Discorder

Discorder CITR-FM (Radio station : Vancouver, B.C.) Mar 1, 2008

Item Metadata

Download

Media
discorder-1.0050209.pdf
Metadata
JSON: discorder-1.0050209.json
JSON-LD: discorder-1.0050209-ld.json
RDF/XML (Pretty): discorder-1.0050209-rdf.xml
RDF/JSON: discorder-1.0050209-rdf.json
Turtle: discorder-1.0050209-turtle.txt
N-Triples: discorder-1.0050209-rdf-ntriples.txt
Original Record: discorder-1.0050209-source.json
Full Text
discorder-1.0050209-fulltext.txt
Citation
discorder-1.0050209.ris

Full Text

 HAI UkbAMY MAGAZINE fTOMCNF savelO%
on on-air ads
v/hen you buy
an advertisement 121
13ISCORJOER
on-air ads
are as Cheap as
$10 each
for more info:
eitrmgr@»ms.\ibe.e»
604.822.1242
CO>0
Slllyl PM
THE BEST DEALS IN TOWN FOR A MEASLY 15 BUCKS.
Anti-Social Skate Shop The Bike Kitchen
ami Gallery UBC, AMS, 6138 Student Union
2425 Main St. Blvd.
684-708-5678 604-822-BIKE
Burcu's Angels
2535 Main St.
604-874-9773
2016 Commercial Dr.
604-253-7453
Beat Street Records
439 W.Hastings St.
604-683-3344
The Eatery  1
3431 W.Broadway
604-738-5298
Hitz Boutique
316 W. Cordova
604-662-3334
The Kiss Store
2512 Watson St.
604-675-9972
Lucky's Comics
3972 Main St.
604-875-9858
Magpie Magazin
1319 Commercial Dr.
604-253-6666
People's Co-op
Bookstore
1391 Commercial Dr.
604-253-6442
Puncture Haus
2228 Broadway E.
604-708-8100
Red Cat Records
4307 Main St.
604-708-9422
The Regional Assembly
of Text'
3934 Main St.
604^77-2247
R/X Comics
2418 Main St.
604454-5099
Scratch Records
726 Richards St.
604-687-6355
Slickity Jim's Chat and
Chew
2513 Main St.
604^73-6760
Spartacus Books
319 W.Hastings
604-688-6138
Vinyl Records
319 Hastings St. West
604-488-1234   i
www.citr.ca/frlends
A Friends of CiTR Card scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101.9 FM. Show it when you shop!
2    March 2008 TVIfcRCH
Editor
Nat Jay
Production Manager
Pyra Draculea
Copy Editors
Nat Jay
Brock Thiessen
Pyra Draculea
Ad Manager
Catherine Rana
Under Review Editor
Nat Jay
Datebook Editor
Pyra Draculea
RLA Editor
Brock Thiessen
Layout + Design
Cole Johnston -
Pyra Draculea
Contributors
Karen Bourne
Chris Brandt
Pyra Draculea
Bryce Dunn
Simon Foreman
Daniel Fumano
Mark Hewitt
Nat Jay
Lucy Lynch
Josh McNorton
Katie Nanton
Min£ Salkin
Adam Simpkins
Stacy Thomas
Andrea Warner
Jackie Wong
Jordie Yow
Photo & Illustration
Pyra Draculea
Cole Johnston
Jordie Yow
Dustin Rabin
Program Guide
Bryce Dunn
Charts
Luke Meat
Distribution
Jake Pippus
US Distribution
Catherine Rana
CiTR Station Manager
Alison Benjamin
Publisher
Student Radio Society
.of UBC
Features
George StroumboulopouloslO
As usual, the hostof The Hour and The
Strombo Show is on top of things when it
Elias 12
Elias is moving up in the world with the buzz
building after a successful release of the
band's debut LP released in February.
Ladyhawk
13
With a new album out this month, Vancouver's
Ladyhawk is among this country's finest indie
rockers.
Canadian Music Week       18
Canada's international music convention and
festival kicks off with some stellar Vancouver
talent on the bill.
Q&A: Raine Maida
27
Talring a OLP break, the rocker takes a new look
at music from an indie perspective.
editor's notes
Regulars
Editor's Notes
3
Mixed Apes
4
RUT Raff
5
What the Folk?
6
The Biz
6
Textually Active
7
Film Stripped
7
Calendar + Datebook
14
Under Review
16
Real Live Action
20
Program Guide
24
CiTR Charts
25
Zamo the Destroyer
26
Dreams are a necessity to life. They help us think big and, if we dare to let ourselves, shape our
lives around them. For many musicians, dreams and careers are often formed courtesy of idols—those
we admire, respect and aspire to emmulate in some fashion or another. As a musician, I can name
a million artists I revere, but as a journalist, my list of idols is quite short. And when I thought
about meeting the man on this month's cover (George Stroumboulopoulos, that is), I have to admit, I
imagined being interviewed by him. Instead, I found myself sitting in the other red chair (yes, I made
him switch with me) with a notebook of questions in my lap. Did it feel like a dream? Not really. It
felt like a couple of journalists/music geeks/workaholics conversing for an hour about life and music.
But it was the dream that got me there.
When dreams become reality, we are usually either devastated or invigorated. Lucky for me, I had a
blast on the set of The Hour while it filmed in Vancouver back in December. I felt right at home with
the colourful crew, largely comprised of individuals who have been with the show since it? inception
four years ago—a testimony to the show's host. George impressed me with his sincerity and patience,
but most importantly with his ridiculously expansive knowledge of all things music. I hope you'll
enjoy getting to know him a little and reading about his take on today's music industry in this month's
issue (p.10).
The idea of an idol manifests itself on many levels in the entertainment world. In fact, it's what
helps bring dreams along by passing the torch of wisdom and opportunity from one artist to another.
In the March issue oi Discorder, we have embraced all stages of this process. Our back page Q&A
checks in with a veteran in the music business, Our Lady Peace lead singer Raine Maida, who has
recently gone solo and independent. Our local features this month highlight Ladyhawk, Vancouver's
current contribution to Jagjaguwar's highly acclaimed roster (p.13), and Elias, a band fresh out of the
gates whose debut album filled the ANZA Club to capacity last month (p.12): Our What the Folk
column explores Black Hen Music, a local label dreamed up by folk/roots artist and producer Steve
Dawson, which now carries a slew of successful artists, young and old, who undoubtedly look to each
other for inspiration (p.6).
So, now that March is upon us and the plight of New Year's resolutions has passed, I urge you all
to take up dreaming as a pastime. I assure you, this is what the majority of the musicians in Discorder
do on a daily basis. And you never know—you just might find yourself sitting opposite someone you
admire and respect in a bright red chair sooner than you think
-Nat Jay, Editor
©DiSCORDER 2007 by the Student Radio Society of the University of
British Columbia. All rights reserved. Circulation 8,000. Subscriptions,
payable in advance, to Canadian residents are $15 for one year, to
residents of the USA are $15 US; $24 CDN elsewhere. Single copies are
$2 (to cover postage). Please make cheques or money orders payable
to Discorder Magazine. DEADLINES: Copy deadline for the February
issue is March 21st. Ad space is available until March 24th and can be
bookedbycalling604.822.3017ext3oremailingdiscorder.advertising@
gmail.com. Our rates are available upon request. Discorder does not
accept unsolicited material, but welcomes new writers. For more info,
contact editor.discorder@gmail.com. Discorder is not responsible for
loss, damage, or any other injury to any submitted materials, solicited
or unsolicited, including but not limited to manuscripts, artwork,
photographs, compact discs, review materials, or any other submitted
materials. From UBCto Langley andSquamishtoBellingham,CiTRcanbe
heard at K) 1.9 FM as well as through all major cable systems in the Lower
Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487,
our office at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax
us at 822.9364, e-mail us at:citrmgr@mail.ams.ubc.ca, visitour web site
at www.discorder.ca or just pick upapen and write #233-6138 SUB Blvd.,
Vancouver, BC, V6T1Z1, CANADA. If you would like Discorder Magazine
in your business, email distro.discorder@gmail.com to be added to our
distribution list.
vach^
Hand Crafted Poind & Garden
Landscape Construction Since 1990
specializing in:
water features - ponds - waterfalls - retaining walls
natural stone - custom woodworking
walkways - planting - architectural concrete
stairs - patios
Office: (778) 329-8367 - Fax: (778) 737-8367
5268 Dunbar Street, Vancouver, BC, V6Fi 1V9
www. handcraftedgardens. ca
Discorder   3 [FOUNOlMGSPOMSUKbUhl
IrflTICFESTVAWCOUVERj
YOUR OFFICIAL 2008 ENTERTAINMENT GUIDE
DOOLIN'S
IRISH PUB
oe|!ar  Boxy
*$«*& ■
SDAY	
Doolin's Irish Pub
6pm Guinness Perfect Pint Pour Off
8:30pm Sionnaine Irish Dance Academy
9pm Murphy's Lagh
Ihe Irish Cellar
5:30pm The Lucky Charms Poker Tournament
with Edgewater Casino arid Granville Island
Brewery
The Roxy
7pm The Whiskey Dicks
SDAY w&	
Doolin's Irish Pub
5:30pm The Battle of ihe Bards Pub Crawl, first slop
9pm The Halifax Wharf Rats
The Irish Cellar
5:30pm Whiskey Kiss Scotch Tasting
f£*W&*p   The Roxy
7pm Murphy's Lagh
ilDAY *^	
- Doolin's Irish Pub
5pm Mark Downey with Se Duggan
»DAY	
Doolin's Irish Pub
12pm Murphy's Lagh
3pm  Roof Rabbit
6pm Copper Sky
The Irish Cellar
lpm The Halifax Wharf Rats
3:30pm The Whiskey Dicks
The Roxy
1:30pm The Pat Chessell Trio
m<*& -
MDAY
I Doolin's Irish Pub
3pm Brian Flanagan
6pm Tim Roadman & Jennie Bice
9pm Jason Bonnell
The Irish Cellar
2pm Wheat in the Barley
6pm Whiskey Dicks
The Roxy
6pm Jay Knutson fit The Celtic Swamp Devils
VENUE MAP
DOOLIN'S
IRISH PUB
SIZC DOCS MATTER, ALWAYS 20oi PINTS
BOMTf
KHBKtlFE KMffi A BffiR CGMMERCttL
The Irish Cellar I 1006 Granville ©Nelson 1 www.cellarvan.com I 604 605-4350
Doolin's Irish Pub I 654 Nelson @ Granville I www.doolins.ca I 604-605-4343
The Roxy I 932 Granville St. I www.roxyvan.com I 604-331.7999
4    March 2008
\tos»fe&
3E. KJ&fcJ COKIWAIS Pr%S Uf\ PIN>
2. ALICE "DOMA -
Af*US£.-TOl Bi£W
3. -THE. STRAWBERRY ALARM CLOCK
M<T+fTrAA&.£. o* 'PS.feCUSSIOKJ
4. AA£A-T-fc£A"T AAAMiTESTTO-
*At>i© SASVL-ou
3.  "PUBUC lAAAqe L-IAATTETD -
PUBL.I& u+ME-
B. -pRfMCE WR r -
MA"r-rV FAfeMVAfeT>
¥. WMq TUBBV -
<tuiT>AWc8. tx/B
8. "BOWS-
hJo.^/B^iTAhiMicA
B. A\Y*BL.OOT>Y VALEKTriME-
•HohJ&Y PowCft
ID. *PA-rTf AUSTIN -
Darren Gawle brings you psychedelia, acid (
punk, freakbeat, prog, and other grotesque and
socially relevant artifacts from 1965 to today,   •     ^'
with a particular emphasis on flying Vancouver's *   •■
freak flag with pride. Stereoscopic Redoubt,       •        .    J
Thursdays 6-7:30pm • *• *       «
101.9fmCiTR ".   •   • RIR
MftfW&QUSGARUNGS     .'
by
BRYCE DUNN
Short stack for you this month folks, but some great stuff to spend your dough on,
that's for sure. Starting with what is undoubtedly my favourite 7" of the moment from
local upstarts Vapid. These kids shimmy and shake and do the earthquake all around
town, but have now set off an explosion on wax. Imagine a fifties sock hop suddenly
invaded by the cast of Suburbia, and you might be close to what this sounds like. Like
Bow Wow Wow on too much candy (as on the tide cut) or the B-52s with a Black Flag
fetish (with the song "Victim"), there's a flash and a bang and a pow, and man—this
smokes. Get off your couch and do the pony to your local rekkid shop and get this,
pronto. (Nominal Records, 726 Richards St., Vancouver B.C. V6B 3A4).
Also releasing their first foray into the vinyl sweepstakes are Modern Creatures, a
trio of post-punk leaning, feedback-loving fiends who want us to know right off the
bat that they don't sound like Siouxsie 8c The Banshees (alas, Nikki you undoubtedly do especially on "Time To Go"). But much like the eye-popping cover art that
adorns this single, there is more than meets the dilated pupil, as with "To A Crowd,"
which is as close to a "dance" tune as one will get, reminding us of the post-punk neo-
disco of the Mo-dettes or Kleenex with a darker edge. A band with its black hearts
in the right place and some room to grow; watch for these creatures to take over the
city soon. (Grotesque Modern, their website is still being tweaked, so boogie over to
www.myspace.com/moderncreatures for info).
1 Everyone's "other" favourite garage/blues duo (you know the one not being sued by
a former radio DJ for copyright infringement), the Kills have a new single to tide
the masses over until the release of their brand new album, Midnight Boom (which is
most likely happening as you read this). W and Hotel have crafted "U R A Fever"
after a call and response phone conversation gone wrong, complete with a galloping half-time beat that is reminiscent of the YYYs "Gold Lion" in places and some
well-placed scratching (courtesy of Spank Rock's Armani XXXchange). But stays true
to the chromosomal ratio and original M.O. of the band in which less is always more.
The single I got was only one-sided with a drawing of a zipper circling the perimeter on the back, so read into that what you will, but I'm circling the date of March
10th on the calendar to pick up a copy of their latest longplayer. (Domino Records,
www.dominorecordco.com).
Finally, a two-song party platter about not going to the party from the Marvelous
Darlings, Toronto's newest sweethearts to the power-pop/rock and roll scene. Obvious Ramones comparisons aside, T Don't Wanna Go To The Party"ls the soundtrack
for puking teens everywhere, with its jackhammer riff causing potential blackouts,
while "Careerist" will make early Replacements fans giddy with its choppy chords and
choppy chorus of "C-C-C-Careerist!" blasting through the speakers. This is the first
salvo in a long gun barrel pointing straight at your noggin,so watch yourself kids—this
stuff aims to kill. (Deranged Records, www.derangedrecords.com).
Enjoy, and we'll catch you on the flip!   0
Greg Fiaser, former lead guitarist and songwriter
of the legendary 80s Canadian metal band
BRIGHTON ROCK has teamed up with former
BR bassist Stevie Skreebs to carry on
where they left off - 80s party hearty metal
full of big choruses, hooks, harmonies,
and no apologies for having a good time.
Debut CD includes "Jackhammer"
mixed by Beau Hill (Ratt, Warrant)
WE SHIP SAME DAY AIR MAIL!
Discorder   5 Textually
Active
By Josh McNorton
The Alan Cross Guide to Alternative Rock
(HarperGollliis AudioBooks)
Since 1993, Alan Cross has. been writing and
hosting The Ongoing History of New Music, a
weekly syndicated radio show that has earned him
a massive following throughout North America and on
the Internet. In each hour-long episode, Cross chronicles a different aspect of rock music—from the story of
a specific artist or album to fascinating bits of musical
miscellany (recent show tides included "The Secret of
Album Cover Art" and "Fans & Fatalities"). By day,
Cross is the Program Director at Toronto's 102.1 FM
The Edge, arguably our country's most influential rock
station. Somewhere in there, he finds time to write books
about modern rock bands and keep a "regularly updated
music blog. Essentially, Alan Cross is one of the greatest
music fans ever and his passion is voiced - literally - in
his first audio book, The Alan Cross Guide to Alternative
Rock Volume 1.
There are four volumes planned in this guide, its
purpose being to highlight twenty artists from the past
forty years whose work has had a significant influence
on today's rock 'n' roll. As Cross puts it on the opening
track of the first disc, "This book was dedicated to tbe
elite few from the twentieth century who, by accident
or design, showed us the future, whether or not we were
ready to hear it." Volume 1 looks at the careers of seven
different artists from the sixties, seventies and eighties
that represent a cross-section of musical styles. The only
stylistic link between them is a shared guitar-driven
sound. Cross claims that album sales were not a factor in
his selections, though massive artists like David Bowie
and The Sex Pistols are included in the audio book—
and for good reason. Fortunately, he gives equal air
time to the less celebrated Jonathan Richman and Patti
Smith, and lends some truth to the highly mythologized
stories of The Velvet Underground, Iggy Pop and The
Ramones.
Cross's thorough research amounts to four and a half
hours of narration over four CDs and, unlike his radio
show, the artists are examined without using any of their
music due to copyright issues. It could be assumed that
not hearing any songs would be a major shortcoming to
Cross's survey of influential music, but his voice keeps
the listener engaged by interspersing the biographical details and discography with trivia and amusing
anecdotes. Cross's delivery is casual, yet the information is captivating and richly educational; it's less like a
history lesson from your stuffy piano teacher and more
like a long conversation ^yith the enthusiastic old guy
behind the counter of your local record store.
Lucky for those who dig the first disc, The Alan Cross
Guide to Alternative Rock: Volume 2 is out this month.
Visit www.ongoinghistory.com to stream over two
hundred episodes of The Ongoing History of New Music,
read his Music Geek blog, and learn more about the
musical musings of Alan Cross.
Discorder is seeking a Production Manager
The Production Manager is the connection between
Discorder Magazine and our printers. You will need to
keep on top of printing costs, page imposition, colour
use, press scheduling and sending the final PDFs to the
printers at the end of production. You will schedule and
organize the production of the magazine and organizing
production planning meetings. During production, you
will also assist the Art Director and Discorder Editor in
putting the magazine together and keeping production
on schedule. You are also responsible for keeping track
of contributors' names and updating the masthead
accordingly issue to issue. Additionally, the Production
Manager plays a vital role in the editing process, and
does much of the copyediting and proofreading.
Requirements:
Good working knowledge of Adobe Photoshop, Adobe
InDesign, and Adobe Acrobat is crucial for this position
during production weekend. An excellent grasp of
English grammar, spelling, punctuation and word usage
is also essential.
Knowledge of pre-press is an asset.
Time:
This position requires a time commitment of
approximately 20-30 hours per issue. You must be
available on the last weekend of the month from Friday
afternoon through Sunday evening for production in
the Discorder office, and a few hours the week before
production for editing and copyediting from home.
Additional meetings (production planning, editorial
and/or contributors' meetings) amount to a couple of
hours during the month.
Compensation:
This is a volunteer position, but there is a small monthly
honorarium of $50.00.
This position is ideal for a journalism student looking
for practical experience. If you are interested, send a
resume and a cover letter stating why you would be a
good fit for Discorder, attention:
Nat Jay, Editoreditor.discorder@gmail.com
C»    March 2008
Any financial advisor will tell you that the key
to your investment portfolio is to diversify.
Some investments will perform for you while
others will provide disappointing results. The benefits
of diversifying are obvious—if any one component is
tanking, you can cut your losses in that one area without
it adversely affecting the rest of your goals.
The common business trend in the music industry has
major labels advising their clients (artists) to do the exact
opposite. As album sales continue to nose dive, labels
are restructuring their contracts to take a piece of every
money-generating aspect of their artists. They are being
referred to as '360 deals,' and involve the labels' investment in and subsequent revenue sharing from the future
earnings of an artist's album, tour, merch and publishing.
Live Nation, the radio-conglomerate-turned-con-
cert-promoting-behemoth, has further evolved into'
an all-encompassing music company. They signed
Madonna to a deal that gives them a share of all of the
above, plus naming rights, movie roles and even extraneous business ventures like perfume lines. Madonna was
paid $120 million. She gets paid up front for producing work that may or may not sell. Who doesn't want
a guaranteed pay cheque? In her case, she never has to
recoup (pay back the advance), although her next tour
alone will probably do it.
What does this mean for new acts? To start with,
the label would have the right to approve merchandise
creation, tour schedules and even the salaries of certain
employees on the tour. Plus, a baby act is never going to
recoup. It is hard enough paying back album advances to
labels, and with the 360 model, artists can put food on
the table with their touring and merch sales. The spin
from the labels' standpoint is that their investment in
every aspect of their artists' careers demonstrates their
360 DEALS:
WHILE MAJORS
TAKE A CHUNK OUT
OF THEIR ARTISTS'
EARNINGS, INDIES
PULL A 180 ON
THEIRS.
BY CHRIS BRANDT
dedication and incentive to build them to superstardom.
But remember the financial advisor—if the label
drops the ball in one area of a music career, the artist is
stuck with them. Keep in mind these deals are born out
of necessity, not because every artist of the past pushed
to make them happen. Music video channels don't play
videos, commercial radio doesn't play new music, the
major labels are competing with forceful independents
for placement in TV series, and floor space dedicated
to music retail-is in steady decline. The ineptitude and
short-sightedness of the majors during the rise of the big
box retailers, the pigeon-holing of radio, and the Napster
crisis, are what has directly led to the expansion of 360
deals. Major labels are trying to save themselves.
Now these deals aren't entirely a major label adoption,
having become quite common in the independent world.
With a small label, the argument can be made that this
structure truly exists as a partnership. The label president is a jack-of-all-trades, dedicates all of his time to a
musician's career, and the artist often helps out by licking
envelopes when in the office. With a small family of staff,
it acts as a label, management firm, booking agent and
publishing company. In this scenario, the indie label is
doing more for the artist, while a major is actually doing
less. Indies still have just as many releases to market per
year and have fewer resources and vehicles (like retail,
radio and video) With which to execute. As a result, the
360 deal seems more justified in this case.
Ray Lampntagne lamented in a recent interview that
artists sign a major label deal so that they can have the
financial freedom to be creative, and yet it is only when they
sign that deal that they have to start fighting to be creative.
That was only in the context of making music. Now, this
truth encompasses 360 degrees of an artist's career. 0 Grabbing Folk Music By Its Roots
Ten years ago Steve Dawson and his musical
partner, Jesse Zubot, otherwise known as Zubot
and Dawson, had just recorded their first album
together- and were facing mass rejection as their "odd
littie record" was proving to be too obscure to be seen as
profitable by major record labels. Not to be discouraged,
and knowing the album deserved to be heard, Dawson
decided it would be the perfect time to start his own
label. That's when Black Hen Music was born. Initially
serving as a mailing address for him and his musician
friends and a way to release his own music, it has been a
long road from humble beginnings to what it is today: a
label boasting a roster of award-winning, acclaimed folk
and roots acts from across the continent.
Included among these prolific artists are Jenny Whitely
(one of the label's first signed artists and a renowned
Juno Award-winning songwriter), Jim Byrnes (another
Juno winner from St. Louis who has performed with
Muddy Waters, John Lee Hooker, Taj Mahal and Ray
Charks to name a few), and of course the Great Uncles
of the Revolution, Dawson's own critically acclaimed
band. Altogether, Black Hen artists are the recipients
of 17 music awards and 23 nominations, and Black Hen
Music itself was nominated for Label of the Year at the
2007 Western Canadian Music Awards.
Although he attended a jazz oriented music school in
Boston, Massachusetts, Dawson was untrained in the
art of producing when he started Black Hen Music. He
iearned as he went along, working in the studio, and
is now a sought after producer and the winner of the
Producer of the Year Award at the 2007 WCMAs.
On top of his work with Zubot and The Great Uncles,
Dawson is also a respected solo artist and has just
released his third album, Waiting for the Lights to Come
Up. For the project, he imported musicians from different locales in Canada and the United States to help him
out and the^group ended up recording not one, but two
albums. Telescope, the follow up to Waiting, is tentatively
due for release in September.
"I put together the best band I could think of," he says
of his new albums, "we shacked up for five days in the
studio and made the records."
! Telescope will be "a total left turn" from Waiting:
'more open and improvised, a little stranger," says
Dawson. Specifically, the record is completely instrumental and focuses on using the steel pedal guitar in
unconventional ways.
* When I started playing in bands when I was fourteen,
I got into rhythm and blues, ragtime and jazz. I found
them really interesting, musically and sonically. I find
that really inspiring."
When Dawson and Zubot coined the phrase 'strang,'
which became the title of then* first album, they were
looking for a word to define a type of music that "wasn't
blues, wasn't jazz, wasn't folk; we invented a name to
describe it. It meant anything that was written by us
that was off the beaten track." A mix of the words 'string'
and 'strange,' Strang has been more simply described as
"acoustic music that kicks ass."
Dawson is confident yet cautious about the future of
Black Hen Music. "The whole concept of the label is going
to change," he says., "It's safest not to have any expectations when you don't have any idea where it will end up."
In the meantime, Dawson is remaining busy. On the
horizon is a tribute album to the Mississippi Sheiks, featuring artists too big to be named. And of course, Black Hen
Music is always on the lookout for budding new artists to
add to their roster of folk-roots talent. For artists and info,
check them out at www.blackhenmusic.com.
by
Andrea
Warner
ONCE
is the rarest of musicals, simultaneously
rooted in possibility, reality** and fantasy: the
busker-by-day/vacuum-repairman-by-night guy
meets cute girl-with-a-Hoover/brilliant-piano-player.
Thus begins their shyly innocent courtship making
music together.
The "guy" is Glen Hansard, lead singer of the Frames,
and the "girl" is Marketa Irglova, our leads who must
navigate new terrain as their friendship blossoms fueled
by creativity and the possible spark of something more. >
Irglova's face is young but wise, and the depth of her
smile endears her to the camera. Hansard is older, not
necessarily wiser, but he conveys his world-weariness
without a bitter tinge. He's lost, but he's still hopeful,
and this is what draws the two together.
Our heroine tries to take care of her. daughter and
her mother with no sign of the husband to whom she's
bound, Our hero deals with his failings: his girlfriend has
left him, his music career is stalled, and he's living over his
father's repair shop. Hansard and Irglova's chemistry is
sweet and powerful and watching the push-pull between
them is breathtakingly sad. It may have helped that the
professional musicians, but untrained actors, happened to
actually fall in love during the three-week filming.
Set in Dublin and directed by John Carney (once a
member of the Frames himself), Once is a testament
to the power of a cheaply .made great film trumping a
bloated, big budget flick any day. Tight close-ups, hand
held cameras, and natural lighting helps create a feeling
of intimacy and emotional investment.
Once's real charm is the music. With the majority
written by Hansard and Irglova, the songs are perfect
fodder to relay the hidden feelings and deeper desires of
these emotional and impassioned characters.Tne pair even
scored an Oscar for "Falling Slowly," the beautiful song of
yearning that sets the entire film in motion. Hansard and
Irgova's voices are powerfully contrasted: his desperate
growl buoyed by her gende urging as they crescendo like
waves breaking on the beach.
As the audience is invited inside the process of writing
songs, crafted through give and take, it feels like the
moments reach well beyond the celluloid. We're privy
to the most secret of rituals—watching a relationship
being built from the ground up note by note.
Once is now available an DVD.
Discorder   7 , SEALED WITH A KISS
W.TH GUESTS PAPERCUTS
MARCH 19-THE MEDIA CLUB I
mw album gEVOTWa H Mm aw
pj PLANET OF ICE
; o   '"'       •*.'~*o
ruffians
MARCH 26-j5f MEDIA CLUB 1
J www.sealedwithakisspresents.com
minus*the ce/uT
ry \.r\i \( \
MARCH 24
RICHARD'S ON RICHARDS
tBon Iver
■fc AND
PHOSPHORESCENT
with guests WHITE HINTERLAND
MARCH 25-THE MEDIA CLUB
BLITZEN
STRAPPER!
DXES   APRIL 17
1 THE MEDIA CLUB I
SF
l^mm^s THfipHACLUB
AMERICAN
MUSIC CLUB
h mm mm ActiLAir mmmm
APRIL 6 - RICHARD'S ON RICHARDS
WITH GUEST
PAUL DEVRO
SEA WOLF
MARCH 2o
I   um
JitSrnaqers
wm guests
f n^!gay!husbarid!,TylerFedchuk,ToriyX
L.r     FRIDAY APRIL 18- RICHARD'S ON RICHARDS
: i
mm
APRIL 23
RICHARD'S ON RICHARDS
TICKETS FOR ALL EVENTS ONSALE NOW AT ticketmaster.ca 604-280-4444 AND ZULU RECORDS
8    March 2008 TICKETS FOR ALL EVENTS ONSALE NOW AT tfcketmaster.ca 604-280-4444 AND ZULU RECORDS
Discorder   9 SrROJNSBOULOPOUl^S
FROM HIGH SCHOC&RAMA CLASS       JMk.
FROM HIGH SCHOOtJpRAMA CLASS
TG ONE OF THE COtiNTRY'S TOP
BROADCASTING TALENTS-GEORGE
STROUMBOULOPOULOS SfOWS WHY
HES"CANADA'S MOST AVllMUSIC FAN.
10    March 2008
Spending a week with George Stroumboulopoulos is
like riding a Ducati 1098 down the highway at 150
mph: it's fun, it's fast and there's not much time to
breathe. "A good show has the pace of the host, and I'm a
pretty quick guy—I speak quickly, I move quickly. I'm not
erratic, I'm just a little on the edge," says the man behind
The Hour, Canada's only late-night TV talk show.
On the program, viewers are introduced to artists,
athletes, politicians, musicians, environmentalists,
authors, world leaders and actors. Tney are updated on
everything from current affairs to celebrity gossip to the
latest sporting events to small town Canadiana. Tney
are charmed, they are mocked and they are moved by
a charismatic dude in black—all in 60 minutes. While
The Hour covers a variety of topics, it's evident, however,
that the host's love for music remains a thematic element
throughout. Many Canadians likely first came to know
Stroumboulopoulos through his gig as a MuchMusic
VJ in the '90s, as the presenter of CBC's The Greatest
Canadian winner (Tommy Douglas), and of course, as
the host of The Hour. But to the music community, he is
known as one of the biggest supporters and promoters
of independent music in the country. And it would seem
his passion is contagious.
Stroumboulopoulos may have made a name for himself
on television, but his start in broadcasting was in the world
of radio. Although he always had an inclination towards
drawing in high school, a stubborn art teacher refused to
let him into her class, and he was forced to take drama
instead. While this was something Stroumboulopoulos
would have never chosen on his own, his drama teacher
opened the door for an unexpected career in performance.
"I was flipping through the course calendar at Humber
College and I saw Radio Broadcasting. And then it just
sort of dawned on me that, over the years, it had always
been in my life. Radio and music—that's my skeleton.
Everything in who I am and how I think is built around
that frame of radio and people and music," he says of
his unforeseen choice of profession. After Humber, he
ventured out west to the Lizard 104.7 in Kelowna, B.C.,
where he discovered the merits of working with a small
media market in radio, an experience that certainly made
an impression. "I still have a lot of things that sit in my
head based on my couple months there."
Fifteen years and several radio shows later, the newly
syndicated Strombo Show now airs in five cities across
,the nation through the Corus Radio Network. Famous
for bringing the unfamiliar into a conventional format,
Stroumboulopoulos breaks the radio mould by giving
listeners a taste of indie artists and indie sounds that
are generally nowhere to be heard on traditional radio.
"I approach my radio show unlike a conventional radio
show. It's pretty open, kind of old school." With the emergence of digital downloading and
gadgets like the iPod, however, he is aware that the
medium of radio has shifted to the Internet and he is
ready and willing to adapt to this reality. "Now it's not
frequencies; it's dot-coms, it's dot-orgs. Radio's still there.
It's super relevant. Tne present of radio is online—[just]
not in the money-making model yet. Tne three radio
stations that I listen to the most, all of them are online:
one is out of Seattle, one is out of Los Angeles and one
is out of London, England."
Gracing some of the Strombo Show playlists of past
are artists as varied as Cat Power, Dame, Tegan and
Sara, Wintersleep and Sloan—all independent and all
making a living outside the mainstream. "What's so
amazing about the Canadian independent scene now is
that [artists] can do it with just them. It used to always
be that if you really wanted a shot at it, you were an indie
and you got picked up by a major, and a major gave you
tour support and something around the world. You don't
need that anymore. An indie can do it."
Tnis modification in music was certainly enough to
send the industry into a frenzy over the last couple of
years while indies, and especially majors, determine their
new roles. But while most would argue that there is a
transition going on, Stroumboulopoulos is not as positive
about the state of the music business. He believes that
the biz, as we know it, is gone and that artists are not
seeing that much difference between their relationship
with an indie versus a major label. He does, however,
note a significant discrepancy between the music that is
being produced from each, saying, "Where it is a hundred
times better is that often^the indie label doesn't A&R the
record the same way that a major does, in that the indie
artist puts out their album, as opposed to what the record
company wants. That's why I go indie any day."
Any day is now for Montreal alt-indie pop band
Arcade Fire, as Stroumboulopoulos names this group
• as the only one of its kind with the capacity for world
domination. In fact, known as a fan of big guns of yore
like the Clash, U2, the Rolling Stones and Led Zepplin,
there are no bands on the current scene that he feels are
filling those shoes, major or indie—except one. "There is
a band doing it out there, and it will kill all your readers
for me to say this. Coldplay. Fuckin'right. Coldplay write
the kind of songs that people want to sing along to, and
Coldplay write their own songs. For all the-people who
shit on bands like Coldplay, you find me an artist that
sells 10 million records and it's the songs they wrote."
He goes on to add, "I've seen Britney and *NSync and
Backstreet Boys in concert. You watch the energy and it's
a good time and that's awesome. But it doesn't start from
there. There are people behind the curtain."
It's true that the biggest-selling major label artists
today are a product from start to finish. It's solely the
authenticity of an indie artist who can bring the emotion
from his own living room right to the stage, who can
take the thoughts from his own head and hand them
direcdy to the fan. But do indies, or anyone (besides
Coldplay) in the current industry, have the ability to
bring their personal experience to a mass audience and
create a shared musical phenomenon? "ghat's what I
want to feel. That's personally what I want out of music,"
says Stroumboulopoulos. "I want to be emotionally laid
out. And I can get that in my bedroom listening to a
million bands, and those bands are just as important as
the U2s and the Coldplays—personally. But collectively,
you don't get that moment very often."
You can certainly try, however, and that's exacdy what
Stroumboulopoulos is doing with The Hours "Operation
Disc Drop." The premise is that music fans make a
mix CD of some of their favourite indie artists, drop
it somewhere in town and document it on the show's
website (www.cbc.ca/thehour). Another unsuspecting
music fan then picks it up, is exposed to new music and
goes out and buys the artists'records.Tne idea has already
extended into the States and overseas, and with the viral
effects of good indie music, it may not be long before that
personal experience becomes collective. As for the man
who's fronting the indie movement, we couldn't ask for a
better advocate than Canada's biggest music fan, George
Stroumboulopoulos. "I think the indie music scene is
way better than it's ever been. I think the indie record
labels are way better than they've ever been. I think that
you have a shot at a record that will break your heart and
make your day more than we've ever had. Right now." t.
70TING TO KNOW YOUR BQWRIEND
? >
The Hour is an excuse to go to work.
I credit my boundless energy to insanity.
I can't sleep because my body won't
let me.
i The socks I'm wearing today are pink
Misfits socks.
My childhood hero was Joe Strummer.
My adulthood hero is my uncle.
My favourite song (this week) is "Shine a
Light" by Spiritualized.
I can't remember the last time I didn't
think about work.
I can't stand bullshit.
My favourite movie-is The Blues Brothers.
My actual favourite movie is The
Conversation.
Even though I'm 35, my mom still randomly
shows up at my house and cleans it.
In.this life, I still want to track race a
motorcycle^
Discorder   11 LANDSCAPERS BY DAY AND ROCKSTARS BY
NIGHT, VANCOUVER INDIE ROCKERS ELIAS
HOPE THEIR WORK ETHIC AND DEBUT FULL-
LENGTH, ALL WE WANT, WILL HELP THEM
BREAK THE STARVING ARTIST CYCLE.
a single 25-year-old male
arching for a suitable-life
' partner: -rob tornroos
Llias, the alternative indie band from Vancouver,
is perched on the brink of success—they have
a major talent agent behind them, a brand new
album in hand, and camera-ready faces that will get
the girls' hearts racing. So how does a fledgling rock
band make the jump from local following to national
or international fan favourite? Hard work. The Elias
boys continue to pay their dues: cross-Canada bus
tour horror stories, labour-intensive day jobs to pay for
their demo, and long, long hours rehearsing to perfect
their sound and stage presence. There is even photographic evidence of lead guitarist Rob Tornroos as a
five-year-old strumming a tennis racket while rocking
out to Jon Bon Jovi. So, add embarrassing/endearing
childhood dreamer to the list, too. With All We Want
hitting the streets last month and their sold out CD
release party, Elias is now ready to kick it up a notch.
and take Canada by storm with their sweet sound and
urgent rhythms. Oh, and to find Rob a girlfriend—
that's also on the agenda.
Tne formation of Elias was still pretty far in the
future as the band started to take shape in 2000 when
lead singer Brian Healy and his brother, bass player
Jonny, joined forces with Rob and drummer Dominic
Coletta. It wasn't until 2005 when they released a self-
titled EP that garnered media attention and had .built
a loyal fan base through dynamic live shows throughout Western Canada. Tnis is also where Elias attracted
the attention of the venerable (and Canada's largest)
booking agency Sam L. Feldman 8c Associates.
With carders and futures entirely intertwined, the
teasing and self-deprecating humour Brian and Rob
share over coffee make it easy to assume the entire
band is like a family. "You get to know how to push
each other's buttons pretty well, piss each other off.
Rob and I actually live next door to each other now,
work together and are in a band together. He's sick of
me," Brian jokes.
And, that's not even the familial bond at Elias's
core. Brothers Brian and Jonny contend with personal
and professional dynamics, and try to minimize the
impact on the band. "We fight all the time," Brian
says, while Rob laughs knowingly. "Had a fight earlier
today. Not physical, but I might have punched him once.
Usually it's just verbal abuse and as fast as it happens, it's
resolved."
"Well, it's over," Rob interjects. "I don't know if it's
resolved." ^Ipfekl''
Right now Elias isn't living the glamorous rock star
lifestyle. They spend at least three or four nights a week
rehearsing in a Gastown space, and have played almost
every venue in Vancouver. They've also spent long
road trips in a cramped van driving from Vancouver
to Toronto, meeting new fans, getting on each other's
nerves, and discovering their own personal Bermuda
Triangle: Regina. "We broke down three times going
across the country, and every time it was in Regina,"
Brian says. "Every time!"
All We Want has also been a labour of love and it-pretty
well sums up Elias's drearn to play music and bring their
music to a wider audience. "We've been recording All
We Want for about two years," Rob says. "Some of the
songs we wrote before, but we kept writing while we
were recording."
"I think the newer songs, inevitably for a band, will
ring truer because they're more current," Brian adds.
"Tne meaning behind them is more recent and. the
music's fresher for them."
Musically, the record has received comparisons to
Radiohead and Mars Volta, just to name a few. And while
Brian and Rob can list off a long list of bigger bands who
have influenced their sound, they are also mindful of the
smaller bands who have found big success through smart
choices. "Arcade Fire's celebrity is incredible because
they sort of did it themselves," Brian says. "In the past
it was about getting that label to sign you but that's not
ideal anymore. It's better to get out on the Internet or
over the radio that way and enable yourselves. Like Rob
says, go overseas and tour more. That'd be ideal. We had
MySpace feature us in the spring and that brought tons
of people and crazy plays."
By day, Rob and Brian toil as landscapers, facing off
against dirt, heavy lifting, manufactured greenery and
buckets of Vancouver rain. Their outlook is refreshing in
its determination: these day jobs paid for the making
of Elias's debut album and the band is doing it their
own way. The hard work is starting to pay off and the
perks, though not plentiful, have a neat shine. "We
opened up for the Subways once at the Commodore and that was an incredible experience," Brian
marvels. "We've seen umpteen shows of our favourite
bands [there] and here we are walking out on stage.
I remember, almost in that pause-time moment,
walking out on stage and being like, 'Here we are.
This is so bizarre to me. Looking out where you were
looking in before.'"
"And we opened up for Fiction Plane, Sting's son's-
band, at the Plaza Club a couple nights before the
Police tour kicked off here in town and that was
pretty surreal because Sting showed up," Rob says.
"[It was] after we had played, but regardless. We
looked up and everyone's staring at Sting. We are
huge Police fans so it was just crazy."
The mixture of the heady, fun stuff and daily, real-
life grind does take its toll, though. "It's tiring and"
stressful. You just pick yourself up and keep going,"
Brian says. "Come home from work and motivate
yourself to head back out."
"You get a half hour off and then head back down
to Gastown [for rehearsal]," Rob says.
And the coming year won't be much of a reprieve
as Elias burst headstrong into 2008 with a list
of goals to achieve. "We want to do a lot of that
background stuff," Rob says. "More videos, touring
to support the album, and getting the word out there
across Canada. Maybe branching out to the UK or
the US."
And finding Rob his life mate, of course, by turning
this article into a personal ad. "I'm a single 25-year-
old male searching for a suitable life partner," Rob
says. "Must like watching movies,..."
"Long walks on the beach," Brian adds.
"Long walks anywhere. Driving and holding
hands. And cats. Can you put that in there?"   9
12k   March 2008 It's not often that a band comes along and makes
us really believe what they are doing—makes us
feel the intensity of the sounds they're making,
the words they're shouting and the guitars they're
strumming—without our neurotic, critical, 21st
century music-obsessed minds becoming dismissive.
We loathe insincere shtick, but we also detest the
bland and the trite. We want sincerity and quality,
and we want it to be interesting, but not fake.
Anything but fake.
Consider, then, Ladyhawk—a guitar-slinging
foursome from Kelowna via Vancouver—Darcy
Hancock, Sean Hawryluk, Ryan Peters and Duffy
Driediger. It's a band that walks that tightrope
between enchanting and real with nonchalance. They
transform the usual meat-and-potatoes rock ruckus
into something much more intense and colorful.
Though they've been compared (rather simplistically)
to Wolf Parade, their sound is more akin to Neil
Young and Crazy Horse circa 1975, embarking on a
heavy night of the booze followed by a fist-fight with
Paul Westerberg.
Formed in the spring of 2004 in Vancouver, the
band signed to the U.S.-based indie imprint Jagjaguwar in September of the following year, already armed
with a full-length record. Fast forward through some
North American tours, an obscure vinyl-only EP, and
a showcase at Austin's prestigious South by Southwest
festival in 2007, to their new album, Shots, which is
probably their most refined and interesting work yet.
"We're pretty excited, because we actually recorded
it exactly a year ago," frontman Duffy Driediger
explains. "So we've been waiting a year for it to come
out. It's a pretty long time to wait." Recorded back
in their hometown, it is a culmination of their short
but diverse musical trajectory to date, combiningjhe
anthemic indie rock of their self-titled debut with the
strange and more ragged sounds of their 2006 release,
Fight for Anarchy.
The  isolation of Ladyhawk's  chosen  recording
space, a farmhouse in Kelowna, certainly proved effective, allowing the band to avoid any distractions and
remain artistically potent. And with mobile recording
gear, the boys could escape the sterility of the studio.
"We recorded in the middle of winter in this empty
wooden farmhouse that lent itself to the experience and
the feel of the whole thing," recalls Driediger. "I really
like when you can hear the emptiness of a room, or you
can hear the space that the person was in when they
were playing." The spine-chilling echo heard in every
instrument on the album, especially in the harmonies,
can best be described as ghostly.
This atmosphere provided a fitting backdrop for
Driediger's musings, which, as he points out, were
informed not only by regular doses of obnoxious lo-fi
black metal on his stereo, but also by a more serious
fixation he had. "I was definitely pretty death obsessed
when I was writing a lot of those songs, for whatever
reason," Driediger says. "There were various things
going on in my life at the time that were making me
think about mortality in general. I think that [the songs]
were coming from a dark, kind of cold place."
While there is harrowing and somewhat personal
subject matter flying about, things aren't exactly morbid
or sullen in the Ladyhawk camp either. Humour is there,
twisted as it may be. Driediger's cynicism is spiked with
playfulness. "Faces of Death" relays a bleak, existential
shrug, but it slowly becomes a smirk: "There's no such
thing as endless love/only a joke told in very poor taste/ .
it somehow keeps cracking me up." ^Sfr^
The affable frontman assures us, however, that there
were more influences for Shots than death and the isolation, tape hiss, and piss buckets of the recording space.
"We were listening to a lot of Depeche Mode and stuff
like that," says Driediger. "The other thing we were
listening to was this"4-CD compilation that this guy
made for us that's all AM Gold: you know, Afternoon
Delight' and that kind of shit. It's all we listened to in
the van for an entire tour. I don't know how influential
that was on our sound, but in some ways I think we kind
of try to throw that angle in there," he laughs.
What, then, of Ladyhawk's earlier influences?
Who were the artists that made them want to start a
band? "There's this band called Silkworm. Originally
they're from Montana, but they relocated to Seattle
and then Chicago. They're just a rock band that wrote
really cool-songs, and they're pretty unknown, which
is weird," says Driediger. The bona fide, unpretentious music nerd even cites Wonderboy, an older
(and not widely known) band from back home, as his
favorite of all time. "My best friend used to be the
drummer in that band. They're pretty influential on
the way we write music."
Driediger's outlook seems positively fresh. And
rightly so, since Ladyhawk is hitting their stride
musically, and are about to tour across the land with
Black Mountain. "Our first real tour in -the States
was with Black Mountain a few years ago and that
was really fun, and a big learning experience for us,
and we always wanted to be able to do it again. We're
good friends with those guys and see them all the
time." Driediger talks as if everything in the future
is a bonus. "When we started, I never thought that
we'd be on a label at all. I figured we'd have to do
everything ourselves and we'd be lucky if anybody
would put it" out for us. I think it's great if you can
get a cool label somewhere to put out your stuff and
people can hear it. You know, if some kid in Alabama
can buy your record and get into it, there's nothing
better than that."
Driedeger stays quiet, for the most part, about
what the next bunch of songs after Shots might sound
like. But he's more forthcoming about plans to tour
more widely. "It's always been a dream of mine to
be able to tour Europe with a band, or Australia or
Japan. [Music] is all I really want to do, you know.
I'm not making any money at it and I don't really
care about that. It's what makes me happy and what
keeps me going, so I definitely want to do it for as
long as I can." j)
Discorder   13 Calendar art ty Jtyra Draculea  UNDeR
REHEM/
The Feminists
Can't Scream loud enough
(Independent)
Local popsters The Feminists are a "21st century rock
band," and accordingly, the sleeve of their third album,
Can't Scream Loud Enough, sports a transparent neon ferris
wheel of sorts, and—with clever irony—the track list (for
this compact disc) is split into a decidedly un-futuristic
Side One and Side Two. While there are throwbacks to
early Elvis Costello, it sounds more like the work of recent
power pop bands like Built to Spill and fellow Vancouverites The New Pornographers, only less guitar-oriented and
more about the organ and piano. Yet despite their anxious
pace, most-of the tunes soldier far beyond the three-minute template that you might expect.
Futuristic, yes, but it's also very ambitious, and promising songs such as "The Beginning of the World" and
"How to Kill A Country" wear thin quickly, as the
repetition (and stifling hi-fi production) renders love-
able melodies plastic and tedious. Quieter, more concise
nuggets stand out: "Goodnight, Irene" starts as a McCa-
rtney-esque piano number and becomes a heartwanning
brew of gospel harmonies and mellow country. Front-
man Keith Grief catches a bobbing head off guard with .
his scathing commentary. "No One Gets Out Of This
World Alive" displays a knack for balancing catchy
music with bitter nihilism: the key lyric, "Everyone is all
the same," becomes a sinister chant, without alienating
all of that bright pop underneath. It is this kind of edge,
found all over the record, that lends Can't Scream Loud
Enough a poetic third dimension.
Mark Hewitt
Under Byen
SIAMESISK
(Paper Bag)
This 2007 live recordings of Denmark's Under Byen's
collaboration with renowned chamber orchestra Danish
Radio Sinfonietta should come as no surprise to anyone
already familiar with the Nordic post-rockers' knack for
the portentous and symphonic. Even on their own terms,
the eight-member strong band is known for its classically-
tinged epics that echo the ethereal and grandiose works
of Sigur Ros, Mogwai, and Bjork. But with a 42-piece
classical orchestra backing them up, Under Byen's already
larger-than-life compositions are expanded to even loftier
heights. The addition of the Sinfonietta brings new life to
the band's material, much in the same way it has previously reinvented the concertos of Schumann and Mozart.
Though -what's odd about Siamesisk, and ultimately a bit
disappointing, is its brief running-time and track selection. With only five songs, four of which are taken from
the band's last record (2006's Samme StofSom Stof), and
rounding out at a paltry thirty minutes, it's questionable
why the band didn't further exploit this unique opportunity to play with such a variety of talented musicians. It's
unfortunate that at the same moment the work as a whole
swells and coalesces, the band is moments away from
taking its final bows for the evening.
Adam Simpkins
16    March 2008
Brad Turner Quartet
SMALL WONDER
(Maximum Jazz) r3^s|
It seems Vancouver's multi-instrumentalist jazzman
Brad Turner can do no wrong. Previous releases and
collaborations from him have set the expectations pretty
high, yet his work never fails to live up to and even
exceed these. Small Wonder is no exception - right from
the first notes of "Scuffle," the listener vs treated to dissonant chords and rising intensity that sets up and counters the joyful and triumphant trumpet lines throughout
the piece. Tne album is a multi-layered exploration that,
for all the complexity of its pieces, never once stumbles
over the line where all this could become a cacophonous
mess in less experienced and talented hands.
Despite the lack of vocals, this album's songs do not
lack storytelling. "You Can't Be Serious" features a slightly
melancholy trumpet seeming to converse with itself,
perhaps pondering some weighty matter. This is a quartet, however, and Turner's trumpet does not get all the
plum chdogue, which is especially evident on the expansive "70 Mile," with Bruno Hubert's piano and Andre
Lachance's bass getting in on the conversation, in addition to their supporting roles. Drummer Dylan Van der
Schyff gets his chance to really shine on the aptly named
"Punchy."Tne album wraps up with "Mourning Song," a
beautiful and enchanting piece that underlines the truth
in the old quipjthat music is what happens between the
notes as the phrases are given room to breathe.
Pyra Draculea
Twilight hotel
Highway Prayer
(Independent)
"Sounds like: ORIGINAL," screams their MySpace
page, 50, let's get the flattering comparisons to Ian and
Sylvia, the descriptions of throaty Neko Case-like vocals
out of the way. Twilight Hotel does not want to fall under
another artist's shadow. Done.
Wait. Does a movie comparison count? Anybody who
has seen the 2007 film Once enjoyed the haunting duets
of singer/songwriters-turned-actors Glen Hansard and
Marketa Irglova should warm to this disc almost automatically. Consider this: Brandy Zdan and Dave Quand-
bury are the duo behind Twilight Hotel and their recent
release, Highway Prayer. They are a Winnipeg couple
whose sound flirts with country twangs and errs on the side
of folk. When these two perform duets (from the slowest
of slow songs, "Sand in your Eyes," to the folksy "Ballad
of Salvador and Isabelle"), your skin will crawl with pleasure, guaranteed. Full of soul and emotion, the members
of Twilight Hotel belt out lyrics like they mean it. (Not to
mention, Quandbury is bearded, fair-haired and sings the
softest of songs with strength, uncannily like Hansard in
Once). When Zdan lazily murmurs "cigarette smoke has
stained the walls from years gone by," it has the depth of
aged whiskey and pulses with sexiness and tension. To top
it all off, they are in love—in real life, that is. And if you
don't think it's possible to hear that in a song, flip to track
12 oi Highway Prayer.
Katie Nanton
Kate Maki
On HIGH
(Confusion Unlimited)
Once in a while a tomato is best tasted fresh, cut up,
all by itself; sometimes tea soothes best without milk
or sugar. Kate Maki is this relief. The Sudbury, Ontario
native has a pure, uncluttered voice and style best
complemented with a dash of piano, a strum of acoustic
guitar, and a litde wurlitzer.
Clean-cut, summertime-simple lyrics ("White lines,
black signs, jump the track, jump the tree") shower the
album with a quaint, sing-song vibe, and strike a resemblance to Kimya Dawson's addictive indie folk tracks off
the Juno soundtrack (just listen closely to Maki's duet,
"Badminton Racquet"). Rest assured, this simplicity
doesn't mean Maki lacks a sense of fun—the album is far
from boring. On the upbeat "To Please," she enlists the
help of an optigan, bottles, and train whisdes to jitterbug
in the background. Opening track "Highway" (one of the
strongest) is catchy from first listen, and "Beyond Tne
Sun" whines beautifully while teases her lover bitterly,
"Are we happy now?" With help from her producer,
talented Arizona singer, songwriter and pianist Howe
Gelb, Maki's latest album shines with professional execution and playful charisma—like a perfecdy unsweetened
iced tea on a hot Ontario day.
Katie Nanton
HOUSE OF DOC
EAST OF WEST
; (Independent)
Hailing from Winnipeg, House of Doc's third album
East of West celebrates love, life, and Canadian sensibilities in a lighthearted, amusing fashion.
Upbeat, folksy and altogether jovial, this album
provokes the sunnier side of everything mundane and
shifts the emphasis to family life, escaping the plight of
urban noise and reverting to a frugal, simple sound. Tnis
feeling is furthered by the familial relation between the
members; the group is made up of Matthew Harder, his
wife Rebecca and her brother, Dan Wiebe. At first listen,
one cannot help but draw parallels to the soundtrack to
film O Brother, Where Art Thou, but a version more preoccupied by Canadian landscape. Tracks like "Summer-
stone" and "Milk and Cookies" are brimming with an
optimism that can only be backed by the sounds of
harmonicas and banjos. However, the album as a whole
is more profound; in particularj"Simple Times" is a song
recorded in one single and immaculate take. Flanked by
stripped down, lyrical tunes, East of West has an honest,
human quality about it that is only truly appreciated
by the humbled. Rebecca Harder croons hypnotically
in "Lullaby," giving it a soulful and melodic contrast to
some of their more upbeat, bluegrass tracks. Also, the
final track brings the album full circle with a secret song
that is definitely worth the wait.
Mine Salkin
Threat From Outer Space
Bleeding the dying elephant
(konseptikon rekords)
Threat From Outer Space label their Uve show as a
'barn-burning dance floor graveyard" and damned if they
don't make the energy transcend the boundaries of stereo
speakers, bursting through with the shoulder-bobbing,
booty-shaking new album, Bleeding the Dying Elephant. ~
The five-piece from East Vancouver take elements of rap,
hip-hop and indie pop and set them against a grand backdrop of humming, synthesized beats and grand flourishes
of trumpet The sound is familiar to more mainstream
fare, but the unique rhythms keep things fresh. One of the album's best tracks, "I'll Get Over," brings on the funk
with searing trumpets while another stand out; "Beginning
of the End," the album's closing track, brings the volume
down with a voice that's almost a dark whisper, before
flaring into a full-bodied chorus layered with electronics.
"5:40 AM" is exacdy the kind of song you want to end the
party on with its slow groove and subdy suggestive beat."
"Stay Awake" offers sinfully slow bass and an awesome Q_
& A chorus to counteract the track's sing-speak resonance.
Even the lyrically tired "Guesswork," which is a recycled
groaner like "9/11 was an inside job," can't mute the pulsing beats and charming brass that pushes the song from
mediocre to good. "Worldwide" attempts to highlight the
global intricacies of war, environment and poverty—itjs
pretty far-reaching, and at times feels more like a sermon
than a solution or exploration, but at least it's thought
provoking. Threat From Outer Space's socialist approach
to making music lists the "key players" in the band, but
doesn't isolate the contributions. It's just one more oddly
confounding detail about this East Side gem.
Andrea Warner
Listening party
WHO ARE WE MISSING?
(Kill Devil Hills)
Though they became an official band in 2005, the
members of this up-and-coming Shawnigan Lake-based
three-piece have been jamming together since 2000—and
it shows on their recent release. Reminiscent of hot days
by the lake and chilly nights ort the beach huddled around
a campfire, Listening Party's Who Are We Missing?is surely
one of best folk/rock records of 2008. Joined by Victoria's
Run Chico Run on vocals and some bang-a-rang-ing good
African drum beats on several tracks, you can only imagine
starry nights of collaborative, musical majestry resonating
across the entire lake; like a wild bird call, it lures all the
wild creatures, underwater sea beasts, Ogopogos, Bigfoots,
Yetis and local fisherman to the shining shimmering fiery
light for a full-on pow-wow. No, these are not your typical "Kumbayas" and golden-brown roasted marshmallows,
these are the kind of dudes mixing graham crackers, chocolate chips and Kraft Jet Puffs, playing slow melodic tunes
like "Song and Sea," followed by foot-stomping lyrical
mind warps like "Sky Hopping," and bad-ass love ballads
like "Sweet Roseanna."Yup, everything about these guys
rules. And their name could not embody their purpose
more, because this band definitely makes for a good, well,
listening party.
Lucy Lynch
JON AND ROY
ANOTHER NOON
(Independent)
Jon and Roy's new album is reminiscent of great folk
music like Simon and Garfunkel or Cat Stevens. Another
Noon is a quiet and engaging companion to a day spent
inside watching the rain fall or drinking coffee while
holding hands with someone adorable. The album's opening track, also doubling as the album's tide, is an engaging little ditty with "DT Stylee" on handclaps—a winner
every time. The countrified "Litde Bit of Love" is a foot-
stomping charmer. The entire percussion section comes
out in "Moonlight," and the guitar sounds Hke a literal
interpretation of someone moseying down a backcountry
road. On "Long Road", moseying gives way to galloping
horses. "Thanks For That" offers a lovely and bittersweet
lilting shrug. The interesting give and take between Jon's
voice and his guitar contrasts nicely with Roy's restrained
percussion. If anything, the guitar is sometimes too omnipresent, almost obliterating Jon's voice on several tracks.
However, the biggest criticism Another Noon might face
is the "sameness" of the songs—they're not terribly distin
guishable from each other on first or third listen.
That said, the disc is consistent and cohesive—there's
not a single song that feels out of place. Throughout, the
guitar and drum offer something quick, like feet skipping, and it's easy to imagine Another Noon scored across a
cheeky and poignant independent film. Almost every song
gives the illusion of moving forward while looking fondly
behind you. The implied motion somehow provokes
happy feelings, the album's very quaintness catching on
like a smile.
Andrea Warner
The Pickups
COUNTRY HOUSES, CITY STREETS
(Beautifully Misguided Records)
Finally! A band so incredibly emo, but without a single
pretentious member with that awful, downward bent
head gesture and shaggy hair covering one eye. Described
as "flaneur-pop," the Pickups are lovely in a minimalist,
micro-pop, fuzzy soft drink kind of way. Touching on ideas
like random childhood memories, first loves and nostalgic
neighBourhoods, songs such as "Augusta" and "Country
Houses" truly capture those fleeting memories that bring
up the sentimentality of youthful idealism. Tne track
"Compromise" immediately brings to mind a casual walk
in a park, or a moment of unbridled honesty. The modest
sound of Country Houses, City Streets seems to invoke
a" "feeling of unguarded lightheartedness. In particular,
"Country Houses" brings fhe whole introspective sentimentality to the forefront, not unlike a marriage between
Belle and Sebastian of the Apples in Stereo, discussing
notions of lost loves and regret. The lyrical component to
the Pickups adds to their appeal tremendously. Lines like
"There are those hard to love hard to leave/and the people
I love keep on loving me back" spur this overwhelming
sympathy and universal understanding that living in a
city isn't easy. Ultimately, the Pickups" illustrate the most
common human interactions, but in a modest, poetically
nunimalist way—it's their honesty and nonreactionary
apathy that will make its way into your heart.
Mine Salkin
NADASURF
LUCKY
(Barsuk)
Matthew Caws, the perennial pessimistic optimist
fronting the much-loved Nada Surf, has carved himself a
pretty impressive career playing mid-tempo emotive rock
while still successfully eluding soft-Bock radio and the
legions of North American soccer moms. It was probably good fortune, then, that Nada Surf peaked early, over
a decade ago in fact, with its discussed-to-death surprise
hit, "Popular," as the band has maintained a dedicated
following and respectable career ever since. Each successive album purposely avoids the make-or-break trappings
of many fame-and-fortune chasing bands (all eyes on
you, Fountains of Wayne). Lucky, the band's fifth album,
probably won't win over any of the group's naysayers, nor
will it surprise any of the old fans, but it still remains a
warm and consistent record that is slighdy bereft of any
extra value added. The two tracks that were leaked earlier
this year, not surprisingly the two most upbeat of the
ten ("Whose Authority" and "I Like What You Say"),
both stand up to - but don't exceed - previous favourites
like "Always Love" and "Happy Kid," but now with the
group quite comfortable in its middle-age, it's doubtful
that Nada Surf will ever mingle in the Top 40 once more.
Then again, as long as they have a litde fight left in them,
we're bound to get much more of the same, with few
complaints from the already converted.
Adam Simpkins
HINTERLAND
PAN PAN MEDICO
(Submerged Records)
Vancouver's own Hinterland are back with another
album that charms and moves. Pan Pan Medico has a
similar floating, cinematic feel that Hinterland has always
employed, though with a bit more structure than some of
their past efforts. Trimming the fat (not that there was
much of it) has allowed the strengths of their music to
shine through even brighter than before. Weaving around
singer Michaela Galloway's vocal work are solid, bright,
mosdy upbeat indie pop melodies, though with still a bit
of electronica and atmospherics blended in. Galloway's
always beautiful voice has more edge to it than before,
which adds some interesting undertones to the songs. On
a couple of tracks, like "Geometry" and "Future Ghost,"
her voice is showcased with minimal support so that the
listener can be fully absorbed into the vocal world. There
is one instrumental track, "Tided," which proves that even
though Galloway's voice is so central to the band's sound,
this sound can also stand on its own without any vocals
at all. Tne song is a short but haunting piece that somehow reminds of an old musicbox melody brought into the
modern age as it winds down. As always, Hinterland's
music can take you on a journey. It will be interesting to
see where their music takes Hinterland next.
Pyra Draculea
WOMEN
VOLUNTEERS
needed for our 24 Hour
Rape Crisis line and Transition
House for battered women
For an interview, please call
604-872-8212
Vancouver Rape Relief & Women's Shelter
 www.rapereliefshelter.bc.ca
1
% WKesi c|i
ckc ruko 3
Saturday April 4
The Biltmore
'.thebattlesschaps.com
Aramyt^^^^u".^-.;:',
THE PACK A.D.
HTINT7PE"*™
L' m ■■■II ■imuMnaMtaMtt
I MINT RECORDS
Discorder-   VS USiCNREEK
DISCORDER HEARS FROM A FEW OF VANCOUVER'S TOP ACTS THAT WILL HEAD OUT EAST THIS MONTH FOR CMW,
READ ON TO LEARN A BIT ABOUT EACH OR FIND OUT HOW TO GET THEM DRUNK AT THEIR NEXT LOCAL SHOW,'
LOTUS CHILD
CMW Date: March 7, 9:00 PM
@ Reverb
Lotus Child is Zachary Gray on vocals
and guitar, Tom Dobrzanski on piano,
synthesizer and vocals, Peter Carruthers
on bass and Miles Bruce on drums. These
boys are probably familiar to several UBC
students, having endeared themselves to
college crowds with a number of campus
appearances in the past few years. "A fan
base of college students, and even high
school students, is really amazing every time
we have a moment of wondering what we're
working so hard at all of this for," explains
Dobrzanski. "It really feels like they just
get it." Still, playing for college co-eds and
touring behind a debut album (Gossip
Diet, released last October) doesn't bring in
the groupies to the extent that one might
think, so Dobrzanski- issues this earnest
request: "Our drummer is really a catch,
but bis occupational hazard of working
at a music store and in a band means that
he's surrounded by dudes all day. So, if any
readers have any tips on the new hip places
to meet rad girls, send them to band@
lotuschild.com.'' Rad girls, start emailing.
Who or what will you miss about Vancouver when you're in Toronto .this March?
Tom Dobrzanski: Vancouver really seems
to have a handle on good, cheap sushi. It
ruins us for eating our favourite food in any
other town, because it costs an arm and a
leg, and just isn't that good.
Anything you'll be glad to leave behind?
TD: I refuse to bitch about the rain, so I'm
going to go with "any semblance of traditional responsibility." Because, when you're
at these music conferences, I think it's your
job to get seriously drunk with as many
musicians and industry types is you can.
Oh, and for as free as you can.
What goes on at a Lotus Child show?
TD: Sometimes we don't know what to
make of ourselves, because we're perfectionists about the music. So there's a little
angel on one corner telling you to focus on
nailing the part, and then this devil telling
you not to give a shit, and to just put on a
crazy show and be reckless.
Who is your favourite local band to share
the stage with?
TD: Seems like all of a sudden everybody
is buddies, and I'd play with any band that's
doing something new. So, I'd take every
chance we get to play with the band Mother
Mother. Man, they've gotten good lately.
If a fan wants to buy you a drink at your
next show to thank you for rocking their
face off", what are you drinking?
TD: Well for a while it was Jagermeister.
Then we realized what pussies we all were
and decided to .man up and just drink Jack
Daniels. So Jack, straight up, please.
18    March 2008
DAN MANGAN   -
CMW Date: March 7,10:00 PM
@, Reverb
. There are a great number of acoustic
performers performing at open mic nights
across Vancouver, from Commercial Drive
coffee shops to the Gallery Lounge, but
what sets singer-songwriter Dan Mangan
apart is that he delivers on both sides of
that hyphen; he sings very well, in a distinctive, soulful growl, and he writes very good
songs. These songs, which make up his
debut disc, Postcards and Daydreaming
(first released independently in 2005, then
re-launched nationally last year courtesy
of Outside Distribution and Tile Under:
Music) have gained substantial attention
from music media. NME compared him
to Woody Guthrie, The Georgia Straight
likened him to Hayden, and an article in
Metro cautioned that Mangan's songs are
"the land of sad songs that could potentially
drive you to drink."
"I took it as a eompliment," Mangan
says. "I'm not sure if it was meant as a
compliment, but I'd rather drive people to
drink than to mindless, repetitive boredom
schlock" After CMW, Mangan heads down
to Austin for SXSW and then to Australia
for a series of dates, before a homecoming
show at the Biltmore on May 1.
Who or what wiH you miss about Vancouver when you're in Toronto this March and
on your upcoming national tour? Anything
about Vancouver you will be glad to leave
behind?
Dan Mangan: I've got a lot of love for
Vancouver. Tne hardest part about traveling
is of course being away from my ladyfriend
and friends and family. I won't miss crossing
Cambie anywhere between 2nd and Southwest Marine.
What goes on at a Dan Mangan show?
DM: Rather than singing, I invite people
on stage to take off their clothing, down to
their underwear, at which point we have
a four-hour dance party. It can get pretty
sweaty. Every now and then, I play some
songs on my guitar and if people like them,
they might even sing along at certain parts.
Then I drive them to drink.
Who is your favourite local band to share
the stage with?
DM: I've done a lot of playing with Shane
Koyczan and Mark Berube. I also really like
James Lamb and the Wicker Robot and
Jess Hill and the Parlour Steps and Said
Tne Whale. There's a bunch, I guess. I like
playing with crappy bands too, if they're
nice people.
If a fan wants to buy you a drink at your
next show, to thank you for rocking their
face off, what are you drinking?
DM: Beer usually, something in a green
bottle. Or gin and tonic with extra lime.
HEY OCEAN!
CMW Date: March 7, 10:00 PM.
@ Smiling Buddha Bar
Hey Ocean! is a Vancouver-based four-
piece consisting of guitarist and vocalist
David Beckingham, bassist Dave Vertesi,
drummer Dan* Klenner, and led by the
wonderful vocals of Ashleigh Ball. Their
music is a joyful fusion of pop melodies,
catchy rhythms and world music influences
that sounds summery and cheery without
the cheese factor. The four will be doing
some recording in Toronto with Canadian
producer Jose Miguel Contreras (Lily.
Frost, Meligrove Band, By Divine Right),
and they "are all really stoked to get into
the studio and put out something new," says
Beckingham. He adds that they're hoping
for an early June release of the new album,
a follow-up to their 2007 debut, Stop
Looking Like Music. "We are also touring
with a new drummer, Dan Klenner who
rips on the kit and is young and single—so
watch out ladies."
Who or what will you miss about Vancouver when you're in Toronto this March and
on your upcoming national tour? Anything
about Vancouver you will be glad to leave
behind?
Dave Beckingham: I generally miss the
Vancouver air and water, and of course
friends and family. Ashleigh kind of hates
cold weather, so I guess she'll be missing
the milder climate out here. None of us will
miss the rain though. We'll all be glad to
leave the grey behind for a couple months.
What goes on at a Hey Ocean! show?
DB: Usually, around mid-show, Vertesi
(bassist) asks the audience if he can get a
"FUCK YEAH!" Tney have yet to deny
him a heart-felt response. But generally
people can expect to experience a spontaneous and energy-filled show with a sense
of having been a part of it, whether having
shaken their bums hard or. having been up
on stage with us jamming on one of our
many shakeable instruments.
Who is your favourite local band to share
the stage with?
DB: We love playing shows with Current
Swell from Victoria and have done so lots.
We have also had some amazing jams with
guys from the Five Alarm Funk, who are
unbelievable. I'd love to do another show
with FAF at some point as it has been a
while. ^SSlf^%e
If a fan wants to buy you a drink at your
next show to thank you for rocking their
face off, what are you drinking?
DB: Depends on the night, but if I'm
feeling really crazy then a peppermint tea
with extra honey. That's my poison right
now man. Extra honey and all my inhibitions are out the window. As for Ashleigh,
whisky water will be fine. Dave likes the
Jager-Bombs and I think Dan is a beer guy.
^
THE PACK A.D.
CMW Date: March 7, 11:00 PM |
@ Sneaky Dee's
The Pack A.D. are a two-piece blues-rock
outfit who seriously deserve your attention.
Becky Black wails on the guitar and the
microphone, doing both remarkably well,
while Maya Miller beats the living hell out
of her drum kit. The Pack A.D. have been
making a name for themselves with some
downright awe-inspiring shows around
Vancouver over the past year, earning them
a deal with Mint Records, which led to the
worldwide re-release of their debut album,
Tintype. After their CMW appearance, the
girls will be heading out on an American
tour, including a stop in Austin, Texas for
the South by Southwest (SXSW) festival. Until recently, Tne Pack A.D. were
known simply as The Pack {Black attributes the name change to "Identity theft,"
while Miller blames "Global warming"),
until they added the A.D. to avoid confusion with the identically-named California
hip-hop group who are the proteges of Too
Short. Miller ruefully claims that "I would
kill to be down with Too $hort, but he is not
my Uncle, so I guess I will never get to be
down with him." Never say never, Maya.
Anything about Vancouver you will be glad
to leave behind when you hit the road this
month?
Maya Miller: "Real" life.
Becky Black My Job.
What goes on at one of Tne Pack A.D.'s
shows?
MM: Drunks. Drunks having a good time.
BB: Lots of drinking and, um, some music.
If you're lucky, you might get a cracker.
Who is your favourite local band to share
the stage with?
MM: Too many. All our friends. You know
who you are.
BB: Rich Hope and Adrian Mack (aka The
Evil Doers).
Which local band would you like to share a
stage with, but haven't yet?
MM: The Tranzmitors. But every time
I bring it up, they all artfully dodge it or
ignore my messages. That's right, bros, I'm
calling you out.
Whatcha gonna do about it? Hmm? Play
a show with us, that's what yer gonna do...
snazzy suit-wearing bastards.
If a fan wants to buy you a drink at your
next show to thank you for rocking their
face off, what are you drinking?
MM: JD. Neat.
BB:Glenlivet.Neat. Canadian Music Week is an annual
event that is billed as "Canada's
International Music Convention."
The 26th Year of CMW runs for four days
(March 5 to 8), consisting of conference
seminars, panels, keynotes, trade exhibitions'
and award shows covering.all facets of the
music industry. But for thousands of music
fans in the Toronto area, what matters
most at CMW is the 500+ bands who will
perform at more than 40 venues throughout
the city. As the festival's name suggests, the
majority of the performers are homegrown
talent, and Vancouver will be very well-
represented at this year's festival. Some big
names will be appearing, such as hometown
heroes The New Pornographers, but CMW
is also a place for emerging acts to catch the
ear of the industry. Here is a rundown of
just a few of the great Vancouver acts that
will be looking to make an impression at
Canadian Music Week.
OCTOBERMAN
CMW Date: March 7, 12:00 AM
@ Reverb
Like Neil Young and The Band, October-
man is a bunch of Canadians with a knack
for the sound that is often described as
"Americana," and their sophomore album,
Run From Safety, is a collection of great
songs that draw from folk and country,
while still sounding current. Led by singer-
songwriter Marc Morrissette, the band also
features Rob Josephson, Graham Christof-
ferson, C.L. McLaughlin and Leah Abramson. Vancouver audiences can catch them at
Hoko's on April 5, performing with International Falls, No Gold and a metric load of
other local acts.
Who or what will you miss about Vancouver when you're in Toronto this March or
on your recent national tour?
Marc Morrissette: Well, during the tour,
some of us were missing our lady-friends
pretty badly.
What goes on at an Octoberman show?
MM: We try to never play the same set
twice and since we are getting ready to
record again soon, there will be a lot of new
material being tried out. Some of the new
songs are a bit noisier than what people
might be used to, but still melodic.
Who is your favourite local band to share
the stage with? Which local band would
you like to share a stage with, but haven't
yet? Srilliis
MM: We've shared the stage with The
Mohawk Lodge so many times that it feels
pretty natural to play with them. We've
even worked out some Pavement and Neil
\bung covers together. As for others, I've
always been a pretty big Destroyer fan, so
that would be neat.
If a fan wants to buy you a drink at your
next show to thank you for entertaining
their face off, what are you drinking?
MM: Probably a pint of Creemore, since I
don't think you can find it in Vancouver.
m
FAKE SHARK- REALZOMBE!
CMW Date: March 8,12:00 AM
@ Kathedral
These guys have monikers that are as
colourful and bizarre as their stage costumes
- and the names seem to change about
as often as the clothes. Their MySpace
lists a drummer named Marcolm (who
responded to interview questions under the
name Malcatraz Hollywood Holt), Kewy
on vocals, Louis Wu on guitar, and Gnar
Par on bass (that's Malcolm Holt, Kevin
Maher, Louis Hearn and Parker Bossley
to their moms). Their show at the Biltmore
on February 15 alongside The Clips and
JPNDRDS was a great chance to check
out three of the best, most exciting young .
live acts in town, but only a few fans on
the dance floor were lucky enough to snag
pieces of Parker's bass, which he smashed
on the stage and ceiling about half way
through the set. In addition to one of the
coolest band names around, Fake Shark -
Real Zombie! have a substantial fan base
in Japan, where their debut album, Zebra!
Zebra!, was released last April via Vinyl
Junkie Records, almost a year before being
made available in their home and native
land (look for a Canadian release on March
11). "We done tricked 'em good," Malcatraz
quips. "Joke's on you, Japan."
Who or what will you miss about Vancouver when you're in Toronto this March?
Malcatraz: Well, I guess we should probably
say we'll all miss our dear girlfriends, but
in all honesty I think I speak for the whole
band when I say it'll be a nice little vacation
from the old Ball and Chain.
GST ON THE VIP/GUEST UST + BOOK YOUR BiRTHDAY PARTY, FUNDRAISER EMAIL: fNFGsSPlA2ACLUB.NET
What goes on at a Fake Shark - Real
Zombie! show?
M: Positive Israel vibrations, Selecta. 'Ol
lotta ganja smoke, feeUng iree.
Who is your favourite local band to share
the stage with?
M: Personally, I hate all the local bands so
none of them. Just kidding - I hate MOST
of them. No, for realz though, I'm pretty
stoked to be playing with You Say Party! We
Say Die! (back on January 25 at the Ukrainian Cultural Centre). We've wanted to do
some shows with those guys for a long time.
If a fan wants to buy you a drink at your.
next show to thank you for rocking their
face off, what are you drinking?
M: Parker's drinking milk, or eggnog if you
can still find it.
Why do so. many bands have exclamations
points in their names now? What's with all
the shouting? Isife^!!!!
M: WHAT????YOU!MUST!BE!KIDDIN
G!ME!!!!!!!        gj
POLICE   £1kM1upM
> UnyntrMs i_ msum
ON SOUND CREW
straight
Rmm
Thursday, March 13 ^llil''
^^ TRIBUTE: LYNYRD SKYNYRD & VAN HALEN
F THE LONG RIDERS
HAM WAILIN'
Thursday, March 20
?;|il THE TURN
CD RELEASE PARTY
YUCA, INCURA
TICKETS: CLUBZONE.COM & ATTHE DOOR
Thursday, March 27
B UTS
THE LAST SCENE, EMPIRE ALLEY
TICKETS AVAILABLE AT THE DOOR
Thursday, April 3
-§ GRIMSKUNK
:li ALPHA GALATES, NINJA SPY
Ffc&aus
SATURDAYS
AT THE PLAZA
MIL
•A&S
^nfctfCE*'
$fiM^*aM«
UPCOMING CONCERTS & EVENTS
BOOK YOUR BIRTHDAY PARTY, FUNDRAISER EMAIL IMFOCPUVZAOUB.NET
:\.k if'ci *#«! J ku 11_\ Jkoi § 'l j 4 ___^>ZifM?L I • n iYhW: i
WWW.PLAZACLUB.NET
Discorder   19 White Williams
+ HEALTH
Richard's On Richards
January 23   - t
No fewer than four people with earplugs were spotted while White Williams was doing his thing one
Wednesday night at the Media Club. A new fashion
trend? It's certainly possible. However, it's more likely
that certain traits of Mr. Williams's music were being
reflected back by the audience: stability, conscientiousness and, ultimately, a lack of risk-taking or excitement.
How odd it seems, then, that Williams was paired up
on a co-headlining tour with Lovepump United's rising
stars, HEALTH.
Yes, HEALTH, purveyors of spastic noise rock,
whose performance was a visceral onslaught to the
senses. They made use of guitar, bass, drums, a heavily
distorted keyboard setup, an additional floor torn, an
electric, drum pad that triggered a thunderous whomp,
microphone feedback, and sporadic vocals—all to
create monstrous arrangements of sound and fury. The
bassist (doing double duty as merch guy that night)
flailed madly around when he was on the mic, adding
even more energy to an already intense set. Afterwards,
an audience member remarked, "Now that's what I call
suffering for your art," a fitting description of what the
members of HEALTH appear to go through on stage.
After all this, there was just something missing from
Williams and his band. The opening instrumental was
deep and moody, like the Cure with a melodica, but
beyond that, it was somewhat of a rote recital of various
songs from Smoke. Those who were fans of Williams's
first album probably found much to love in the bouncy,
faithful renditions they heard that night. But for others,
the songs came and went as only mildly enjoyable,
with one droll melody after another leading up to the
encore-free finish. Indeed, it was tough to tell whether
Williams himself ever broke a sweat. Oh, well.
Simon Foreman
VICTORIA, VICTORIA!
+ No Gold, Taxes
Cambrian Hall
February 1
The show started about an hour late—not surprising in
these sorts of events. But in this case, the lateness could
easily be forgiven. The show was the last hoorah for Tooth
and Dagger, a small indie paper that existed for about a
year before declaring bankruptcy and being sent off to
the great beyond with this party.
The night was supposed to kick off with Petroleum
By-Products, but they were MIA, so Taxes started things
off. Tooth & Dagger columnist Sean Orr fronts Taxes and
gave it his all, belting the songs out into his mic and
sometimes into a mop that he'd found at the side of the
•stage. Taxes have a tight, hard-rock sound with some
grime on top. Unfortunately, despite their solid effort,
Orr's (supposedly) politically charged grumpy vocals
were unintelligible due in part to a singing style reminiscent of the Boss or Dylan, but mostly due to his voice
being too low in the mix. C'est la vie.
30    March 2008
With the By-Products still lost, No Gold took to the
stage. I hadn't seen them since their previous incarnation, Yukon, but they are spectacular now. A simple
three-piece, these boys play innovative indie-rock, with
discordant guitar and bass taking their cues from the
stylings of post-punk's minimalism. However, No Gold
does not have the coldness that one might associate with
the sounds of say, Gang of Four; their music is warm,
rich and emotionally inviting. Using humour and empathy to win over the audience, No Gold played songs such
as "S.W.E.D.E.N." and "Fucked Up," before ending with
the bass player leaping onto their drum kit.
Finally the By-Products showed up fashionably late.
They played pretty much what they usually do, which
isn't nearly as good as the B--52S they emulate, but is
pleasant enough for 10 to 15 minutes. Then it gets repetitive. Presumably, Victoria, Victoria! came on and played
without a hitch at this point, but all the delays had made
this reviewer sleepy, j
Jordie Yow
YEASAYER
+ MGMT    ^Sfcg
The Bourbon
February 1
Tonight marked the Bourbon's first "big" event since
it decided to compete in the struggling Vancouver live
music venue racket. And while the show was scheduled
for an early start, many keen punters were forced to wait
in line for over an hour only to arrive to gig that was
poorly organized and falling way behind schedule.
So to a minor belch of fanfare, the elfin and slighdy
bewildered MGMT took to the stage and wasted little
time getting their premier single, "Time to Pretend" out
of the way. What followed that initial burst of joy was an
extended gap of unnecessary guitar and effect wankery,
climaxing with a few new numbers.
(A big thank you to Animal Collective for starting this
annoying and self-serving trend of showcasing embryonic material that few fans are actually familiar with—
let alone when the band in question has just released its
debut album.)
And though a good chunk of MGMT's brand new
Oracular Spectacular LP was incorporated into the set, the
only memorable highlight was the guilt pleasing "Electric
Feel," which is probably bound for some iPod commercial
in the near future.
As for Yeasayer, the Brooklyn troupe of world-beatish
hipster hippies seemed a bit out of sorts, which was likely
due to an earlier run-in with Canadian customs. Apparently having been accused of being a threat to national
security, or general up-to-no goodness, the band seemed
less than thrilled to have been hassled by the Man at our
country's impenetrable outpost. (May I suggest a sharp
haircut and a more amicable attitude next time, gents?)
Anyway, playing the sort of freak-funk noodling you'd
expect from mosdy white dudes diggin' on Fela Kuti
and hangin' with Gogol Berdello, Yeasayer was a bit too
much *lost in the vibe" to offer any quality substance.
And even though songs like "2080" and "Wait for the
Summer" are, for the time being at least, pretty great,
it's hard to shake the band's whole anti-anti-fashionable,
frippy troubadour production.
So for the Bourbon's debut into the lucrative world of
indie rock shows, it didn't do so badly as a venue after
all. While it's still inexcusable for this dump to expect
any patron to wait outside for any longer than five
minutes, you've got to give the management some cheers
for attempting to bring a new live music venue to this
deprived city. Thanks for. stepping up. I'm sure we'll be
seeing your demise shortly.
Adam Simpkins
fake Shark real zombie
Ukranian Cultural Centre
January 25
Lasf October, Fake Shark Real Zombie were playing the Lamplighter and had a small posse who moshed
and slammed and knew the words to every song. Louis's
guitar riffs were mesmerizing, and his shuffle-shuffle
kick moves, adorable. Kevin's awesome balancing acts
were also impressive as he sang and shouted out to his
devoted fans, so much so Malcolm seemed lost behind
the kit.
Fast-forward four months and their entourage has
grown in size and their show has evolved intom completely
different monster. These brightly dressed colour-coordinated boys know how to put on a show and adapt to the
crowd they are playing to.
At the hall, I watched the ever-so-mnoo&ifr-looking
Kevin punking out, Malcolm getting acrobatic with
his sticks and a British-looking Louis putting on one
powerfully intense show. I heard the mutterings of
people complaining about the sound system. "What die
fuck?!" I said, and turned to one whiner, %% ihe Ukrainian Cultural Centre. Enjoy the show, fuck the sound."
And they smiled back at me, and we head banged for a !
moment. Ah, bonding.
However, I didn't see anything that resembled "bonding" during the missile strike. Back in the day of Nina
Hagen and Bad Brains, I don't remember throwing water
bottles at our music heroes. I cringed every time a bottle
went flying near wee Kewy and as he nearly stumbled to
avoid them. But that boy has an incredible voice, as well
as gymnastic balance.
The only thing wrong with this show was it was not
long enough. I secredy wished they would have played a
tribute to Test Icicles and broke out "Sharks" (as I heard
they used to do), but they didn't. What can I say? I tend
to be greedy. However, the band did play every other
song off their upcoming album, Zebra, Zebra, leading to
more than enough satisfaction.
Karen Bourne «fc.»-^.
DJ SHADOW
+ Cut Chemist
Commodore Ballroom
February 11
These two men will be, if they are not already,
legendary. They are the Jimi Hendrix and James Brown
of turntablism. They push the manipulation of vinyl to
extremes mere mortals could never think of and their
to-capacity Vancouver show was proof of that.
DJ Shadow, best known for his epic debut Endtroducing..., and Cut Chemist, half of the production team
behind Jurassic 5, played from their vinyl 45 collections on their third tour together, dubbed the Hard Sell.
This tour was fairly similar in content to. their previous
ones together, delivering a mish-mash of sounds that
displayed the mind-boggling scratching, blending, beat
juggling, you-name-it techniques of the two DJs.
Where this performance differed from what fans had
heard before was in stylistic content, which was a whirlwind tour de force of musical styles. From a mash-up
of the Gilligan's Island theme song with "Stairway to
Heaven" to the Bubble Bobble theme, they jumped from
genre to genre, with visual accompaniment that was
just as impressive as the musical show. Heavy on fetishist vinyl imagery, sexualized and codified images of
records bordered on the religious. Adding to the visuals were cameras that let the audience get up close and
personal as the incredibly talented performers worked
their trade.
Acting as high priests before the audience, the two
DJs pushed their turntables in ways only long-practised
masters of vinyl could. Tb end things, they delved heavily into the realm of noise, placing their 45s off centre
on the turntable and spinning them like Spirographs
to produce heavily distorted psychedelic droning hiphop—a stunning end to a stunning perfor
Jordie Yow
Hayden
+ Jenn Grant
The Norm Theatre, UBC
| February 12     ^'«£r%
I wasn't a Hayden fan when I arrived at the concert, but
his Uve performance moved me to tears. Tears, I tell you.
I've never cried at a concert before, nor was I crying
in the way rabid fans do at R. Kelly concerts. No, my
unexpected eye-juice was embarrassing at first, but
looking back, I realize it was a toast to Hayden's talents
as a troubadour of love, loss and affection for cats.
Writing songs about feelings is hardly new. But
Hayden's most innovative gifts lie in his ability to distill
life's more complicated moments into small, lilting
studies of grace and gravitas.
His one-man show consisted of several guitars, a
harmonica and a honky-tonk piano that the crew accidentally ordered from a prop company. Playing from the
stage of the old movie theatre in UBC's Student Union
Building made for great acoustics, and Hayden's cynical
wit kept heartfelt lyrics from dipping into the cloyingly
saccharine, striking a fine balance between the laughing
and crying. Indeed, the show had it all.
Opener Jenn Grant joined Hayden for an encore
number pulled from Hayden's latest" album, In Field &
Town. Grant's charming folk minuets set the tone for
what would be the perfect concert for a rainy February
night, and her reprise was a welcome finish to the show.
To close house properly, Hayden's sound guy dropped
a moldy Easter cream egg from the ceiling near the end
of the encore. It was Hayden's 37th birthday, and the
egg has been a joke gift passed between Hayden and his
friend for about nine years. No one was about to unwrap
the elderly chocolate egg that night, but I think most
people went home happy, faith in love restored.
Jackie Wong DRAGONETTE
^mft&THING '
m^;da\^ ^
FRIDAY MAR0I^SlMrtODOBijilLLROOM
»%f %t w *r w %>? %\
Solo & Acoustic
Steve
Earle
hawksley
Iworkman
F^»   te     MARCH 19
*■      ST. ANDREWS
mm      m   \      WESLEY
^_fm3k CHU22
st Allison Moorer
Saturday March 15
The Centre for Performing Arts
SATURDAY
MARCH 22
THE PLAZA CLUB
-      19*.N0«N0RS
ZULU AND MGHUFE
WaTO*
WW
MARCH 27
CROATIAN CULTURAL CENTRE
SATURDAY MARCH 29 .
T OF THE WIST MARCH 14 & 15 | COMMODORE BALLROOM • ACE FREHLEY MARCH 191 COMMODORE BAUROOM • JU BARBER & MATTHEW BARBER MARCH 201 THE MEDIA CLUB
asajLivenRTion.com
32    March 2008 IlTvg npmonl
Morc»"bb
Now On Sale!
V~_5^    FORTR-ESS    >«—^
COMMODORE BALLROOM
TICKETS ALSO AT HGHUFE
APRIL 11
CROATIAN CULTURAL CENTRE
EARLY SHOW: DOORS 6:00 PM
mmm
Must hmis kb
W_f
APRIL 29 -CR0ATIAM CULTURAL CENTRE
,^^^. siiiwiifciw *&__*_&
w.asiJay/iytng.tom \ wumKuiyyiut tamlasiLtydwng
voth special guests THREAT FROM OUTER SPACE
i MARCH 17 -THE PLAZA CLUB^
8 S95SS5K ItCKEre«LSOAt?ULUAND«Gt«jre 'lEl
Carbon/Siiicei
•jpatitoQfi
f&
SATURDAY MARCH 22
RICHARD'S ON RICHARDS YQucanlistentoCiT&Q^^ air at 101.9 FM
6am
7am
8am
9am
10am
11am
12pm
1pm
2pm
3pm
4pm
5pm
6pm
7pm
8pm
9pm
10pm
11pm
12am
1am
2am
3am
4am
5am
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
BBC
BBC
PACIFIC PICKIN'
BBC
BBC
BBC
BBC
BREAKFAST
WITH
THE BROWNS
FILL-IN
SUBURBAN JUNGLE
END OF THE WORLD NEWS
FILL-IN
THE SATURDAY EDGE
TANA RADIO
THIRD TIME'S
THECHAR!£
SHOOKSHOOKTA
POP ROCKS
SWEET AND HOT
SKA-T'S SCENIC
DRIVE
KOLNODEDI
GROUND CONTROL
MORNING AFTER SHOW
ANOIZE
THE ROCKERS
SHOW
ALTERNATIVE RADIO
DUNCAN'S DONUTS
THESE ARE THE BREAKS
GENERATION ANNIHILATION
PARTS UNKNOWN
GME'EM THE BOOT
THE GREEN MAJORITY
WE ALL FALL DOWN
POWERCHORD
ARTS EXPRESS
DEMOCRACY NOW
INKSTUDS
RADIO ZERO
REELTOREAL
BLOOD ON
THE SADDLE
SHAMELESS
LETSGETBAKED
CAREER FAST TRACK
RUMBLETONE
RADIO A GO GO
CRIMES & TREASONS
CODE BLUE
BLL-JN
NARDWUAR PRESENTS
NATIVE SOLIDARITY NEWS
WENER'S BBQ
CHIPS WITH
EVERYYTHING
NEWS 101
CANADIAN VOICES
MY SCIENCE I      PEDAL
PROJECT    I REVOLUTION
NEWS 101
LEO RAMIREZ SHOW
WINGS
QUEER FM
FLEX YOUR HEAD
STEREOSCOPIC
REDOUBT
UBC THUNDERBIRD SPORTS
NASHAVOLNA
SOME SOUND
AND
SOMETIMES
SAMSQUANCHES
HIDEAWAY
SHADOW JUGGLERS
RADIO FREE GAK
EXCUISITE CORPSE
RHYTHMSINDA
FOLK OASIS
MONDO TRASHO
THE JAZZ SHOW
LIVE FROM THUNDERBIRD
RADIO HELL
SYNAPTIC SANDWICH
TRANCENDANCE
CAUGHT IN THE RED
JUICEBOX
SHAKE A TAIL
FEATHER
HANS KLOSS'
MISERY HOUR
LAUGH TRACKS
BEATS FROM THE
BASEMENT   •
VENGEANCE IS MINE
AURAL TENTACLES
RAW RADIO
I LIKE THE SCRIBBLES
BBC
BBC
BBC
BBC
BBC
BBC
ii^ SUNDAY
TANA RADIO (World) 9-1 Oam
SHOOKSHOOKTA (Talk)
10-11am
A program which targets Ethipian people and aims at encouraging education
and personal development in Canada.
KOL N0DEDI (World) 11am-12pm
Beautiful arresting beats and voices emanating from all continents, comers, and
voids. Seldom-rattled pocketfuls of roots
and gems, recalling other times, and other
places, to vast crossroads en route to the
unknown and the unclaimable. East Asia.
South Asia. Africa The Middle East Europe. Latin America. Gypsy. Fusion. Always
rhythmic, always captivating. Always crossing borders. Always transporting.
THEROCKERS SHOW (Reggae)
12-3pm
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Real cowshit-caught-in-yer-boots country.
Alternates with:
SHAMELESS (Eclectic)
Dedicated te giving any local music act in
Vancouver a crack at some airplay. When
not playing the PR shtick, you can hear,
some faves you never knew you liked.
CHIPS WTTH EVERYTHING (Pop) 5-6pm
British pop music from all decades. International pop (Japanese, French, Swedish,
British, US, etc.), 60s soundtracks and
lounge. Book your jet-set holiday now!
Alternates with:
SAINT TROPEZ (Pop) Wpm
Welcome to St Tropez! Playing underrated
music from several decades!
sttropez101.9@gmail.com
QUEER FM (Talk) 6-8pm
Dedicated to the gay, lesbian, bisexual, and
34    March 2008
queerfmradio@gmail.com
RHYTHMSINDIA (World) 8-9pm
Rhythmsindia features a wide range of
music torn India, including popular music
from the 1930s to the present, classical
music, semi-classical music such as Ghaz-
als and Bhajans.and also Qawwalis, pop,
and regional language numbers.
MONDO TRASHO (Eclectic)
9-1 Opm
The one and the only Mondo Trasho with
Maxwell Maxwell—don't miss it!
TRANCENDANCE (Dance)
10pm-12am
Join us in practicing the ancient art of
rising above common thought and ideas
as your host DJ Smiley Mike lays down
the Jatest trance cuts to propel us into
the domain-of the mystical.
trancendance@hotmail.com
__________M MONDAY-
BREAKFAST WITH THE BROWNS
(Eclectic) 8-11am
Your favourite Brown-sters, James and
Peter, offer a savoury blend of the familiar
and exotic in a blend of aural delights!
breakfastwiththebrowns@hotmail.com
GROUND CONTROL (Eclectic)
11-12pm
Fun and independent music supported by
a conversational monologue of information, opinion and anecdote focussing on
the here, the now, and the next week.
becktrex@gmail.com
ALTERNATIVE RADIO (Talk) 12-1 pm
Hosted by David Barsamian.
PARTS UNKNOWN (Pop) 1-3pm
Parts Unknown, an indie pop show that
has been on CiTR since 1999, is like a
marshmallow sandwich: soft and sweet
and best enjoyed when poked with a
stick and held close to a fire.
LETS GET BAKED (Talk) 34pm
Vegan baking with "rock stars" like Laura
Peek, The Food Jammers, Knock Knock
Ginger, The Superfantastics and more.
NATIVE SOLIDARITY NEWS (Talk)
A national radio service and part of an
international network of information
and action in support of indigenous
peoples' survival and dignity. We are
air volunteers committed to promoting
Native self-determination, culturally,
economically, spiritually and otherwise.
The show is self-sufficient, without government or corporate funding.
NEWS 101 (News/talk) 5-5:30pm
Vancouver's only live, volunteer-produced student and community newscast.
Every week, we take a look back at the
week's local, national and international
news, as seen from a fully independent
media perspective.
WINGS (Talk) 5:30-6pm
SOME SOUND (Indie Rock) 6-7:30pm
RADIO FREE GAK (Indie rock)
7:30-9pm
THE JAZZ SHOW (Jazz) 9pm-12am
Vancouver's longest running prime-time
Jazz program. Hosted by the ever-suave
Gavin Walker.
Features at 11pm.
Mar. 3: One of the most outstanding
bands at last year's Jazz Festival was
the Bad Plus. They are an acoustic piano
trio with a difference: They don't play
Gershwin, Porter and Kem. They play
their own originals and.compositions
by contemporary composers like David
Bowie, etc. Pianist Ethan Iverson and
company are hot!
Mar. 10: Alto and tenor saxophonist Sonn
Stitt was one of the most misunderstood
players in jazz. Called an imitator of
Charlie Parker on alto and Lester Young
on tenor, Stitt was neither but an original
player who took no prisoners and was
second to none. Tonight, a rare item by
Stitt: "The Hard Swing."
Mar. 17: Another great exponent of the
alto saxophone tonight in the person of
Phil Woods. In honour of St. Patrick's
Day, Mr. Woods is half-Irish (the other
half is French-Canadian). This is Woods
at his best with his "European Rhythm
Machine." Recorded at the Mohtreaux
Jazz Festival.
Mar. 24: The gentleman who does our
show's theme: Trombonist Bennie Green
is our feature tonight. Mr. Green plays
with tenor saxophonist Eddie Williams,
the legendary pianist Sonny Clark, bassist Paul Chambers and drummer Jerry Segal, plus one tune by master bop vocalist
Babs Gonzalez.
Mar. 31: Tonight, a hot driving band of
players from LA. who were not your
typical West Coast cool band: These guys
sounded New York tough! Trumpeter Jack
Sheldon, tenor saxophone great Harold
Land, legendary pianist Carl Perkins and
drum genius Frank Butler all led by the
swinging steady bass of Curtis Counce.
One of the best jazz groups ever.
VENGEANCE IS MINE (Punk)
12-2am
Going on 8 years strong, this is your
home for all the best the world of punk
rock has to offer.
9S with Arthur and the lovely Andrea     SALARIO MINIMO (World)
I TUESDAY
pacifiepickin@yahoo.com
FILL-IN (Edectic) 8-9:30am
THIRD TIME'S THE CHARM (Rock)
9:30-11:30am
Open your ears and prepare for a shock!
A harmless note may make you a fan!
Hear the menacing scourge that is Rock
and Roll! Deadlier than tbe most dangerous criminal!
borninsixtynine@hotmail.com
MORNING AFTER SHOW
(Eclectic) 11:30am-1pm
An eclectic mix of Canadian indie witt)
rock, experimental, world, reggae, ounk
and ska from Canada, Latin America and
Europe. Local bands playing live on the
Morning After Sessions.
GIVE 'EM THE BOOT (World) 1-2pm
Sample the various flavours of Italian
folk music from north to south, traditional and modem. Un programma
bilingue che esplora il mondo della musica folk italiana.
musicalboot@yahoo.ca
ARTS EXPRESS (Talk) 2-2:30pm
REEL TO REAL (Talk) 2:30-3pm     "
Movie reviews and criticism.
CAREER FAST TRACK (Talk) 3-3:30pm
FILL-IN (Eclectic) 3:30-4:30pm
WENER'S BARBEQUE (Sports)
4:30-6pm
Tune in each week to hear Daryl Wener
talk about the world of sports. I'll discuss
everything from the Vancouver Canucks
to the World Rock Paper Scissors Championship. Your calls are welcome and I
hope you enjoy listening.   -
ethanwener@hotmaii.com
FLEX YOUR HEAD (Hardcore) 6-8pm
Punk rock and hardcore since 1989. Bands
and guests from around the world.
1-1 Opm
The best rock in Spanish show in Canada since 2000. None Of that tropical
stuff here. No aceptes imitaciones!
salariominimo@yahoo.com
CAUGHT IN THE RED (Rock)
10pm-12am
Trawling the trash heap of over 50 years'
worth of rockn' roll debris. Dig it!
AURAL TENTACLES (Eclectic) 12-6am
It could be punk, ethno, global, trance,
spoken word, rock, the unusual and the
weird, or it could be something different.
Hosted by DJ Pierre.
auraltentacles@hotmail.com
■■WEDNESDAY
SUBURBAN JUNGLE (Eclectic)
8-1 Oam
Live from the Jungle Room in his Top
Secret Eco-Pod complex high in the
Cascade Mountains, join radio host
Jack Velvet for an eclectic mix of music,
sound bites, information and inanity.
Not to be missedl
dj@jackvelvet.net
POP ROCKS (Electronic) 10-11:30am
ANOIZE (Noise) 11:30am-1pm
An hour and a half of avant rock, noize,
plunderphonic, psychedelic, and outsider aspects of audio. An experience
for those who want to be educated and
EARitated.
lukemeat@hotmail.com
THE GREEN MAJORITY (Talk) 1 2pm
DEMOCRACY NOW (Talk) 2-3pm
RUMBLETONE RADIO A GO GO
(Rock) 3-5pm
Primitive, fuzzed-out garage mayhem!
CANADIAN VOICES (Talk) 5-6:30pm
AND SOMETIMES WHY (Pop/Eclectic) 6:30-8pm   'T&ss&gyj? j AVETT BROTHERS
I AT THEi
1 JUS! ANSWER THIS
| SHUrTESTINI
I
lAPRIL 13
I HOW MANY, IF ANY, OF THE AVETT BROTHERS ARE INDEED BROTHERS?
WINNERS WILL BE ANNOUNCED IN THE APRIL ISSUE OF DISCORDER
EMAIL YOUR ANSWER TO: CONTESTS.DlSCORDER@GMAIL.COM
CITR CHARTS!
CiTR's charts reflect what has been spun on the air for 2007. Artists with stars alongside their
names (*) are from this great land o' ours. Most of these platters can be found at finer (read: independent) music stores across Vancouver. If you can't find them there, give our Music Director
a shout at 604-822-8733. His name is Luke. If you ask nicely, he 'II tell you how to get them. To find
other great campus/community radio charts checkoutwww.earshot-online.com.
First Wednesday of every month.
Alternates with:
SAMSQUANCH'S HIDEAWAY
(Eclectic) 6:30-8pm
All-Canadian music with a focus on
indie-rock/pop.
FOLK OASIS (Roots) 8-1 Opm
Two hours of eclectic folk/roots music,
with a big emphasis on our local scene.
Don't own any Birkenstocks? Allergic to
patchouli? C'mon in! A kumbaya-free
JUICEBOX (Talk) 10-11PM
Developing your relational and individual
sexual health, expressing diversity, celebrating queemess, and encouraging pleasure at all stages. Sexuality educators
Julia and Alix will quench your search for
responsible, progressive sexuality over
your life span!
www.juiceboxradio.com
HANS KLOSS1 MISERY HOUR
(Hans Kloss) 11pm-1 am
This is pretty much the best thing on radio.
msM THURSDAY
END OF THE WORLD NEWS (Talk)
8-10am
SWEET AND HOT (Jazz) 10-12pm .
Sweet dance music and hot jazz from the
1920s, 30s and 40s.
DUNCAN'S DONUTS (Eclectic)
12-1pm
Sweet treats from the pop underground.
Hosted by Duncan, sponsored by donuts.
http://duncansdonuts.wordpress.com
WE ALL FALL DOWN (Eclectic) 1 -2pm
Punk rock, indie pop, and whatever else I
deem worthy. Hosted by a closet nerd,
www.weallfalldowncitr.blogspotca
INK STUDS (Talk) 2-3pm
Ink Studs focusses on underground and
indie comix from publishers like Fantagraphics, Top Shelf, Drawn and Quarterly and more. Each week, we interview
a different creator to get their unique
perspective on comix and discuss their
own interesting and upcoming works. No
creator too big or too small to be interviewed. The talent interviewed ranges
from the legends of alternative comix to
some kid who has only put out a couple
of minis, all with somehting new and interesting to share to the reading public.
CRIMES & TREASONS (Hip Hop)
3-5pm    ~
crimesandtreasons@gmail.com
MY SCIENCE PROJECT (Talk) 5-6pm
Zoom a little zoom on the My Science
Project rocket ship, piloted by your host
Julia, as we navigate eccentric, underexposed, always relevant and plainly
cool scientific research, technology, and
poetry (submissions welcome), myscien-
ceprojectradio@yahoo.ca
Alternates with:
PEDAL REVOLUTION (Talk) 5 6pm
pedalrevolutionary@gmail.com
STEREOSCOPIC REDOUBT (Rock)
6-7:30pm
Psychadelic, acid punk, freakbeat, prog
and other grotesque and socially relevant artifacts from 1965 to today, with a
particular emphasis on Vancouver's freak
flag with pride.
www.myspace.com/stereoscopicredoubt.
EXQUISITE CORPSE (Experimental)
7:30-9pm
Experimental, radio-art, sound collage,
field recordings, etc.
Recommended for the insane.
artcorpse@yahoo.com
UVE FROM THUNDERBIRD
RADIO HELL
(Live Music) 9-11pm
Featuring live bancfts) every week
performing in the comfort of the CiTR
Lounge. Most are from Vancouver,
but sometimes bands from across the
country and around the world are nice
enough to drop by to say hi.
LAUGH TRACKS (Talk) 11pm-12am
Laugh Tracks is a show about comedy.
Kliph Nesteroff from the 'zine Generation Exploitation, hosts.
generationexploit@yahoo.com
RAW RADIO (Hip Hop) 12-2am
^USS^FRIDAY
FILL-IN (Eclectic) 8-1 Oam
SKATS SCENIC DRIVE (Ska)
10am-12pm
Canada's longest running Ska radio
program. Email requests to:
djska_t@hotmail.com "
THESE ARE THE BREAKS (Hip Hop)
12-2pm'
Top notch crate digger DJ Avi Shack
mixes underground hip hop, old school
classics, and original breaks.
beatstreet@telus.net
RADIO ZERO (Eclectic) 2-3:30pm
We play an international mix of super-
fresh weekend party jams from new-
wave to foreign electro, indie rock, baile,
booty, club rap, juke, disco, Bollywood,
dancehall, and whatever else we feel
like.
www.radiozero.com
NARDWUAR THE HUMAN
SERVIETTE PRESENTS (Nardwuar)
3:30-5pm
Join Nardwuar the Human Serviette
for an hour and a half Manhatten Clam
Chowder flavoured entertainment. Doot
la doot dc
ot doo!
nardwuar@nardwuar.com
NEWS 101 (Talk) 5-6pm
Vancouver's only live, volunteer-produced, student and community newscast
Every week, we take a look back at the
week's local, national and international
news, as seen from a fully independent
media perspective.
news@citr.ca
UBC THUNDERBIRD SPORTS
(Sports) 6-10pm
SHAKE A TAIL FEATHER
(Soul/R'n'B) 10-12am
The finest in classic soul and rhythm &
blues from the late '50s to the early 70s,
including lesser known artists, regional
hits, lost sould gems and contemporary
artists recording in that classic soul style.
I LIKE THE SCRIBBLES
(Eclectic) 12-2am
Beats mixed with audio from old films and clips
from the internet 10% discount for callers who
are certified insane. Hosted by Chris D.
ISATURDAY    »
THE SATURDAY EDGE (Roots)
8am-12pm
Now in its 22nd year on CiTR, The Sat-
urday edge is a personal guide to world
& roots music—with African, Latin
and European music in the first half,
followed by Celtic, blues, songwriters,
Cajun and whatever else fits!
GENERATION ANNIHILATION
(Punk) 12-1 pm
A fine mix of streetpunk and old school
hardcore backed by band interviews,
guest speakers, and social commentary.
crashnbumradio@yahoo.ca
POWER CHORD (Metal) 1 -3pm
Vancouver's longest running metal show
on the air. If you're into music that's
slightly into the heavier/darker side of
.the spectrum, then you'll like Power
Chord. Sonic assault provided by Metal
Ron, Gerald Rattlehead and Geoff the
Metal Pimp.
CODE BLUE (Roots) 3-5pm
From backwoods delta low-down slide to
urban harp honks, blues, and blues roots
with your hosts Jim, Andy and Paul.
codeblue@buddy-system.org
THE LEO RAMIREZ SHOW (World)
The best of mix of Latin American music.
leoramirez@canada.com
NASHA VOLNA (World) 6-7pm
News, arts, entertainment and music for
the Russian community, local and abroad.
http://nashavolta.ca
SHADOW JUGGLERS
(Dance/Electronic) 7-9pm
The eclectic radio show Shadow Jugglers welcomes you to braoden your
musical knowledge with DJs MP,
Socool, Soo & guests. Shadow Jugglers
works across musical genres including electronic and club-based music,
presenting genres rarely introduced
into mainstream musical culture. Travel
through world sounds. Respect.
myspace.com/shadowjugglers
SYNAPTIC SANDWICH
(Dance/Eleetronic/Eclectic)
9-11pm
Every show is full of electro bleeps,
retrowave, computer generated, synthetically manipulated aural rhythms. If
you like everything from electro/techno/
trance/8bit music/retro '80s this is the
show for you!
www.synapticsandwich.net
BEATS FROM THE BASEMENT
(HipHop)11pm-1am
Hosted by J-Boogie and Joelboy, promising listeners everything from the latest
tracks, the classics, the rare and the
obscure, current events, and the special
features of peeps coming into the studio.
Most importantly listeners can expect to
be entertained... church.
klymkiw@gmail.com
Artist
Black M
Hello Blue Roses*
Vampire Weekend
Spreadeagle*
Kate Maki*
Jason Collett*
The Evaporators*
Tbe Penguins*
The DfJrbemTles*
Mr. Plow*
Cat Power
The Art Department*
Magnetic Fields
SamShalabi*
Hot Chip
Various Artists
The Buzzcocks
The Torrent*
The Greenbelt Collective*
Coconut Coolouts
The Feminists*
MGMT
Various Artists*
Times New Viking
Lightspeed Champion
Bella*
Parts Yell!
Blood on the Wall
Xiu Xiu
The Hives
C'Mon*
Better Friends Than Lovers*
Pan Sonic
Elbow Beach Surf Club*
The Mountain Goats
Monade
David Byrne
Bison*
JPNDRDS*
Ursula 1000
Red Dons
The Doers
The Cave Singers
Blind Boys of Alabama
TheVandelles
The Sadies*
In the Future
The Portrait is Finished...
Vampire Weekend
Magnus Bestia
On High
Here's to Being Here
Gassy Jack and Other Tales
Kontpab
Had to Be
We Are the Hunters
Apocalypse Plow
Jukebox
The Art Department
Made in the Dark
Messthetics #103 D.I. Y 77-81 Midlands
30
EP07
Our Homes
Party Time Machine
Can't Scream Loud Enough
Oracular Spectacular
Vancouver's Punk as Fuck
Pip It Off
Galaxy of the Lost
No One Will Know
Alison Station
Liferz
Women as Lovers
Black and White Albums
Alles Wieder Often
Release the Saviours
In the Company of Ghosts
Bottled Lightning og an All-Time High
Great Loves
Katodivaihe
Billy Club
Heretic Pride ^^IfifgfS
Monstre Cosmique
The Knee Plays
Earthbound
All Lies EP
Undressed... Remixed
Death to Idealism
Gaiety
Invitation Songs
Down m New Orleans
EP
Label
Jagjaguwar/Scratch
XL
Independent
Out of This
Crusty
Matador
Independent
Nonesuch
Alien 8
Astra Iwerks
Hyped to Death
Cooking Vinyl
Independent
Independent
Haunted Horse'
Independent
Columbia   I
VPAS
Matador
Domino
Mint
Soft Abuse
The Social Registry
Kill Rock Stars
Interscope
Independent
Drip Audio
Catbird
Independent
Global Symphonic
Independent
Burnt Oak
4AD
Too Pure
Nonesuch
Forest
Independent
ESL
Deranged
Reluctant -
Matador
Time Life
Safranin
Outside
Discorder   25 http://www. myspace. com/zamothedestroyer
http://members.shaw.ca/zamothedistroyer
SUN! DIRT! WATER! GHOSTS! HELL! SURF!
[MUST HEAR ALBUMS & MUST SEE CONCERTS]
ALL CD's & LP's $14.99 (except where noted)
JUNIOR BOYS
Body Language Six
(CD /2LP, available March 11
2LP Is $18.98)
1972 -1976 W 4th Ave, Vancouver
ph(604)738-3232 www.zulurecords.com
4307 Main St., Vancouver
ph(604)708-9422 www.redcat.ca
26    March 2008 welcoming the
newest sponsor of LM'P's
Local(Band"(Directory:
9fone other than
m$COWt>E.($Ma#azine!
Known as the dynamic frontman behind Canadian alt-rock sensation Our Lady Peace,
Raine Maida has already made a mark in the international music scene. With four
Junos, ten MuchMusic Video Awards and over five million albums sold worldwide,
Maida decided to take a a break from Our Lady Peace—and his major label status—and
begin building an4ndependent solo career with his spoken-word influenced November
release, The Hunter's Lullaby.
bt&COtbet: The Hunters Lullaby is very different, not only from the Our Lady Peace
records, but also from most other things on the music scene right now. You've said that
you weren't sure where the album would fit "in today's musical landscape." Now that the
album has been out for a few months, do you have a new perspective?
Raine Maida: As far as categorizing the actual music, I am still at a loss, but I take
pleasure in that.
0: We are in a period of unrest in the music industry as far as the role of the indies vs.
the majors. You've worked with a major label for many years with Our Lady Peace, but
you've said that The Hunters Lullaby was "written and recorded without the persuasive
hand of a major record label." Can you talk about going independent and how it's been
working without a major?
RM: [Because] Kingnoise is my own label, there was no interference creating this record.
It is a little ominous when you actually go to release a record" without the support and
mechanism of a major, but that model hardly exists anymore anyway, so power to the
little guys.
b: You released your EP, Love Hope Hero,hzck in 2006. Was this a test run for future solo
material, like your new album?
RM: I was doing a small tour and embraced the idea that I own the material and could
simply press up some eps and sell them—simple as that.
b: Working with a band like Our Lady Peace and having a solo career are two different
kinds of pressure. Has one been more stressful than the other?
RM: Our Lady Peace is a much different dynamic: much more complex; beautiful, but
intricate; personalities; visions; drama—-all of which we embrace and work through to
create the music. My solo stuff is infinitely more immediate. I write a song, record it and
put it up on my website. No red tape, no democratic dance. I enjoy having both. They
help me appreciate the differences.
b: I know I get my best work done (in the studio or otherwise) late at night. I've read
that the new record came to fruition at night in your home studio. Is that when you
prefer to work or is that when the kids have gone to bed?
RM: That time late at night was very creative for me. I was able to work without distractions and I am easily distracted so it really empowered me.
b: I grew up with parents that worked together running a music school and it was great
for us, having music as a family affair. You worked with your wife on this project and
several in the past. How has it been for the Maida family to work together? Do you
hope that Rowan and Lucca will take part when they're old enough?
IMCC
BREATHE
UVE MUSIC
■ ._&_*___ B_
LiveMusicVancouver.com
comprehensive live music listings
RM: When working with pop stuff I rarely do it on my own. It's more about the collaboration with chantal and the artist. Some of the people who have recorded our songs I
have never even met. The business is strange that way where we write a song with pink,
have a great experience, but the song doesn't end up on her record. And all of a sudden
Hilary Duff is cutting it.
b: You've also helped in the development of many young artists and bands. Is this something you enjoy doing or do you feel an obligation as a veteran in the music biz to
bestow some of your wisdom on these up-and-cc
RM: It's 90% about the music and working with young artists. Inevitably my experience and knowledge about this business can help serve these artists well. Don't get me
wrong;—I've learned a lot because I've made a lot of mistakes. I try and help them avoid
the same mistakes.
b: Rumour has it we can'expect a new Qur Lady Peace album^sometime this year - is
that true? If so, what can fans expect? Will you work with Bob Rock again?
RM: We are recording it at my studio. Bob Rock will not be part of this record, as much
as I adore him. We decided to change the way we approach music and recording. We
get together every few months and write and record three or four songs. It allows us to
really focus on a small amount of material and so far it's working. This is the most musical record we've made in a while. There is a real strong sense of comfort in our lady peace
at the moment. We seem to be getting better at dressing ourselves.
b: I'm sure you know that George Stroumboulopoulos credits you with his decision
to start The Hour on CBC. He's on the cover of this issue and will probably read this
article—^can we pass along a message for you?
RM: It's all music all the time in our house. I love that it revolves around music. I love
that our children will have the ability to play an instrument and express themselves even
if it isn't a career. It's a lot cheaper than therapy.
We're even then. George played a part in my decision to finish my solo record. I played
him some early demos and the fact that george didn't throw up in front of me gave me
the courage to forge ahead. Honestly, as,I've come to know and understand george
I've come to really respect his opinion. So you gave him the cover huh... Living in the
b: You're known as a rocker, but you have written for and produced many young female shadow of Stroumboulopoulos. I can deal,
pop stars, like Kelly Clarkson, Avril Lavigne and Eva Avila. Where does that inspiration come from? Raine Maida is playing the Commodore Ballroom on March 11.    b
Discorder   27 RITES OF SPRING ZULU'S fresh bulbs and early blossoms
Stephen
Jicks
li j am not a present to be opened up and
I parceled out again,' our man insists on
la," track seven on his new album. Ha!
That's what you think, pal. From the day nigh
two decades ago when the first scratchy sounds of Pavement floated
in the ether above Stockton (crown jewel of California's Central Valley,
the sprawling breadbasket that neither the North or the South have
claimed In California's ongoing two states' culture war), the music of
is has been the gift that keeps on keepin, on. Much of
al Trash, his fourth "solo* LP, is decidedly tow-down and
heavy. It could hardly be otherwise with monster drummer Janet
Weiss (ex-Sleater-Kinney) now a full-fledged Jick. Although Malkmis
makes the Pacific Northwest his home, this feels like a "California-
album. Check out how "Real Emotional Trash" begins as a modern-day
"Tonight's the Might," before evolving into a road trip from the Mexican
border to Marin, in the tradition of Pavement's "Unfair." And dig those
Allman Bros, leads (really!). Elsewhere, "We Can't Help Yon" channels
The Band's "Tie Weight," tapping that same vein of late-night melancholia and early-morning lucidity. The 'Moose aint just history, folks:
this Trash is treasure.
CD 14.98
No Kids
Come into My House CD
Come into My Hoiss is the first release by
Vancouver, Canada trio No Kids.
Comprised of 3/4s of the critically revered poi
band Pano, No Kids are multi-instrumentalists Julia Chirka, Jnstin Kellam, and
singer/songwriter If ck Krgovich. Recorded at The Hive Studio in
Vancouver (with tie help of a sizeable grant from the Canadian govern
ment and the talents of nine guest musicians), Come Into My Honse
achieves an unexpected cohesiveness despite the wide range of musical styles covered in its forty-one minutes. Golden era Hollywood
musicals, Jam & lewis-Inspired production techniques, the icy displacement of contemporary rnb, and the breadth of Arthir Rtssell,
disco, pop, and avant garde compositional work are referenced and
married together by nonovellstJc narrative strains, a lush Instrumental
palette, and a cinematic atmosphere. Pretty inviting!   -
CD 14.98
Beach House
Devotion CD
Baltimore duo Beach Honse have returned
with th'eir sophomore full length entitled
Devotion Alex Scally and Victoria Legrand
have written eleven delicate pop tunes about
love, feeling, and, of course, devotion. Their
new album is a surefire antidote to the winter bliielB
developed their craft exponentially since their 2006 setf-t
The recording is crisper; the songs are fuller. This Is a band that is taking the pop duo format to the limit The organs, slide guitars and
reverb are still there, but Beach Honse lay out some new sounds for
their newest offering. While on their debut critics made comparisons to
early '90s dream popsters like Many Star, Galaxie SOO and Slowdive,
on Devotion listeners will also hear the band,s longtime admiration for
'60s Motown and country folk. So snuggle up with that special someone next to the fire and ignite some devotion.
CD 14.98
Autechre
Quaristice CD
A ntechre is hailed as a cornerstone
Mparagon of IDM (Intelligent Dance Music)
and clearly with this latest outing Rob Brown
and Sean Booth are fast approaching on
genius. The highly anticipated follow up to
2005's Unfitted this record features 20 tracks that evoke an elegance
and efficiency of programming that is rarely exhibited hi today's electronic circles. Moving beyond their engagements with generative
music, Brown and Booth have focused on the compositional elements
of their experiments with sound technology and certainly tracks like the
lead off Altibzz create an aura of refinrj sophistication a la Eno.
Needless to say, this record is amazing.
Dirtbombs
We Have You
Surrounded CD
The Cairn has been made: The
Dirtbumhs are NOT garage-rock. If
that's the case though, then what the hell
are they? An R&B-obsessed juggernauts
with a super-sized rhythm section? A funk/soul hybrid f
through the manic eyes of 70s Brit-punk? Are they pop geniuses,
hiding behind the obscure cover songs of others (on this disc, they
cover Dead Moon and Sparks)? Just another "rock n' roll band' like
everybody else? Truth is, over the course of three albums, countless
singles, and an army of former band members, leader Mick Collins
and his fellow Dirtbombs have managed to be a bit of everything   !
(including garage-rock. Sorry dudes). Their newest, We Have Yoa
Sirroinded. is a snapshot of a band firing on all cylinders, relentlessly delivering on all their strengths. Want some glam-tlnged space-
blues? Try opener "It's Not Fu Until Tney See Yon Cry." In the mood
for some bulging proto-punk seen through the eyes of ike Torner?
Skip to "Ever Lovin' Man." Don't worry though; it's all been dragged
through the Dirtbombs' murky swamp, retaining the familiar grime
that,s been stuck in their engine ail these years. So yeah, maybe
things started In the garage, but at least they had the desire to open
up fte door and see what was going on out on the sfeet.
CD 16.98
Mountain Goats
;CD
U pigeonholed, though he has been a man
to toil away relentlessly in relative obscurity, producing varied and brilliant work that
few have been there to appreciate. A position like that may not be a pigeonhole, exactly, but it's a kind of
bunker or foxhole (maybe a pillbox) and not the kind of place you
want to stay in forever. Thankfully, Darnielle s small but extremely
ardent army of fans have been making a bigger and bigger buzz, and
with the release of Heretic Pride (I seriously don't know how many
albums he has, all the cassettes make it hard to count Is this number
16?) It might be safe to say that Darnielle Is now "famous," or a "legend". In any case, he's got a phenomenal, wriferty eye for details and
he crafts beautifully nuanced, starkly-arranged, and emotionally
intense songs that are experienced like short stories (appropriately
enough, he also has a great blog called Last Plane te Jakarta, on
which he writes extensively about heavy metal — keep an eye out for
his upcoming novel about Black Sabbath's Master of Reality). On
Heretic Pride, we encounter a pulp spy novel writer, an imaginary
cult, breakup sex, a lake monster, Prince Far I, slasher films, and
many more cn$pcfers and stories from the fecund, erudite brain of
John Darnielle If wars are in fact won from a foxhole, men our man
J.D.S got everybody beat.
CD 12.98
Ladyhawk
Shots CD
Shots Is a night album. II
MloF^.^t
s the sound of
(getting loose-turning up
loud, downing a few more and howling at.
the moon. Ladyhawk are In vampire pose,
filling their days waiting, only coming out
after dark to stalk the streets ready for blood, then stumbling home
drunk before dawn. Or like ghosts, drifting through the halls of the
darkened house thinking about how they used to live there. Or sometimes ending up outside, staring into.the cold moon for what seems
like hours and seeing nothing-going back inside and seeing only a
mask In the bathroom mirror. This is Ladyhawk's death trip, lining up
a round of sheB^iPne edge of the grave.
Ladyhawk's kiss-of-death evokes the devilish sounds of Coats
Head Sonp guitars, the honey-slides and howling of Neil Yeing in his
darkest hours, and the phantoms that haunted Roky Erickson at the
Holiday Inn. Recorded over a period of two weeks in an abandoned
farm house behind the shopping mall In the band's childhood hometown of Kelowna, British Columbia, Shots is an album filled with the
cold creaking and ghostly echoes of the old house in the dead of winter. Like a party for the last house standing in a sea of strip mails and
condos, surely near the end of its time.
CD 14.98
CD 16.98
Why?
Alopecia CD
f you're a fan of Why? or the Anticon umbrella
that he's under (and he's pretty much the main
dude holding it up these days), you know that the
only thing you can expect is the unexpected. So
with Alopecia, the Why? Band—Yoni and Josiait '
Wolf plus Dong McDiarmid — continue their calculated blitzkrieg on that
self-made jangle-rap, indie pop 'n' roll genre, but the stakes are raised.
The boys returned to their Midwest roots for Alopecia, hunkering down in
Minneapolis, Third Ear studio and inducting Fog mastermind Andrew
Broder Into the fold. Like 2006s Elephant Eyelash, if s a mostly-live affair,
with tJie samplers thrown (further) out the window, though you can still
hear them sputtering away down on the pavement
CD 14.98
Bon Ever
From Emma, Forever Ago CD
It's remarkable how many varieties of isolation a
man and his guitar can come up with when
secluded in a solitary cabin for a few months.
What's even more remarkable is how much we can
be affected anew by each person's unique sadness.
Every regret is your own, but wistful melancholy is universal, and we love
to love a little of some else's loneliness. Which is not fo say that Bon
hers Jnstin Vernon is just a sad sack: he fits right tn with the new crowd,
of indie songwriters that are nesting their homemade musings in sublime-
drastic landscapes of grainy texture and evocative atmosphere. Vernon's
layered acoustic strumming and hushed, snow-shrouded production might
bring to mind the Fanlkner-and-Thoreau-isms of Iron & Wine or
Phosphorescent (with whom Vernon is touring), and his old-fashioned
lyrics and captivating falsetto will please fans of The Cave Singers, but
he's also got a certain striking soulftilness that goes beyond "folk* music, v
touching on the grainy, full-blooded timbre of TV On the Radio's Tnode
Adebimpe. For Emma, Forever Ago is a major debut by a very promising i
new artist.
CD 14.98
r J|y^f|
Atlas Sound
Let the Blind Lead Those CD
Deerhunter frontman Bradford Cox (now
recording solo as Atlas Sound) has made
some sensational indie-biog news with his high- *
strung manft^trjegfpeBe feuds, his band's daily
bowel-movements blog, and just by being freakishly skinny and unhealthy-looking, but as Deerbister fans already know, Cox
is good at a lot more than just attracting attention. By which I mean he
writes' bloody amazing music. He's got boatloads of talent and a profound
grasp on the history of those musics that straddle the spectrums of noise
and melody, pop song and ambient soundscape. Let the Blind... is most
likely to be compared to last year's smash hit Person Pitch by Panda Bear
In the way it manages to make a glowing personal universe out of sounds
assembled and processed on home computer equipment, but this album
already sounds like it's more than just of-the-moment. Uke Fennesz's
Endless Summer, My Bloody Valentine's Loveless, or Fripp and Eno's No
Passyfooting, this is a landmark effort of sparkling experimental pop that's
going to need the whole of the future to decode its complete &dpnce.   -
C014.98    "W,
COME DIG OUR EARTH!
New Bubs ta the soil
Hirrtetiand-Pan Pan Medico CD
Bonnie 'Prince' Billy -WiWng in The West CO
Aiifcetam-OpusMixtum 2C0
Monads-Menstre Cosmic CD
MosDef-WeAreHipHop:MeJou,EwiyI»tlyPt2 2CD
Junior Boys-Body Language Six CD
The Waifs-Sun Dirt Water CD
The Gutter Twins-Saturnalia CD features Mark Lanegan & Greg Dulli
The Acorn-BtenkrtsJCDff
Kevin Ayers - The Untairground CD
Earth-The Bees made Honey... CD
American Music Club-The Golden Age CD
l^^,..^.,.^,.
ZULU ART NEWS
MARCH 1-31
Photographs by
Han Kim
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
STORE HOURS
Mon to Wed   10:30-7:00

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
http://iiif.library.ubc.ca/presentation/cdm.discorder.1-0050209/manifest

Comment

Related Items