able to hear from again and again.
D: Are you hoping to get more expert opinions on
the show in the future?
SB: I'm not trying to be the kind of show that picks
a topic and gets one personal story and than an expert That whole idea of always having to have an
expert on something is getting journalisticaUy tired.
There's something refreshing about people's personal experiences and stories.
D: I remember you used to have a lot of call-ins
and give-aways of things like baked goods on your
old radio show. Do you miss that interactive element of live broadcast radio?
SB: I do miss it I have phone interviews now and
they get to be chopped up and produced and I feel
like I can do a Uttle more with them now, but I miss
the spontaneity of it. I miss that a lot—and Rick!
SB: Yeah, he was a repeat caller that Uved in a shack
near Port Angeles, which could somehow miraculously receive the signal from Victoria. He would
caU in totaUy drunk every show. If he caUed earUer
in the night he would be somewhat coherent, but
later in the night totaUy incoherent As much as Rick
disturbed me, I miss the spontaneity of having him
and having his feedback!
D: Do you manage to keep in touch with anyone
from Victoria?
SB: Yeah, people like Emerson, who used to caU
into my show in Victoria when he was driving cabs
around at night, and now he's taking part in it.
D: Do you have any plans to go back to radio?
SB: Broadcast radio for the kind of show I want to
do right now would be reaUy difficult A radio show
would have to be weekly, and I don't have time to
produce the kind of quaUty show I'd want to, weekly,
by myself. The amount of work that goes into a spoken word show is totally ridiculous. Every minute of
the program has probably an hour of work associ
ated with it. I record aU the music for the show too,
usually last minute!
D: So you're not playing any bands?
SB: There's one show, the bear story show, where I
play a 20-second clip of an old blues song. I've had
friends let me record them.
D: Is that for copyright and royalty reasons?
SB: I want to keep it local. There are so many great
musicians and great things going on in Vancouver it
would be a shame to play music from outside that
scene, and I do want to make sure it's legit Mostly I
just want it to have that "home done" fed to it.
D: Speaking of home done, you introduce some
of the guests on your Fermenters show as "post-
hippie d.i.y. punks." What do you mean by that
SB: People have rejected the term "hippie" a Uttle bit
lately, and some of the visible culture that goes with
it. There's discomfort with the word but people still
carry a lot of that culture with them, so I call it "post-
hippie" to take the surface veneer off of it d.i.y. punk'
is a self-described term used by some of the people
on the show. d.i.y. is tied in a lot with punk.
D: How many people do you think listen to Life
After Radiol
SB: I've got analytics on my site, and about 200 Usten that way. But that's not taking into account those
that subscribe directly through iTunes or Usten with
other people. I'm linked to by a lot of sites
D: I noticed a donation button on your website.
Have you been successful in generating a bit of
income from the show?
SB: Initially when I first put up the button I had a
bit more of a push for it. I get enough to pay my web
developer, Graeme Worthy, and artist AUi Meutzner.
It was great to know that some people could and
would support the show.
D: So Sarah, last question: Is there life after radio?
SB: WeU that's kind of up to the listeners, isn't it? So
far it feels like there is.
15 IN Fir i
Jby leanna Orr
For an independent label that is basically
a two-man show, Unfamiliar Records has
been soaking up a lot of attention lately.
With Pitchfork's recent "Best New Music" tagging
of the Japandroids' album, Post-Nothing, the
label has become, well, less unfamiliar to the
musical masses. Run by general manager and
A&R rep Edo Van Breemen in Vancouver, and
owner Gregg Ipp in Toronto, Unfamiliar boasts
a solid roster to back up the buzz generated
by Japandroids. Vancouver bands the Clips,
Brasstronaut and No Gold call Unfamiliar home,
as well as the Paper Cranes, the Two Koreas, j^j
Snailhouse, Stop Die Resuscitate and Toronto/
London's Flowers of Hell.
"The bands are diverse," said Van Breemen, "we're not
after a certain sound, just something that's special."
Ipp founded UnfamUiar in 2005 and A&R quickly emerged as the label's strength. Its first release, the
Paper Cranes' Veins EP, rose to the top five oh both
CBC Radio 3 and national coUege charts. Talent acquisition happens in the casual, slightly nepotistic,
manner common to many independent labels. Van
Breemen plays for both the CUps and Brasstronaut,
and most of the bands were friends with management before being signed. If not, they are always
friends afterwards. "I reaHy like hanging out with
No Gold," Van Breemen mentioned. "Except that
when I go to see them play, I always seem to wake
up on their couch."
The label's A&R method, according to Van Breemen, usuaUy consists of coming across an album
or sound he finds exceptional from a famiUar band,
then "Greg and I take a look at finances and see
what we can do." Any worries about personal ties
muddying the artist-management dynamic would
be misplaced, however. Ipp and Van Breemen have
impeccable taste, in both music and friends.
UnfamUiar s relationship with Japandroids started in the usual way. "Edo was a friend," said the duo's
drummer-half, David Prowse. "Greg saw us play at
Pop Montreal and liked the show, but he hadn't
heard the record. We emaUed it out to a bunch of
friends, and Edo Ustened to it then passed it on to
By this point, Japandroids had already self-
released two EPs, and were planning to do the
same with Post-Nothing, their third—and possibly final—album. "Brian and Dave were almost
done," said Van Breemen. "They had paid their
14 "A big bargaining
chip that Unfamiliar
has i^their flexibility,''
said %ivi<^Prdwse of
Japandroids. nWe have
absolute control over
anything to do with our
illustrations by Jill Southern of
Edo Van Breemen (left) and
Greg Ipp (right)
dues and weren't seeing the results. But I loved
the album right away, and really wanted to release
it. I just hoped they would be willing to try one
more time."
"We had maUed [Post-Nothing] to so many labels,"
explained Prowse in a phone interview, as guitarist Brian King packed the van for a trip to Seattle.
"When Greg expressed interest in putting out the
album, we were pretty much Uke 'Yeah, sure.' Anybody on board would have been great." Of course,
those labels who have Post-Nothing in a stack of discarded demos are now kicking themselves, and perhaps reviewing their A&R procedures. The album
has garnered the duo magazine covers, spots at the
Pitchfork Music Festival in Chicago and the Capitol
HiU Block Party in Seattle, and guaranteed packed
houses for the upcoming tour of North America.
The success of Post-Nothing proves that UnfamUiar Records has come up with a winning formula for an independent label. Start with' two music geeks, add some serious ideaUsm, subtract any
ambition for personal wealth and station them in
different cities. AUow them to mix freely with the
local music scene. As long as success is measured
in critical and pubUc acclaim and not profits, Van
Breemen and Ipp are finding it. The label appears
twice on the current Polaris Music Prize long Ust
for Japandroids' Post-Nothing and SnaUhouse's Lies
, on the Prize. Both bands face stiff competition from
the likes of Leonard Cohen, Chad VanGaalen and
Wolf Parade, but past-winner Caribou proves the
$20,000 award has Uttle to do with star power. Winning would carry big payoffs for either band, both
financially and pubUcity-wise, but in the short term,
the label would benefit only in the latter realm.
Both Ipp and Van Breemen stress UnfamUiar's
slim (or non-existent) profit margins, but neither
seems jaded. "Over the years far more money has
gone into the label than has come out of it (anyone
who thinks they should run an independent record
label to get rich, think twice!)," Ipp wrote in an emaU
before he enthusiastically dove into describing the
label's philosophy. Van Breemen, similarly smiled
and admitted, "We're aU Uving back at home again."
Ladies, however, should not worry: Mr. and Mrs.
Van Breemen are spending the summer in France.
Considering UnfamUiar's consistently upward
trend, the outlook is good for the parents of Van
Breemen and Ipp to once again reclaim the nest
That is, if the men are willing to give up open access to stocked fridges any time soon. Convincing
a young man to do that, my mother once said, is
akin to convincing the same man to leave behind an
open bar. Difficult, at best.
The managers' personal Uves aside, UnfamUiar
Records has come into its own as a legitimate and
professional label. "We made what I would consider
the move from a basement operation to a boutique
label within the last six months,* said Ipp. This transition, he wrote, began last summer with the release
of SnaUhouse's Lies on the Prize. Shortly thereafter,
Van Breemen came aboard to share management
Throughout the label's evolution, the policy of
aUowing bands complete creative freedom has remained a key tenet. For artists, this laissez-faire attitude is extremely attractive. "A big bargaining chip
that UnfamUiar has is their UexibUity" said David
Prowse. "We have absolute control over anything to
do with our album."
Ipp maintains that he started UnfamUiar with
a vision of the label as a vehicle for artists to have
their music heard "We're always here to offer ideas,
and to help, but ultimately, we're a conduit for their
music." he explained. "When we choose to work
with someone, we are confident in their abUity to
create great aft"
Even without their artistic ideaUsm, Ipp and Van
Breemen are stretched too thin to micro-manage
the creative process. "The last couple of months
have been crazy and we're doing everything we can
to continue the momentum," admitted Van Breemen.'
Nevertheless, in early June Japandroids signed with
Illinois label Polyvinyl, handing over the worldwide
release of Post-Nothing to the outfit that handles Of
Montreal and Architecture in Helsinki. UnfamUiar
remains in control of the Canadian market and
wiU soon be re-releasing the band's first two EPs
on vinyl. The Polyvinyl deal does not seem to have
created conflict between Japandroids and UnfamUiar; apparently, Ipp and Van Breemen know their
limits. Relations between the two labels are said to
be exceUent, and though nothing has been signed,
Ipp forecasts continuing cooperation. "You wUl be
seeing more Unfammar/Polyvinyl collaborations in
the future," he said.
Even with much of Japandroids-related pressure
aUeviated, Van Breemen and Ipp wUl continue to
have their hands fuU for the foreseeable future. New
albums from No Gold, Stop Die Resuscitate, the Paper Cranes and Brasstronaut are impending, as are
several yet-to-be-announced projects. UnfamUiar
Records is proving itself a label with a sharp ear for
quality, an ear that wiU hopefuUy, one day, aUow the
managers get their own places.
15 'MSi                       '.'   -:■ '"                           ^&                                     ||&    .'
We suggest listening to CiTR online at, everyday.
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Vegan baking with "rock
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(Eclectic) 4-5pm  |
Explore the avant-garde
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From new electronic and
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Vancouver's longest running
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Hosted by the ever suave,
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July 6: A special extended
feature, beginning at 10pm,
marking the passing of
one of the most passionate
voices of the alto saxophone
(and other horns): CharUe
Mariano. The feature album
at 1 lpm wUl be The Toshiko-
Mariano Quartet.    \
July 13: A very rare concert
performance by the star of
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with bassist GUbert Rovere
and drum master Arthur
July 20: Another powerful
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leader Max Roach with his
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(Hip-hop) 12-lpm
Top notch crate digger DJ
Avi Shack mixes under.-
ground hip hop, old school
classics, and original breaks.
beatstreet@telus. net
Radio Zero
(Danfe) 2-3:30pm
An international mix of
super-fresh weekend party
jams from new-wave to foreign electro, baUe, BoUywood
and whatever else.
www. radiozero. com
(Nardwuar) 3:30-5pm
Join Nardwuar the Human
Serviette for Clam Chowder
fiavoured entertainment. Doot
doola doot doo.. .doot doo!
nardwuar@nardwuar. com
News ioi
(Talk) 5-6pm
Hot Mess
(Eclectic) 6-7:30 pm
African Rhythms
(Eclectic) 7:30-9 pm
Rainbow Groove
(Dance) 9-10:30 prii
Shake A Tail Feather
(Soul/R&B) 10:30-12am
The finest in classic soul
and rhythm 8t 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
(Metal) 2-4am
Dark, sinister music to
soothe and/or move the
Dragon's soul. Ranging from
doom, death, and black metal
to melodic Eurometal, with
some goth/industrial influ-
thevampiresbalh@yahoo. ca
The Saturday Edge
(Roots) 8am-12pm
A personal guide to world 8.
roots music—with African,
Latin and European music
in the first half, foUowed by
Celtic, blues, songwriters,
Cajun and whatever else fits!
steveedge3@mac. com
Generation Anihilation
(Punk) 12-lpm
A fine mix of streetpunk and
old school hardcore backed by
band interviews, guest speakers and social commentary.
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 like it Sonic assault provided by Geoff the
Metal Pimp.       k
Code Blue
(Roots) 3-5pm jS^ Srf-,'
From backwoods delta low-
down slide to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy
and Paul.
codeblue@buddy-system. org
' The Leo Ramirez Show
(World) 5-6pm
The best of mix of Latin
American music.
Nasha Volna
(World) 6-7pm
NeWs, arts, entertainment
and'music for the Russian community, local and
nashavolnaxa k
Shadow Jugglers
(Dance/Electronic) 7-9pm
Broaden your musical
knowledge with DJs MP,
Socool, Soo 8f their guests.
Working across music genres
including electronic and
club-based music.
Synaptic Sandwich
9-llpm    '
If you like everything from
music/retro '80s this is the
show fo* you!
www.synapticsandwich. net
Beats from the Basement
(Hip-hop) llpm-lam
Hosted by J-Boogie and
Joelboy. The latest tracks,
classics, rare and obscure,
current events and special
features of peeps coming
into the studio. Listeners
can expect to be entertained... church.
klymkiw@gmail. com , cfefov* Lindsev Hampton
Punk Heart: Jesse Taylor on himself; Vancouver,
and Twin Crystals
by Quinn Omori
When I met up with Jesse
Taylor of Twin Crystals,
it was in the building that
the band shares with a few other Vancouver bands and artists—fittingly
named the Secret Space. The artists'
enclave exists in one of the few areas of Vancouver that hasn't yet been
touched by the forces of gentrification,
just a few doors down the alley from
the sadly, now defunct Emergency
Room, the former home base of the
musical scene that Twin Crystals are
at die forefront of.
"AU of us—pretty much anyone
who's involved in the ER and most
of the bands—are from the Okanagan," said Taylor, harkening back to
the days before Twin Crystals, when
he was drawn from his hometown of
Vernon to Vancouver.
WhUe the Metro Vancouver area
boasts a population of over two mU-
lion, it didn't take long for Taylor and
his cohorts to carve out their place
in Vancouver's music scene. "We had
always aspired to move down here
and play, but we thought it was like a
big city? he recaUed. "We didn't know
what we were getting ourselves into
and that it was just another small
After relocating, Taylor was in a
variety of acts, most notably no wave
outfit Channels 3+4, and he's stiU involved in multiple projects outside
of Twin Crystals. But while Channels
3+4 garnered some buzz overseas, it
*Even when the ER started, there
were still only 20 people at the
shows. And then two Halloweens
ago there were 500 people there
and it's been like that ever since."
wasn't until he formed Twin Crystals
with drummer Jordan Alexander that
one of his projects garnered a larger
"1 don't know what happened in
Vancouver, but nobody cared before,"
Taylor said, explaining the climate
in Vancouver five years ago. "Even
when the ER started, there were still
only 20 people at the shows. And then
two Halloweens ago there were 500
people there and it's been Uke that
ever since," he noted with a smUe. "It's
scary sometimes. Ifs weird to see a fan
base shifting from your friends... but
things are awesome now."
Twin Crystals formed when Channels 3+4 was winding down and it
solidified when Taylor and Alexander
rounded out the line up with Jeremiah
Hayward on synthesizer. This freed
Taylor to pick up a guitar and complete the band's mix of hardcore, new
wave and noise. "Since then, we've
never looked back," Taylor explained.
"Never looking back" has meant
a prolific output for the trio, who,
according to Taylor, in the last year
alone have put out "seven or eight releases." And that's just the vinyl.   . ■'■%$
"We had a lathe 7 inch called Dis
appear Forever that we only did 31
copies of. And then we did a lathe 10
inch and we did 51 copies of that. And
then we did the Two Girls 7 inch. We
weren't even going to do Two Girls,
but Summer Lovers reaUy thought
that was the hit and wanted to keep,
going with it," Taylor said, explaining just a handful of the releases on
the band's biggest label to date, the
relatively small Summer Lovers Unlimited. The rest of the band's output,
including their latest, a self-titled LP,
have been spread out on tiny, d.i.y.
imprints, which fits with the band's
fiercely independent outlook.
"I don't reaUy think any of our
bands have a mainstream rock sound
at aU," Taylor said when asked about
the prospects of Twin Crystals or -
any of the other recently christened
"weird punk" bands in Vancouver
garnering a larger foUowing outside of their hometown. "Sometimes
there's bits from emaUs and stuff that
make it'seem like things are going that
way? he said before pausing. "I would
totally have fun with it. Ifs not a fun
business to be in, so you've got to do
things to amuse yourself. We'd do it on
our own terms."  J
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CS^|§ The Little Festival with
the Great Big Heart ||
by Dan Fumano
In2007, JconesWood,
the front man for local rock group the
Hotel Lobbyists, put
together a little summer music festival in his
hometo\vn of Nanaimo.
He secured a location
on his sister Tara's farm
on the outskirts of town-
arid recruited some of
his iftends from the Vancouver music community to bring thek bands
along" and play.
Just through word of mouth, they managed to
bring out about 250 people to the inaugural Green
Mountain Musk Festival, all to raise money for a
cause very close to Wood's heart: cystic fibrosis, a
genetic disease affecting multiple organs, primarily
tiie lungs and the digestive system. CF is the most
common fatal disease affecting young Canadians,
including James' girlfriend at the time, Kim Black.
In 2008, Wood did it again. Same location, same
cause. Only this time, about 450 people came out.
And this time, Kim was James' fiance" e.
This summer, on Aug. 8, the third annual Green
Mountain Music Festival will rock out, spread good ■
vibes and raise money and awareness for the same
worthy cause. But it wUl be the first year that Kim
and James attend as man and wife.
In spite of tins happy news though, ifs amazing
that the festival is happening again. This year, it's really remarkable that Wood is putting on this festival
after a year of incredible tragedy.
Last September on the home stretch of then* first
cross-Canada tour, the Hotel Lobbyists were in a
horrific road accident in Manitoba that claimed the
Ufe of drummer Mike Gurr, and very nearly took
Festival founder James Wood and wife
Kim Black !&#Hi
Wood as weU. Wood spent several weeks in a Winnipeg hospital, recovering from the massive injuries he sustained. After several months of recovery,1
Wood was, incredibly, ready to mount a third Green
Mountain Festival.
"Putting the festival on again this year has been
the only way for me to deal with the passing of my
drummer? Wood said. "We're dedicating the whole
festival to the honour of Mike. He was just a huge
help when I organized it in previous years. He was
right by my side, digging up heavy rocks, helping to
buUd the stage?
Things wiU kick off on Aug. 8 with an opening
set from the Hotel Lobbyists, the band that Wood
and Gurr founded together, rounded out by bassist
Jordie Dammet and guitarist Jordan Isaacs. Friend
and Minto member Jimi CueU wiU back them up on
the drums. It will mark the Lobbyists' first performance since the accident, and according to Wood, it
wiU also be their last. "We're gonna retire the name
after that?
The festival itself promises to be another great
event. If you ask any of the people -who attended
over the past two years, you'U hear nothing but good
things. i$lo%
The Green Mountain Music Festival is like Chilliwack corn: locally grown, organic, wholesome and
good for you. The distinct B.C. flavour of the festival
is one of the things that make it both fantastic and
unique. Over the first two festivals, local bands such
as the Pack A.D., Japandroids and Bison B.C. have
been involved with Green Mountain and have just
been on a hot streak since then.
"It feels like a bunch of these bands are just about
to get huge, so this is like a sneak peak? says Graham
Myrfield, bassist and singer for the Stumbler's Inn,
who are making their third consecutive festival appearance this year.
In an interview with the Skinny Magazine late "Putting the festival on again this year has been the only way for
me to deal with the passing of my dtummer," Wood said. "We're
dedicating the whole festival to the honour of Mike."
—James Wood, founder
last year, Bison, B.C. front man James FarweU gushed
about the festival. "We played the Green Mountain
Music Festivalin Nanaimo! It was absolutely one of
the most wonderful experiences of my Ufe. ReaUy
good vibes, reaUy good cause, the organizers were
charming as heU, and it's outdoors! You're playing
outdoors and surrounded by mountains, and the
sound was reaUy great. Mostly Vancouver bands
The Pack A.D. hjf-ye had ,a_ .simUarly huge year
since playing the first Green Mountain, and they
couldn't be more stoked to be coming back this year.
"We're both reaHy looking forward to it. I think the
whole day is going tol>e great. AU the bands wiU be
super because James picked 'em? enthused drummer
Maya MUler, before urging that "everyone should go
to it. That means you too, gentle reader."
The Pack A.D. wUl be joined this year by their
Mint Records label mates (and Vancouver Island
representatives) Immaculate Machine, as part of an
impressive 14-act roster. The full line-up includes
the Hotel Lobbyists, the Pack A.D., Immaculate
Machine, the Stumbler's Inn, Minto, Buffaloswans,
the Beladeans, the Surf Messiahs, Chasing SateUites,
Adelaide, Sun Wizards, ShUoh Lindsey and David
Chenery and the Lonesome VaUey Singers.
"We're super-excited to be doing this again this
year, and the thing I'm most excited [about] is
. that James is stiU putting it on, and with the year
he's had," said Myrfield. "The guy is Uke a walking
miracle. It warms my heart that it's getting done and
that the quality is stiU there, and it's getting bigger
and better."
Wood is quick to put the focus off of himself and
on to the importance of the cause. "Last year was the
first year where there were more adults with CF in
Canada than chUdren. That just goes to show what
the research and the funding are doing to extend
Uves, and the awareness that comes from events Uke
this is important... The main thing is I'm trying to
ensure that my wife wiU also be a grandmother."
For a fun, summertime music festival, there's a
lot of emotion involved With the third Green Mountain. But after aU of the hardship, and the heartbreak
of losing a dear friend, the festival is aU about love.
"Kim and James are the best couple ever, since
couples were first invented? claimed MUler. "And
you can quote me on that."
Festival poster by Carina Piccioni
Fundraisers for the Festival:
Thursday, July 23
at the Biltmore:
The Stumbler's Inn, Buf fcdpswans,
Surf Messiahs, Shiloh Lindsey and
David Chenery 8c the Lonesome
Valley. Singers
Friday, July 31
at the Biltmore:
Minto, No Horses, Sun Wizard and
Adelaide ■      '
For more information, check out
these websites:
The Green Mountain Music
Festival (including directions and
accommodation info): www.
Canadian Cystic Fibrosis Foundation:
*J*Hc (ftTV<   fv^U/Ji*/j.*4c»^r/^xL/,*>J.tA\ir*'-vT^C   AiuO*.   "Tce/vfe      '■ ^ ^Aj af'I*. £■» ^-T-Tf-it^ //er  j-c««.»L,
m& $§|| £f|| cv^k g wr ^ /|I| *^ #-  1 £p| fe w 'wjIM %$t$m *mm $
IWerything that has Ever Happened up to and Including Today  mmmaummaa*
Seventeen Things Burning
For more please visit:
-2- photos of the
Granville Strip on a
Saturday night by
Michelle Mayne
More Than This:
The push for entertainment beyond Granville
By Jessica Barrett        %*f$iS6
Friday night. Powell
Head half a block
west and you're in
Gastown. It's a slightly
more mature, less manic incarnation of the
city-sanctioned Granville Entertainment District (GED) a few blocks
away.   Ij^jW
The same distance
east is the apex of the
Downtown Eastside—its
own Dickensian revelry
how in full swings
The landscape changes on the short walk through
Gastown to GranvUle. Dark cobblestone gives way
to the rubble of Canada Line construction. At present, GranvUle Mall is a stunted neon caterpillar
scheduled to emerge a modern pubUc pavUion—
just in time for the Olympics.
DJ beats and top 40 hits permeate the air, a base
layer for the cacophony of high-heels, car horns,
street fights and the eccentric yeUs of panhandlers.
Lineups are long and rowdy, comprised of tipsy
young women and hair-geUed young men, coUared
shirts' unbuttoned just so. Men in black lord over the
queues and roaming cops try to keep a Ud on it all.
Vancouver's is a standard club district. But what's
unique about it, according to some, is that this is aU
the city offers when it comes to youth-oriented entertainment. That's a problem for a large swath of
young Vancouverites who consider few things more
repeUent than GranvUle Street on a Friday night.
"The thing with GranvUle is: who reaUy wants to
go to GranvUle? I feel like Vancouver has a certain
idea of fun for a certain type of person. And if you're
outside of that realm, they don't get it?
That's Kate Kroll. Dark-haired, tattooed and
pierced, KroU considers herself distinctly outside
the GranvUle realm. A good night for her includes
live music, cheap drinks and r | Ifjne.
A typical trav-^plant, KroU ;o Vancouver a
couple years back for school. Searching for a social
scene, she was surprised to discover the city seemed
to have fewer live music prospects and stricter bar
regulations than her hometown of Edson, Alberta.
Population: 8,365.
Melissa James, also, inked and raven-haired, had
much the same experience. "When I moved here
from Montreal I thought it was weird there were
no music venues," she said over coffee in a Hornby
Street cafe\ "When I found the music venues, they
were aU Ulegitimate. They didn't have licensing and
it started from there."
"It" is No Fun City, the documentary James is
making with KroU about Vancouver's live music
scene, or lack thereof.
To be clear, there are Uve music venues in this
city^$^ering gems such as the Commodore BaU-
rob*&»JStichard's on Mchards, the Media Club and
the Railway Club religiously cater to the Uve crowd.
That's four venues compared to dozens geared to
the more popular DJ culture on the GranvUle strip.
And there's a reason for that: what's more popular is
more profitable.
Jeff DonneUy is a veritable entertainment-industry whiz kid. He knows how to give people what
they want. DonneUy got his start at the age of 23 as
part owner of a Victoria strip club and Uttle more
than a decade later he owns 11 Vancouver venues.
■//////^/////////^:w////. Name pretty much any club downtown and there's a
good chance it's DonneUy's. Bar None, RepubUc and
Pop Opera are just some of his dance party pads.
Sports-fan friendly Library Square, and the recently
acquired Lamphghter are a sampling of his successful pub empire. DonneUy is also a restaurateur with
• his original Vancouver venue, KitsUano's Bimini's
(currently under renovation).
Given his roster of properties, it's easy to understand why DonneUy doesn't buy into the idea that
Vancouver is shortchanged when it conges to entertainment.
"There's an idea that Vancouver has that kind of
culture and GranvUle Street, to be honest, is reaUy
quite top 40. But I don't believe that. There are some
clubs that are the exact opposite and if you want to
find it, you can find it," he told Discorder in a phone
"People have this idea that other cities have these
crazy club scenes and these awesome Uve venues
and these amazing DJ selections and it's just not
true. We keep up with pretty much what everybody
else is doing. At some points in time we're- a Uttle
more cutting edge than them. In the DJ scene, we
are so close to L.A?
WhUe DonneUy concedes there's a certain similarity between venues in the GED, he's of the opinion that that s a good thing.
"I think every city needs an entertainment area.
I think that people take tourism for granted in
Vancouver. You know it's our only industry these
days—it's our only industry in B.C. pretty much.
I think when people from out of town come here,
whether or not they know the latest hot spot or the
Uttle pocket of areas they can go to and hang out,
they know they can go up to GranvUle Street and
there's 20 venues. They're going to be able to find
something they Uke?
With 11 venues, there's a good chance people are
going to find something they Uke in one of DonneUy's clubs. The places are routinely packed, and
each one offers an atmosphere designed to appeal to
a large cross-section of people. You don't have to be
in the know to find his clubs and you don't have to
be a music junkie to recognize the big-name acts he
brings to the city: Mix Master Mike, Grand Master
Flash and Dj AM, to name a few. He makes it easy
for you to be part of the scene.
WhUe a downtown full of DonneUy-style venues
might be good for business, this apparent homog-
enization isn't great for culture. Or so says planning
expert and musician Mark PickersgiU.
"As busy and successful as it is, it reaHy is devoid of any kind of personal character? he said of
the GED. "I know that's a reaUy subjective thing to
say, but you're not going to see a lot of independent
artists or creative people be able to enter into that,
partly because they can't afford the rent but also because that's just not the culture of the place?
The culture of the GED is largely described
as one of drinking, flirting, fighting and a regular
haunt for gangs. The disruption it causes has City
HaU reluctant to hand out more Uquor Ucenses. It's
a legitimate concern, but PickersgiU, who wrote his
master's thesis on Vancouver's music venues, points
out that alcohol sales are the primary money maker
for any kind of venue in any neighbourhood. Vancouver's iron-fisted stance on Uquor Ucensing, he
said, is one of the major factors hamstringing attempts to get a more eclectic cultural scene going
outside the GED.
Liquor primary Ucenses (which are granted to
venues that deal primarily in liquor sales—as opposed restaurants whose primary sales should be .
food) are a huge barrier to independent venue owners "because you can't get one. And the Uquor Ucense
wiU cost about $100,000, too? PickersgiU said. That's
an amount of cash most would-be independent
venue owners just don't have.
Then there are also zoning restrictions in mixed-
use areas that mean venues there have, to close ear-
Uer than those downtown. And then there's noise.
"There's primacy given to' residential interests
because that's what makes developers the most
money," PickersgiU said, adding that when it comes
to Uve music venues, the B.C. Residential Tenancy
Act offers the first stumbling block with its "right to
quiet enjoyment" clause.
As a result, the alternative cultural scene—the
Uve scene—is largely confined to a steadUy growing
crop of Ulegal, underground venues that regularly
change name and location to stay under the radar. It
was at one of these venues, the now defunct Emergency Room, that documentary makers James and
KroU met and hatched their plan. They were sick of
their favourite places getting shut down.
Vancouver's underground has been doing a pretty good job of nurturing a culture of creativity, but
it's rife with potential problems.
"As busy and successful as [the
Granville Entertainment District]
is, it really is devoid of any kind of
personal character/7
—Mark Pickersgill
"ST "It's kind of sad and scary when the only place you
can go and see a band is underground in some dUapi-
dated warehouse," PickersgiU said. "If there was ever a
fire or something Uke that, people would die."
It's a genuine concern. Remember that intersection at the top of this story? It was home to at least
one iUegitimate venue that Friday night—the site
of a Music Waste show, the city's festival of indie
mus*c* t!iJl»$sl<l=l
You'd never find the place without the address,
save for the handful of coUege-aged hipsters loitering outside (a marked contrast to the lineup for the
boutique lounge across the street). Upon entering,
the high ceUings and tread-worn floors give the vibe
of someone's apartment. It is.
With beer bought from a table nestled in the
kitchenette, the audience settled on the floor for a
love-in-style concert. It was cozy, and at first nice,
but toward the end of a short vocal set, people were
sweating in the stifling summer heat and fidgeting
on the hard floor. The narrow staircase was clogged
with bodies. Surely this crowd deserves, at the very
least, a venue with some AC and a viable fire exit.
The problem is that the cover charge was $5 and
drinks about the same; that's what these students,
artists arid activists can afford or are wUling to pay.
And that doesn't support a legitimate business. Just
ask Zak Pashak, owner of the BUtmore Cabaret, a
stone's throw off Main and 12th.
"It's pretty hard to run a bar and make money in
Vancouver," he said via phone from Calgary, where
he was organizing the Sled Island music festival.
"I think the people are used to spending not a ton
of money on a drink... And I think that the cost of
goods is incredibly high and the taxes are incredibly
high. Every month that the BUtmore's been open,
it's lost tens of thousands of doUars. Some months
even more ... Being a live music venue is incredibly
hard too, just because it's reaUy expensive to put on
a show. It's reaUy hard to advertise every single show
that goes on, pay for techs, pay for ticket printing,
and the service charge, and pay for band riders, and
drink tabs and everything that goes into it."
That's exactly why club king DonneUy hasn't added a live music venue to his empire.
Donnelly dabbles in Uve music, but he sticks to
cover bands or he puts together his own acts. His
most recent project is a synthpop group caUed One
Night Standard, whose lead singer found marginal
fame with the Canadian boy band soulDecision
(think back to around 2000 and the song "Ooh It's
Kinda Crazy"). But when it comes to nurturing local bands and original music, DonneUy said it just
doesn't pay. W>-f& ?^
"I'd love to do that and I think it would be a reaUy
cool thing to do but it's reaUy expensive to do and
you need sort of bigger rooms."
The bigger rooms are coming, though. At Main
and Hastings a vertical streak of Chinese characters
is the only signage above the old Shaw theatre. This
is now the Rickshaw, a 700-seat venue and a project
of Dave Duprey (a.k.a. Malice). It hasn't even had
its official opening yet, and already the venue has
hosted three events, one planned and two it-took
over when the original venues couldn't open due to
noise complaints or other regulatory infractions. So
far, the interest has been huge and the crowds sizeable—and this for a place that's not even Ucensed to
SeU beer. Yet.
The Downtown Eastside seems to be the site of
an organicaUy evolving local music scene—but city
legislation is stUl an issue. According to NPA city
counciUor Suzanne Anton, the city is open to having
more than one entertainment zone. "We are looking
for more places for people to have live entertain
ment," she said. "The cultural industries and the
creative industries in the city are reaUy important.
We've been focusing on that for years? -
But the Downtown Eastside might not be it. Anton revealed that coming by a Uquor primary Ucense
in that area is even tougher than in the rest of the
"I think at Main and Hastings, there's the issue
of it being the Downtown Eastside," she said. "Liquor was a big problem down there for many years.
Council has—I think it was quite a few years ago—
put much more restrictive poUcies in that neighbourhood." As it stands, Uquor stores aren't even
aUowed to open there, Anton said.
She did, however, offer a ray of hope in the area's
encroaching condo developments. "There are more
people moving into that neighbourhood—people
who have ordinary incomes, ordinary Uves, and they
wiU Uke to go out at night and do things. So the city
may soon be approached by people who Uve in that
area and say it's time to end the moratorium."
The future of the burgeoning music scene, it
seems, now Ues in the hands of the middle class,
whose expected arrival wUl shape a neighbourhood
on the verge of reinvention.
Animal Collective photographed by GtercUd Deo
Animal CoUective
Grouper        \
May 24
The Commodore
In a musical climate where a majority of new "indie"
acts faU in to the unfortunate genres of experimental, fuzz-pop, lo-fi, no-fi, shit-fi, and whatever else
has emerged from the journalistic meat-grinder
recently, one sometimes forgets that Animal Collective has been creating their particular brand of
experimental pop for nearly ten years now—and
they stiU do it better, with a novel, more tradition-
atty structured five format that marks a departure
for the band.
Animal CoUective are notoriously hit-or-miss
Uve performers—the classic "they suck Uve" band
whose records are good enough that it doesn't reaUy matter—which made it mildly surprising that
this show was so fan-friendly. As the musk industry
tortuously reconfigures itself, bands have become increasingly reliant on tour revenue, since nobody buys
albums anymore. This may have something to do with
the fact that Animal Collective played actual songs!
From their actual albums! Anyone who's been to
their shows before knows what I mean—they are
usuatty a mish-mash of new material and largely
improvised Jams. With the (relative) success of Mer
riweather Post Pavilion they seem acutely aware of
a new fan-base and those fans were in evidence, for
better or worse. A smattering of semi-aggressive
frat-bros and their bleach-blond cohorts would
have seemed absurdly out of place at an Animal
CoUective show a couple of years ago, but there they
were, and mere you are. Animal CoUective would
be silly not to diversify their fan portfolio in these
tough economic times, and maybe I'm just being a
dick anyway.
Since I was a last-minute stand-in to review this
show, I missed the shockingly punctual Grouper,
which is a damn shame. But she wiU be playing at
St Andrew's Wesley Church on July 18, and I highly
recommend that you attend.
—Alex Smith
Wolf Eyes
Sade Sade
May 25
The BUtmore
For noise fans, this bill at the BUtmore was a no
brainer, offering up a Uttle something for every fan
of harsh sounds.
Gabriel Saloman started the night off. The ex-
YeUow Swans member performed solo as Sade
Sade, manipulating the hum from a blank cassette
played on an old Walkman with a variety of effects,
panning the resulting sounds across the BUtmore's
sound system. The result was like some sort of audio
Rorschach test. And no matter how you interpreted
it, it was compeUing stuff.
Wolf Eyes were up next, unleashing their brand
of crashing, uncompromising "music." Using effects,
conventional sonic weapons like guitars and horns,
and some makeshift instruments, the Michigan
three-piece showed why they're one of the genre's
most revered performers.
Black Dice finished the evening with a set that
treated the ears and the eyes, playing in front of stuttering visuals that should have come with a warning
to epileptics. Although they stiU sound rather "out
there" to most music fans, considering that the band,
comes from the same untamed, improvisational
reaches that Wolf Eyes stiU inhabits, Black Dice's
musk has become far more structured as they've
grown older. Rather than free-form noise coUages,
their songs were grounded by synthesized beats and
buzzing synth patterns. It would be a stretch to caU
them "danceable? but the industrial rhythms that
drove their set coerced more than a few bodies into
motion before the night was through.
—Qtdnn Omori       Wt_0&i*§
ai i5IiPif
Julie Doiron photgrophed by Quinn Omori
Chain & the Gang
The Hive DweUers
Rose Melberg
May 30
Little Mountain Studios   ^|fgt|lf
This was the show that nearly didn't
happen. It had been scheduled for the
Sweatshop (shut down), the Peanut
GaUery (shut down) and a community center (presumably still open),
before ending up at Little Mountain.
But then, a few weeks before the show,
Little Mountain had their own noise
complaint woes and it looked Uke the
show might not happen there either.
The show did go on, but the raucous
Cham & the Gang were moved to the
middle of the bUl, putting the mosdy
acoustic Hive DweUers on last.
Rose Melberg started things off
with her sometimes bandmate Larissa
Lovya, performing pretty pop songs
with minimal guitar accompaniment.
Melberg has a new album coming out
on K in the faU and she previewed a
number of those songs.
As for Chain & the Gang's Ian
Svenonius, he's a consummate Uve
performer,   shimmying,   screaming
and wise cracking with the audience.
Best known for fronting the Make-Up
and Nation of Ulysses (Sassiest Boy in
America '91, yo!) and more recently,
Weird War and the Scene Creamers,
Svenonius is also the author of The
Psychic Soviet, a slender-but-essential
volume- of rock phUosophy. He hasn't
been here in years and we were very
keen to see what he woukLdo with
his new band. We're happy to report
that he and his Gang brought it and
brought it hard. With his players laying down a sick, stripped-down groove
reminiscent of Dr. John's psychedeUc
soul, Svenonius—in a white suit with
a mop of black hair—pranced ^bout
stage pontificating about everything
from reparations to the true nature of
the dollar ("An internationaUy traded
increment of work!").
The Hive DweUers had a bit of a
tough job foUowing up Chain & the
Gang's high-energy set with something more low-key in a room already
foggy with hot perspiration, but former Beat Happening frontman and K
Records boss Calvin Johnson kept the
crowd's attention with his inimitable
stage presence. Backed by the same
band as Svenonius—Bret Lyman (Bad
Thoughts), Brian Weber (Dub Narcotic Sound System), and Fred Thomas (Saturday Looks Good to Me, City
Center)—Johnson crooned twee love
ballads in his distinctly cadaverous
baritone and improvised deUberately
wooden dance moves on the smaU
stage with the endearing awkwardness of a limp-wristed Frankenstein.
It was a rare kind of show indeed, and
Svenonius is unlikely to return any
time soon, so it's safe to say that the
small but faithful crowd went home
—Duncan McHugh and Saelan
Handsome Furs
Johnny & the Moon
June 4
Richard's on Richards
Think of the moments in your Ufe
that you'U carry with you always.
You are lucky if that includes falling
in love—luckier stiU if it's making
music with the one you love. And if
even one memory includes the two
of you coUapsing on the floor of a
soon-to-be demolished Vancouver
stage in a coUeetiv|Iy-formed puddle
of sweat, exhaustion and reverb, as a
capacity crowd of famUy, friends ind
total strangers cheers you on, you
Uve a charmed life indeed. Such was
the scene during Handsome Furs' latest visit to our.iair city on one of the
most unseasonably hot nights of the
year, where husband and wife duo
Dan Boeckner and Alexei Perry spectacularly sweated it out in skintight
outfits (a denim suit for Boeckner,
white zebra leggings for Perry) and
made the best of an already excellent situation. The two were so overwhelmed by the totalizing love in the
room, in fact, that they thanked us repeatedly between songs that included
a vast sampling of Face Control, their
recently-released sophomore album,
and ended with select gems from
their 2007 debut Plague Park. "This
is like the best Christmas ever? a
grateful Boeckner told the crowd. He
thanked his father for coming to the
show and dedicated a song to an old
friend who had borrowed his parents'
van to support him at his first-ever
32 —i
performance. His Wolf'parade vocal chops were not lost in the midst
of the drum-machine ifgfficjhes and
guitar-focused pieces that mark their
latest work, and his relaxed, humble
stage demeanor laid the groundwork
upon which Perry could go nuts—
and she did. The foot-stomping, the
high kicks, the chest-thumping, the
cardiovascular endurance: it was a lot
to take, and a little distracting, but the
crowd ate it up. Fittmgly^tiigjet ended
with Boeckner burying his head into
the bosoms of a cluster* of enthusiastic male faris whUe Perry took
people's hands to kiss. The passionate performance seemed to actuaUze
what poor-man's Born Ruffians openers Johnny and the Moon seemed to
want to communicate so desperately
in their set: everyone just wants to be
loved. Or, as the Furs song goes, "AU
we want, baby, is everything?
—Jackie Wong
Mt Eerie
Nick Krgovich
June 5
St. James Community HaU
Despite two postponements due to
scheduling problems, Anacortes,
Washington analog rock heroes Mt.
Eerie and local concert promoter Kris
Charlton of Twee Death finaUy came
through with this long awaited concert experience. Inside the wondrous,
yet hopelessly stuffy St. James HaU, a
substantial crowd packed the hard
wooden pews for a unique night of
song and performance that was weU
worth the wait.
Vancouver's GR8-2000 (a.k.a.
Tom Whalen) opened the night up
proper with his baUs-out blend of
programmed beats and electrified,
primal-scream lyrics. "My parents
are here tonight? Whalen announced
proudly in between songs, adding
"and look at the mess you've made!"
before launching back into rhythmic
chaos. His raucous set (complete with
dancing teenage groupies) ended with
a raunchy, blues-powered guitar explosion, indicating a powerful direction of creative exploration for this
local talent.
Things were lit up nice and ready
to fire, but Nick Krgovich (P:ano, No
Kids) took the energy of the show in a
different direction, providing the left-
field highUght of the evening. With
the lights dimmed low and only the
sounds of the wobbly ceUing fans audible, Krgovich stepped to the piano
for an 11 song set of gorgeous pop
baUads written in the sanctuary of his
living room. Subtly eking out tones of
pathos and comedy from the poUshed
keys, Krgovich sang of the death of
HoUywood, the cold epistemology of
love and the whimsy of relationships
in a way that left everyone begging for
more with wUd, uninhibited applause.
After these feats of virtuosity, a
performance by Mt. Eerie seemed Uke
an afterthought. Nevertheless, front
man PhU Elvrum took the stage with
Krgovich in tow to perform Wind's
Poem, their yet to be released album.
The soaring guitar and organ drone of
the songs were lush and transcendent,
but the heavily contemplative energy
of the music seemed to lose the crowd
slightly—except for the kids of course.
A huddled mass of devoted teens sat
in front of Elvrum during the performance, hanging off of his every note.
Some demanded more volume; some
sat staring in awe whUe others laid on
the floor to soak up the reverb spUling
aU over. Elvrum dished out a rocksteady Beat Happening cover to finish
off the night, sending everyone home
thoroughly rocked out in classic Twee
Death fashion.
—Justin Langille
The Tranzmitors
June 6
Jericho Sailing Center .     s
According to the great actor Peter
Fonda, the sport of sailing is "involved
with action, life and survival." It carries with it a certain aesthetic and
sophistication. PUoting a yacht, or
even a smaU sailing dinghy, requires
an intimate knowledge of knot tying,
points of saU, rights of way and a feel
for the tUler. And no one exemplifies
this better than local power-pop outfit The Tranzmitors, making them the
natural choice to headline the UBC
Sailing Club's, first beach party of the
The band members were weU
aware before the show that they were
not playing to their usual fan club, and
took to the stage with a bit of apprehension. It took some coaxing from
singer Jeff McCloy and bassist Mike
FUntoff to get the crowd to tack and
gybe their way to center stage, but
the party did eventuaUy make its way
from the beach and into the saUboat
repair hangar, where the band was set
up. The surf-rock undertones and vocal harmonies that The Tranzmitors
have gained notoriety for struck a
chord with the audience, and the band
the Tranzmitors photographed by
■ ■
■ *
•irarS citr
& /JW/M7/////.
soon had the prettiest girls and some of the jauntier
fellows shaking in their summer, attire..
Between sets the gang mingled with the crowd
and enjoyed the open-air venue. A party of this sort
was a welcome relief from the usual trip to the bar.
The band seemed to enjoy the atmosphere as much
as the other revelers did, and they really drove the
show home with their second set, complete with encore. If you missed this chance to see The Tranzmitors, not to worry—drummer. Bryce Dunn assured
me that the band aims to play about once a month
this summer.
'—Robert Fougere
Jens Lekman
June 7th
Richard's on Richards
This being Jens Lekman's first visit to Vancouver (as
far as I know, anyway), it was bound to feel like a
major event. The Swedish songwriter has buflt up
a devoted fanbase over the last few years, no doubt
thanks to his highly boyfriendable personality. Let's
face it: Jens is a heartthrob. He's handsome in a soft,
harmless way, he's charmingly self-deprecating and
his quirky, intimate songs are loaded with highly
personal anecdotes. If you're a fan,'you probably
feel like Jens is already your friend, judging by his
performance at Richard's, he feels the same way, and
he's eager to cultivate the sentiment. He started the
evening with a modest plea to the audience to not
put any photos or videos of the show on the Internet: "Let's keep this night to ourselves—because it's
special." True to his teary, tender-hearted music—
fregHeMy bombastic in its declarations of shyness—
the night was fiUed with simUar emotional gestures
and cute displays of affection for the audience. In
"The Opposite of HaUelujah? he claims that that he
can't communicate and "all his metaphors faU flat,"
but he's clearly a consummate showman. When that
song sampled "Give Me Just A Little More Time" by
Chairmen of the Board, Jens mimed his need for
time by tapping his wrist and then drew a swelling
heart in the air as the backing track sang "our love
wUl surely grow." His. voice doesn't disappoint in
the Uve setting, either: his fuU, deep croon inspires
comparisons to Morrissey and the Magnetic Fields'
Stephen Merritt. Oh, and the costumes! Jens and the
other men in the band all sported matching blue
chambray shirts with red ascots and red pants, and
the two girls were in pink chambray dresses. What
else? He had the crowd sing along to the "bum buh
bum" heartbeat in "A Sweet Summer's Night On
Hammer HU1" and the "oohs" in "Kanske Ar Jag Kar
I Dig," which he explained means "I Think I'm Maybe In Love With You" in Swedish..." but tonight, I'm
crossing out the maybe." On another tune* the band
closed with a sampled-beat disco coda and they all
left their instruments to do a choreographed swoop-
ing-airplane dance around the stage in figure-eights.
So it was fun. It was very sweet. Those of a less sugary disposition would probably caU it cloying, but
<he hardcore fans were charmed beyond belief. Jens
promised to stick around and chat afterwards (and
the Tranzmitors photograhped by
maybe even sing a personal song or two), and I don't
doubt that quite a few folks took him up on that.
—Saelan Twerdy and Curtis Collier
Julie Doiron ''f»S^?%iS^
Dog Day
June 14
The BUtmore
For the five nights before this show, I ran (and bussed
and cycled) all around Vancouver to catch as many
loud, obnoxious, and heavy bands during Music
Waste as I could. By the time Sunday roUed around,
I was exhausted. I didn't want to see another bar for
a few days, and I sure as heU didn't want to see any
live music. I only made it down to the Biltmore because I told (Discorder RLA Editor) Al Smith that
I would. What I didn't realize, though,, was that this
show would be the perfect palate cleanser after a
week of hard drinking and hard, noisy music.
I stumbled into the BUtmore in time to catch the last
hatf of Dog Day's set. The four^pjece pop act hails from
Halifax, but the music they play is less reminiscent of
the melodious rock that the East Coast brings to mind
and more akin to the big pop sound associated with
Toronto and Montreal—Stars in particular—dreamy
and melodious and driven by dueling girl/boy vocals.
Julie Doiron took the stage solo, playing a
handful of her trademark softer numbers before
welcoming her band on stage, setting the sort of
quaint, intimate mood that would carry through
the evening. That's not to say the band, which featured fellow Mt. Eerie coUaborator Fred Squire,
was sedate though. In fact, at times they downright
rocked. An amped-up version of "The Wrong Guy"
segued into a fuzzy version of "No More" before
returning to the former again during one of the
set's highlights. WhUe the set opening and set closing solo portions of the evening were great, the full
band interpretations of Doiron's songs, especiaUy
the ones that are soft and soothing on record, were
a treat for longtime fans (like me). With more than
nine albums worth of studio material to potentially
cover, there were some rough patches, but the creative ways that the quartet re-imagined some of
Julie's most loved songs overshadowed the odd musical misstep.
—Quinn Omori CiTR 101.9 FM Charts
Artist OpS3
Ihe Evaporators* /
Andrew W.K.
A Wild Pear
Pretty Vanilla*
7 Inches Deep
Little Red Sounds
The Tranzmitors*
Busy Singles
Vancouver's Punk As
Fuck Volume 2
Dirty Projectors
Bitte Orca
Apollo Ghosts*
Forgotten Triangle
King Khan & the
What Is?!
Wolfgang Amadeus
Dinosaur Jr.
The Gruesomes*
Hey!   j
Ricochet Sound
Leaves In The Gutter
Falcao & Monashee*
The Coathangers
Suicide Squeeze
I Feel Cream     *
XL Recordings
Depeche Mode
Sounds of the
Camera Obscura
My Maudlin Career
iggy Pop
Iron Maiden
Flight 666
Au Revoir Simone
Still Night, Still Ught
Our Secret
Mika Miko
Post Present
Easy Star AU Stars
Easy Star's Lonely
Hearts Dub Band
Easy Star
Prefuse 73
Everything She ...
Turned Ampexian
Sonic Youth
The Eternal
Sunset Rubdown*
Jagjaguwar  .
Sonic Unyon
Those Darlins
Oh Wow Dang
The Woolly
. Bandits
Woman of Mass
Citation-  '
Los Straitjackets
The Further... of Los
Yep Roc
Elvis CosteUo
Secret, Profane &
Hear Music
Blues Experience
BUI Callahan
Sometimes I Wish %Ve
Were An Eagle
Drag City
No Hassle
Throbbing Gristle
The Third Mind Movements
Years* "F'tM^
The Field
Yesterday and Today
Kronos Quartet
Add Mothers...
Lord of... Vishnu and
the Magic Elixir       ,
Jeffery Lewis & the
'Em Are I
Rough Trade
Outside Love
St Vincent
I Am Sorry for
Your Loss
Black Moth Super
Eating Us
Last Gang
The Crystal Method
Divided By Night
BeU Orchestre*
As Seen Through
Future of the Left
Travels With Myself
and Another
CiTR's charts reflect what's been spun on the air last month. Rekkids with stars (*) come from mis 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 hell teU you how to git 'em. Check out other great campus/community radio charts at r^liir i
-35- Under
Animal Names/Apostle of Hustle/Falcao 8c Monashee/
Field Assembly/Ford Pier/Grizzly Bear/Kathryn "vVMiams &
Neill MacColl/SUBB/Sunset Rubdown/The Wind Whistles
Animal Names
Oh Yes You Better Do
(Boat Dreams From the HiU)
Vancouver's Animal Names seem to
be caught in an innocent time warp,
coming from a simpler place where
the term "emo" has nothing to do with •
eyeliner or cutting oneself. The cover
art of a baUoon-headed, lime green
canary, along with song titles such
as "Crunk Crunk Croatia" and "My
Friends for Mayor" indicate that the
Ustener is in for something quirky and
interesting from a band that doesn't
take themselves too seriously.
The first line of "Rolling Paper Airplane" sets the pace as Chris Vander-
lean proclaims, "I've got no goals and
nothing good to say about you or anything / So let's drop the talk to start
this off? What foUows is a coUection
of songs brimming with joyful angst
containing aU the ingredients of a true
emo record. Awkward male vocals are
complemented by pretty female harmonies. The lyrics are clever, whimsical and oddly poetic. The music
is fraught with changes in emotion,
from melancholy ballads to roUick-
ing power-pop blasts. It is futty d.i.y.
indie with a punk rock heart. Most of
aH, Oh Yes You Better Do, is just plain
Apostle of Hustle
Eats Darkness
Eats Darkness, the third fuU-length
from Apostle of Hustle, boasts a
heavier sound than on their previous
records. Those expecting an album
that pushes boundaries wiU be disappointed to find that Eats Darkness
stumbles through some darker, but
mostly famiUar material. The album
begins with the track "Eazy Speaks"—
homage to the late Eazy E—that despite its catchiness, does Uttle more
than revel in its own insinuated irony,
whUe simUar pop numbers "Soul Unwind" and "Xerses" serve up some inoffensive indie vanUla. The dub-influenced "Perfect Fit" means weU but is
an awkward interjection in an already
patchy amalgamation of material. The
album's audio-coUage interludes offer
brief glimpses of the band's cut-and-
paste hip-hop influence, but machine
gun sound effects and cartoon-like i
vocal samples ultimately come off as
Eats Darkness is described by lead
composer and Broken Social Scene
guitarist Andrew Whiteman as being
"Uke tapas at the banquet of conflict"
With its array of different sometimes
.dashing morsels, the album certainly
holds true to this aesthetic as it rounds
out at a quick 35 minutes and seems
to have been haphazardly slapped together in a post-siesta haze.
—Chad Thiessen   *
Falcao & Monashee
FalcaS & Monashee
This Vancouver duo's debut album
has an immersive sound with lots of
slow builds and a gradual intertwining of melodies. It's an urgent sound
that carries forward the ideals of the
post-rock movement of the '90s and
early '00s, as they use instruments often associated with the rock tradition
for making dearly non-rock sounds.
They also use instruments from other ■
genres such as the banjo, mandolin
and harp. Rodrigo Falcao's drumming
seems to indicate some krautinflu-
ences, especiaUy bn tracks like "Star
light? which is probably the album's
best. Monashee Sun's vocals feature
prominently in every song and are
reminiscent of the '60s folk songstress
Joan Baez.
The lyrics are sUghtly indiscernible
and a little abstract so you'U probably
have to read the Uner notes to get a
good understanding of them. This
album isn't something you're going to
Usten to for the words anyways, as its
strength Ues in the talented intertwining of the duo's songwriting skills. In
addition to their vocal duties, each
member plays at least five instruments
on the album. They draw on what we
can only imagine is almost every musical instrument at their disposal to
put together this album, even going so
far as to indude some field recordings
of birds on the opening track "Tele-
portation? which seemed cheesy, but
maybe someone who enjoys nature
would appredate it. Despite some
minor flaws this album contains eight
tracks of beautiful musicianship.
—Jordie Yow
Field Assembly
Broadsides & Ephemera,
What the heU has ever come out of
the pit of humidity known as Windsor, Ontario? WeU this year alone, the
Phog Lounge in Windsor was voted
Best Live Music-Venue in Canada by
CBC Radio 3 Usteners prompting a
slew of bands to start visiting whUe
touring "Down East" as Ontarians
caU it. Also, they are starting to boast
a strong (albeit smaU) local scene, including Field Assembly.
Field Assembly is actuaUy one person, L. Adam Fox. With the hdp of an
amazing group of musician friends he
has assembled a beautifuUy modest
debut MeUow, sparse and heartfelt,
there is definitely a mid '90s fed to a
lot of these tunes, but not in a Hootie
coUege rock way, more like if Seam
made an acoustic record and Touch
and Go dumped them immediately
after the rdease. Fox's voice is honest and hummable but the Ustener
should take a minute to hear what's
coming out of his mouth. Personal
lyrics without being emo, these songs
make for great rainy day music. Even
though the release is on CD, the tracks
are divided into side one and two segments and the songs flow accordingly.
Gorgeous artwork and limited to only
500 copies—check this out if you like
your music personal, weU played and
—Luke Meat
Ford Pier
Adventurism is Ford Pier's fifth fuU-
length, and Usteners' enjoyment of the
album wUl likely be determined by
their tolerance for the former D.OA.
member's theatrical vocal delivery and
schizophrenic songwriting. Although
he utilizes typical rock band arrangements, Pier's vocal style is more akin
to a cabaret singer, incorporating spoken word and dramatic yelps and hollers into his edectic, genre-bending
songs. On "My New Bar? he switches
between tender crooning and ear-
spUtting shrieks, with the tempo and
instrumentation varying accordingly
(moving from a sparse keyboard
ballad to an overdriven rocker). "So
Many" is nearly eight minutes of dissonant guitar chords, punctuated by
fractured drum fills and Pier's operatic hoUering.
With its wUd shifts in tone, Adventurism is a chaUenging listen, and
Pier's seemingly unending supply of
mm m
ATM, vfl
;kt fill
vocal energy means that the album
never drags. Unfortunately, he lays
on the quirkiness a Uttle too thick; it's
hard not to groan during the hokey
vocal inflections of "Things Happened to Me" or the synth squiggles of
opener "Siege Perilous? After wacky
tunes such as these, the breezy southern rocker "Lethe" comes as a breath
of fresh air, its sun-soaked organ and
dazzling harmonies providing a much
needed moment of prettiness. Of
course, the song does include a brief
atonal interlude, but this trick works
weU in moderation, providing a quick
contrast before returning to the sunny groove of the verse. It's enough to
make you wish that Pier could tame
his self-indulgent artistry more often
and aUow his songwriting to shine.
—Alex Hudson
Grizzly Bear        I
(Warp Records)
Inspired by a smaU uninhabited island perched vicariously along the
southern-most tip of Cape Cod, Veckatimest is the latest offering from the
Grizzly Bear camp, foUowing the great
success of Yellow House in 2006. Grizzly Bear do not falter in their latest ex*
change, an album that transforms the
physicaUty of land, sea, doud and sky
into a sound both otherworldly and
of the earth, conjuring up images of a
lush and untouched wUderness. With
such an unusual and enticing name,
Usteners might fed impeUed to seek
out those rare, enchanting sounds,
unique to the wUd isle of Veckatimest and crafted so beautifuUy on this ■
album. Veckatimest fiUs the heart with
hot breaths of south easterly winds,
whipped up afresh from the foam-
spray of the Atlantic. It invokes images of wUd dandelions bUlowing in
patches on the beach, and of gnarled
driftwood washed up along the shore.
With strong hints of the Sea &
Cake's summer-inducing, post-
jazz lUts, the album veers towards
the Ughter, breezier notions of jazz.
Hdped along by heavenly, cherubic
layers of voice and sound, Veckatimest
is an album of dazzling proportions,
cinematic in its scope and vision.
With aU band members contributing
to vocal duties, and with four songs
boasting string arrangements from
the much loved Nico Muhly, Veckatimest offers a glimpse of an altogether
different, matured Grizzly Bear, and
we are grateful for it
—Amy Scott-Samuel
Kathryn WiUiams & Neill MacCoU
With its cover art containing a meteorite with a vaginal looking gash (created by WiUiams), a Tom Waits' cover
song, liner notes listing a shed, basement and garage as recording venues,
potential Usteners might expect a recording that is dark and foreboding.
Add to this mix the accompanying instrumentation of dulcimer, autoharp,
organ, harmonium, melotron and
flugelhorn, descriptors such as experimental and quirky come to mind.
Yet these preconceptions could not be
farther from the deUcate and soothing sounds found on Two. Produced
by Phil Brown (the Stones, Zeppelin
and Roxy Music), this beautiful offering of sun-dappled folk represents a
week long coUaboration between the
musicians on the occasion of their
third meeting. Released to unanimous
critical claim in the UK in 2008, the
melodic and understated Two finally
hits these shores.
Although the entire album from
start to finish is like being wrapped
in a warm and favourite blanket Tom
Waits' "Innocent When You Dream" is
especiaUy memorable and wUl leave
you dreamUy humming even after
the first Usten, whUe opener "6am
Corner" is a great way to start those
sinuous days when the world can
pass by unheeded. "Armchair" is a
sweetly sardonic refrain about finding comfort in the familiar when life
just becomes too overwhelming. This
sentiment sums up the recording as a
whole; it is like an aural cocoon—safe,
warm and welcoming—and Usteners
may very weU emerge transformed
after Ustening.
—Melissa Smith
To This Beat
(STOMP Records)
Punk rock and Jamaican music have
always enjoyed a certain connection, compelling many bands to try
and mdd the two genres musically.
Some, like the Clash and Operation
Ivy, have done this with great success,
whUe other attempts have resulted in
nothing more than irritating carnival
Montreal's SUBB are one of the
few bands to come out of the '90s
Ska-punk explosion that manage to
combine the two genres with palatable precision. Their fifth fuU-length,
To This Beat, kicks off with a furious
burst of mdodic hardcore whUe denouncing the world coffee trade. The
band then spends the next 40 minutes
moving through 16 compelling tracks
of punk, reggae and ska. WhUe there is
a certain irony in reggae and ska jams
written by a band that dweUs in a city
that spends a majority of the year covered in snow and ice, SUBB manage
to puU it off Of course, having dance-
haU legend Jah Cutta contributing on
vocals does not harm their credibUity
either. When they dedde to infuse the
punk and ska, it comes off without an
ounce of kitsch. PartiaUy due to the
lack of a horn section, and largely due
to good song writing, tracks like "III
Be Waiting" intertwine the genres perfectly without sounding like a car full
of downs. The diversity of the songs is
complemented by a weU-constructed
track Ust aU together creating a surprisingly enjoyable album.
Sunset Rubdown
For anyone who has been foUowing
recent developments in the career
of Spencer Krug, Dragonslayer won't
come as much of a surprise. Like his
recent albums as a member of Wolf
Parade and Swan Lake, Sunset Rub-
down's latest opts for simpler arrangements, eschewing studio trickery in
favour of Uve-off-the-floor immediacy. "Blade Swan" sets sparse, clattering verses against fuzzed-out guitar
breaks, which are rawer than anything
Krug has produced since his early
home recordings. Lead single "Idiot
Heart" is simUarly immediate, with
chugging power chords and a propulsive, disco-infused middle section. Of
course, to describe any of Krug's work
as "immediate" is purely relative. The
album has plenty of head-scratching
moments, from the baffling time signature oPSUver Moons" to the cryptic
lyrics of "Dragon's Lair? which warns
"to say the war is over is to say you are
a widow?
Unfortunately, the bare-bones
production means that Dragonslayer
lacks the heady deUghts of Krug's
best work—there's nothing here that »Under
Review cont.
matches "111 Believe in Anything" or
the ethereal "Stadiums and Shines II?
The dosest he comes is "Nightingale/'
December Song? with its hypnotic
waltz-time strumming and ominously droning organ. New listeners might
want to start with one Of his eariier
albums, but for Krug die-hards, Dragonslayer is yet another worthy addition to his rapidly-expanding canon.
—Alex Hudson
The Wind Whistles
»Venews cont. from pg 8
Animals Are People Too
Love, nature and being a genuinely rad
person seem to be the gist of Animals
Are People Too from this Coquitlam-
based duo. The album starts off with
charismatic and catchy tracks, about
keeping it real in "Turtle? "Judo" and
"House for a Mouse." These trades
feature some delightful drumming
and a bouncing bass that fosters
folksy lyrics, an acoustic and electric
guitar into a pleasant pop package
while, "Making Your Own Stuff" and
"Sleeping Lions," promote a message
of cultivating a harmonious ecological
consciousness. This message becomes
dormant in "Bats in-FUght" and "The
Sun" as the subject matter focuses on
life and love. The theme of love continues on "The Fish and the Worm? a
weU told story of a relationship on the
rocks, when someone realizes the other is putting the kibosh on it. During
the song the counterbalance between
the duo's voices is fuUy reaUzed, and
the Wind Whistles catch saU and set
course for exceUence.
—L.E. Portelance
WhUe at the Cobalt, Wendy 13 and KaUn Harvey from
Pro Fun City agreed. Bylaw enforcement needs to be "less
rule-based, more outcome-based" Harvey said.
We also discussed that there is no way for businesses to
be classified as art spaces. Though a number of ideas were
passed around, what seemed to be the best solution to the
Ucensing problem was Deal's idea to simplify business licenses in order to treat businesses as "black boxes" which
would attow them to be run with multiple uses. A space
wouldn't be Ucensed to simply be a retail gaUery, venue, bar
or restaurant, it would get a more general designation that
would allow a business to operate in a more general sense.
This would aUow venues to run as other businesses during
the hours that they aren't hosting musicians which would
aUow multiple revenue streams in a single location.
Harvey said this was a great idea, not just from a cultural
perspective, but also from a business and environmental
perspective "Its a different way of increasing density?
which he noted ahgns with City HaU s goals to find more
efficient ways to use space in Vancouver.
One other bit of good news that came from the tour is
that Deal believes that the infamous audience participation
bylaw that prevents people who are Ustening to music at
venues without a cabaret Ucense from dancing or otherwise
participating in the performance "needs to go right out?
WhUe aU of this wiU take awlule to get through the inef
ficient beast that is the bureaucracy of City HaU, it's certainly hopeful to see that some of these changes might be
made—which would make it a lot easier for someone to
run a venue in Vancouver.
Though it didn't come up on the tour, it would be a
shame to write this entire column without mentioning the
opening of the Rickshaw Theatre at the old Shaw Theatre
location on Hastings. The newly renovated buUding is run
by Dave Duprey (a.k.a. MaUce), who previously ran the
Sweatshop. It's got a capacity of 700, which makes it one
of the biggest venues outside of the downtown core. And it
wUl be able to host both aU-ages and Ucensed events. There's.
not a lot of info on events posted on the Rickshaw's website
(, but having a theatre this size is big
news and we can't wait to hear more about it
And to finish: a couple downers. It looks like the long rumoured dosing of Richard's on Richards wUl happen July
21. The Georgia Straight reports that the buUding wiH be
demoUshed and turned into condos. A new venue with the
same Ucense wiU open downtown in mid-October, which
wiU only have Uve music Sundays through Thursdays.
In North Vancouver, Seylynn HaU dosed its doors after serving as a landmark institution for Vancouver's punk
scene. In the 13 years it was open it hosted a lot of shows
and affected a lot of lives. It WiU be missed.
»Film Stripped cont.
from pg 8
It would be easy to reduce the film to an exploration of
virtual gaming culture and the restrictions faced by the
avatars we create, but this isn't reaUy Doupe's vision. "I'm
not actuaUy interested in the social aspect of all these online games; I'm interested in the aesthetics. Video games
often have these cinematic, interstitial moments where
you've done your job, you've kiUed your guy or whatever,
but then there's a Uttle story that keeps you going, or a
Uttle movie that plays, and that's what interests me?
You could think about Ponytail Uke one of those Uttle I-
just-beat-levd-three movies, except die characters eventuaUy divorce themselves from aU human control, and
begin stumbling around of their own accord and having
original thoughts, speaking German, licking toUet seats,
realizing their inabUity to achieve personal desires and
not wearing any pants. Much Uke the tape player turning itself on at the beginning of the film, there is a creepy
strangeness that results from this loss of control—the kind
of control we're used to having over computer avatars.
Personally, I think it's much more interesting to let
them run wUd, even if the characters end up as lost as
their human counterparts. After all, why create a computer world where characters can do anything if we're just going to make them do the same boring things humans do,
Uke wearing pants and speaking properly? Thanks, Barry,
for reminding us not to be lazy.
2S > The Other Stuff You Need
Acid Mother's Temple - Dark Side of ihe Black Moon CD
Amazing Baby ~ Rewild CD "^M_Ui*
Au Revoir Simone - Stiil Night, Still Light CD
The Bats-The Guilty Office CD
Deer Tick - Born on Flag Day CD
Foreign Born - Person to Person CD olfllji
Future of the Left - Travels with Myself and Another CD
A Hawk and a Hacksaw - Deliverance CD
Patterson Hoed - Murdering Oscar and Other Songs CD
Lemonheads - Varshons CD
Loop - A Guiided Eternity CD
Loop - The World in Your Eyes CD
Lord Cut-Glass - s/t CD
Eugene McGuinness - s/t CD
The Phenomenal Handclap Band -s/t CD ^||&
Regina Spektor- Far CD
Royal City-s/t CD ISl
Spinner ette - s/t CD
Summer's Kiss: A Tribute to the Afghan Whigs CD
Tortoise - Beacons of Ancestorship CD
Larry Jon Wilson - s/t CD
Ya Ho Wha 13 - Magnificence in the Memory CD
Onna - s/t CD
Nurse With Wound -Spiral insane CD
Nurse With Wound - Alice the Goon CD
Mount Eerie - Dawn BOOK+CD
British Sea Power -Man of Aran CD+DVD
Venetian Snares - Horsey Noises 127CDEP
Spectrum - War Sucks CDEP
> Vinyl Gems
Neko Case - Middle Cyclone
Eprhyme - Shome Salaam
of Montreal - For Our Elegant Caste
Pavement - Brighten the Corners Nicene Creedence 4xLP
REM - Murmur
Tom Waits - Swordfishtrombones
Deerhunter - Rainwater Cassette Exchange 12"
Blank Dogs - Under and Under 2LP
Black Meteoric Star - Domination / Anthem 12"
Young Widows-Split Series Vol. 3      .
Death Cab For Cutie - Something About Airplanes LP
> The Great Zulu Ticket Giveaway!
Stop by the store and correctly spell your name and we will enter you to
win a pair of tickets to see:
Red Jump Suit Apparatus
Quintron and Miss Pussycat
Airborne Toxic Event
La Roux
Dinosaur Jr.
Aug 12* - Richards on Richards
Aug 1" - The Media Club
Oct 28* - Commodore Ballroom
July 27* - Biltmore Cabaret
Nov 10* - Commodore Ballroom
August 8* - The Media Club
> Zulu Brings the Wax
Spotlight on Classic Vinyl
CHRIS BELL -1 Am The Cosmos (180 gram) (4 MEN WITH BEARDS)
$22.98 LP 3$$1
BIG STAR - 3rd (180 gram)(4 MEN WITH BEARDS) $22.98 LP
BIG STAR - Radio City (ARDENT) $20.98 LP
BIG STAR - #1 Record (ARDENT) $20.98LP 8§$$S
BLIND FAITH - Blind Faith (Vinyl Reissue)( POLYDOR) $18.98 LP
JAMES BROWN - in The Jungle 6roove(2LP) (PQLYDOR) $29.98 LP
BUSDRIVER - Jhelli Beam (ANTI) $18.98 LP
CANNED HEAT - Kaleidoscope (aka Live At The Topanga Corral) (LILITH)
$39.98 LP
NEKO CASE - Middle Cyclone (2LP 180gram) (ANTI) $24.98 LP
JOHNNY CASH - The Man Comes Around (2LP) AMERICAN) $22.98 LP
JOHNNY GASH - American V: A Hundred Highways (LOST HIGHWAYS)
$14.98 LP
ALICE COLTRANE - Journey In Satehidananda (IMPULSE) $18.98 LP
JOHN COLTRANE -A Love Supreme (IMPULSE) $18.98 LP
JOHN COLTRANE - Crescent (IMPULSE) $18.98 LP
JOHN COLTRANE - Live At The Village Vanguard (IMPULSE) $18.98 LP
CREAM - Disraeli Gears (Vinyl Reissue) (POLYDOR) $18.98 LP
CREAM - Wheels Of Fire (2LP) (POLYDOR) $36.98 LP
DEREK & THE DOMINOS - Layla And Other Assorted Love Songs (POLYDOR)
$26.98 LP
DJ SHADOW - Endtroducing (2LP) (MO WAX) $22.98 LP
FLYING BURRITO BROTHERS - Burrito Deluxe (180 gram)
FUNKADELIC - s/t (180 gram) (4 MEN WITH BEARDS) $24,98 LP
FUNKADELIG - Free Your Mind And Your Ass Wili Follow
GUNS N ROSES - Appetite For Destruction(180 Gram)(GEFFEN) $22.98 IP
ISAAC HAYES-Hot Buttered Soul (STAX) $18.98 LP
MY BLOODY VALENTINE - Isn't Anything (PLAIN REC) $22.98 LP
NINA SIMONE - The Amazing Nina Simone (180 gram)
TELEVISION - Adventure (180 gram) (4 MEN WITH BEARDS') $22.98 LP ,
THIN LtZZY - Jailbreak (MERCURY) $20.98 LP
WIRE - Pink Flag (180 gram) (4 MEN WITH BEARDS) $22.98 LP
WIRE - Chairs Missing (180 gram)(4 MEN WITH BEARDS) $22.98 LP
WIRE -154 (180 gram) (4 MEN WITH BEARDS) $22.98 LP
> Zulu Art News!
™ Cheryl Carpenter
Earth Science
A Collection of Drawings and Collage
July 1-31,2009
> Zulu Garage Sale!
Mark your calendars
A New Summer tradition and a Super Sale
Sat July 25* and Sun July 26*
Back Door Deals and all sort of stuff.
See for full details.
Zulu Records
yWy 1972-1976 W 4th Ave
fll|4-f|   ■ Vancouver. BC
^Sfc   tel 604.738.3232
32 Dirty Projectors
Ok. You saw them clean tip at MaWn
Bowl opening for TV on the Radio. Weil
now you can see what sort of magical
alchemy they are capable of in the studio
setting. This, their sophomore release,
earned a 9.2 on the f*%hfork charts and it
is loaded with catchy bizarre sonic noodiing.
Smart indie rock wins the day.
Dinosaur Jr.
Farm CD
This is their first release for ever-hip
Jagjaguwar Records. J Mascis owns the j
Fender Jazzmaster (he even has a signature j
model) and is synonymous with fully baked
riff heavy slacker shredding! Featuring the
original Dinosaur line-up, Farm is another
nugget in a discogcaphy that already most
bands would die for. Just like their seminal
You're Living AH Over Me, this record gets the fuzz out and offers plenty of
new anthems for the freak scene!
CD 16.98
Sunset RutHtowp
Dragonslayer CD
Canadian sank; wizard Spencer Krug
(Wolf Parade Swan Lake) is in fact the
Dragonslayer and the beastfefcills is over-
Jhjei^gftt over-wrought, and over-produced
}3JfBt$o albums! Yes, this release features
l&ug and his courtload of crazy talented
players ddf^.nvhat comes naturally to a
|i£fjd - jamming out the tunes, leaving
> #jf$|$$SB8Ctuai and raw, and weli, just going for It. The riffs are mad. the
*^^p.pfeet yet not too sugary, and the overall result is stunnjfigi,.;;i
Wilco (The Album) CO
Bring your mom and your apple pie with
J*t!to listen *° ^'s masterPi8ce from
America's quintessential band! With Wilco,
you always know what you are going to get
*~ impeccable songwriting, dazzling poetic
mastery, otherworidfy riffage, and a sense
that wortd is still an amazing place to, 8?e
and that music stiil can capture the spirit to
lift the people! This is the fee! good record of the summer.
CD 16.98
Stuart Murdoch
Romance go'tiand __ hand) As
does Zulu and Stopfer ft&oeafe. We dig
them, they dig w, pk$mf& tern *£ s^fflethfag
new from the Stua^MI^IIM^M *
Sebastian caifif* a gorgeous set of new songs
with wispy female vocals from S$S 4$@&   '"■
Catherine I retoo. Wrtiteft for IftKftK&l ponded
musical film project - eRt^aJ 6H— these am
not simple e )ng sketehts twt*aifter toil blown oothposibons
Murdoch's famifiar1fap^~-s«x. drugs and rock'nYott S^fl
CD 16.98
me #>   '
Hot band ateft*~4it every sense pf the word?
Discovery is 8w ssmmer sotffKftraekfof the=
kidsintoelextrtyf^sinciitisali'wajAsfe * ,
Vampire Weekend keyboard^|«^^i
Rostam Batmanglij and Ba Ha Slat singer $k*
Miles!! The album features vo^# contribuSoRs ;
from Vampire \J$feBt$Bd:'$.fera Koefttg and Osrty
Projectors' Angei toadoOfian aod
seriouslylthis will get you boogie dancing at the parties. Make yow ISss^evwy _t
CD 16.98
Swef^S ha^e ftflppl $$ittC?i!&P9$8& y
on my ears Cassis one sOch fellow. On tour
with Band of Horses fjf piassfo bring fttK-&H$L'
,4^Hj*i$^-Artg«io BarJateraenti soimi? he*8 f|
*l$!l8te*ofjaaarnest welitMe^. IHSSsed ipfff I Iff
viiitce and ah eiortiess poetic sense, Cass
- ftscojtts have a charm beyond mose of-hfe fellow
^sger*songwrtter peers. Cheeky it Out. 0
McCoi (Scott McCaoghey of REM) returns fo hfe ow* fclf time passion ap^|    >
mis tasty new release picks right op svliere ite fgft'ojf ~ ^ i^r^^fj® of^S:^
North West pop legacy! Joined by his usual stellar crew that includes - Pw&l5"?
0uck and mejBbei^ of 11ieBec«iwterkrte misa1bomistan*mb8TrassmeiS'*of *
talents, tnstfumeBtatiGn, and toooks. Playful and precise McCoi can tfo ft **SB -
college rock. 60's -garage, pop punk and merer
SHI* Si* fm&€
J-ja^.'^v'   w|
-; 'tj|
0 %,.,'^pi^
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232


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