Discorder CITR-FM (Radio station : Vancouver, B.C.) 2009-08-01

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that bills, bills,
bills magazine from CiTR 101.
music community
for over 25 years
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/// August 2009 /// FREE /// Ihm AMS represent! over
44,000 UBC sttidftftti as
affiHitttd coffo-gfts.
The AMS operate* student
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Here to Listen,
Crisis Centre   Here co Help.
at the Crisis Centre!
The Crisis Centre Is looking tor
caring* dedicated people to help with
our 24/7 Distress Services and our
Community Education programs.
lb find out more about how you can save
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skills applicable CO everyday life, educational
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| Advertise with Discorder. We'll
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% 8 -   __. Editor
Jordie Yow
Art Director
Nicole Ondre
Production Manager
Debby Reis
Copy Editors
Liz Brant, Debby Reis, Alex Smith,
Melissa Smith
Ad Manager
Marie Benard
Under Review Editor
Melissa Smith
RLA Editor
Alex Smith
Calendar Listings
Melanie Coles
Promotions Director
Leanna Orr
Program Guide
Bryce Dunn
Peter MacDonald
CiTR Station Manager
Brenda Grunau
Student Radio Society of UBC
One of the regulars at Funky Winkerbeans.
RobertPougere photo.
©DiSCORDER 2009 by the Student Radio
Society of the University of British Columbia.
All rights reserved. Circulation 8,000. Discorder
is published 11 times a year by CiTR, which
can be heard at 101.9 FM, online at www.citr.
ca, as well as through all major cable systems
in the Lower Mainland, except Shaw in White
Rock. Call the CiTR DJ line at (604) 822-2487,
CiTR's office at (604) 822-3017, email CiTR
at CitrMgr@ams.ubc.ca, or pick up a pen and
write #233-6138 SUB Blvd., Vancouver, B.C.,
V6T1Z1, Canada.
Editor's Note
Dear Discorder:
The August issue of Discorder is only available
in digital format. Not printing this issue was a drastic, but financially necessary, decision. We're looking
into ways to prevent something like this from happening again, but we may have to consider printing
on a bi-monthly basis in the future.
Discorder has two major sources of revenue: a
grant from our lovely publisher CiTR and revenue
from advertisers. The grant—we are assured—isn't
going anywhere, but you'll notice our ads have been
taking up less of our pages lately. We are a great deal
for advertisers' with rates as low as $50. If you're interested (and you should be if you want appeal to
the young, cool and intelligent people of Vancouver)
get in touch with our advertising rep at promotions.
discorder@gmail.com. We have survey results from
readers which can give you a good idea about what
sort of people you'll be reaching to share with those
If you're worried about us going out of print, it's
not something that's likely to happen. Everyone on
the Discorder team and at CiTR is devoted to putting together a print magazine about Vancouver's
music scene.
Enough doom and gloom though. There's still
lots of great stuff happening in Vancouver and just
because you can't read about it on paper doesn't
mean we're not reporting on it. Check out our musical picks at the brand new Olio Festival on page 10,
it's a good way to check out some new local bands
on the cheap although if you want to read about
some in more detail take a look at our profile on the
high energy MT-40 on page 13 or the beardy flannel
rock of Minto on page 12.
If you're interested in music scenes a little further
afield you will definitely be interested in reading the
feature on Sled Island in Calgary and the interview
with festival curator Colin Newman found on pages
18 and 21.
For something a little less musical, but no less
interesting, check out the performance art/walking
tour Debby Reis went on with the Miss Guides on
page 8.
We're looking forward to reading the September
issue on paper. Until then, we hope you enjoy August online.
In our last issue we accidentally asserted that Dave Duprey and Malice who run the Rickshaw Theatre
together were the same person. This is not the case and is an error of the editors not Jessica Barrett who
wrote the article and is an excellent researcher.
July Contributors
Bryce Dunn, Robert Fougere, Dan Fumano, Brenda Grunau, Kalin Harvey, Alex Hudson, Andy Hudson,
Philippa Laverre, Emily Lougheed, Adam Mannegren, Alex McCarter, Gord McCullough, Sean Nelson,
Quinn Omori, Leanna Orr, Mark PaulHus, Nate Pike, Gavin Reid, Debby Reis, Robert Robot, Becky Sandler, Amy Scott-Samuel, Alex Smith, Reilly Wood
Photo & Illustration
Aisha Davidson, Lindsey Hampton, Robert Fougere, Tamara Lee, Quinn Omori, Nicole Ondre, Debby
Reis, Josh Tran, Jamie Ward
Andrew Janczewski, Nicole Ondre, Debby Reis, Jordie Yow
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08. The Miss Guides
Debby Reis explores the ruins of Vancouver on
this artistic guided walk.
10. Olio Festival
Check out what Vancouver's newest festival is
all about and what we have to say about some
of the best bands who will be performing.
12. Minto
Our reporter delved into a land of beard and
flannel to cover this bands record release at the
Railway Club.
13. MT-40
Sophie Sweetland of Vancouver's high energy
dance duo sat down and chatted with our
reporter about her band.
17. Michael Jackson on
the Internet
King Khan photographed by Quinn Omori at Sled Island
Alex McCarter spent hours on the Internet
diving through the many projects that were inspired by the King of Pop's passing. This article
was a much more productive use of her time
than Facebook ever would be.
06. Textually Active
24. Under Review
18. Sled Island
Far from this rainy city of ours is a city called
Calgary. To the best of our knowledge it is full
of cows and oil barons. They also have a pretty
kick ass music festival.
21. Colin Newman
The Wire frontman and Sled Island curator
took some time out during the festival to chat
with a couple of our writeis.
Handmade Electronic Music: The Art of Hardware
Hacking by Nicolas Collins
07. Riff Raff
The Bon / Woven Bone 8c Flight / The Famines
14. Program guide
Adriane Lak / Black Mold / David Bazan / Dan
Mangan / Howling Bells / Pissed Jeans / Shaunn
Watt / manoeuvres 3 / Vancouver's Punk As Fuck
26. Real Live Action
Constantines / Andrew W.K. / Collapsing Opposites / Sunset Rubdown / Dirty Projectors / Frog
Eyes / Psychic Ills / No Kids / Destroyer Textually Active:
Handmade Electronic Music:
The Art of Hardware Hacking
(Second Edition)
by Nicolas Collins | Routledge Press
by Andy Hudson
When I first laid hands on my Dad's paperback copy of How to Build Model
Rockets, my fingers buzzed. Here was
the crux of a three-stage rocket, pared down to 150
pages and a handful of schematic diagrams.
Now in its second edition, Handmade Electronic
Music hums with that same trembling current of
close-packed know-how.
Based on years of workshops he gave to would-
be circuit-benders at the School of Art Institute in
Chicago, Nicolas Collins keeps this guide simple
but open-ended. 	
Collins started hacking
clocks, toys and credit card
readers in the early 1970s,
when a synth cost tens of
thousands of dollars. In this
guide and his own music,
Collins retains a makeshift
design aesthetic and a love
of found sound—the same
fixations, I learned, that draw
fans of Very Low-Frequency
Radio to plant wire crosses
on hilltops where, far above
the 60 Hz city, they listen in
on meteorites sizzling through the ionosphere.
With makeshift as a design goal, Collins avoids
most electronics theory and includes nothing so hi-
tech as a transistor (the building block of all modern
synths). His parts list, which he estimates is less than
$50, begins with pop-can tabs, vegetables and guitar
pick-ups before moving on to handmade switches
and CMOS circuits.
Also, to keep new keeners safe, Collins avoids
hacks on anything but battery-powered devices,
although he does set out guidelines for working
with AC power in the closing chapters. (I only got
as far as playing thermine-like AM radios and getting a shopping list for "circuit sniffers," which are
wire coils that pick up electromagnetic fields. These
can be used in for projects such as sound artist
Christina Kubisch's 2003 work. She installed some
similarly low-tech coils into headphones and then
invited citizens of Birmingham to walk around listening to the electromagnetic pulse of their ATMs,
subways and electricity grid.)
Now editor-in-chief at the Leonardo Music
Journal, Nicolas Collins writes his how-to in a
very engaging, useful style that finds the time to be
more than a litde weird. For instance, into a three-
page, illustrated primer on how to solder, Collins
writes that "Successful soldering, like fundamentalist Christian comedy performed in mid-winter by
an L-Dopa patient, depends on cleanliness, heat,
"Successful soldering, like
fundamentalist Christian comedy
performed in mid-winter by an
L-Dopa patient, depends on
cleanliness, heat, steady hands
and ... timing!" —Nicolas Collins
steady hands and... timing!"
When a lesser writer tries on such a personal style,
like the guy who wrote a socialist manifesto on bike
repair, instructions get confusing. But Collins is an
ace instructor. If he sidetracks, it s only to regale readers with backstory on avante-garde hackers like Paul
de Marinis, who included vegetable bits as electrical
components so that his circuits would naturally age.
If I have one misgiving about Handmade Electronic Music, it's only that the ebook version, which
is the same price as the paperback, doesn't include
the videos of hacked-hardware per^faoances that
get shipped with the paper copies. But that is a very
small gripe for an otherwise handy book that has
the look and feel of simple rocket science.
Join Discorder.
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mMm:PisiWM>T.om-q Riff Gaff
The Bon/Woven Bones &
Flight/The Famines
by Bryce Dunn
All right readers, August is
upon us and not a moment
too soon, as I know you've
been yearning for more pearls of
wisdom—and we can't let you down,
now can we? Especially when such
fine musical masterpieces have graced
my turntable with sweet sounds such
as that which the Bon hath sent me.
Now these Torontonians boast a well-
bred pedigree of past rock giants like
the Leather Uppers, the Exploders
and the Tijuana Bibles, and all linked
by way of one "Classy" Craig Daniels,
who knows how to write a catchy-
as-measles tune, as well as keep the
tongue firmly planted in the jowl.
Listen carefully to the A-side of their
debut platter and don't tell me it won't
conjure up an "I've been there!" moment every time someone asks a "Stupid Question" [ed. that's a song title].
By the way, who did drink Canada
Dry? Flip this pancake for "Ancient
Times," a stroll down garage rock
memory lane where you'll hear the
familiar strains of the Gruesomes or
the Ten Commandments plucking
away while the drums crash and the
bass doth bash. A solid sender this
one, and more to come methinks?
More from Sweet Rot Records
this month its true, and lest you be
thinking its a big Alan Freedman-
like scam, I assure you no payola was
exchanged in the reviewing of these
records (although it would be nice,
hey Jordie?) [ed. and how!]. Nay, these
records come free of favouritism and
not without the occasional criticism
(oh how I loved that Anals 7" from a
while back). I can say with certainty
that I really dig both Woven Bones'
and Flight's newest offerings. The
former is a trio of sun-baked Texan
psych heads driving straight into a
brick wall of Jesus-and-Mary-Chain
distortion isith the tracks "Your Sorcery" and "Howlin Woof" and leaving
you dizzy, while the latter feels like
the aftermath of the crash-pounding
drums careening into reverb-soaked
space jams with a sinister edge, in the
songs "Flowers" and "Johnny's Mixed
Up." My feelings exactly, so make sure
you're armed to the tits with an ample
supply of ibuprofen, as both these records are sure not to leave your head
for days.
Lastly, the Famines are a two-piece
guitar and drums tour de force out of
Edmonton who combine a love of art
with their music and throw in some
social commentary to boot on a new
two-sided affair. We first discovered
these guys about a year ago and then-
usage of consumer iconography and
post-punk influences grabbed our attention, so it's no surprise that "Free
Love Is A Sales Technique" speaks on
the commodification of courtship to
the tune of a straight forward and
speedy punk-laced song and "The
First World War" name drops classic
Canadian war battles, but vows "we
should never do it again" (I think
these guys failed history class... I kid,
I kid). Like a strange hybrid of Godhead Silo's grungier moments or
Duotang's twangier tunes, the Famines like to mine a lot of different territory to keep things interesting both
musically and visually (as the record
jacket of their latest single can attest)
and it seems to work.
That's all folks—back to school
next month!
The Bon
Boppa Do Down Records
123 Ossington Ave.
Toronto ON M6J 2Z2
Woven Bones & Flight
Sweet Rot Records
P.O. Box 78025 Vancouver BC
V5N 5W1
The Famines
Reluctant Recordings
i REl£A$E$Aie m f
I MJtflABlEAT foM.
UKE THESE! m»imi
Art Director:
Layout, design, cut,
paste, commission, draw,
» editor, discorder
@gmail.com The
photos and text by Debby Reis
met up with the Miss Guides on a July evening outside of Sinclair
Centre for their Walking the Ruins tour. But the Miss Guides isn't
your typical touristy "learn all about Vancouver's history" sort
of tour. In fact, the Miss Guides don't even like to use the word
"tour.^ffl&sreBlr "walk" because "tour," as they explained to me
a few dajpHxter, implies being a passive consumer. Walking, on
the othei^Ldnd, is described on the Miss Guides' website as "politicized and empowering." But just what does that mean? The walk began with our guides, Katherine Somody,
Natalie Doonan and Sean George (also known as
anna swede, Dorian and Kidskid, respectively),
asking the walkers to insert earplugs. It was a little
strange, but I found myself in awe of how my footsteps resembled a heartbeat as we walked around a
Canada Line construction area.
"We're trying to use defamiliarization as a tactic
so that... you're looking in a new way. You're being
engaged, not so much as a spectator, but as a participant in perceiving the city in new ways," Doonan
told me.
But this was just the beginning. After crouching
down at one of the doors of Sinclair Centre trying to
imagine an unspecified workers' riot, having one of
the guide's phone ring and the person on the other
end ask for someone specific in the group, and having quotes read to us as though they were lines of
poetry, we were taken up to the viewing deck of
Harbour Centre, followed by a walk down a series of
alleys. This movement from the glittery height of the
tower to the urine soaked low of the alley was just
one of the contrasts Walking the Ruins revealed.
The definition of "ruin" is the primary term the
Miss Guides challenge through their exposure of
dichotomies. Is the construction of the Canada Line
a ruin of sorts? What about the memory, or lack
thereof, of what was there before? There were other
dichotomies explored on the walk as well; what is
the difference between a weed and a wildflower? Or
art and graffiti? Exposing these contrasts made me
think about them, and in this way, Walking the Ruins
was empowering.
By the time you read this, the Miss Guides' Walking the Ruins will only be on offer through special
arrangement. Nevertheless, the group is still active.
Not only will they be working on a project to commemorate the reopening of Woodward's, but when
visiting their website (themissguides.com), you can
explore the self-guided walk, All the Trees Along
Granville Street. You can click on locations marked
with an "x" and a series of photos of the tree (or the
tree stump) at that location will open up. The photos have been taken over time since December 2008
and are overlaid on top of one another to evoke a
sense of ghostly collage. This layered effect reflects
the Miss Guides' value of oral culture and nonlinear
"With each retelling of the story, it changes, and
with the particular group of people, it changes, and
with the weather and whether it's during the day
time or the night time or what day of the week it
is, all of those factors contribute to the story itself
changing over time," Doonan explained.
This statement sums up the Miss Guides' walks
nicely, but it also reflects the nature of storytelling and understanding in general. And if the walk
makes you think about that, then it certainly isn't
your usual tour.
This movement from the glittery
height of the tower to the urine
soaked low of the alley was just one
of the contrasts Walking the Ruins
revealed. OLIO
Intro by Alex McCarter. Festival picks written by Dan Fumano, Jordie Yow, Becky Sandler, Gord
McCullough and Philippa Lavery
Recessionistas get ready to party—there is a new festival in town!
Born out of a late night talk at a party earlier this year, the first
annual Olio (pronounced oh-lee-oh) Festival wUl be taking place
in 19 venues across the city from Aug. 13 to 16. Modeled after
Pop Montreal (Olio business director Scott Roberts has helped
run Pop Montreal in the past), Olio wUl feature over 80 shows with enticing
outside acts alongside the best of Vancouver's music, art and comedy
scenes. AU for the recession-friendly price of $25!
10. "It allows people of various types to mix
creativities in a way that would not be possible if
we were showing each art form separately/'
—Dani Vachon
The word "olio" means a medley of musical or literary sections and this is embodied in the setup of
the festival. Olio shows off Vancouver in a way the
directors feel our city deserves and it tears away the
myth that Vancouver is "no fun city." Olio celebrates
the cultural smorgasbord Vancouver has to offer.
"Vancouver needs to showcase itself—it's a young
city, what only 100, maybe 150 years old? Montreal's
400! We may have some catching up to do—but it's
a great place, too," reflected Jason Sulyma (a.k.a.
MYIGAYIHUSBAND!), the promotions director
for the festival.
"We want to bring the bands out of East Van to
showcase to people how much talent there is," Sulyma said. Olio brings in bigger name acts and mixes
them with local favourites, aiming to expose local
groups to a wider audience. For example, Chicago
DJ duo Flosstradamus has been paired with Vancouver's Gang Violence at the Biltmore on Friday
Aug. 14.
Various art forms have also been "olioed." Most
concert venues will also double as art showcases. On
top of this, one location each night will have music,
art and comedy! This hodgepodge trend is something that Dani Vachon, Olio's production director
and the co-founder of Sealed with a Kiss, is particularly excited about. "It allows people of various types
to mix creativities in a way that would not be possible if we were showing each art form separately,"
she explained.
A different area of Vancouver is featured each
night, with the purpose of allowing people to discover new venues and areas of the city in a "neighbourhood crawl." Thursday focuses on Gastown,
Main street on Friday, and Downtown on Saturday.
The festival will finish up with a massive party at
Venue. The basic premise of Olio is fun. So, come
out and experience the many sorts of excitement
Vancouver has to offer! Below is a chronologically
arranged list of the bands that shouldn't be missed.
Fine Mist
Duo Megan McDonald and Jay Arner have
molded the seemingly simple combination of vocals and synth into super catchy pop songs. Transporting you. into their living room with a set up of
brass unicorns and dream catchers* it's impossible
to resist joining Megan as she asks the audience to
participate. Audiences have learned the words and
now come prepared to sing and dance. Seeing Fine
Mist is simply fun and gets even better when you
catch yourself singing the songs again to yourself
on your walk home from the show. Fine Mist plays
at the Unfamiliar Records showcase at 10:15 p.m. at
the Red Room.
White Lung
Wielding their own unique brand of punk rock,
White Lung comes at you like a punch to the face.
Their sound is gritty and raw and the four females
behind the band make no apologies. Lead vocalist
Mish Way possesses what can only be described as a
kick-ass growl that lets you know these girls are not
to be messed with. With this band you know you
are guaranteed an aggressive and entertaining live
show that's going to get messy. White Lung will be
unleashed at 11:30 p.m. at the Cobalt.
Apollo Ghosts
With their fun, energetic rock songs, Apollo
Ghosts have become a Vancouver staple. Found
regularly in art galleries, coffee shops and small
venues around the city, the band's performances are
always enjoyable. The members clearly love to play
their music and bring the audience into the show
with playful stage banter. Their Olio performance
marks their return from a small West Coast tour
supporting their new EP, Forgotten Triangle. Don't
miss them at 10:00 p.m. at the Mint Records showcase at the Anza Club.
World Club
Every so often certain artists burrow deep into
our brain and remain there forever—but in a good
way. World Club has been on constant repeat for
many since their performance at Music Waste. The
band's songs are multi-dimensional and aggregates
of several different but well-informed musical ideas.
Evidence for this can be found in the fantastic "Sick
Machines" whose Liars' pulse is interrupted by Slint-
style riffing without once losing its haunting effect.
When you finish reading, go listen to World Club
and make plans to see them play at 11:00 p.m. at
the Biltmore.
The Whitsundays
Coming to us all the way from Edmonton is the
vintage garage psychedelia of the Whitsundays. If
you haven't heard their debut self-titled album, it's
worth grabbing (or downloading) so you can hum
along to the Whitsunday's organ-soaked walls of
Brit-rock inspired sound. The band is an experienced group of musicians who don't tour much, but
spend a lot of time on other projects (like Shout Out
Out Out Out, the Faunts and the Wet Secrets) so if
you are a fan, take this chance to see them while you
can. The Whitsundays play at midnight at the Mint
Records showcase at the Anza Club.
Made up of Peter Ricq and Robbie Slade this duo
combines elements of electro, reggae and dub in a
fresh style that's unique in Vancouver—think heavy
dance beats with a mix of disaffected and falsetto
vocals. They focus on getting people's bodies moving so the dance night they've got going on with Pop
Machine should be a blast. Humans play at 10:00
p.m. at the Ayden Gallery.
Sun Wi2ord
At festivals like this one, sometimes the best part
is seeing a new band for the first time. One such
new band is Sun Wizard, a quartet formed about six
months ago by singer-guitarists James Younger (formerly of the Green Hour) and Malcom Jack (formerly of the Hung Jury), drummer Ben Frey (formerly of Adelaide) and bassist Frank Lyon. In their
relatively brief time together, the band has moved
from a rootsy folk-rock to a more straight ahead
rock sound, and played a handful of well-received ,
sets around town. By the time you read this, the
boys will have just finished recording for their first
release, an EP due in the fall. Sun Wizard plays at
10:30 p.m. at the Railway Club.
Maluca is the stage name of Natalie Ann Yepez, a
New York native of Dominican descent. According
to Yepez, her music combines Latin American styles
such as salsa, merengue and cumbia with a dose of
hip-hop, reggae and house. But don't worry, it does
not sound like reggaeton. She's recendy signed to
Mad Decent, the label run by Diplo, who produced
her hot debut single, "El Tigeraso." As a strong female performer with a connection to Diplo, comparisons to M.I.A. and Santogold are inevitable, but
Maluca looks like she's set to make her own mark.
Maluca plays at midnight at the Mad Decent showcase at Venue.
11 "Fuz:
by Leanna On
n July 9,1 went in search
of Minto frontman Ryan
Hoben at the Biltmore,
wanting to offer my congratulations for what
was looking like a successful CD release. "This
shouldn't be hard," I
thought, "I'm looking for a bearded man with glasses, likely wearing skinny jeans and flannel." I have
met Hoben sewal times before, but for the life of
me, could not distinguish him from the dozens of
doppelgangers roaming the bar, If flannel-rock were
a genre, Minto would epitomize it.
The Vancouver five-piece consiilf of Hoben,
rhythm guitarist Kalvin Olafson, lead guitarist Evret
Tucker, bassist Suzy Easton and drummer Jimi
Cuell. Minto has been around—in some form or
another—since 2002, when Vancouver Film School
students Olafson, Tucker and Hoben began jamming together. Since then, the band has chalked^
up a few changes in line-up and name, most notably the transformation from the Smokes to Minto
earlier this year. July 9 brought the release of Lay It
On Me, a full-length album recorded at Electrical
Audio in Chicago and engineered by the legendary
Steve Albini.
Albini, who has worked on everything from Nirvana and the Pixies to Joanna Newsom, would have
been proud of Minto's performance on the night of
the release. The show was startlingly good. Hoben
could barely contain his excitement and fortunately
he channeled his nervous energy into a fervent and
captivating performance. Even the lisdess presence
of bassist Suzy Easton couldn't puncture Minto's
energy. Musically, the band was tight. They clearly
practise consistently and their commitment to
Minto, and the album, is palpable.
The night had the feeling of a great send-off: a bit
All they really need is
a stage, a 24-pack of
beer and some flannel.
like a wedding or rocket-sh^ launch. Band members' mothers were in the front row, recording with
their video cameras as the fathers took pictures with
long-range lenses and high-powered flashes. Best to
preserve the moment for posterity; one feels as if it
has been a long time coming. I hope at least a couple
of pictures captured Hoben as he wiped h%|wg^.
with his flannel shirt between songs.
That motion punctuated the show, as it slowly
ramped up towards the climax of the night the encore. In my experience, encores are usually planned
by the band and only half-desired by the audience.
People clap at the end of the show, truly apprecia-
tive but anticipating a trip to the bar or outside for
a smoke. Then, however, the band takes applause as
a call for more, and "spontaneously" regains their
instruments for the last three songs of their set.
Minto's encore was nothing of the sort. I got the impression that they genuinely intended to be finished,
but the relendess calls of the crowd urged them back
the stage for a final performance. "Electrical Microphone" exalted the night, and with several fans singing on stage, it gave everyone the feeling that they
were inside a Hold Steady song, or perhaps dosed
with just a touch of E.
If Lay It On Me has any faults, it is that a recording
cannot match the experience of the live show. This
is an album meant for a stage. The band, after all,
calls their music "fuzzed out arena folk rock." That
said, Lay It On Me is a worthy purchase. The music is
quality and genuine, clearly a labour of love. Albini's
work is valuable and obvious; the sound is crisp and
instrument-forward. Minto did not need the star
engineer to make this launch a success, however.
All they really need is a stage, a 24-pack of beer and
some flannel.
Minto will be playing the Green Mountain Music
Festival on Aug. 8, and in Vancouver on Aug. 15 for
Kits Days, then on Aug. 26 for Sealed with a Kiss'
Gypsy Fade. After thitfctiaey will be embarking on a
coast-to-coast tour of Canada. ent by Aisha Davidson
by Emily Lougheed
In a city as full of talent as Vancouver, it's easy
for a burgeoning band to get lost in the fray.
However, MT-40, with their sardonic lyricism
and resplendent hooky melodies punctuated
by fervent beats, have been gradually making
themselves conspicuous over the last six months.
They quite notably stole the show—with some
even calling it the best performance of the five-day
affair—when they played the Biltmore for Music
It's become increasingly apparent at their shows
that few can keep their backs against the wall and
resist the urge to join in convulsive fits of spastic
abandon. When asked if danceability was a priority
when writing songs, Sophie Sweetland (keys and vocals), the female half of the lo-fi/electro/synth-punk
duo, kept her reply succinct, "Yes definitely. MT-40
was created for dancing, nothing else."
While Sweetland mans their namesake MT-40
keyboard, Reginald Bowls, who deftly programmed
a Commodore 64 as a synth, is responsible for the
flippandy subversive lyrics in most of their songs.
Although that may be the case, Sweetiand said,
"Song writing is a collaborative effort. We both come
up with parts and play them for each other, and if we
like it, we will try to make it into a whole song."
Sweetland's solo musical endeavours run the
gamut from dream pop to drone to surf rock. With
MT-40's sound, however, Sweetland shows a pronounced contrast to the other music she has written. Sweetland cited influences such as John Maus,
Lady Ga Ga, and "other good main-stream pop."
This contrast isn't surprising and no doubt contributes to MT-40's sonic layering of beguiling hooks
and dissonant progressions with a dance sensibility.
One of their most captivating compositions is
"Issabella Rosselini," a wantonly hasty romp addressed to its namesake. It's a crowd favourite and
the song, Sweetland admitted, is the most fun to
Though they've played a few shows a month
since they started in February, their first is still
Sweetland's favourite.
"I keep thinking about our first show, which we
played in White Rock at a house party. It was also
World Club's first show. It was really good fun even
though we only had like four songs and everyone
was super wasted,*" Sweetiand said.
With all the shows they're playing you might
expect them to be getting ready to tour, but while
"MT-40 was created for
dancing, nothing else."
Sweetland said they dream of touring, they have no
plans to do so at the moment.
Sweetland includes the band she played with at
MT-40's first show among her favourite local performers. "World Club, Nii Sensae, Walter TV, Modern Creatures, Sex Negatives. I go to their shows, get
stoked and then hope to create that kind of energy
in MT-40."
Though one has to agree on her choices for top
Vancouver acts, it can be said that the energy created at an MT-40 show is unmatchable—a fact that
sets them apart from the vast assortment of talent
this city as to offer.
You can catch MT-40 at the Media Club, Saturday, Aug. 15, for the Olio Festival with Juvenile Hall
and Sex Party. CiTR 101.9 FM PROGRAM GUIDE
We suggest listening to CiTR online at www.citr.ca, everyday.
CiTR Rebroadcast
Pacific Pickin (Roots)
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Give em The Boot
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End Of The World
Tana Radio (World)
News (Talk)
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The Saturday Edge
Shookshookta (Talk)
Third Time's The
Charm (Rock)
Sweet And Hot (Jazz)
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Japanese Musicquest
The Rockers Show
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Duncan's Donuts
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Generation Anihilation
Laugh Tracks (Talk)
The Green Majority
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Wings (Talk)
Democracy Now (Talk)
Ink Studs (Talk)
Radio Zero (Dance)
Reel to Real (Talk)
Blood On
The Saddle
Lets Get Baked
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Code Blue (Roots)
French Connection
Nardwuar Presents
The Rib (Eel)
Radio Freethinker
Go Go (Rock)
Saint Tropez (Pop)
Weners BBQ (Sports)
Arts Report (Talk)
Cafe Radio (World)
News 101 (Talk)
The Leo Ramirez Show
Career Fast Track (Talk
Queer FM (Talk)
This Side
of Monday
Son Of
Flex Your Head
Audiotext (Talk)
Stereoscopic Redoubt
Hot Mess
NashaVolna (World)
Way (Eel)
Shadow Jugglers
Radio Free Gak
Life On Jumpstreet
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Rainbow Groove
Synaptic Sandwich
The Jazz Show (Jazz)
Sexy In Van City
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Hans Kloss Misery
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I Like The Scribbles
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CiTR Ret
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CiTR Rebroadcast
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Tana Radio
(World) 9- 10am
A program targeted to Ethiopian people that encourages
education and personal development.
Kol Nodedi
(World) 11 am- 12pm
Beautiful arresting beats
and voices emanating from
all continents, corners and
voids. Always rhythmic,
always captivating. Always
crossing borders.
The Rockers Show
(Reggae) 12-3pm
Alternating Sundays
Reggae inna all styles and
Blood On The Saddle
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-
boots country.
(Eclectic) 3-5pm
Alternating Sundays
Dedicated to giving local
music acts a crack at some
airplay. When not playing
the PR shtick, you can hear
some faves you never knew
you liked.
Chips With Everything
(Pop) 5-6pm
Alternating Sundays
British pop music from all
decades. International pop
(Japanese, French, Swedish,
British, US, etc.),'60s soundtracks and lounge.
Saint Tropez
(Pop) 5-6pm
Alternating Sundays
Welcome to St. Tropez! Playing underrated music from
several decades!
st.tropezl 01.9@gmail.com
Queer FM
(Talk) 6-8pm
Dedicated to the gay, lesbian,
bisexual, and transexual
communities of Vancouver.
Lots of human interest fea
tures, background on current
issues and great music.
queerfmradio@gmail. com
(World) 8-9pm
Alternating Sundays
Featuring a wide range of
music from India, including popular music from the
1930s to the present; Ghaz-
als and Bhajans, Qawwalis,
pop and regional language
All Awesome In Your Ears
(Eclectic) 8-9pm
Alternating Sundays
Mondo Trasho
(Eclectic) 9- 10pm
The one and the only Mondo
Trasho with Maxwell Maxwell—don't miss it!
(Dance) 10pm-12am
Join us in practicing the
ancient art of rising above
common ideas as your host
DJ Smiley Mike lays down
the latest trance cuts.
Breakfast With The
(Eclectic) 8-ll&m
Your favourite Brownsters,
James and Peter, offer a savoury blend of the familiar
and exotic in a blend of aural
Japanese Musicquest
(World) 11 am- 12pm
Syndicated from CJLY Koo-
tenay Co-op Radio in Nelson,
Alternative Radio
(Talk) 12-lpm
Alternating Mondays
Hosted by David Barsamian.
Canadian Voices
(Talk) 12-lpm
Alternating Mondays
Parts Unknown
(Pop) l-3pm
An indie pop show since
1999, it's like a marshmallow
sandwich: soft and sweet and
best enjoyed when poked
with a stick and held close
to a fire.
Let's Get Baked
(Talk) 3-4pm
Vegan baking with "rock
stars" Uke Laura Peek, the
Food Jammers, Knock
Knock Ginger, the Superfan-
tastics and more.
The Rib
(Eclectic) 4-5pm
Explore the avant-garde
world of music with host
Robyn Jacob on the Rib.
From new electronic and
experimental music to improvised jazz and new classical! So weird it will blow
your mind!
Career Fast Track
(Talk) 5:30-6pm
Son Of Nite Dreams
(Eclectic) 6-7:30pm
Alternating Mondays
Join jolly John Tanner, radio
survivor for almost half a
century now, heard alternating Mondays with an eclectic
musical mix of many eras
from the '50s to today.
This Side Of Monday
(Eclectic) 6-7:30pm
Alternating Mondays
Fun and independent music
supported by a conversational monologue of information, opinion and anecdotes
focusing on the here, the
now and the next week.
Radio Free Gak
(Eclectic) 7:30-9pm
The Jazz Show
(Jazz) 9pm- 12am
Vancouver's longest running
prime-time jazz program.
Hosted by the ever suave,
Gavin Walker. Features at
Aug. 3: "Jazz Contemporary"
is a fine overlooked date by
trumpet great Kenny Dor-
ham with his working band.
Aug. 10: "Blues in Orbit"
by Duke Ellington and his
Orchestra is one of his most
appealing recordings and
as always with Duke... a
Aug. 17: "Transition" by John
Coltrane with his "classic"
quartet. This recording was
discovered after his death
and stands as one of his best.
Aug. 24: "Proof Positive"
by trombone pioneer J.J.
Johnson is his most personal
statement—with J.J. is his
working quartet.
Aug. 31: Charlie Parker
would have been 89 on Aug.
29. We'll celebrate his birthday with a variety of his best
Pacific Pickin'
(Roots) 6-8am
Bluegrass, old-time music,
and its derivatives with Arthur and the lovely Andrea
Give 'Em The Boot
(World) 8-9:30am
Sample the various flavours
of Italian folk music. Una
programma bilingue che es-
plora il mondo della musica
folk italiana.
Third Time's The Charm
(Rock) 9:30-11:30am
Open your ears and prepare
for a shock! A harmless note
may make you a fan! Deadlier than the most dangerous
Morning After Show
(Eclectic) 11:30am- lpm
An eclectic mix of Canadian
indie with rock, experimental, world, reggae, punk and
ska from Canada, Latin
America and Europe. The
Morning After Show has local bands playing live on The
Morning After Sessions.
Laugh Tracks
(Talk) l-2pm
Laugh Tracks is a show about
comedy. Kliph Nesteroff,
from the 'zine Generation
Exploitation, hosts.
com, musicalboot@yahoo.ca
(Talk) 2-2:30pm
Reel to Real
(Talk) 2:30-3pm
Movie reviews and criticism.
Native Solidarity News
(Talk) 3-4pm
A national radio service and
part of an international network of information and action in support of indigenous
peoples' survival and dignity.
Radio Freethinker
(Talk) 4-4:30pm
Promoting skepticism, critical thinking and science, we
examine popular extraordinary claims and subject
them to critical analysis. The
real world is a beautiful and
fascinating place and we want
people to see it through the
lens of reality as opposed to
Wener's Barbeque
(Sports) 4:30-6pm
Daryl Wener talks about the
world of sports. Everything
from the Canucks to the
World Rock Paper Scissors
Flex Your Head
(Hardcore) 6-8pm
Punk rock and hardcore
since 1989. Bands and guests
from around the world.
Life On Jumpstreet
(Dance) 8-9pm
Crimes & Treasons
(Talk) 11 pm-12am
For the world of Cabaret
Tune in for interviews, skits,
musical guests and more. It's
Radio with sass!
Suburban Jungle
(Eclectic) &-l0am
live from the Jungle Room,
join radio host Jack Velvet
for an eclectic mix of music,
sound bites, information and
inanity. Not to be missed!
dj@jackveh>et. net
15 Pop Drones
(Eclectic) 10- 11:30am
(Noise) 11:30am-lpm
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.
The Green Majority
(Talk) l-2pm
Canada's only environmental
news hour, syndicated by
CIUT 89.5 FM Toronto or
Democracy now
(Talk) 2-3pm
Rumbletone Radio
a go go
(Rock) 3-5pm
Primitive, fuzzed-out garage
Arts Report
(Talk) 5-6pm
(Talk) 6-6:30pm
The juiciest Canadian writing:
poetry readings, author interviews, short stories, spoken
word, etc.
(Eclectic) 6:30-8pm
Alternating Wednesdays
All-Canadian music with a
focus on indie-rock/pop.
The Canadian Way
(Eclectic) 6:30-8pm
Alternating Wednesdays
Folk Oasis
(Roots) 8- 10pm
Two hours of eclectic folk/
roots music, with a big emphasis on our local scene.
C'mon in! A kumbaya-free
zone since 1997.
Sexy In Van City
(Talk) 10-11PM
Your weekly dose of education and entertainment in
the realm of relationships
and sexuality.
Hans Kloss' Misery Hour
(Hans Kloss) 1 lpm-lam
Pretty much the best thing on
End of the World News
(Talk) 8- 10am
Sweet And Hot
(Jazz) 10am-12pm
Sweet dance music and hot
jazz from the 1920s,'30s and
Duncan's Donuts
(Eclectic) 12-lpm
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by
duncansdon uts. wordpress.
We All Fall Down
(Eclectic) l-2pm
Punk rock, indie pop and
whatever else I deem worthy.
Hosted by a closet nerd.
Ink Studs
(Talk) 2-3pm
Underground and indie comix. Each week, we interview
a different creator to get their
unique perspective on comix
and discuss their upcoming
French Connection
(World) 3:30-5pm
French language and music.
Cafe Radio
(World) 5-6pm
Iranian talk and music syndicated from CJSF Simon
• Fraser University, Burnaby,
Stereoscopic Redoubt
(Rock) 6-7:30pm
PsychedeUc, acid punk,
freakbeat, prog and other
grotesque and sociaUy relevant artifacts from 1965 to
today, with an emphasis on
Vancouver's freak flag with
www.myspace. com/stereo-
Exquisite Corpse
(Experimental) 7:30-9pm
Experimental, radio-art,
sound coUage, field recordings, etc. Recommended for
the insane.
artcorpse@yahoo. com
Live From Thunderbird
Radio Hell
(Live Music) 9-1 lpm
Featuring live band(s) every
week performing in the
CiTR Lounge. Most are from
Vancouver, but sometimes
bands from across the country and around the world.
Hypnotic Groove
(Techno) 11 pm-12am
Aural Tentacles
(Eclectic) 12-6am
It could be global, trance,
spoken word, rock, the unusual and the weird, or it
could be something different.
Hosted by DJ Pierre.
(Talk) 9- 10am
Join host Marie B and discuss spirituality, health and
feeUng good. Tune in and
tap into good vibrations that
help you remember why
you're here: to have fun! This
is not your average spirituality show.
Ska-T's Scenic Drive
(Ska) 10am-12pm
Canada's longest running Ska
radio program.
These Are The Breaks
(Hip-hop) 12-lpm
Top notch crate digger DJ
Avi Shack mixes underground hip-hop, old school
classics, and original breaks.
Radio Zero
(Dance) 2-3:30pm
An international mix of
super-fresh weekend party
jams from new-wave to foreign electro, baile, BoUywood
and whatever else.
(Nardwuar) 3:30-5pm
Join Nardwuar the Human
Serviette for Clam Chowder
flavoured entertainment Doot
doola doot doo.. .doot doo!
nardwuar@nardwuar. com
News ioi
(Talk) 5-6pm
Hot Mess
(Eclectic) 6-7:30pm
African Rhythms
(Eclectic) 7:30-9pm
Rainbow Groove
(Dance) 9-10:30pm
Shake A Tail Feather
(Soul/R&B) 10:30-12am
The finest in classic soul
and rhythm 8c blues from
the late '50s to the early'70s,
including lesser known artists, regional hits and lost
soul gems.
I Like The Scribbles
(Eclectic) 12-2am
Beats mixed with audio from
old films and clips from the
The Vampire's Ball
(Industrial) 2-4am
Dark, sinister music to
soothe and/or move the
Dragon's soul. Industrial,
goth and a touch of
metal too. Blog: http://
The Saturday Edge
(Roots) 8am-12pm
A personal guide to world 8c
roots music—with African,
Latin and European music
in the first half, foUowed by
Celtic, blues, songwriters,
Cajun and whatever else fits!
Generation Anihilation
(Punk) 12-lpm
A fine mix of streetpunk and
old-school hardcore backed by
band interviews, guest speakers and social commentary.
crashnburnradio@yahoo. ca
Power chord
(Metal) l-3pm
Vancouver's longest running
metal show. If you're into
music that's on the heavier/
darker side of the spectrum,
then you'll like it. Sonic assault provided by Geoff the
Metal Pimp.
Code Blue
(Roots) 3-5pm
From backwoods delta low-
down slide to urban harp
honks, blues and blues roots
with your hosts Jim, Andy
and Paul.
The Leo Ramirez Show
(World) 5-6pm
The best of mix of Latin
American music.
Nasha Volna
(World) 6-7pm
News, arts, entertainment
and music for the Russian community, local and
Shadow Jugglers
(Dance/Electronic) 7-9pm
Broaden your musical
knowledge with DJs MP,
Socool, Soo 8c their guests.
Working across music genres
including electronic and
club-based music.
shadow.jugglers@hotmail. com
Synaptic Sandwich
If you like everything from
music/retro '80s this is the
show for you!
www.synapticsandwich. net
Beats from the Basement
(Hip-hop) llpm-lam
Hosted by J-Boogie and
Joelboy. The latest tracks,
classics, rare and obscure,
current events and special
features of peeps coming
into the studio. Listeners
can expect to be entertained... church.
klymkiw@gmail. com
16 //W////_W////,
ince Michael Jackson's untimely death,
the Internet has been flourishing with
creativity inspired by the pop star. The
online MJ sea, however, is a large and
overwhelming place, littered with many low
quality video and photo montages. Yet, there
certainly are some gems too!
by Alex McCarter
Thousands of Jackson remixes are floating around
in many different styles, but these three are worth
the effort:
1. Telemitry's "Smooth Criminal"
(http://www. welikeitindie. com/music/m]4. mp3)
A weU done electro mix was made by a lesser
known electronic group from Tennessee called
Telemitry. The group has turned Jackson's classic,
"Smooth Criminal," into a more powerful, bass-
laden version with catchy synth triUs.
2. The Hood Internet's "Billie 'Wildcat* Jean"
jackson-vs-ratatat. html)
One of the most popular remixes is a mash-up
of "BiUie Jean" with the Ratatat classic "Wildcat."
This mix boasts a whopping 661 hearts on the
music blog aggregator Hype Machine (www.
hypem.com). Take a listen and you will be busting
out moves in no time (then load them on to never
ending moonwalk, see below).
3. DJ Z-Trip's "I Want You Badr"
JacksonSiwantyoubackztrip. mp3)
This remix takes the framework of the classic
Jackson 5 song "I Want You Back," but gives it a
catchy modern twist This is hard to master, yet DJ
Z-trip does just that. ^
A Never Ending
Moonwalk Tribute
MJ may have passed away, but this does not mean
that his dance style ever will. One of the best
tribute sites, Eternal Moonwalk takes this UteraUy.
People from around the world send in their moonwalk, which is then added to a flow of others. Each
one is numbered, giving the visitor an idea of the
number of people have uploaded the dance (thousands). Jackson's original moves are an obvious first
"submission," and after this, the dances continue in
random order. So send one in or simply be amused
by the many interpretations of the moon walk,
including a few fans who seem to think of it as a
high-kneed backward march.
Warning: Theme music is repetitive, you might want
to put it on mute.
Michael Jackson Art
Jackson's bizarre and eccentric character easily
spawned odd ideas. Vvork, a contemporary art
blog from Southern Germany began to compile the
lots of Jackson related art soon after his passing.
Adding multiple works every day, site visitors are
able to see the huge range of art the pop star inspired, including a personal Jackson Pollock-esque
painting done by MJ and one of his good friends,
Macaulay Culkin. Another highlight is a golden
plaster sculpture by American artist Jeff Koons in
1988. It features an'80s Jackson and his pet chimp
Bubbles nestled on his knee. More modern versions
of the work can also be found. As a bonus, links
to each artist are provided, should you be curious
about specific pieces.
International Jackson
A Photo Essay
(http://www.guardian.co. uklmusicl
Jackson's style and morphing face was not
exactly trend setting in his later years. Yet, after his
death, many impersonators cropped up to show
their best Michael face to the world. Interestingly,
in this photo essay, which was put together by the
U.K. newspaper the Guardian (www.guardian*.
co.uk), people from China to L.A. to Mexico City
and beyond, all choose to imitate the later-in-life,
paler Jackson.
art by Josh Tran
12 Monotonix at Tubby Dogg
Calgary June 25-27
Reviews by Quinn Omori and Leanna On
photos by Quinn Omori
lfi led Island is one of the best music festivals in
Canada. A number of Vancouverites made the
journey inland to see it and among them were
three of our reporters. Check out what they
saw and their interview with festival curator
and Wire frontman, Colin Newman.
Thursday, June 25
at the Royal Canadian Legion #1
Coming from Vancouver, I already knew what Japandroids were capable of Uve,
but after aU the dust that Pitchfork kicked up had settled, it was intriguing to see
just what kind of crowd would greet Brian King and Dave Prowse after playing
last year's festival to a handful of show goers. This time around, they almost
fiUed Sled Island's largest indoor venue, performing to a crowd that was intent
on shouting all the words to songs like "Sovereignty" and "Young Hearts Spark
Fire" back at the duo.
Mount Eerie
at the Central United Church
The music of Sled Island ran the gamut from Final Fantasy to Andrew WK.
In spite of this diversity and the volume of shows, Mount Eerie's performance
achieved singularity. It was, in my experience, the only show that bordered on
spiritual. The stunning Central United Church provided echoing acoustics and
an impressive venue for the moving lo-fi performance. Sitting in pews felt appropriate. On stage, Anacortes resident Phil Elverum exhibited awkward candour
and endearing sincerity. His show was a charming juxtaposition. The music was
gentle and poignant, punctuated with self-conscious questions to the audience
about set length. Then, in contrast, he cracked jokes about the death of Michael
Jackson—which happened the day of the show—which were met at first with
discomfort from the audience, foUowed closely by laughter and reUef.
"So I hear Michael Jackson died. It's about time. It's a relief, merciful, reaUy.
This one's for him," he ventured. With that, Elverum once again began to play,
and offered touching, intimate music fit for both an elegy and a church.
King Khan & BBQ.
at the Royal Canadian Legion #1
"This show could never happen in Vancouver!" ProOPon City chief Kalin Harvey
shouted at me during the raucous King Khan 8c BBQ show in the packed upper
room of the Legion downtown. King Khan & BBQ set up and played on the floor
with wavering stacks of amps as their only protection from the heaving crowd.
In a style decidedly un-Monotonix, [ed if you don't know what that means skip
ahead and read the Monotonix review] Khan voiced his discomfort at the prospect of the "stage" becoming overrun by the audience. With a group that rowdy,
however, I would have been wary, too. Typical of Khan 8c BBQ performances,
they played almost every song from their eponymous album."WaddUn'Around"
was one of the best, and I will confess to waddling along as I danced atop a
speaker. Unfortunately what is also typical of Khan was the liberal use of backing tracks to support the live show. Although this ensured consistency with the
album and allowed the crowd their enthusiastic sing-along, the result was a Uttle
"This show could never happen in
Vancouver!" —Kalin Harvey
King Khan
12 Puberty
artificial after the festival's many impressive Uve performances.
I will, however, venture to say that not a single person left disappointed, including the volunteers who were crowd surfing as
a means of transportation. Overly loud, over capacity and with
people standing on every surface, the show was a treat for any
visiting Vancouverite, and a nightmare for any bylaw officer.
Coathangers at the Tiki Room
Apparently, earUer in the day, this Atlanta quartet's set went off
the rails after the ladies took offense when a heckler let everyone know that he'd Uke them to lift their shirts up. At the Tiki
Room, the boys in the audience were more gentlemanly, letting
the band focus on delivering a set of rambunctious post-punk
that sounded Uke Bratmobile doing a reading of a "Fairytale in
the Supermarket."
Friday June 26
Monotonix at Tubby Dogg
Monotonix have songs. I've heard them. They've got verses and
choruses and audible lyrics. At least they do on record. Live,
the band pumps out the same riffs over the same back beat
for an hour straight. Of course, it's hard to notice the musical redundancy when those "songs" are sound tracking what
can only be described as complete chaos. The IsraeU rockers
started off crammed into a notorious Calgary hot dog joint, but
rewarded the sizable crowd that had gathered outside the tiny
"venue" by dragging their gear outside to play on the sidewalk.
I can say, with confidence, that it's the first time I've seen someone stagedive off of a mailbox.
the Coathangers
It's the first time I've seen someone
stagedive off of a mailbox.
20. HEALTH at the Marquee
With the release of last year's remix album,
HEALTH Disco, HEALTH solidified a fact that
they hinted at on their self-titled debut: they can't
seem to decide if they want to be a noise band or
a dance act. Happily, the resulting schizophrenia of skittering beats and cacophonic blasts
of sound is heaven for anyone who has trouble
deciding between "weird punk" and Daft Punk.
Coupling that unique combination with the L.A.
band's boundless live energy made this one of
the highUghts of the entire festival.
Saturday June 27
Githead at Local 510
If you've heard of Githead, it's probably because they share their singer/guitarist, Colin
Newman, with a little band called Wire. In addition to Newman's vocals, both bands share
a less-is-more approach to songwriting. But
while Wire's compositions are economically
cold and calculated, Githead opens things up
to warmer textures that, during this early afternoon show, helped shake off the hangover
caused by the previous night Apparently, the
festival organizers are keen on having more
of these afternoon showcases next year, which
is a welcome addition, especially if the bands
that play early are this good.
Liars at Dicken's
There's something about Liars that doesn't
suit a large stage, but while their claustrophobic guitars and tribal beats were a bit lost when
they played the mainstage earUer in the evening,
they sounded right at home on the tiny stage at
Dicken's. The band stuck mostly to the post lineup change part of their catalogue, splitting the
difference between their punky latest, the droney
tunes from Drums Not Dead, and the witching
hour anthems from They Were Wrong So We
Drowned, throwing in one treat for their oldest
fans—a rare performance of "Loose Nights on
the Veladrome."
21 Ppypi?
art by Jamie Ward
by Quinn Omori and Al Smith
Following at Sled Island 2008, Co- We sat down with New-
the legend- lin Newman returned man behind Calgary's
ary perfor- as the festival's cura- Warehouse club to
mance by tor in 2009 in addition talk about Sled Island's
post-punk to performing with his coming of age as a
group Wire other band, Githead. major music festival.
22 Then he introduced us
to his wife and gave us
chocolate! What a guy.
Anyway, this is that:
Discorder: We were wondering about your involvement with Sled Island. How did that come about?
Obviously Wire played the festival last year...
Colin Newman: That was pretty much what happened! Wire played Sled Island [2008] and out of
the gigs we played last year, it was the most memorable—the Legion show, anyhow. It's just the energy
of the city, really. The event itself is just completely
crazy. It's without any real logic—way too much stuff
going on, all at the wrong time, it's too loud, it's too
hot, it's too everything—but that's kind of how a festival should be, reaUy. There was something I really
liked about it, although I do have some criticisms.
Anyway, there was a thing at the Palomino bar on
the Sunday last year, and Zak [Pashak, the 2008 Sled
Island organizer] kind of sidled up to me and said,
"Um, do you want to be our curator next year?"
And I was like, "Are you sure?" And he said, "Yeah!"
And then I got formaUy invited a couple of months
later. So I came and spent a week here in April with
Malka [Spiegel, Newman's wife and Githead band-
mate who is also a founding member of 1980s Israeli post-punk band Minimal Compact], and just
took on a lot of how people think here—what the
problems are, what the festival needs to develop, just
where the whole thing was going. I think it's worked
out quite weU, and I think that the third year is the
year that it starts to really establish itself as something more than a city festival of Calgary. It's starting to take on a greater significance, certainly within
Canada. And it is gaining some national attention.
You know Q on CBC? I did a bit on Sled Island with
them, kind of just talked it up a bit. Made him [the
CBC's Jian Ghomeshi] look sUghtly foolish because
he didn't know who Women were! I didn't do it on
purpose, but if you're supposed to know about music... [Listen to the podcast here: http://podcast.cbc.
ca/mp3/qpodcast_20090624_l 7431. mp3. Newman
lays the smack down at 11 minutes and 30 seconds.]
D: Did you have any preconceptions of Calgary?
Coming from other parts of Canada, we tend to be
like, "Oh God, Cowtown."
CN: WeU, we didn't even have that I'd never even
heard of it. Actually, Margaret [Fiedler, formerly of
Laika and current Wire guitarist] had her post-wedding-reception in Banff, and she had been through
Calgary, so we knew a Uttle bit about it. Certainly
not any sort of judgmental thing about where it
stands in the level of... whatever... in Canada. But,
um... yeah, it's in the middle of fucking nowhere!
D: But it has this whole culture of the macho, cowboy, oil-baron...
CN: Of course, but there are so many people here
who feel different to that. There's a hunger—people
really want to get on board [with Sled Island] and
be represented.
D: That's kind of what we noticed last year—we
came in thinking that we would watch the bands
and kind of keep to ourselves, but then there were
all these people...
CN: Yeah, I think it's an effort worth making. It's becoming a destination festival. The city tourism office
is prepared to help them now, as a cultural event.
And that's the other thing that's reaUy important to
me: it's never sold as a rock festival because it isn't
just a rock festival. There are a lot of good bands on,
and some bands you've never heard of, and some
crap bands as weU. But there's also a load of other
stuff going on aU at once, and as the festival goes
on, that wiU only grow. It is a cultural festival. And I
think that within the context of Calgary, that's very
important, so that the rest of Canada can get an inkling of what's going on.
D: Have you seen many of the shows so far?
CN: I went to the Factory party last night. Did you
go to that? It was... inexplicable! They'd taken every space they could and stuffed something into
into—art, cinema, bands, DJs. It was very hot, full
of really young kids, all very dressed up. It had that
energy to it, like a community discovering itself. We
were supposed to judge a dance competition and
turned up at 11 p.m., but nothing had happened by
half past 12 so we went back to the hotel room! If
I was stiU 20,1 would have been up aU night. Another interesting thing is that most of these places
are not really venues. I think that's another thing
that's great here: the co-opting of different spaces.
It's really quite important.
D: Since you're presenting this evening's show at the
Warehouse, can we talk a little about that? Did you
personally pick all of the bands? And why did you
choose them?
CN: Just picked the five coolest bands. Or the four
coolest, and us! Any festival, anywhere in the world,
that put on a room with those bands in it, would be
guaranteed to get attention. You've got Holy Fuck,
who are just one of the most wildly talented bands
out there—especiaUy in Britain right now, they are
the name to drop. HEALTH, who are in a simtfar
position from that L.A. scene; you've got [Githead],
whatever that means; you've got Women, who have
done Calgary very proud, without even anyone
knowing they're from Calgary. When they played
in London, they got pick of the week in Time Out
[ed. Your critical guide to arts, culture and going out
in London]. And we got the Sub-Linguals, who are
a local band that we discovered in April who play
extremely raw rock, and I think probably could succeed in other places besides Calgary. So I think it's
good to have them on that stage. I think it's a good
lineup, yeah.
Githead photographed by Quinn Omori
Under Review:
Adriane Lak / Black Mold / David Bazan / Dan
Mangan / Howling Bells / Pissed Jeans / Shaunn Watt /
manoeuvres 3 / Vancouver's Punk As Fuck Vol.2
Adriane Lak
Morning Glow
(Mineral Music)
Adriane Lake's website describes her
music as "adorkable indie female electronica," a label that, regrettably, fits
perfecuy. The whimsy is laid on thick
on Morning Glow, most of which is
made up of bubblegum vocal harmonies and quirky, life affirming lyrics that
are a Utde too cutesy to be enjoyable.
It's a shame, since Lake herself comes
off as pleasantly likable and who consistently offers bubbling positivity and
unabashed romanticism. But a song Uke
"Cadillac Cat" is too sugary for its own
good, featuring meowing sound effects
and a chorus that includes the lyric "A
Cadillac cat / Where it's at / A kitty cutie
kooky cat." Elsewhere, Lake tends to repeat the title lyric ad nauseum (see: "So
Beautiful" and "The Fullness of Life").
These candy-coated sentiments are set
against a backdrop of squiggly synths
and dense, syncopated beats—this helps
to reduce the sweetness somewhat but
not enough to make it palatable.
The two best songs on the album are
the instrumental tracks, which place
the full focus on Lake's lush electronic
arrangements. The vaguely Parisian
"Jacques Cousteau" sets a dreamy accordion waltz against burbling synthesizers
and fluttering percussion, while "Lost
UmbreUa" features haunting piano
arpeggios and harp flourishes. These
tracks show that Lake is a talented producer and arranger, despite being hampered by her syrupy songwriting.
—Alex Hudson
Black Mold
Snow Blindness is Crystal Antz
(Flemish Eye Records)
Snow Blindness is Crystal Antz is the
first coUection of songs released by
Black Mold, the gUtch underbeUy of
singer/songwriter Chad VanGaalen.
The album is a coUection of experiments with noise that differ greatly
from the sweet pop songs that VanGaalen is best known for. The bleeps
and bloops of circuit bending are
combined with electronic beats to
create a coUection of songs that could
have very weU been written by R2-D2
WhUe a majority of the tracks on
Snow Blindness would be best suited
for a droid make-out party, the album isn't entirely self-indulgent arty
fluff from some hack electrician. VanGaalen's strength as a songwriter and
composer really comes through as
he manages to create viable rhythm
and melody out of an array of quirky
noises. Combined with his playfulness and pop sensibilities, the sweet
melodies of "Metal Spider Webs" or
the bouncing beats of "Memes" sound
strangely enjoyable. But aside from
the odd accessible gem, most of the
album sounds Uke luUabies for video
game fanatics.
Black Mold is an ambitious and
creative effort, but it is definitely
not for everyone. Fans of the genre
are sure to had Snow Blindness as a
masterpiece, while new listeners will
probably just think their CD or MP3
player is on the fritz.
—Mark PaulHus
. David Bazan
Curse Your Branches
Curse Your Branches is the fuU length
solo debut from David Bazan, the
Seattle-based singer-songwriter best
known as the driving force behind the
now-defunct Pedro the Lion, who are
known for their melodic, down-tempo
pop rock and poignant lyircs. Since
Pedro the Lion was reaUy less of a
band and more of a creative outlet for
Bazan (who was also the only permanent member), it's not surprising that
Curse Your Branches isn't too much
of a departure from his earlier work.
Here, Bazan is stiU strumming an
acoustic guitar and singing earnestly,
mostly about matters of faith and
reUgion. Curse Your Branches begins
at the beginning—as in, the Book of
Genesis. When Bazan sings the story
of Adam and Eve on opener "Hard to
Be," he sets up a recurring theme for
the album since many of these songs
deal with the Fall (think Milton, not
Mark E. Smith).
If you are a fan of Pedro the Lion
(and/or Bazan's synth pop side project
Headphones), there's no reason you
won't enjoy this. But for the uninitiated, Bazan's droning voice over slow
folky pop can be a bit much. The word
"plodding" comes to mind. StiU, Bazan
is undoubtedly a talented songwriter
and he manages to write thoughtfully
about faith whUe never preaching. The
closest he comes to sermonizing is on
the upbeat rocker "Bearing Witness,"
but it doesn't hurt that the song has
the most memorable melody on the
album and injects some energy into a
largely lifeless release.
—Dan Fumano
Dan Mangan
Nice, Nice, Very Nice
(Fue Under Music)
Dan Mangan is a heck of a talented
guy. His poignant few friUs approach
to songwriting is refreshing and the
songs he produces sit so comfortably.
They are easy to sing along to and
have a habit of winding their way into
the consciousness and staying there.
This feeling continues on his sophomore release, Nice, Nice, Very Nice
and doesn't stop until long after the
music is over. There is something so
very real about the way he spins his
observational tales through use of
his signature graveled voice, simple
wordplay and unpretentious song
structure. Take for example the ridiculously catchy foot tapper and album
opener, "Road Regrets," a song about
being on the road for long stretches
and finding peace and humour in it.
"Robots," easUy the best song on the
album, is a fun little tale of a five day
stint spent without ceU phone service.
Accompanying the lyrics for each
song is a sentence or two that acts as
an explanation or meditation—a nice
Uttle bonus to visualize as you lose
yourself in the thickness of his voice
and pretty guitar chords. With some
of his strongest work to date and an
already large fan-base, Nice, Nice, Very
Nice could very weU be the album that
solidifies Mangan as the standout artist he is.
—Nate Pike
Howling Bells
Radio Wars
There are certain expectations that
come along with using the word
"howling" in your band name, none
of which are fulfilled by Aussie four-
piece HowUng BeUs. This isn't to say
that Radio Wars is a bad album—it
features plenty of bouncy, vaguely
atmospheric pop rock songs that faU
somewhere between the chiming
guitar leads of '90s Britpop and the
buzzy syirA-fock of Metric. Vocalist
Juaiiita Stein is, in particular, a dead
ringer for Emily Haines, and spends
most of the collectidn sounding Uke
she's trying to recreate Old World Underground, Where Are You Now? She
almost succeeds, but the tunes are
hampered by her often heavy-handed
lyrics. "Golden Web" drives its man-
as-spider metaphor into the ground,
whUe opener "Treasure Hunt" features
the pompous group-sung refrain "We
are the watchtowers / We are the light
that emanates / We are the key that fits
/ We are the world that radiates."
Howling Bells are best when at
their least affected. "Ms. Bell's Song"
is a refreshingly straightforward mid-
tempo acoustic strummer with chord
changes that subtly shift the mood
from dark to light. The album finishes
with a secret track placed four minutes
after the final song ends ('90s style,
back when people listened to CDs!).
It's unclear why it was relegated to an
afterthought since the song features
a hypnotic electro groove and Stein's
most poignantly bleak lyrics, "It's another lonely Monday." Howling Bells
would be weU served to always foUow
this blueprint of simplicity.
—Alex Hudson
Pissed Jeans
King of Jeans
(Sub Pop)
Sure, this music has its qualities,
though they're pretty hard to detect
after the first listen, and maybe even
harder after a further ten listens. This
is the kind of music you spent your
early teens pogoing to—smashed off
your face in the middle of the trashy,
grim-fueUed rock club of your hometown. So drunk, that you no longer
care, can no longer dance, or even see
straight for that matter. And of course,
you have no interest in good music. You just want to get wasted! If it
serves no other purpose, this is a great
album to have a sweaty work-out to.
As in, work out the sweat, work out
that deep lurking primal angst and
work out those god damn demons
whUe you're at it. King of Jeans is your
archetypal dark, grunge rock album.
You'U barely be able to hear the lyrics, but you'U be too busy thrashing
and doing high kicks off your couch
to actually notice. When the singer
isn't droning and making little to
no sense with his tuneless reverbing
waUs, he occasionally sounds a Uttle
Uke Nick Cave doing a soUloquy for
Grinderman. At other high points,
one might think they detect the alcohol imbibed vocals of Mark E. Smith.
Big swooping rock guitars, combined
with thrashing cymbals and banging,
crashing drums. AU this topped off
with a singer who sounds like he's half
drunk, half dead, or perhaps, like he's
pissed his jeans and he's super mad.
—Amy Scott-Samuel
Is being a sincere and seemingly
good-hearted person worth anything
in the music business nowadays? Of
course it is all about the music, but is
music reaUy worthwhUe if the artist
has simply recorded it just to hear the
sound of his or her own voice? Clearly
this is not the case with Vancouver recording artist Shaunn Watt. Adyn is a
coUection of pretty understated folky
pop songs collected over the past two
years. They are tiny little snapshots
of the people, places and things that
move him, each carrying an undercurrent of devotion and thanksgiving
to these individual moving forces. The
CD opens perfectly with the sounds
of birds singing and a child's voice followed by the clean crisp sounds of a
guitar and Watt's sweet voice launching into "Your Garden." And then
there is my personal favorite, "Take
Me With You," which again, is bare,
honest and revealing. It's this naked
simple deUvery that acts as theme for
this album. Guitar, voice, overdubs
and a bit of back-up instrumentation is what you get and it works really weU. Sometimes stories about the
ones we love require little else in the
teUing, and that is what Watt has done
here—and quite effectively at that.
—Nate Pike
Various Artists
manoeuvres 3-a collection of be
electronica (So CaUed Recordings)
Who knew beautiful British Columbia had so much talent in the catch-
aU realm of electronica? manoeuvres
3 offers a nice cross-section of the
genre: from blippy IDM gone wrong
to distorted electro dance rock, to acid
flavoured techno.
Sinewave contributes a song awash
in lush, Air-reminiscent ambience.
It's a dreamy beach scene with a sonic
tide roUing in with a nice groove of a
beat on top and some massive atmospheric (or underwater) reverbed aural texture. Michael Red's "Top Score"
is just plain fun. An offbeat pumping
bass line, selective percussion and a
catchy 8-bit melody tastes like old
school Nintendo married to an analog synthesizer. Simple and sparse, the
Lighta! crew heavy hitter puts snules
on faces with this track.
The closing track, "Rose Black's
Shadow" by Elonious Funk, is a
choice pick with haunting '40s horror
radio-theatre strings and chilling female vocal samples served on top of a .
hip-hop beat, imbued with an unpredictably stuttered groove with plenty
of triplets.
The overaU selection is varied but
high in quality and sonically diverse.
The variation of sound from track
to track might prevent it from being
the CD to just hit play at your next
electronica-friendly hang out session,
but So CaUed Recordings has done a
nice job in giving the public a taste of
what's avaUable from beautiful B.C. in
the ever-morphing wide expanse of
—Adam Mannegren
Various Artists
Vancouver's Punk As Fuck Vol.2
Vancouver's Punk as Fuck is back for
another round and this time the compUation is bigger, better and stronger!
Volume 2 is packed with 30 hardhitting blasts from some of Vancouver's most notorious punk bands. This
round VPAF comes out swinging—
the first track a direct upper cut from
the fine-tuned street punk outfit the
Rebel Spell. With the pace set, the
hits come hard and fast, pummel-
ing the listener with a barrage of beU
ringing punk rock. The track list bobs
and weaves through thrash, hardcore,
skate, garage, crust, crossover and
more, all without a second wasted. It's
no holds barred, and VPAFs corner
is stacked with the city's most dirty
rotten punks; China Creeps, Imped-
ers of Progress, Golers, Mr. Plow,
the Jolts and a battalion more are on
the card.This 66-minute title bout is
fast, loud and deUberately offensive.
It wUl knock you down and help you
up, only to knock you down again. It
wiU leave you bloody, sore and asking
for more. It wiU knock you out with a
toothless grin across your face, proving once again that Vancouver is still
as "Punk as Fuck."
—Mark PaulHus BEYJ£M„
Lightning Dust
June 16
Lifetime Collective
This was an odd one. Flyers for the show advertised
Ladyhawk, Lightning Dust and "very special guests."
I didn't know what to expect going in—maybe a
few extra members of Black Mountain. Instead, the
crowd was treated to a full set by Guelph, Ontario's
Constantines. Interesting venue, too—the event was
hosted by the clothing shop Lifetime Collective in
Mount Pleasant.
Black Mountain side project Lightning Dust
kicked off the night, and were somewhat disappointing live. Vocalist Amber Webber relied heavdy
on a shuddering, Grace Slick vocal effect, which was
hauntingly effective for darker songs, but it began
to feel overused when the band shifted into more
upbeat territory. Their performance was competent
but not captivating, and the loud and uninterested
crowd didn't help matters.
Ladyhawk was up next and they debuted quite
a few new songs. With the exception of one song
that seemed to take its inspiration from cheesy '80s
metal, the new material sounded just like you'd expect: pummeling, grimy, sentimental bar-rock. They
might be treading old ground, but when a band
completely nads a sound you can't fault them too
much for sticking with it.
The Constantines took the floor soon after, looking every bit as tired as you'd expect them to be near
the end of a long tour. ThankfuUy they didn't let exhaustion get in their way, and nearly every song was
delivered with an intensity beyond their akeady raw
studio recordings.
Near-perfect renditions of old favourites "Nighttime/Anytime" and "Young Lions" finaUy shut most
of the crowd up, and newer songs were done justice
as well. The chugging bass-driven "Trans Canada"
never sounded so menacing. A few songs with Steve
Lambke on vocals were the low points of the set, but
only because frontman Bryan Webb's husky growl is
so much better in comparison.
If you missed this, don't worry too much—Lifetime Collective plans to host more shows like this.
Good luck to them, though, because topping this
one won't be easy.
—Reilly Wood
Andrew W.K.
The Evaporators
Vicious Cycles
June 23
Biltmore Cabaret
It would be hard to match the sheer joy of this particular night. The crowd sparkled with sweaty chests
and the spray of beer in the air. AU bands embodied
fun with unbridled enthusiasm, shameless in their
antics and lyrics. After a solid set by Vicious Cycles,
the Evaporators showed their usual panache with a
fuU set of props and costumes, theatrics and antics.
Nardwuar leapt into the crowd with frenetic maracas,
then passed them off to an eager young attendee. The
audience, wide-eyed and ready for anything, foUowed
his cues, crouching down and popping up Uke a collective jack-in-the-box. In climax, Nardwuar donned a
Canadian flag helmet and dove excitedly off the stage.
Andrew WK. continued to fuel this energy, albeit
with a younger and predominantly male crowd. A
pervasive mUdew smeU originated from sweaty
young men, Pabst beer droplets that misted the air
and a flood the BUtmore had earlier that afternoon.
Andrew W.K. gave the crowd exactly what was expected—an excuse to flail, spray beer, and yeU, "It's
tune to party!" The bliss of the audience was palpable, and shirts were shed.
Andrew W.K., famous for partying and writing
songs about partying, was indeed one big walking
party. Lyrical highlights included "Let's get a party
going" (from "Party Hard) and "we want to have fun
and we want to get wasted" (from "We Want Fun").
Audience members were catapulted onto the
stage, toppling equipment and grabbing hold of
anything to slow their trajectory. Though Andrew
WK's voice boomed through the PA, it was impossible to spot him in the mess of churning bodies.
The Evaporators/Andrew W.K. finale was delayed by
trashed equipment—half an hour later, the evening
came to a close with Wimpy from the Subhumans '
making a guest appearance. AU this was in the name
of recently released split 7" by W.K. and the Evaporators A Wild Pear. Give it a Usten!
—Brenda Grunau
Dirty Projectors photographed by Nicole Ondre REVIEWS
Dirty Projectors photographed by Nicole Ondre
Collapsing Opposites
Julianna Barwick
Tally Ho!
The Milkies
June 26
Funky Winkerbeans
One day after the passing of the King of P^>p, five
bands put their mourning aside and took the stage
at Funky Winkerbeans to celebrate the continuum
of twee. The bar had a heavy air of somnolence as
lone soldiers, obviously devastated by the loss of Mi-
chael, occupied most tables, many looking as though
they had not showered or shaved in months.
The first band up was TaUy Ho! This aptly named
duo was charged with the task of warming up the
crowd. Fortunately, they were up to the chaUenge
with a newly expanded repertoire of songs, aU featuring lush vocal harmonies and instrumental accompaniment that matched their country stripes
and neck scarves. Brooklyn native Juliana Barwick
followed up, playing what was her first-ever Canadian show. Barwick's effect-heavy looping vocals
channeled the orcas of Howe Sound, haunting the
patrons of Funky s Uke delirium tremens. Fanshaw
foUowed this performance with the necessary indie
grooves to reground the audience.
Before the headliners there was a surprise appearance by the birthday band, the Milkies, who
only perform on the occasion of a birthday. [On this
occasion, the birthday of illustrious CiTR/Discorder
alumnus Parmida Zarrinkamar. Hi Parml -ed.]
CoUapsing Opposites was the last to play, and
front man Ryan McCormick's experience shone
through as he recited his monologues and sohlo-
quies with a poignancy reminiscent of Jonathan
Richman. TactfuUy dealing with an interruption
from a drunken navy veteran in the crowd, McCormick declared, "Congratulatipif, sir, on a completely
successful life!" And congratulations to aU the bands
on a completely successful performl^sl
—Robert Fougere
Sunset Rubdown
Elfin Saddle
June 30
. Richard's on Richards
It's not always easy being an old fart who has a love
affair with strange music, being that some of this
strange music can attract a rather large "too cool
for you" hipster quotient. Like the music itself, these
crowds can be a Uttle intimidating for the uninitiated. But I had simply waited for too long to see
Spencer Krug and his merry band play their oddbaU
carnival of music in a live setting, and no crowd of
weU-manicured younglings was going to sour this
You can count me as a new fan of Montreal
three-piece Elfin Saddle who opened the show with
turbulent and haunting Japanese-flavoured classical alt-folk. Sound different? You bet! Bowed-bass
heavy and trance-inducing, Elfin Saddle transported you through time and space to a weird alternate
universe where Shoguns invented punk with the
use of singing saws, recorders and half accordions.
Fantastic!   '
Unfortunately, I was distracted by Corona and
conversation during Witchies set. Also from Montreal, Witchies sounded power poppy and meaty
with distortion, offering whiffs of Lou Barlow or
Dinosaur Jr. They definitely played hard and fast,
which I can always get behind.
But this night belonged to Sunset Rubdown in
aU of their obtuse and lyricaUy ambiguous glory.
Ringleader Spencer Krug was spirited and loose, his
band was charged and the dense crowd was very receptive. Opening with "The Empty Threats of Little
Lord," they were off to the races. Their set spanned
the entirety of their recorded output but favoured
the last three albums and reUed more on the heavier
songs, which seemed to please the crowd. After an
hour and a bit, the band briefly left the stage, only
to return for an excellent three-song encore that included "Us Ones In Between" and an amazing rendi-
tion of "Dragon's Lair" from the new album. Then,
with a wave and a "thank you," the band left the
stage as the hipsters and I filed out into the warm
June evening with wishes fulfilled and smUes on our
lips—this was indeed a good night to be cool.
—Nathan Pike
Dirty Projectors
Richard's on Richards
July 2
This show wasn't originaUy on their tour, but it was
added shortly after the Dirty Projectors played at
the Malkin Bowl last May. Someone must have realized this was what Vancouver needed after counting
the number of people who crowded the stage while
Dirty Projectors was on and how many skipped out
on the closing act, TV on the Radio, to go somewhere quiet and digest what they had heard.
Dirty Projector's leader, Dave Longstreth, has a
reputation as an ambitious musician. Fans that have
been foUowing the band for years enjoy the sort of
records that demand repeated listens to unpack aU
the pieces, and there those pieces were on stage:
the baby-falUng-asleep loveliness of "Two Doves,"
the west African style guitar picking in "Temulca
Sunrise" that had been ghettoized to daylit folk festival stages for too many decades and the Mariah
Carey high-school-bedroom-Walkman-fest-fueled
vocal performance of Amber Coffman in "Stillness
is a Move." It would be tragic if the studio was the
only place where these components could be transformed into their labouriously constructed wholes.
Instead, the band members proved that the stage
is where they belong, reproducing the complex arrangements with authority and grace. Escaping the
traditional role of backup singers, the triple-female-
vocal harmonics functioned as the lead instrument
in most songs. The concrete intensity this adds to
a live performance is hard to overstate, but I'll try:
the interplay between their voices and Longstreth's
impossibly personal lyrics caused your reviewer to
have a nearly transcendent realization of the deep
underlying and eternal beauty of every smaU episode in one's Ufe, or at least, the one that happened
that night at Richard's.
—Kalin Harvey
Frog Eyes
Victoria, Victoria!
July 11
Media Club
Sunset Rubdown photographed by Tamara Lee
There was something for every taste and fancy on
the bill on this Saturday night at the Media Club.
Moving from the bittersweet indie pop of Victoria, Victoria! to the lonesome, atmospheric soul
melodies of Chet and the visceral shrieks of Carey
Mercer and his experimental quartet Frog Eyes, the
evening granted listeners a bounty of musical (and ■
in some cases, theatrical and mythological) performance, while also serving as an impressive showpiece of the diversity of the Vancouver/Victoria
indie rock scene.
Opening the proceedings, a soft, laid-back 40 minute set by Chris, Johnny, Joe and Jonah of Victoria,
Victoria! saw the group playing to warm appreciation
despite a waning stage presence. The resulting effect
on the crowd was obvious once Chet took the stage.
Patrons chatted and seemed preoccupied and disinterested for the bulk of their set The disconnection
aside, Chet evoked a rusty, nostalgic soundscape
thanks to the warbUng vocals of Ryan Beattie, some
soulful organ work and heavUy reverbed guitar licks
reminiscent of the Walkmen.
FinaUy it was time for. the performance art portion of the show. Frog Eyes' frontman and centerpiece
Carey Mercer, a force on stage, was the antithesis of
the tranquU grace emitted by the evening's earUer acts.
His mythology-based, manic and angst-ridden lyrical
diatribes demand a fair bit of patience to fuUy absorb.
Mercer guides his devout foUowers on a theatrical journey through the dark dimensions that are his lyrics,
a journey as raucous and volatile as the performer
himself. The songs are layered, unsettling coUections
of melodies resulting from a clashing of disharmonious sound elements. The reaction to Frog Eyes
on this night seemed Uke wonderment bordering
on confusion and unease—an uncomfortable and
dangerous stew of sound and noise befitting a band
with the complexity and intensity of Frog Eyes.
—Gavin Reid
Psychic Ills
Indian Jewelry
July 14
Little Mountain Studios
Little Mountain Studios: small, sweaty, under construction and perfect for this relatively underground
Uneup. I caught the end of Vancouver's Solars, so I
can't say much more than that they were loud. As
for Indian Jewelry, the interweb tells me that they
are from Houston and that their sonics can cause
seizures. If head-bobbing to sludgy industrial-esque
stew means seizures in Texan talk, then seizures I
had. Drawing on too many influences to mention,
they reminded me of the first time I heard Barry
Adamson. I knew I liked it—didn't reaUy know what
kind of music it was, but it was definitely sinister.
Unfortunately, the power in the buUding—which
used to be a butcher shop—cut out for a whUe, eating into their akeady short set. [ed. This was actually due to someone stepping on the power cord and
pulling it out of the unfortunately-placed wall outlet.
Watch what you're doing jerks!] Back up again for
just half a song, and the crowd was again thrust into
darkness with only a lonely drumbeat to latch onto.
They caUed it quits. Check these guys out if they
ever make it over the border again.
The Psychic IUs' latest album, Mirror Eye, hasn't
received the best reviews (it's a poor follow-up to
Dins), but their live show wasn't bad. Those into
drone with a Jackson PoUock splash of song structure were in luck. The quartet (although I could only
see three from my vantage point) stopped about
four times, which was the only indication that they
had completed a song. To be honest, most of the set
sounded like a jam or perhaps songs that the band
knew but the audience didn't. These psychedelic
devotees did manage to hypnotize me for a moment,
living up to their name and generally pleasing the 80
or so people busting the seams of Little Mountain.
Altogether, a complementary string of bands and
pleased patrons made this a good show but not a
—Robert Robot
No Kids
July 16
The BUtmore
"Do you know about Casiotone for the PainfuUy
Alone?" the BUtmore doorman asked.
"Yeah, I know about Casiotone," I replied naively,
assuming he was making small talk about the evening's headlining act.
"No, he was in a car crash and couldn't make it
to the show."
Which posed a question: would the show go on
without Mr. Ashworth? (who, the audience was assured, was thankfully okay) The answer was yes,
thanks to scheduled openers Cryptacize and No
Jokingly welcoming the audience to "open mic
night," No Kids' Nick Krgovich started off his band's
set with a polished rendition of "Prisoner of Desire."
New material and favourites like "For Halloween"
even managed to get some traditionaUy immobUe
(and thts evening sullen) Vancouverites to dance!
No Kids set out doing what they do best: delivering nuanced grooves and slow-jams that sound as if
they were written by your overeducated, Gen-X hipster cousin who's usuaUy penning clever screenplays
and witty reviews (or in Krgovich's case, the musical
In the Yard, Havin'Fun). Along with new songs from
a forthcoming full-length, Krgovich also introduced
the ever-talented Rose Melberg as an additional
member of the band, who went on to perform beautiful harmonies alongside him.
Speaking of beautiful, the soothing tones of
Cryptacize's Nedelle Torrisi were the next to permeate the Biltmore's air. Despite the hardships caused
by an impromptu sound check and its ensuing feedback problems, San Francisco's Cryptacize soldiered
on, and, with just the right touch of reverb, delivered a set full of the confident, jangly and whimsical
songs the band is known for, mostly coming from
their new, more pop-focused album, Mythomania.
The band succeeded in charming at least this writer
(who also had the good fortune to see them play at
the Media Club earUer this year), though perhaps
not the thinning crowd who were somewhat apathetic due to Casiotone's cancellation. The band captivated at least a few other audience members, who
clamoured for an encore after Cryptacize vacated
the stage.
Perhaps the ultimate triumph of the night was
that the show did go on, despite its headliners absence. A solemn air permeated both sets, with both
bands mentioning Ashworth's accident, thanking the audience for attending despite it and with
Cryptacize going so far as to dedicate a song "to
Owen" (though this tribute's solemnity was dissipated by the audience and band members' playful
laughter). Though a number of people up and left
midway through (including several of this writer's
friends—you guys suck), a sizeable crowd was still
in attendance, proving that, yes, we all "knew" Casiotone, and yes, we knew we still wanted to have
a good time.
—Sean Nelson
The Shilohs
Attics & Cellars
July 17
Biltmore Cabaret
Dan Bejar played a surprisingly good solo set as Destroyer at the BUtmore in spite of a loud, drunken
audience. Accompanying himself with only an
acoustic guitar, Bejar drew heavily on his back catalogue, including a good mix of old favourites such as
"Beggars Might Ride" with his stronger new material Uke "Foam Hands."
Though Bejar is usuaUy known more for his skills
as a songwriter than a live performer, over the years
he has gained confidence in his abUity in front of
an audience. Though he may never have the stage
presence to rival legendary performers such as the
oft-cited-Destroyer-mentor David Bowie or even
New-Pornos bandmate Neko Case, the man can
play a solid set. Bejar had a few tricks up his sleeve
to win his audience over, such as playing a short
cover of one of his greatest New Pornographers
songs, "Streets of Fire," and pausing to take a request
in the middle of the set.
For aU his abUity, there was no winning over
some of the crowd, as there was a steady stream of
bar room chatter throughout the set, which Bejar
was unable to completely drown out with his guitar. This might have been accomplished if he had a
fuU backing band, but in spite of that he still managed to elicit an encore, in which he closed the night
with the classic from Your Blues, "Don't Become The
Thing You Hated."
Faring a bit better with the crowd noise were the
ShUohs who played a tight set that drew heavUy on
influences of '60s folk rock bands. They were easily
the rockingest act of the night and turned quite a
few heads during their set.
Attics 8c CeUars warmed the crowd up with some
charming baroque pop incorporating ceUo and violins -
into every song. It sounded lovely and it was worth the
effort of showing up on time just to see them.
—Jordie Yow
A busy month of music at your community record store.
Check out our amazing selection of ultra cheap CDS priced at $6 each or 6 lor $30 -
now located on the other side of our store at 1976 West 4th Ave! Check them out quick
as there are some pretty great CDs just waiting to go on a Summer road trip with you!
The finest selection of essential new sounds.
MODEST MOUSE- Mo Dues First and Your Next
USHTNK DUST - Infinite Light CD/LP
PORTUGAL THE MAN - Tlie Satanic Satanlst
CLARK - Totems Flare
FIERY FURNACES -1'« Going Away
GREY MACHINE | disconnecter
WYE OAK ~Tt* Knot CO
DESTROYER - iay Of Pip W
FORD PIER - Adventurism CO
RON ABE - The Steeping Eye GD/LP
SIC ALPS - Long Waf Around to t Shortcut
CANYONS-Fire Eyas ir
CLUTCH - Strange Cousins From The West CD
MOST SERENE REPU8UC - And the ever
expanding universe CO
a*s+t I soo days of summer co
Sieve Willims
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UnsaillS Unfl ISE rrPfH mwf
1972-1976W4thAm *.*«* ■}»-?«
Vancouver. BC ttana-fta m-m
tet 604 7383232 *         **-** ZULUS LATE SUMMER HAPPENING!
A busy month of music at your community record store.
Giant outdoor party with live performances
on the street in front of the store from THE
Plus more sidewalk sale mayhem! See store
ortnrw.zulumeords.com tor complete details!
Instore! ' _
Friday August 28th 8PM
Matador Records recording artist JAY REATARD stops by Zulu as
part of his record store only tour!! This is his only Vancouver
performance — open to the public; come early its going to be
I UMNm!     mm
Sieve Williams
fiteflM) 9k_____ __m \H_l___t ___mu'
mwmm mvm m wm_jB mJwf
ZlllU Records        ciriBc umipd
l972-*974W*hA»     „««!
Vancouver SC Ttan
lei 604.738 3232 *•
E wwwailurftcords-jcnm I


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