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 FREE!
JULY+AUGUST 2011 / THAT MAGAZINE FROM CiTR 101.9 FM
//SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNTY FOR OVER 25 YEARS
1 EDITOR'S NOTE
It's officially summer and the Discorder office is starting to look like a ghost
town. But you know what? I'm totally OK with that. The next two months, after
all, are the token vacation months, so why not head out of town for a bit to clear
your head? As for me, I'm currently sitting in YVR waiting to board a plane to
Calgary to check out the Sled Island Festival. Having not been in Cowtown for
over eight years, I'm excited to see how that city deals with their annual, evergrowing punk and indie event. I'm especially interested in seeing how some of
our home-growns (like B-Lines and Keep Tidy, to name but a few) play out in
front ofa foreign crowd. My guess is that they'll tear it up just as if they were
playing here. I'll level with you, though, I'm most thrilled about the mid-day
pool party show I got invited to. Free hot dogs and hardcore bands; how can
you go wrong? You can check out our full coverage ofthe fest, including daily
wrap-ups from me and a photo-diary courtesy of our Real Live Action editor
Steve Louie, on our website.
With that in mind, it is the festival season. If you have a couple days to
spare, might we suggest heading up to Squamish for the Bass Coast Festival
with some glow sticks in tow? Judging from Erica Hansen's profile on the
event, people are going to be dancing all night to a ton of DJ sets—wildlife be
damned. Just remember to pack lots of water... and maybe a soother or two.
Cover stars Babe Rainbow and prOphecy sun might be odd choices for your
summer soundtrack, between the former's frightening post-dubstep crawls
and the latter's high-brow, naturalistic soundscapes, but the solo artists are
certainly keeping Vancouver's electronic scene interesting all year long.
Meanwhile, the hi-octane, fuzzed-out fumes of local scuzzters White Lung
might not technically provide a breath of fresh air, but the punkers could
definitely set the scene for a PBR-fueled back alley BBQ somewhere in the
depths of East Van.
Also, if you're planning to have a staycation this year, make sure to head
out to the Biltmore's Twoonie Tuesdays. We recently partnered up with the
club's monthly, locals-only night and we're supremely stoked that it costs as
little as a slice of pizza. This month they're hosting the Shilohs, Capitol 6 and
Timecopz. Check it out!
Wrapping things up, without being too much ofa parent, make sure you're
sun-safe this season. I'm actually totally serious, here. It's gonna get hot! Slip
on a shirt, slap on a hat and all that. You don't want your vacay ruined by a
brutal sunstroke. I packed an extra bottle of sunscreen in my backpack for that
pool party in Calgary... I'm a leggy guy and I burn easy.
Discorderly yours,
Gregory Adams
EDITOR
Gregory Adams
ART DIRECTOR
Lindsey Hampton
PRODUCTION MANAGER
Debby Reis
COPY EDITORS
Sarah Charrouf, Steve Louie,
Debby Reis
AD COORDINATOR
Maegan Thomas
UNDER REVIEW EDITOR
Sarah Charrouf
RU EDITOR
Steve Louie
WEB EDITOR
Reilly Wood
E-SUBSCRIPTION COORDINATOR
Robyn Yager
CALENDAR LISTINGS
Debby Reis
ACCOUNTS MANAGER
Corey Ratch
PROGRAM GUIDE
Debby Reis
OFFICIAL TWEETERS
Dorothy Neufeld, Debby Reis
CiTR STATION MANAGER
Brenda Grunau
PUBLISHER
Student Radio Society of UBC   \
STUDENT LIASONS
Zarah Cheng, Dorothy Neufeld
COVER
Robert Fouge're
I    WRITERS
©Discorder 2011 by the Student Radio Society of the
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request. TABLE OF CONTENTS //
JULY/AUGUST 2011
■R
// FEATURES
PHOTO BY ROBERT FOUGERE
08 / BABE RAINBOW
Local electronic soundsmith Babe Rainbow continues to forge ahead with his
freaky, hip-hop-inspired sophomore EP, Endless Path.
10 / PROPHECY SUN
Still feeding off the positive energy of her feline friends, prOphecy sun offers
up her latest sublimely experimental offering, Not For Dogs.
12 / BASS COAST PROJECT
If you hear some deep rumblings coming from the woods in Squamish, don't
worry. Chances are you'll find a ton of people getting crazy at the now-annual
Bass Coast Project festival; so start dancing!
14 / WHITE LUNG
Despite the initial naysayers, long-running locals White Lung's latest lineup
still packs plenty of punk rock punch.
iff I AUSTRA
Stepping away from her classically-informed solo work, Katie Stelmanis delivers a new wave odyssey via her new band, Austra.
18 / FUTURE ISLANDS
Who knows where they'll be in a few years, but for now, Future Islands are
delivering some seriously heartfelt indie rock.
// REGULARS
off/ RIFF RAFF
The final installment of our longest running column.
l8 / CALENDAR / byKatrinaDombsky
24 / PROGRAM GUIDE
28 / UNDER REVIEW
32 / REAL LIVE ACTION
35 /ART PROJECT/
^8 I ON THE AIR / Rumbletone Radio A Go Go
39 / CHARTS 10 YEAR ANNIVERSARY
»3S3k:»""«P 111 {PPM   «#*.
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\jtmi)NBm-*wmm RIFF RAFF //
i 1 Was There
Well all you vinyl fanatics out there, it comes with a sad face and
a single tear to admit that this will be the final Riff Raff column
in this here space. Time for this scribe to move up and out into
the great unknown and start the next phase of whatever it is I
plan to do in life. Before you drag out the Kleenex though, let's
turn those frowns upside down with one last installment and remember that
yours truly will always be on the hunt for fresh and exciting sounds that spin
right round, no matter what.
You should be surfing for singles too, especially when there's no shortage
of smashingly superb local gems out there like Korean Gut, a four-piece combo
new to these ears who have been plying their Phantom Surfers-meets-scruffy-
pop trade for a few months now. The recently released Your Misery, Our Benefit
EP kicks off finely with the treble-inducing tuneage of its tide track, while the
vocal-only number "If You Want" makes me shimmy with glee. Things get
spooky on "The Creeper," but closer "Gin Gold" ends things off with strumming
and drumming good times. Instandy likeable, the EP gives a nostalgic nod to
the lo-fi instro-craze that engulfed the Coast in the decade previous—and they
do it with mucho gusto. Find it and flip out!
The Gooeys are the newest and maybe weirdest kids in Calgary—the kind
of kids that hang out in the graveyard and guzzle gasoline, read too many
issues of Cracked magazine and freak out straight-laced suburbanites with
their tripped-out, garage pop glop. Just as Jim Jones' followers downed the
purple poison to purgatory, the Gooeys wantyou to take a "Scary Black Cherry
Nap" via their sticky-wicky keyboard lines and sharp-edged guitar jabs. A
"Suspicious Hunch Amongst The Bloody Mary For Lunch Bunch" may just tip
you off before you "Lay Down & Die" from the sounds ofthe tub-thumping
drum and bass rumble. "I Don't Know Why" anyone would be left standing,
'cuz this EP knocks 'em dead! Calgary continues their time-honoured tradition
of making musical magic, so get this and get gone!
Edmonton's Nervous Wreck deliver a potent power-pop pill with their
debut EP, Double the Dose. The title cut takes Eddie & the Hot Rod's "Teenage
Depression" to new hip-shakin' heights, while the misleadingly-titled "Down"
does just the opposite by going up, up and away like a rocket with its Lurkers-
channeling twin guitar attack. The weekend wake-up call "2/7" proves these
lads have been fed a steady diet of English first wave punk, and it'll make ya
pogo 'til ya puke!
Lastly, a reissued blast from the past from Birmingham beat-happy bunch
the Renegades, who are revered for their rewed-up R&B tunes, their U.S. cavalry
costumes and for being the first beat combo to conquer Scandanavia—a year
before the Rolling Stones, even! Included on this platter is their celebrated 1964
remake ofthe Vince Taylor rockabilly rave-up "Cadillac," and the flip features
a moodier mid-paced number called "I Was There," originally written by the
Shamrocks. For those who dig the early rock 'n' roll style, this single (as well
as their second, a romper stomper take on Bill Haley's "Thirteen Women") are
essential listens and worth tracking down. Now hop to it, hepcats!
It's all over now, baby blue... Thanks a ton for reading! Viva la vinyl!
Korean Gut/The Gooeys: Mammoth Cave Recording Co.
ww iD.mammothcaverecordin5.c0m
Nervous Wreck: No Front Teeth Records uuviv.nqfrontteeth.co.uk
The Renegades: Norton Records uMMJ.nortonrecords.com VANCOUVER ^
PRIDE SOCIETY
Iny PRESENT PRIDE
pp     2011
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Juiy^Q Terry. Waiiace Memorial Breakfast
July 3? Pride ParadbS Sunset B^agh Prid§'Festival
JuiyS Youth Dafm'
JuiySI Bmiors' Events
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Ifs that time again. Don't miss the fun.
Submission deadline August 6,  2012.
Send 3 original songs to:
shindig.submissions@gmail.com
WEBSITE/INFO/SPONSORS: http!//shindig.citr.ca VENEWS //
BYJENNESIA PEDRI
SAVE
THE
RED
GATE
It's the same familiar story, only this time the venue at stake is 152-156
West Hastings Street, the multi-purpose art centre known as the Red Gate.
If you've never noticed it, it's probably because it's not the regular
type of underground cultural space that the City of Vancouver typically
shuts down for the fun that goes on behind closed doors. The Red Gate
is a legitimate space for artists, musicians, photographers and filmmakers to
create and display art. What's more, for the past seven years, the 15,000 square
foot space has been a 100 per cent self-funded and self-organized cultural
facility dedicated to fostering the boundary-pushing creativity for which the
DTES is historically known.
In spite of all this, without warning, on May 24,2011, the City ofVancouver's
Building Inspector Branch issued the Red Gate a 30-day Order to Vacate notice,
citing "serious life and safety concerns." The city, however, took no initiative
to inform the Red Gate of their apparent concerns, nor did they provide them
any time or instruction on how to bring the building into compliance between
a January 17 surprise inspection and the notice to vacate.
There's no disputing that the old building needs work, but if the city's
going to talk about harm reduction, they need to team up with artists wanting
to work within the law. As Red Gate organizer Jim Carrico told Discorder,
"people who want to do stuff need a place to do it, and if they can't do it
legally, they'll do it illegally. The solution isn't to shut everything down, its
finding a way to bring it above ground." All the Red Gate is asking is the time
necessary to comply with code requirements in order to deem the place safe
for artists to work. [ed. note: As o/June 20, the City pfVancouuer has offered the Red
Gate a 60-day reprieve. If'the building's owner, Moshe Mastai, ivrites a letter before the
date ofthe original evacuation notice (June 23), and repairs and renovations are carried
out urithin 60 days, the Red Gate ivtll have a chance at remaining open.]
The Red Gate ordeal came as a shock, though not a surprise, to Rickshaw
Theatre owner and operator David Duprey. Facing venue woes of his own,
Duprey is currently in the long process of getting a permanent liquor license
to replace the special events license he's resorted to using at the Rickshaw.
"The kind made for weddings," he explains of his situation to Discorder,
"not for a business to operate to make a profit, which is what I do, and what
most live music venues do." To voice your support for the Rickshaw, visit
www.rickshawtheatre.com. From his experience, Duprey assured me that
city officials generally agree that rules like the ones haunting the Red Gate
are failing us, "but they shrug their shoulders because these are the rules."
Dani Vachon, Director of Marketing and Entertainment at the Electric Owl,
shared a thing or two about the rules involved in refurbishing an old space.
Over one million dollars went into turning the old American Hotel into the
hybrid restaurant, bar and live music venue, which opened in May. And still,,
more money is being spent on expensive noise reduction renovations in the
hope that residential neighbours will support the business' plans to extend
its hours for serving liquor beyond a mere 12:30 a.m.
But for the Red Gate, it's not just about liquor sales and it's no longer
simply about having fun. The stakes are high for those like Carrico who have
dedicated decades to fostering the livelihoods of artists in the community. For
those who utilize the space, the stakes are higher still. When a cultural facility
as well-used as the Red Gate vanishes, artists are displaced and forced to move
to a city where culture is perceived to be of greater value.
If it's true that the closing ofthe Red Gate is merely a microcosm for what's
happening to ±e DTES, a neighbourhood once rife with cultural space, then
something needs to be done to preserve it. But the fact remains that it's going
to take considerable reconsideration of provincial and city by-laws to affect
any major change. That's where the public comes in.
In each of their calls for public support, Carrico, Duprey and Vachon have
expressed faith in the possibility of numbers. Nothing will change if only the
non-supporters voice their concerns to the City ofVancouver. So take the time
to visit the Red Gate in person or online at redgate.at org to sign a copy ofthe
petition and help save the Red Gate. BY PATRICIA MATOS
PHOTO BY ROBERT FOUGERE
WB RAINB ^IMHING SHOULD HAPPEN INSTANTLY, YOU KNOW? I DON'T FEEL LIKE
■ ANYTHING SHOULD BE THAT EASY; YOU SHOULD HAVE TO WORK AT IT,
YOU'VE GOT TO GET OUT THERE AND MEET SOME PB
Let's make one thing perfecdy clear: Cameron Reed is as close to a modern
Renaissance man as anyone can find in Vancouver. As his electronic
music project Babe Rainbow continues to gain steam, Reed is poised to
continue influencing the city's creative collective. He admits to having
his hand "in many a pot," be it journalism, corporate advertising, art or
sketch comedy. During the last federal election, Reed and a couple of friends
created the viral voting information website www.shitharperdid.ca, spawning
two million hits in its first 48 hours, and then went on to create The Party, a
short comedy series about the election season for CTV.
With so many things going on in his life, it's a wonder Reed finds the time
to produce Babe Rainbow's contrasting blend of sinister melancholy. Reed's
music evokes emotions from its first eerie notes to turns of airy and crashing
breaks; the journey is disarming and surreal. Were you to listen to Reed's music
while driving alone at night, would you wake up the next morning in the woods
with only the faint memory of playing chess with Twin Peaks' Windom Earle?
Probably not, but Lynchian scenes are inherent throughout Babe Rainbow's
landscape, whether it's his intention or not. He seems to weave a narrative of
urgency, isolation and rebirth in Babe Rainbow's sound, matched only by the
haunting videos that accompany his brief, but captivating tracks.
"When I produce, my main goal is to make the listener feel something that's
a little outside of what they normally get from a pop song or most indie rock,"
Reed tells Discorder while sitting in a tiny downtown cafe\
Toying with his tnpg of herbal tea, he continues, "When I create music
with the intention of making somebody feel something, it makes sense that
it would be paired well visually in that it's what soundtracks do. They try to
evoke an emotion to draw you into a scene and understand what you are about
to see—sort ofa preface for the way that you're supposed to feel."
Reed's a perfectionist, there's no doubt about that. He admits Babe
Rainbow's live shows are still being tweaked into sounding exactly how he
envisions them, but that doesn't stop him from immersing the rest of his
time in other projects. The 28-year-old has been busy with everything from his
stint at this year's South by Southwest and overseeing the increasingly popular
Music Waste festival, to working on collaborations and remixes with rappers,
not to mention SoCal noise pop band, Wawes. On Endless Path Babe Rainbow's
second EP for the esteemed and eclectic English imprint Warp, he collaborates
with Yung Clova of Alabama hip-hop duo G-Side. What started out as just a
remix for fellow Warp artist Gonjasufi's song "Holidays" turned into one of
Endless Path's standout tracks: "Greed." The track evolved as a back-and-forth
between Reed and his label, duringwhich time Reed had reworked and remixed
the track to perfection before sending it back once more. Reed laughs as he
remembers, "They freaked out saying, 'What is this?' and I go, 'I sent it to you
months ago as a remix, but now I guess it's its own song.'"
Menacing synths and syncopated beats are present from the get-go with
opening track "It's All Happening." The EP isn'ta major departure from Reed's
debut, Shaved, but his hip-hop influences and darker sensibilities are noticeably
interwoven with his usual brand of blackout-inducing dubstep. Standout "Set
Loose" is a particularly dreamlike chemical trip. While Reed has a knack for
changing the tone ofthe album at every turn, he keeps the story flowing so it
never seems jarring or out of place.
Some artists might feel obligated by listener's expectations about what they
should be putting out, but Reed feels he has license to change things up when
the moment strikes. "I don't think anyone working in any creative medium
should be stagnant," he explains. "It's totally normal for them to change or
evolve over time."
For Reed, this mentality lends a clear advantage to putting out EPs versus
full-length albums. "That's just the way people listen to music nowadays," he
asserts. "With an EP, the expectation that it should be some sort of cohesive
masterpiece is obviously less. When I'm ready to do an album proper, I'll do
it. But I'm still growing as a musician so I don't feel like I'll be able to focus
on one style for long enough to make a cohesive [LP]."
Endless Path's consistency is its balance: each track's rise is complimented
by another's soft drop. The airy, rhythmic thumping of "Bounty" is followed
by the desolate, slinking sounds of "Chains"—a Quaalude to follow your
Adderall, if you will. Reed's sound will never stop changing, and Endless Path
is evidence enough of that.
Constandy evolving is part and parcel of who Reed is. He is a firm believer in
taking responsibility for personal endeavours, be they creative or professional.
For every opportunity Reed has taken, he has himself to hold accountable. There
are those who complain that Vancouver is a "No Fun City" or that the creative
scenes are next to impossible to break into, but Reed disagrees.
"Nothing should happen instantly, you know? I don't feel like anything
should be that easy; you should have to work at it ..you've got to get out there
and meet some people. There are so many different music communities that
I've seen ebb and flow, and new ones pop up over the last decade. The scene has
grown immensely, but I think—and maybe this is kind of a judgment—if you
are finding it hard to break into a certain group, then maybe you are looking
at the wrong group."
Living in Vancouver for the last decade has meant being proactive for Reed,
who has always praised the support he has seen from artistic communities.
He is a perfect example of putting d.i.y. to the test and achieving success:
"Babe Rainbow was entirely me making music in my house, me putting it up
online, me sending it to the blogs—I'm still managing myself. It partially has
to do with music, but it's partially how I aggressively approach trying to get
the music out there."
"It's not hard to book your own show," Reed says firmly, "it's not hard to
make friends and get your friends to come out to shows." BY TRISTA ORCHARD
PHOTO BY KEVIN CHARLES
PROPHECY HI
111
You just know when you meet someone. You can feel it instantaneously. They have the madness—that grain
of insanity which manifests itself into artistic energy, the urge that pushes you on to create. Prophecy Sun
emits this from every vesicle of her ivory skin.    *^-|
As she revealed to Discorder over muffins and coffee at a Main Street cafe, Sun considers herself "an
installation performance artist that can take many different shapes," and she really meads it.
"I have too much energy," she says. "I have enough for three people and I want to get a lot done, life's too short."
Currendy, Sun's schedule is split between performing with experimental duo Under the Sun, '8os-influenced vocals
project Spell, her indie rock band Tyranahorse and the Her Jazz Noise Collective. She's also part of two dance collectives:
Dance Troupe Practice and So So So. On top of that, of course, is her solo project, prOphecy sun.
She wasn't lying when she candidly expressed that she had energy for three—I'd say maybe even more. prOphecy
sun's latest release, Not For Dogs, the follow-up to her 2009 debut, Cat Patvs, welcomes you into the madness of her
being the joys as well as deep pain and confusion. The album contains ethereal echoes, guttural vocal noises and
classical melodies laced with spacey electronics. The cacophony of sounds arrest your ears; the journey is vulnerable
as the layers peel and you experience it all.
"My solo band, prOphecy sun, is very close to my soul. Tears and laughter bubble on the surface of everything I
sing," Sun admits. "I am afraid of so many things and when I play it centres me. I am a voice for the feelings inside of
me and a light for the darker parts of me. I let go in ways I cannot in other aspects of my life."
Sun thoughtfully tries to explain her creative process to me, how she is constantly composing in her head, especially
on her bicycle named Mr. Falcon. Every little sound becomes a beat she can work with.
"I get inspired by the wind outside, how somebody stumbles, the leaves on the ground, the movement of light, a
dream. So many things are inspiring to me that I have to put blockers up so I don't get too overwhelmed," she says.
"I take those seeds and allow them to grow."
Not For Dogs is hard to define because each track goes in a completely different direction. "Harmonica Train" contains
a series of low groans, growls and deep breaths layered amongst high pitched wails and harmonica puffs clattering
like a train moving across the tracks. The song is intense, yet the airy "of Bladerunner 2" emotes the beautiful tinkling
of what sounds like clinking pieces of glass. The beautiful sound of her voice, meanwhile, is utilized in "Don't Forget
Me," where she harmonizes her vocals on lines like, "Please remember me in the morning."
I was curious about her unique name, as most people that meet her probably are, and yes, it is her given name. In
its entirety, it's very epic: Prophecy Dela Star Sun.
"Growing up I didn't understand why I had this crazy big name so I went by Star. When I was older, I started using
Prophecy again because I thought it was more grown up," she admits. "Now I'm finally starting to feel like I have come
into my name and itwas a logical choice."
Fittingly, her parents are both artists. Her mother, a singer, and her father, a percussionist, played in a band together.
Sun and her five siblings were always surrounded by music. She was allowed creative freedom growing up, which is
reflected in her now: she drew on walls and in books, and made sculptures out of furniture in the family home.
Sun has a well-known and unique love of cats. She owns four and also makes hand-sewn, feline creatures that she
displays on stage as she performs. Her cats are even heard in the music itself, with little meows or the sound of their
movements creeping into Sun's soundscapes.
"I find my cats are like litde angels to me," she says. "They are not like the energy vampires I encounter everyday
in this city. They just sleep and eat."
Whether she's crafting kitten creatures and soundscapes on her own, playing with her innumerable bands or
dancing, she is constandy sharing her creative energy around the city. To fully understand her art you must experience
it in the flesh, so I strongly suggest catching her performing at one ofthe local haunts.  *
'HEN WE FOUND IT, IT WAS SO BEAUTIFUL, IT WAS INSPIRING IN ITSELF.
THE MOUNTAINS AND THE WHITE SAND BEACHi
There is something happening in the woods. It taunts the night owls
out of their nests as forest floors devour bass lines while mountains
watch over with protective eyes. The river, meanwhile, will seduce
you, coaxing you to dance with her, playfully flirting with the sun then
sending off on your next adventure. This is the magical world that
is the Bass Coast Project Don't forget your sunscreen, this gem ofa festival
happens right in our own backyard—just 15 minutes outside of Squamish and
pulsing with West Coast soul.
Andrea Graham, Andrea Oakden and Liz Thompson are the godmothers of
the electronic music and art festival, which they founded in 2009. The trio had
been working on various artistic projects together for years when they realized
that there was a niche to be filled near Vancouver. Discorder caught up with
the Squamish-based Graham, otherwise known as The Librarian, over Skype
to discuss the event The conversation took place the day after her wedding.
Fittingly, the night resolved in an all night dance party.
"We have a long history of going to festivals and we realized that there
was nothing really in our area," Graham says. "There was a big hole in the
festival circuit That's when we started searching for a location." Held at the
Squamish Valley Campground, the location is one ofthe most striking and
defining aspects ofthe event "When we found it it was so beautiful, itwas
inspiring in itself. The mountains and the white sand beaches, they really give
the festival a lot of personality and direction."
From its locale to its sponsors, the project is very West Coast in nature. "We
try to use the local businesses as much as possible, really trying to work with
the local valley residence," Graham explains. "It really helps that we are local;
it's so important to build good relationships with everyone."
The fest is also locally-minded in terms of its musical lineup. This year's
schedule showcases more than 60 of B.C.'s most exquisite producers, DJs
and artists crossing a number of electronic genres, including drum and bass,
dubstep, IDM, experimental, downtempo, and more. From the avant-garde to
the straight up bangers, it's a complex web of digital creativity.
Locals include Longwalkshortdock, who has slayed many a Vancouver
dance floor, the drippy dub sounds of taal mala and the acclaimed headliner,
Prison Garde.
"We believe that our West Coast talent is on par with the bigger [international]
headliners that are coming out," Graham states, before pointing to out-
of-towner highlights like the UK-based Ali B and Psychemagik, and San
Franciscan hyphy artist Eprom. "We believe in the quality of every single artist
on our lineup."
Bass Coast has evolved and reinvented itself with each installment Graham
says one ofthe major changes to look out for this year includes the revamping
of one ofthe main stages. "The big stage that we are moving in to the forest
is going to be a fully visual map stage with art surrounding you almost 360
degrees, so it's a really big project for this year. We're building different levels
of platforms for dancing, and [we're] working with a whole team of visual
artists to create a multi-sensory experience."
On top ofthe structural changes and inevitable lineup changes from year
to year, Graham also points to the natural, outdoor setup changing things
up every now and again. "Even in terms ofthe lay out ofthe land, the beach
changes from year to year.... We always like to have at least one of our stages
on the beach so that, during the day time, you can be relaxing with your feet
in the water listening to music."
Another addition will be a functioning radio station that'll be broadcasting
music, commentary and workshops. Not to be overlooked is the non-musical
aspect ofthe festival. There will be a music video contest, a fashion show
and various workshops and visual art installments, creating a well-rounded
experience. Oh, and how could I forget the ladies mud-wrestling tournament?
While the organizers have long-term vision for Bass Coast with the fest
always evolving, atwhat point can something like this sustain itself before losing
its initial focus? "We like the intimacy ofthe festival as it is," Graham says.
"This pastyear we had 1,000 people, which was fantastic. It felt like you were
able to meet everyone [and] were able to feel really familiar and comfortable
throughout the weekend. That can only exist up to a certain number of people
and then you lose that community." This year, Bass Coast's attendance will
be capped at 2,000 people.
No matter the attendance, the success ofthe Bass Coast Project is a testament
to the thriving electronic music scene in our fair city. "I think that Vancouver is
really creating its own identity for music right now," Graham states. "Almost
99 per cent ofthe people on our lineup are producing in addition to DJing, so
they are all influencing the music scene, and a lot of them are starting to be
recognized on the international [or] global level."
"I feel that, in the last ten years, Vancouver has really come into its own,"
she continues. "It's really supportive and you can see it in the fact that every
weekend there are great shows going on. It's growing."
As for herself, The Librarian is releasing her as of yet untided debut EP in
early July, which will be available at www.eastvandigital.com. If you haven't heard
her sultry sets just yet her style is deeply rooted in rumbling, low-frequency
tones. "I love feeling ofthe [bass] frequency, but I also love melody and soul."
Her live set will definitely be one of many to look out for at Bass Coast
The Bass Coast Project takes place at the Squamish Valley Campground
July 29 to August 1. More information about the lineup and list of events can
be found at www.basscoastprojectcom. PHOTO BY BEN MARVIN
Amid a sea of insipid young rock bands, local punks White Lung
crack drumming, Grady Macintosh's rumbling bass and Kenny
McCorkelf's doom-and-gloom guitar, the band has distinguished
themselves as a noteworthy act, especially live.
*   % « At last month's "Rock 'n' RelieP' concert at Venue, Way stalked around the stage in circles like
a caged animal while yowling and snarling, her moodiness epitomizing the energy of flare-ups
like the gooey-guitared head-banger "Atlanta" and the alarm-ringing clamour of "Wild Failure."
Their viciously solid sound is confrontational and commanding, eschewing the hipster
frivolity of so many of today's fledgling bands for a refreshing approach of sincerity.
"Music feels so good, it's become an obsession," Way says in a husky voice that's remarkably
similar to her heroine, Courtney Love. "It's become something that's so special and sacred
and mine."
Way has a high-boned, almost classical face—her heavy-lidded, smoke-blue eyes adding to
its painterly quality. Her Cherie Currie haircut shines like an aureole in the light outside Goody's
Warehouse when Discorder caught up with her.
Though she's now both an established musician and music journalist, Way didn't actually fall
in love with rock 'n' roll until the age of 17, when she "figured outwhat [she] liked": invigorating
alt-rock with a punk edge and a feminist twist
"In high school, I met this girl and she introduced me to Bikini Kill," she says, "that changed
everything. It provoked me to discover more and then I discovered feminism, and I was like,
'Wow, everything that I've ever thought in my life that people have cold me was fucked up, wrong
ce Hole, Vaiffiporrison and the Replacements, Way began strumming on
discovering more and more punk bands that seemed to reflect herself
inding a collection of forgotten heirlooms in the family attic one by one,
bing about punk, and it's hard to explain to people who are like, 'Ugh,
otabout technicality," she says. "It*s|tlstso incredibly present and raw."
tnifest this raw presence on White Lung's 2010 full-length debut Ifs the
rringly urgent "Sleep Creep." With its piercing, agitated riffs, quick,
inny, haunting howls, it's a catchy theme song for the dead of night, an
nplicity and an intriguing gem for the punk aficionado,
sheltered suburbia of North Vancouver, Way would get "unnecessarily
king time bomb, she needed an outlet to express her rage,
md," she sa|si4J*Tve always been a bit ofa pej$brmer."
ij^Kp5fay continues. "There are ^feres of me sitting in front ofthe
d, and looking at myself and my hair shaking for, Uter^lly, hours. What
am Simon Fraser University with a degree in Women's Studies and
formed White Lung in 2006.
md origiai|}rattitarist Natasha Reich were recruited through friends
er Vassiliou; j$| a shared jam space. When JfeCorkell took over guitar
the decision was met with <%itroversy withf|t£he local feminist scene.
'You got to get a girl, you d$$$ get a guy to replace Natasha,' and I said,
it as sexist,"" explains Way. "Sometimes ail-girl bands don*t.work and
BJBJBJ
■111
In fact despite the critics, McCorkell's working wonders as White Lung's resident axe*
:^i^ler. "Aristocrat," White Lung's contribution to a recendy released split seven-inch with"
current tour buddies Nu Sensae, finds McCorkell's guitar work overflowing with versatility,
ranging from electrifying, spidery picking to manic, fuse-blowing shredding.ThelJljBe's made
all the more rousing with its beefe^ap production and Wa^'&Dave Vanian-like hollering. Now
that the foursome's symbiosis is as strong as ever, it's hard to imagine the band without him.
Just as Way refuses to Justified by the still-dominant patriarchy in music, she i*ptinues to
face her number one obstacle head-on: the fact thatfffBisicians "don't make fw fucking money."
According to Way, penniless JJ$gj9$c attacks inevitably await W^ijp Lung on their on-going
cross country tour, but the summer is sure to be a blast anyways.
"Playing music i#Jfae best thing in the w$iid," she affirms.
And the world is jelling.
While White Lung is presently on thefijapl for fresh fans across thel)^der, the band ha
already caused some buzz across the pond. As Way reminisces, while visiting London a couple
of years ago, she walked into a Rough Trade Records store to find a White Lung poster on the
WalLSuccess couId$?ttaste sweeter.
*I got too excited about it—I felt like such a dork," she says. "Some days I want to say that I
don't want to do this anymore. But; you know, you only get to do this once." BYCAILJUDY
ILLUSTRATION BY LOUISE REIMER
All ST R A
With a dark pop sound that both chills you to the bone and makes you want to dance,
Toronto's Austra—singer Katie Steimanis, bassist Dorian Wolf and drummer/programmer
Maya Postepski—have been garnering a lot of attention over their debut album, Feel
It Break. Steimanis is a classically trained musician who has a powerfui and angelic
voice and she's the driving force behind the trio. Prior to Austra, Steimanis recorded as
a solo artist. With a sound similar to early Soft Cell or the Knife, the group draws on elements of goth and club
culture to great effect. The dark, synth-heavy single "The Beat and the Pulse" showcases Steimanis' restrained
yet powerful vocals at their fittest, with an undulating synth sample creating spooky soundwaves behind her.
Despite the chilly vib&pf the record, Steimanis was warm and friendly when Discorder called her up in Wales,
where the band was currently stationed during a European tour.
Discorder: I came across your old Blogspot account
with a bunch of names you were considering using
before "Austra." I'd never seen a band ask for name
suggestions on their blog. What made Austra win
out over choices like "Spellwork" or "Roma Lister"?
Katie Steimanis: (laughs) Well, a lot of those other
names were kind of jokes. We ended up going with
Austra because, first off, it's my middle name. The
reason I liked it best was because it was a blank
slate. It didn't mean anything to anybody. It was
something we could turn into whatever we wanted;
we could create the imagery behind it We didn't
want to be pigeon-holed by our name.
D: That's great I've been hearing a lot of different
descriptions of your new album Feel It Break. Ifs been
called "gotbic new-wave" and "goth-tinged baroque
synth-pop." What kind of sound are you going for?
KS: I'm not going for an [intentional] sound, per
se. I'm never thinking, "Oh, I'm going to make an
'80s song." It's a more natural process than that
I have a bunch of samples that I like to use on my
computer repeatedly. A lot ofthe songs sound kind
of'80s. That wasn't the intention, but I was drawn
to these chorus-infused samples which happen to
have a very '80s characteristic.
D: You've said in the past you like to let your lyrics
flow and not over-think them. Is that the case?
KS: Yeah, for sure. I don't like to over-think them.
I don't consider myself to be a writer, so I like [the
words] to come out naturally.
D: So in the recording process, did you do all the
programming? Did Maya help with that or was it
all you?
KS: I wrote all the songs. Maya helped a lot with
arranging. The summer before we released the
record, we went back and re-arranged a lot ofthe
songs because many of them were old, and [we]
brought them up to date. We improved the samples
and the sample quality. Maya did a lot of drum
programming. She's really good at programming
and producing, so she had a big part in rearranging
and reworking a lot ofthe songs.
D: You provided guest vocals on Fucked Up's The
Chemistry of Common Lift. How did you get connected
with them? ^^^^^^^^H
k ^^
KS: We both put out a record on [Toronto-based
record company] the Blocks Recording Club. They
heard my record, and they liked it and got in touch.
We became friends over time.
D: Any good tour stories? Anything weird or interesting happen?
KS: Touring is full of those stories. We just went on
tour in the States. We went to Whole Foods in Chicago for ten minutes and we got our van towed and
had to pay $500 to get it out of impound. That was
our first show ofthe tour; itwas kind ofa bummer.
D: If you had to pair Feel It Break with a book, like
wine and food, what book would have a similar
feel to the album?
KS: Maybe The Lord ofthe Rings.
D: Cool. I was thinking of The Lion, The Witch and
the Wardrobe.
KS: That's actually a better one.
D: This is the album the White Witch would be
listening to in her palace, doing house cleaning.
KS: (laughs)
D: Compared to your solo work, Austra seems a
lot more straightforward. How intentional was
that? Were you trying to make your music more
accessible?
KS: We were trying to make music that was easier
to translate onto a live stage. We wanted music
that was heavier on the drums and bass, so that
people would physically feel it in a live setting. We
just wanted to connect with people easier and that
made the music poppier.
D: Your video for "The Beat and the Pulse" is great
I was a little surprised to find it was banned from
YouTube. Do you have any comment on that?
KS: I wasn't really surprised. YouTube doesn'treally
allow female nudity and there was a lot of that in the
video. I think it shows where North American values
lie when you see how much hateful and violent stuff
there is on YouTube. Ifs funny when female nudity
is deemed more offensive than that
Austra opens/or Cold Cave at the Electric Owl, July 21. FUTURE ISLANDS
BY SHANE SCOTT-TRAVIS
ILLUSTRATION BY TYLER CRICH if #r
'ST KNOWING THAT THERE ARE PEOPLE OUT THERE WHO PUT A LOT OF
FAITH IN WHAT WE DO IS A GREAT INSPIRATIQMm*wm mm
Submerged somewhere in Samuel T. Herring's bosom beats a nostalgic musical adventurer. Herring, ringleader ofthe playful Baltimore
post-wave trio Future Islands, is suggestive ofa brainy Jack Black by
way of Captain Beefheart It isn't so much that Herring looks like
Black—though he does—but he also seems to inhabit the same physical space, delivering in concert a comparable, sometimes comic intensity. He
also posseses a poetic whimsy most artists only daydream about
"I've been reading a lot of Bukowski's poetry lately," Herring tells Discorder.
"I find a simple pleasure reading his work. He makes me laugh, he makes me
think, he's real cut and dry. I've also been doing a lot of laundry."
Herring's fondness for the wordsmith and for making acerbic non sequiturs
won't seem too left-field for those familiar with Future Islands' oeuvre, especially
last year's sparkling sophomore album, In Evening Air. Ifs a garishly pieced-
together mishmash of Gerrit Welmers' clutter-free synths and drubbing drum
machine sequences, William Cashion's soaring bass lines, and Herring's
swooning, Tom Waits-ish bar brawl vocals.
Their signature sound is hard to pin down; a hybrid of post-punk, new
wave and synth pop that flashes on Devo or the Talking Heads. Perhaps their
true lineage lays in genre reconstruction—building greatness out of whatever
might be in their path—and adding their silky atmospheric sheen. This is never
more evident than on In Evening Air's "Tin Man," where a motivated marimba
and driving bass furrow chugs along with the momentum ofa freight train.
Carried by Herring's sorrowful caterwaul, ifs a highly charged, unpredictable
and memorable recording.
Much of Future Islands' fire is spent in the studio; producer, Chester
Gwazda (Dan Deacon, Ecstatic Sunshine) is like a fourth member of their
euphonious family.
"Chester is one ofthe few people whose opinion I know I trust" Herring
says with conviction. "He's also the only person that I trust with my vocals. So,
for me, he is extremely important for Future Islands' recorded output—he's
got the goods."
"We recorded with Chester for the first time back in 2006 as part of his junior
year college project, when we were still a very new band," adds Cashion. "With
each album we've grown together, learning more as we go along."
Following those early recordings and 2008's Wdue Like Home's lavish
electronic textures and calypso no-wave nods, the band netted label support
from Chicago Indie authority Thrill Jockey. With a slew of recent releases and
a third album already in the works, Future Islands have a bright tomorrow
ahead of them.
"We're just lucky that we've been able to release so much," Herring says
hotly. "Before 2010, we just had a couple seven-inches out At this point,
we've released five 12-inches and three seven-inches—thafs pretty crazy turn
around. Thrill Jockey has been pushing real hard to release vinyl with us and
we couldn't be more excited."
Vinyl has certainly seen a huge resurgence and Future Islands are fired up
to be part ofthe record revival.
"I've always been interested in limited vinyl releases. I guess that started
with my Smashing Pumpkins obsession when I was growing up," Cashion
explains. "They had some pretty rare singles back then and for Siamese Dream,
each single was a different colour seven-inch and some ofthe b-sides were
only available on seven-inch. This was before everything was available online,
so I ended up doing a .good amount of hunting for cool stuff. I still have the
Pumpkins' "Today" seven-inch on red vinyl. Our last release was a split seven-
inch with Lonnie Walker on peach vinyl, inspired by the "Rocket" seven-inch."
"Vinyl is exciting," Herring adds all atingle.
Also exciting are the startling live shows Future Islands have become known
for. They'll be touring with Okkervil River and Titus Andronicus in June and
July before embarking on a headlining tour this August.
Cashing's bass plunk and posture, akin to New Order's Peter Hook, provides
an unshakable buttress for the band, but if s Herring's grandstanding that makes
the Future Islands fantastical. His theatrical onstage posturing, often including
wild genuflections and hyperactive hand jives, elevates their performances to
dizzying heights. But this, Herring suggests, is due to the generous fans who
cheer him on.
"Just knowing that there are people out there who put a lot of faith in what
we do is a great inspiration. We have some really amazing fans and that gets
us excited when we're preparing to hit the road," he says. "And there's a love
in it for me. When I'm home for awhile, I long for the stage and the mic."
Though they're soon to stopover in our pretty patch, Future Islands are
staying tight-lipped about whether they'll perform some brand new tunes
from their forthcoming third full-length, which they hope to drop in die fall.
"You'll have to wait, bro," Herring jokes, refusing to budge or dole out
any details, even though recording has been monopolizing his time for the
last couple of months. With all his fire and cheer, ifs hard to be dismayed by
anything Herring might be withholding. "This is probably the biggest thing
in my life," he says, "ifs hard to find time for much more."
With that Herring adds a small peal of laughter, which, like his music, is
bent but beautiful.
Future Islands plays the Media Club August 4. /
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Movies
(Cinematic)
StereoscopicRedoubt
(Experimental)
African Rhythms
(World)
Fillln
0
Rhythms
(Worl4)
Techno
Progresswo
Inside Out
(Dance)
PnlVftos
9
Bootlegs &B-Sides
(Dance/Electronic)
The Jazz Show (Jazz)
Live From Thunderbird
Radio Hell (Live)
The Bassment
(Dance/Electronic)
Synaptic Sandwich
(Dance/Electronic/
Eclectic)
10
Transcendance
(Hip-hop)
Sexy In Van City
(Talk)
----- Grandma's; Atic -
(Eclectic)
11
CabaRadio(Talk)       Hans Kloss Misery
Funk My life
(Soul/Dance)
12am
Fill In
Canada Post-Rock
(Rock)
CiTRGhostMix
CiTRGhostMix
Hour (Hans Kloss)
j   -                                    CiTRGhostMix
1
3
mm
5
CiTRGhostMix
CiTRGhostMix
Aural Tentacles
(Eclectic}
The Vampire's Ball
(Industrial)
CiTRGhostMix
10
11
Urn
1
H
3
5 SUNDAY
SHOOKSHOOKTA
fTalk) ioam-i2pm
A program targeted to
Ethiopian people that
encourages education and
personal development.
THE ROCKERS SHOW
(Reaaae) i2-3pm
Reggae inna all styles and
fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-
boots country.
SHAKE A TAIL FEATHER
(SouI/R&B) 3-spm
Alternatina Sundays
The finest in classic soul
and rhythm & blues
from the late '50s to the
early '70s, including lesser
known artists, regional hits
and lost soul gems.
CHIPS WITH EVERYTHING
(Pop) 5-6pm
Alternatina Sundays
British pop music from all
decades. International pop
(Japanese, French, Swedish, British, US, etc.), '60s
soundtracks and lounge.
QUEER FM
(Talk) 5-6pm
Alternatina Sundays
An expose ofthe arts &
culture scene in the LGBTQ
community.
QUEER FM ARTS XTRA
fTalk) 6-8pm
Dedicated to the gay, lesbian, bisexual and transexual
communities of Vancouver.
Lots of human interest
features, background on
current issues and great
music.
queerfmradio@gmail.com
RHYTHMSINDIA
(World) 8-9pm
Alternatina Sundays
Featuring a wide range of
music from India, including popular music from
the 1930s to the present;
Ghazals and Bhajans,
Qawwalis, pop and regional
language numbers.
TECHNO PROGRESSIVO
(Dance) 8-9pm
Alternatina Sundays
A mix ofthe latest house
music, tech-house, prog-
house and techno.
BOOTLEGS & B-SIDES
(Dance/Electronic) 9-iopm
TRANCENDANCE
(Dance) iopm-i2am
Join us in practicing the
ancient art of rising above
common ideas as your host
DJ Smiley Mike lays down the
latest trance cuts.
trancendance@
hotmail.com
MONDAY
BREAKFAST WITH THE BROWNS
(Eclectic) 8-nam
Your favourite Brownsters,
James and Peter, offer a
savoury blend ofthe familiar and exotic in a blend of
aural delights.
breakfastwiththebrowns@
hotmail.com
SKA-T'S SCENIC DRIVE
(Ska) iiam-i2pm
SYNCHRONICITY
fTalk) i2-i:oopm
Join host Marie B and
discuss spirituality, health
and feeling good. Tune in
and tap into good vibrations
that help you remember
why you're here: to have
fun! This is not your average
spirituality show.
PARTS UNKNOWN
(Pop) i-3pm
An indie pop show since
1999, it's like a marshmal-
low sandwich: soft and
sweet and best enjoyed
when poked with a stick
and held close to a fire.
MANTIS CABINET
(Eclectic) 3-4pm
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!
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.
SORE THROATS, CLAPPING
HANDS
(Roaue Folk, Indie S/S)
6-7:3opm
Lyric Driven Campfire
Inspired: new and old tunes
from singer / songwriters
with an emphasis on Canadian music. Tune in for
live acts, ticket giveaways,
interviews and talk, but
mostly it's just music.
Find us on Facebook!
EXPLODING HEAD MOVIES
(Cinematic) 7:3o-9pm
Join gak as he explores
music from the movies,
tunes from television and
any other cinematic source,
along with atmospheric
pieces, cutting edge new
tracks and strange old
goodies that could be used
in a soundtrack to be. The
spotlight swings widely to
encompass composers,
genres and other categories,
but all in the name of discovery and ironclad whimsy.
THE JAZZ SHOW
(Jazz) 9pm-i2am
Vancouver's longest
running prime-time jazz
program. Hosted by Gavin
Walker. Features at npm.
July 4: Cattin' with John Col-
trane and Paul Quinichette
July n: Julian Cannonball
AdderleyinNewYork
July 18: The Dave McMurdo
Jazz Orchestra
July 25: Philly Joe Jones'
Drums Around The World
August 1: The Red Mitchell/
Harold Land Quintet's
Hear Ye!
August 8: The Duke Ellington Orchestra's Soul Call
August 15: The Oscar Peterson Trio's The Canadiana Suite
August 22: Charlie Rouse &
Red Rodney's Social Call
August 29: Charlie Parker:
Selected studio dates.
CANADA POST-ROCK
(Rock) i2-i:ooam
Formerly on CKXU, Canada
Post-Rock now resides oh
the west coast but it's still
committed to the best in
post-rock, drone, ambient,
experimental, noise and
basically anything your host
Pbone can put the word
"post" in front of. Stay up,
tune in, zone out If you
had a radio show, Pbone
would probably listen to
your show.
TUESDAY
PACIFIC PICKIN'
(Roots) 6-8am
Bluegrass, old-time music,
and its derivatives with Arthur and the lovely Andrea
Berman.
pacificpickin@yahoo.com
SOUNDS OF AFRICA
(World) 8-9:3oam
Showcasing music, current
affairs & news from across
the African continent and
the diaspora, you will learn
all about beat and rhythm
and it will certainly kick-
start your day.
MORNING AFTER SHOW
(Eclectic) ii:3oam-ipm
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.
Hosted by Oswaldo Perez
Cabrera.
GIVE'EM THE BOOT
(World) 2-3pm
Sample the various flavours
of Italian folk music from
north to south, traditional
to modern on this bilingual
show. Un programma bi-
lingue che esplora il mondo
della musica etnica italiana.
givetheboot@gmail.com
http://giveemtheboot.word-
press.com
WINGS
(Talk) 3-3:3opm
Alternatina Tuesdays
PROF TALK
(Talk) 3-3:30pm
Alternatina Tuesdays
Bringing UBC's professors
on air to talk about current/
past events at the local and
international level. Aiming
to provide a space for faculty and doctoral level students to engage in dialogue
and share their current
research, and to provide a
space for interdisciplinary
thinking. Interviews with
professors from a variety of
disciplines.
http://ubcproftalk.
wordpress.com
proftalk@gmail.com
RADIO FREETHINKER
(Talk) 3:30-4:3opm
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 superstition.
THUNDERBIRD EYE
(Sports) 5-6pm
Your weekly roundup of UBC
Thunderbird sports action
from on campus and off with
your host Wilson Wong.
FLEX YOUR HEAD
(Hardcore) 6-8pm
Punk rock and hardcore
since 1989. Bands and guests
from around the world.
INSIDE OUT
(Dance) 8-gpm
CRIMES & TREASONS
(Hip-hop) 9-npm
crimesandtreasons@gmail.
com
CABARADIO
(Talk) npm-i2:3oam
For the world of Cabaret
Tune in for interviews,
skits, musical guests and
more. It's Radio with sass!
WEDNESDAY
SUBURBAN JUNGLE
(Eclectic) 8-ioam
Live from the Jungle Room,
join radio host Jack Velvet
for an eclectic mix of music,
sound bites, information and
inanity. Not to be missed!
dj@jackvelvet.net
POP DRONES
(Eclectic) io-ii:3oam
THE GREEN MAJORITY
(Talk) i-2pm
Canada's only environmental news hour, syndicated by
CIUT 89.5 FM Toronto or
wuM.greenmajority.ca. DEMOCRACY NOW
(Talk) 2-3pm
ARTS REPORT
fTalk) 5-6pm
REEL TO REAL
fTalk) 6-6:3opm
Alternating Wednesdays
Movie reviews and criticism.
DISCORDER RADIO
(Talk) 6-6:3opm
Alternatina Wednesdays
Discorder Magazine now
has its own radio show!
Join us to hear excerpts of
feature interviews, charts,
concert calendar picks and
other exciting morsels! For
more info, visit discorder.ca.
SAMSQUANTCH'S
HIDEAWAY
(Eclectic) 6:3o-8pm
Alternatina Wednesdays
All-Canadian music with a
focus on indie-rock/pop.
anitabinder@hotmail.com
SHAMELESS
(Eclectic) 6:30-8pm
Alternating Wednesdays
Dedicated to giving local
music acts a crack at some
airplay. When not playing
the PR shtick, you can
hear some faves you never
knew you liked.
FOLK OASIS
(Roots) 8-iopm
Two hours of eclectic folk/
roots music, with a big emphasis on our local scene.
C'mon in! A kumbaya-free
zone since 1997.
.com
SEXY IN VAN CITY
(Talk) 10-npm
Your weekly dose of education and entertainment in
the realm of relationships
and sexuality.
sexyinvancity.com/category/
sexy-in-vancity-radio
HANS KLOSS'MISERY HOUR
(Hans Kloss) npm-iam
Pretty much the best thing
on radio.
THURSDAY
END OF THE WORLD NEWS
(Talk) 8-ioam
SWEET AND HOT
(Jazz) ioam-i2pm
Sweet dance music and hot
jazz from the 1920s, '30s
and '40s.
DUNCAN'S DONUTS
(Eclectic) 12-ipm
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by
donuts.
duncansdonuts.
wordpress.com
WE ALL FALL DOWN
(Punk) i-2pm
Punk rock, indie pop and
whatever else I deem worthy. Hosted by a closet nerd,
www.weallfalldowncitr.
blogspotca
INK STUDS
(Talk) 2-3pm
Underground and indie
comix. Each week, we interview a different creator to
get their unique perspective
on comix and discuss their
upcoming works.
JAPANESE MUSICQUEST
(Talk) 3-3:3opm
Syndicated from CJLY
Kootenay Co-op Radio in
Nelson, B.C.
FRENCH CONNECTION
(World) 3:30-5pm
French language and music.
www.fccabc.org
NATIVE SOLIDARITY NEWS
(Talk) 5-6pm
A national radio service
and part of an international
network of information and
action in support of indigenous peoples' survival and
dignity.
ARE YOU AWARE
(Eclectic) 6-7:3opm
Celebrating the message
behind the music: Profiling
music and musicians that
take the route of positive
action over apathy.
STEREOSCOPIC REDOUBT
(Experimental) 7:30-9pm
LIVE FROM THUNDERBIRD
RADIO HELL
(live Music) 9-npm
Featuring live band(s) every
week performing in the
CiTR Lounge. Most are
from Vancouver, but sometimes bands from across
the country and around the
world.
FUNK MY LIFE
(Soul/Dance) npm-i2am
Grooving out tunes with a
bit of soul and a lot of funk,
from the birth of rhythm and
blues to the golden age of
motown, to contemporary
dance remixes of classic soul
hits. We explore Brasilian
funk, Japanese breakbeat anthems, die British motown
remix scene, Canadian soul
and disco that your parents
probably made out to and the
classics of American soul.
Soul in the City's Oker hosts
with guests to bring that
extra bounce to your step.
www.funkmylife.com
AURAL TENTACLES
(Eclectic) i2-6am
It could be global, trance,
spoken word, rock, the
unusual and the weird, or it
could be something different Hosted by DJ Pierre.
auraltentacles@hotmail.com
FRIDAY
FRIDAY SUNRISE
(Eclectic) 7:3o-9am
An eclectic mix of indie
rock, hip-hop and reggae to
bring you up with the sun.
ALTERNATIVE RADIO
(Talk) 9-io:ooam
Hosted by David Barsamian.
HAUNTED WEATHER
ioam-i2:oopm
IT AIN'T EASY BEING GREEN
12-ipm
THE BARN BURNER
(Eclectic) i-2pm
The greasier side of rock
'n' roll, rhythm 'n' blues,
and country... Crack a beer,
order some BBQ, and get
your boogie on.
RADIO ZERO
(Dance) 2-3:30pm
An international mix of
super-fresh weekend party
jams from New Wave to
foreign electro, baile, Bollywood and whatever else.
www.radiozero.com
NARDWUAR
(Narduwar) 3:30-5pm
Join Nardwuar the Human
Serviette for Clam Chowder
flavoured entertainment
Doot doola doot doo...doot
doo!
nardwuar@nardwuar.com
NEWS 101
(Talk) 5-6pm
See Monday for description.
STRANDED
(Eclectic) 6-7:3opm
Join your host Matthew for
a weekly mix of exciting
sounds, past and present,
from his Australian homeland. And journey with him
as he features fresh tunes
and explores the alternative
musical heritage of Canada.
AFRICAN RHYHMS
(World) 7:30-9pm
www.africanrhythmsradio.
THEBASSMENT
(Dance/Electronic) 9-io:30pm
The Bassment is Vancouver's only bass driven radio
show on air. I play picks
from all the bass driven
genres like Glitch, Dubstep,
Drum and Bass, Ghetto
Funk, Crunk, Breaks and
UK Funky, while focusing
on Canadian talent and
highlighting Vancouver DJs,
producers and the parties
they throw.
GRANDMA'S ATTIC
(Eclectic) io:3opm-i2am
The only other place you'll
find the old mixed with
the new, is on an illegal
website. Time to tickle your
ear-hairs!
THE VAMPIRE'S BALL
(Industrial) i2-4am
Dark, sinister music to
soothe and/or move the
Dragon's soul. Industrial,
goth and a touch of metal
too. Blog: thevampiresball.
blogspotcom.
thevampiresball@gmail.com
SATURDAY
THE SATURDAY ED6E
(Roots) 8am-i2pm
A personal guide to world
and roots music—with
African, Latin and European
music in the first half, followed by Celtic, blues,
songwriters, Cajun and
whatever else fits!
steveedge3@mac.c0m
GENERATION ANNIHILATION
(Punk) 12-ipm
A fine mix of streetpunk
and old-school hardcore
backed by band interviews,
guest speakers and social
commentary.
crashnburnradio@yahoo.ca
generationannihilation.com
POWER CHORD
(Metal) i-3pm
Vancouver's longest running metal show. If you're
into music that's on the
heavier/darker side ofthe
spectrum, then you'll like
it Sonic assault provided by
Geoff, Marcia and Andy.
CODE BLUE
(Roots) 3-5pm
From backwoods delta
low-down slide to urban
harp honks, blues and blues
roots with your hosts Jim,
Andy and Paul.
codeblue@buddy-system.org
THE LEO RAMIREZ SHOW
(World) 5-6pm
The best of mix of Latin
American music.
leoramirez@canada.com
NASHAVOLNA
(World) 6-7pm
News, arts, entertainment
and music for the Russian
community, local and
abroad.
nashavolna.ca
SYNAPTIC SANDWICH
(Dance/Electronic) 9-npm
If you like everything from
electro/techno/trance/8-bit
music/retro '80s this is the
show for you!
www.synapticsandwich.net ART PROJECT//
ROBERT MEARNS
Robert received his bachelor's degree in Visual Fine Arts from
Emily Carr University in 2006. Since graduating he has had four
solo shows and has participated in various group shows, locally
and abroad. Recently, his interest in the digital world has led him
to aquire a Graphic Design certificate from Vancouver Community
College. Combined with his formal art training he has been able to
create visually engaging print work along side his painting practice.
^ ROBERTMEARNS.COM 11I»
9J  UNDER REVIEW
41ST&N0ME
RAISED BY WOLVES
(Independent)
^vScc«rv^^4^?^ffome aretnafc
ing an ambitious brand of indie rock
that is both expected and surprising.
It's expected because the record can
sit comfortably on the shelf next to
the sprawling and anthemic music of
popular Canadian bands Arcade Fire
or Broken Social Scene. Ifs surprising
because this record still feels honest
and fresh.
The Raised By Wolves EP, which
clocks in at just under half an hour,
is the second record from 41st &
Home, following 2010's Left In Places.
Itwas recorded in a garage instead of
a studio and engineered in-house by
bass player George Knuff. Itwas also
done quickly—they finished it in less
than a month. It doesn't sound like a
quick d.i.y. project though. This is a
lyrically refined and polished piece of
work with carefully scripted dynamics
and expansive soundscapes.
The EP's lyrics are world-weary
and self-aware. "God I know I'm
young / But I've got things to lose,"
sings Thom Kolb on "Memory Boy.'' I
There is a sober maturity here that's j
greater than many bands ten years
their senior. That's not to say they can't
have fun—standout track "Gorbachev"
sounds like a summertime hit in spite
ofa serious anti-violence message.
Whaf s most exciting about this
band is that they have attempted
something tough and succeeded. The
only thing that's missing is ten more
minutes of music, then we could call
this a full album instead of an EP—
because the record is more vast than
the term EP implies.
I —Jeremy Stothers
ANIMAL FARM
CULTURE SHOCK
(focused Noise)
Portland, OR quartet Animal Farm
pay homage to hip-hop's golden era
I throughout their sophomore album,
I Culture Shock. Hanif Wondir, Fury,
I Serge Severe, and producer and MC
Gen.Erik sample soulful old-school
beats reminiscent of underground
hip-hop greats hke Jurassic 5, Blacka-
licious and Digable Planets.
The album's strength comes from
Gen.Erik's production on tracks like j
"Can't Give Up" and "It's Over." It's
a challenge not to nod your head or
dance to his beats. The '90s hip-hop
nostalgia of "Back in the Days," fea- J
turing DJ Wicked, make this album
perfect to play at any summer BBQ
pool party.
Like many hip-hop albums, collaborations with other MCs and DJs
are expected and Animal Farm does
not disappoint Talib Kweli's presence
on "Test of Time," makes this track
a favourite.
However, not all collaborations are
perfect While the chemistry between
Abstract Rude and Animal Farm on
"Music For Idiots" is great, the track
ultimately falls flat. On it they bash
commercial radio, mainstream magazines and record labels for being
too selective, but the MCs fail to lay
down a verse explaining why Animal
Farm deserves the public's attention
and respect.
Although the quartet attempts to
tackle hard-hitting topics, including
issues facing lower and middle class
Americans on tracks like "G.U.N.S.
(Generation Under No Shield)," the
song lacks the thought provoking
and intelligent lyrics that other con- j
scious rappers like Common spit so |
effortlessly.
While the quartet's lyrical flow and
production are no amateur feat there
is still room for this West Coast group
to improve.
—Ashly Rissman
AOAMBALBO
REFRIED NOSTALGIA
I'm an open minded kind of guy. I re- I
ally am. Of course I know what I like, I
but if s rare that I let this litany of aural
criterion block my neural pathways I
to what may be potentially new and
exciting music. When I was assigned
Adam Balbo's Refried Nostalgia, it was
accompanied by a statement from Bal-
bo himself explaining that this was
his first time playing with a full band 1
and that the sonic vibrations derived
from this were something along the 1
J lines of "janky" garage rock. Now,
I maybe I am misinformed, ignorant or
perhaps too rigid in my own definition
1 of what such a moniker might entail,
but what we have here, my brothers
and sisters, is quite a different animal
from the kind of "janky" music I am
accustomed to.
All the hallmarks of what should
constitute some good oP one-two-one-
two clang and bang are absent on this
recording. For starters, the musicianship is, well, competent. The guitars
are a nice-sounding, wishy-washy
jangle-jangle, while the bass and
drums both plod along merrily. The
lyrics are cute and centered mostly
around nice things—probably contemplating the virtues of brushing twice
every day— and do very little to put
hairs on my chest or lead in my pencil.
They're also delivered via what I can
only deduce to be a very fake southern
drawl. On top of all this, the extremely
nice-sounding production does its best
imitation of something lo-fi and falls
onto its face. On some tracks, it sounds
hke Balbo is crooning from inside a
spodess tile bathroom—a sound probably accomplished with a digital reverb
compressor—while other tracks are
bookended with applause. In the end,
we are left not with a high-energy, about
to fall apart rock 'n' goddamn roll record, but cute music for the young folks
in East Van to relax to. Ifthat sounds like-
you, you might enjoy this.
—Sam Rtsser BEACH COMAS
DRIFTWOOD EP
(Independent)
Don't let yourself become disenchanted or alienated by the slightly
derivative moniker used by this local
electronic duo. Beach Comas' self-released debut EP Driftwood isn't another
tired entry into the chillwave or surf-
step genres. On the aptly tided opener
"Enter," Dan Garrod and T.J. McDonald keep the bpms at bay until the
generally instrumental outfit enlists
Claire Mortifee to provide a rippling
refrain that skirts atop a writhing, dub
beat on "Don't Come Again"—the
only track to feature vocals.
When things begin to escalate on
standout track "Something," one begins to wonder where exactly on the
spectrum of electronic music to place
Beach Comas. Every track emerges
in a manner that transcends rushed
pigeonholing.
"Eve" effectively juxtaposes pastoral bird sounds with a deluge of
drum machine and synth assaults.
"Let Them" employs a vacillating sax
sample to elicit a neon-noir vibe that
saves the track from being a bit too
busy. While their name and their EP
name/cover all explicitly reference
the beach, none ofthe music feels
especially appropriate for the beach.
The duo offers up a sonic landscape
heavily steeped in the same sort of distended murk that has brought Babe
Rainbow and Tassels to the fore. Beach
Comas make a very strong case for |
themselves with this debut and should 1
be considered alongside other local 1
electronica acts sooner rather than lat- 1
er. You can dowload Driftwood for free
atwww.beachcomas.bandcamp.com.
—David Nykyjbruk
8UCKUFS
ARABIA MOUNTAIN
(Wce&wrds)
This is some scuzzy, gross music, but
ifs also kind of irresistible. Such is the
charm of Black Lips, a band that has
based their career on playing loud,
dirty and extremely catchy garage
punk songs coupled with notoriously
spirited shows. With their latest ef
fort, Arabia Mountain, the band has,
for the first time in their decade long
career, enlisted a producer in the form
of Mark Ronson (Amy Winehouse,
Duran Duran). The results are a more
immediate and cleaner sound allowing the songwriting to be showcased
more fluently. Ronson has done an
excellent job of allowing the band to
do what they do without overdosing
them on producer polish. With barely
a lucid moment to be found, Arabia
Mountain's 16 tracks feature plenty
of grime.
Opening track "Family Tree" hits
hard and fast, coming at you like a
drunk monkey with a broken skronky
horn. Later on, the weirdly whimsical
'6os-style pop gem "Spidey's Curse"
paints a tale of Peter Parker having
an abusive, shadowy childhood.
Oddball closer "You Keep On Running," meanwhile, is a woozy, drug-
fueled journey that brings to mind
being drunk and stoned on hash in
the desert
There is no taking away from
the energy these cats put into their
music. They take the sounds of yore,
inject some manic, sweat-drenched
punch into everything they do and
make it anything but boring. Though
a producer has been brought in to tidy
things up a bit, this is still true-to-
form, scrappy as hell Black Lips and
proves that a comb through the hair
won't take the grime from a kid who
revels in his snot-nosed, bratty ways.
—Nathan Pike
THECOATHANGERS
LARCENY AND OLD LACE
(Suicide Squeeze)
These four southern punk rock belles
have come along way since the day
they walked out of an Atlanta pawn
shop with a pile of instruments with
no idea how to play them. Their appropriately titled third album, Larceny
and Old Lace, combines No Wave and
straight up punk rock with back road
blues to create a definitive sound. The
music is bratty and abrasive.
Album opener "Hurricane" will
blow your windows out as music
crashes all around, rising up and
pouring into your living room in
a thunderous flood. "Trailer Park
Boneyard," meanwhile, sounds like
Sleater-Kinney channeling the ghost of
Jeffrey Lee Pierce on a humid Georgian
summer night The girls show another
side on "Go Away," a sweet Spector-pop
number that could briefly deceive one
into thinking that these young ladies
spend their Friday nights on the veranda sipping iced tea and dreaming
of handsome gentlemen callers rather
than playing manic, sweaty sets at
claustrophobic house parties.
These mischievous girls are old
souls that will lure you in with their
sweet southern charm, cunningly
seduce you and lift your wallet while
you're sleeping, leaving you stewed,
screwed and tattooed with a smile on
your face as tender closer "Tabbacco
Rd." crackles on the phonograph.
—MarkPaulHus
ESMERINE
LALECHUZA
(Constellation)
Using harps, strings, mallets and orchestral nubs, Esmerine's La Lechuza
conjures up the stillness and tranquility of hidden lakes and remote forests
where owls cautiously keep watch over
their territory. Like its namesake—
lechuza is Spanish for "owl"— the
largely instrumental album presents
both a quiet strength and swooping,
full-on dramatic directives.
The opening track, "A Dog River,"
sets the tone as deliberate and somewhat hurried Orffinstruments climb
their way above the sorrowful violins
to a theatrical finish. The album
continues with minimal accompaniment accentuating a mallet pattern
or string motif and settling into a
more slowed pace. By the third track,
"1-ast Waltz," we are introduced to
Esmerine co-founder Rebecca Foon's
vocals amidst a somewhat distorted
backdrop and a cavernous bass drum.
The real surprise comes with "Snow
Day For Lhasa," which ventures into
the post-pop realm with a rare vocal
piece that sounds comfortable and
oddly familiar.
Esmerine is a project that is quite
different from Thee Silver Mt. Zion
and Godspeed You! Black Emperor,
two bands in which Esmerine's
members Foon and Bruce Cawdron
spent time with, respectively. With
the exception of "Little Streams Make
Big Rivers," which features the crescendo of instruments and more of
an indiepop feel reminiscent ofthe
aforementioned project, Esmerine's La Lechuza is really more about
experimental chamber music than
anything in the indie realm. It acts as
a soundtrack to a film set in the calm
wilderness of Quebec's rolling hills
and peaceful lakes. The supporting
cast of Sarah Neufeld (Arcade Fire)
and Patrick Watson on some ofthe
tracks does not deter Esmerine from
their focus; La Lechuza is a methodical
divergence from conventional, guitar
driven compositions.
—Slavko Bucifal
JOHANNJOHANNSSOH
T8E MINERS* HYMNS :;ll,
(Fat Cat Records)
Comparisons to Brian Eno and David Byme would be apt and clear
to those wandering along with the
gloomy ambience of Icelandic art-  I
ist J6hann Jdhannsson's The Miners' |
Hymns. The title immediately puts the
listener in a dark, mysterious place.
You feel yourself underground with  |
your miner companions, or perhaps  I
on a desolate, grey viking battlefield in
the wake of bloodshed as the piteous
moans of horns and organs slowly,
drearily lament the people's fate.
Without words and without any
clear distinction between tracks, The
Miners' Hymns seems to tell one coherent story through sound; the song
titles serve simply to set the scene.
"They Being Dead yet Speaketh" puts
you into the nightmares ofa warrior
after battle; "An Injury To One Is The
Concern of All" tells ofthe camaraderie of warfare; "Freedom From Want
and Fear" seems like a prayer; "There
is No Safe Side but the Side of Truth"
supports the cause ofa nation—or rebellion; "Industrial and Provident, We
Unite to Assist Each Other" continues
a nationalistic theme; "The Cause of
Labour is the Hope ofthe World" ends
the album with its loudest chorus of
drums and triumph,,summing up all ofthe struggle of these ancient titCr*
riors—or slaving miners—in their
quest to build a better future.
Jdhannsson's album works well if
the listener is willing to dedicate him
or herself to it, embracing the mood
and ambience, drifting along with
the droning, enjoying the silences as
much as the peels of sound. However,
if you are looking for an album to exercise or dance with, or something to
lift your spirits, The Miners' Hymns just
won't cut it
—Andy Resto
ICEAGE
NEWBRJSAOE
(vvWsYourRu^ufe)
Upon delving into New Brigade, one
feels a certain familiarity; Iceage's
reverb-drenched post-punk is nothing new, but ifs still completely fresh
and honest. Either these recent high
school graduates spent the majority
of their teen years in a dingy basement listening to one of their vagrant
uncles' pristine collection of punk
rock vinyl or, more likely, the four boys
were frozen in ice, mid-song, in the
early '80s during a particularly bad
Danish winter, only to be thawed out
30 years later.
Often grouped with contemporary
punk prodigies hke Fucked Up and
No Age, Iceage puts a similar slant
on an old idea. They break punk back
down to its essence and then infuse
it with fresh energy and conviction.
Their dark, raw and confrontational
style roots itself somewhere in punk's
adolescence, sometime after the death
of Joy Division and the lingering aftermath of hardcore's initial furious
burst However, there are hints of
influence spanning punk's history
interwoven throughout the entire record. The songs are full of abrupt time
changes and disjointed breaks, but
the album also hangs on to distorted
melodies and hints of pop. Contradictions are carefully balanced to make
a distinct original and vital record
devised by vigorous young men with
old punk souls.
—MarkPaulHus
PROSTITUTORIAL
PROSTlTtlTQRIALI
(Independent)
Local flaneur Joe McMurray is usually
the twitch-tastic drummer for the sac- \
charine lo-fi grunge outfit Walter TV; \
he's also helped man the kit for acts \
like My Friend Wallis and Makeout Videotape. However, when left to his own j
idle devices, McMurray trades in his j
sticks for an MPC sampler and crafts I
profoundly recondite drone in Prosti- j
tuotial with Chris Niemer, who helms j
a Roland synth anchored by a loop sta- j
tion and scores of effects pedals.
Somewhere in a dank East Van
warehouse, the pairing birthedPros^
titutorial I, a release comprised of
surprisingly restrained and nuanced
ambiance. Twenty-minute opener "F
progresses along a continuum of aridity and copiousness in its instrumentation, but never quite peaks the way you
expect it might Prostitutorial doesn't
seem too concerned with scaling any
celestial heights or transporting listeners to an ethereal state of being.
A suitable reference point here
might be Stellar Om Source or
Oneohtrix Point Never, albeit far
more subdued and minimal. The
cloudy reverb ofthe brief coda "Hn
isn't quite the soft come-down you |
want, but after the abrupt finish you
understand that this is the point
Prostitutorial submit a soundtrack for
our post lapsarian world as it heads )
deeper into pseudo-dystopic times, j
We're not quite there yet, but this is
what fills our ears while we wait on
the cusp.
—David Nykyjbruk
RALEIGH
NEW TIMES IN BLACK AND WHITE
(Independent)
^^^^^s^^U^^^raow^hefmw f
points of pop music, both pastoral
and precious, and if s fully evidenced
on their debut long player, Neu? Times
in Black and White. Admirers of opu- \
lent bedroom pop searching for songs
both pretty and melancholy can end
I their search and sip from this refresh-
I ing cup of twee.
The hangdog heroes of Netv Times
I in Black and White axe Clea Anals (vo- I
cals, cello), Brock Geiger (guitar,
bass) and Matt Doherty (drums), j
who make wistful chamber pop that I
conjures acts hke Camera Obscura
and, yes, Belle & Sebastian. Anai's and j
Geiger's beautiful boy/girl back and |
forth does call to mind Stuart Mur- j
doch and Isobel Campbell markedly
on such breezy and poignant ditties
as "Without Wings" and "Drip." The j
latter a duet as gentle as gossamer, I
synthesizing '60s pop with folk rock j
most charmingly.
Charming is an apt characterization for Raleigh's familiar and fecund j
patch of blue sky. Some of this album
may feel a little fabricated, but such
is the precious school that Raleigh
attends. Could the entire band be
knocked down with a feather? Probably, but tracks like "Murderer" and
"Godspeed" stray from the twee
template enough to allow Geiger to
hone in on a more lo-fi indie rock
vibe, while his warm vocals suggest a
sighing Sam Beam. Anai's contributes
beautifully to these tracks with her
ringing, at times almost eerie, cordial
cello playing.
There are a lot of standout moments on New Times in Black and White,
least of all the deft and au courant lyrics and subject matter. "Balloon Boy"
cleverly recounts the Heene family's
2009 runaway balloon/helium hoax
pot-boiler while album opener "Tunnel Vision" instantly enchants with
Geiger's sweet intonation: "You move
on me like a centipede." If s a stirring
avail that is matched time and again
on this delicious debut
—Shane Scott-Travis
THE RECEPTIONISTS I
ELEVATOR MUSIC
(independent)
Eleva^l^sKK^ath^p^ns^n^
you lock five Vancouver bike couriers
in a room with a pile of ragged instruments and a couple flats of Pacific
Pilsner. There is nothing brilliant
or revolutionary about this album;
nothing new or progressive. Elevator
Music is exactly what it is supposed to
be, simple, rambunctious party punk
composed by guys with names like
Newfie Mike and Crash Campbell Kid. i
I
The songs are laden with keyboards,
punchy riffs and gruff, snotty vocals,
all ripped out faster than a courier on
a fixie weaving through downtown
traffic on the last delivery on a Friday afternoon. These rowdy punks
sound like they are having a blast,
belting out songs like the posi-core
anthem "Red Light Go," the heartfelt
opener "First Girl at the Alley Cat"
or the ranting "Jaywalker." Even the
obnoxious cover of Berlin's "Take My
Breath Away" is somehow endearing.
Elevator Music is far from mundane and
definitely won'tallow itself to getlost
in the background. It is the perfect
soundtrack for a rambunctious, slap-
happy summer night. The best partis j
they are staying true and giving it all
away for free at http://thereceptionists. I
bandcamp.com.
—MarkPaulHus
SICK CHARADE
DEMO 2011
(Independent)
As I'm writing the first draft of this j
review, I am sitting on the patio of j
a fancy East Vancouver pub. I am on
my lunch break from a dead end job I
and the beer I am rapidly consuming
(my second) is more than I can af- I
ford. To my direct right a pair of weU- I
to-do women are swapping stories j
about their teenage offspring, while I
directly behind them, three middle-
aged business men discuss wireless I
surveillance and what an acceptable I
number of lay-offs might be for the j
coming financial quarter. They are j
drinking the expensive beer too, but I
their table has many more empty j
pints than mine. Meanwhile, across I
the globe, people drag out their lives I
in complete misery. Tanks roll over innocents, crushing them into nothing, I
and bullets explode skulls. Women J
are stoned to death, homosexuals ex- |
ecuted. People slip deeper and deeper J
into apathy, escapism and debt Across I
the board, things are bad. Of course J
you've heard it all before, but that I
doesn't make things any less horrible. I
I think about all this and I start to
get a bit of old Sartre's Nausea. My I
stomach turns as the myriad, horrific I
thoughts of daily life roll around in my I head and I wonder what to do. Conventional rock music, in its bloated
corpulence, fails in every aspect to
convey these feelings of ultimate confusion and frustration. It is for these
reasons and more that hardcore exists
and what's more why it is flood.
Sick Charade's demo is the sound
ofthe thought processes which have
just been described for you. It is the
sound of young minds overloading
and exploding as they drown in the
horrors of life. Sick Charade play pure,
unadulterated hardcore punk. Everything is fast, like ifs all just barely
held together—teetering on the edge
of collapse. Everything is loud and
raw. Simple and upset in the best ways
possible. Simply upset Those who
are familiar with guitar player and
singer Sean Lovblom's previous band
the Reprobates' Stress EP, in which he
handled vocal duties with absolutely
no restraint bands like Government
Warning or Born Bad, will understand
this demo perfectly. If not, I recommend acquainting yourself with Sick
Charade lest you never find an outlet
for your pathetic daily frustrations.
—SamRisser
THIS WILL DESTROY YOU
TUNNEL BLANKET
(Suicide Squeeze Records)
It starts with a shiver down your
spine, the familiar tingling sensation that lingers in the crevices of
your thoughts, then, all ofa sudden,
a crash, a bang, flares out and all the
placid joy ofthe last few seconds are
shattered by an explosion of sound.
In short, this is the best way to
describe This Will Destroy You's
second LP, Tunnel Blanket. From soft,
elegant passages to horribly distorted leads, this post-rock adventure is
well composed, drawing inspiration
from many notable artists, primarily
Mogwai, Red Sparowes and even Ra-
diohead. The formula is simple: start
peacefully and build up. Fuel a musical ruckus with discordance and fury,
then drop back. Remove the trembling
guitars and drums and replace them
with soft piano and white noise.
Some tracks stand above the rest
(notably "Communal Blood," with
its interesting percussion), and unfortunately, some are a little harder
to appreciate (see "Glass Realms," a
slow, piano-driven song that crescen-
dos into noise). For best results, one
must truly appreciate the genre and its
nuances to appreciate all eight tracks.
This lush record provides many
streams of creativity, allowing one to
embrace experimentation and wonder at the results. Tunnel Blanket is a
good album, but does not reinvent the
wheel—it sticks to tried and true formulas, though its tracks are beyond
the mainstream expectation.
—-Kamil Kratuczy k
UNLEARN
UNLEARN
(Deranged)
This five-track, 45 RPM seven-inch
sounds more like Disclose or And Ci-
mex than it does four young drunk
punks from Vancouver. There is so
much force and aggression in this
record; nothing is slowed down and
nothing is easy about it Ifs hard and
fast and indigestible d-beat, fronted
by the angry Sam Risser.
This is Unlearn's first record, but
not their first release. They've put out
two cassettes, Demo I and Demo II, and
they're currently in Portland recording
an LP. Ifs a good thing they're busy
working on the next record, because
this short-but-not-sweet, self-titled
seven-inch has been flipped four or
five times througout the writing of
this review.
The cover art reflects the title of
the second track "Landscapes of Deprivation," wherein images of war,
violence, and bodies in trenches are
pasted together. The lyrics speak of
"feeble masses" ("Into The Dark
Age"), "pawns in their power games"
("Used + Killed"), and modern life
as a "forced blind march" ("Death
Comes To You"). Unlearn isn't fooled
by the facade of peace and prosperity
that affluent North Americans convince themselves of, but rather, they
are concerned by the ideological and
physical wars fought in order to obtain such an image.
—Sarah Charrouf
CHAD VANGAALEN
DIAPER ISLAND
(Flemish Eye)
From the moment Diaper Island commences, just like a familiar sweater,
the recognizable drones of Chad
VanGaalen wrap themselves around
the listener in a warm embrace. But
while his trademark soft rock remains
intact, VanGaalen's newest studio set
also charters the singer/songwriter in
a desirable new direction, one crowded with attention-grabbing guitar
pieces and a nimbler musical stride.
The new style fails to proclaim its
presence, though, until around the
halfway mark, as the opening duo of
tracks "Do Not Fear" and "Peace on
the Rise" provide the listener with
nostalgia for 2008's sublime Soft Airplane. By the time the busy "Burning
Photographs" makes its way into your
ear canals, though, a change of pace in
VanGaalen's music can be felt
Coming in at track five, "Sara" is
the first song off the album that undoubtedly possesses the characteristics it takes to be a long-term gem. The
song wreaks with personal sentiment
and a hint of yearning to unleash these
pent up expressions onto the world.
Opening with a simple symphony of
whisdes and acoustic accompaniment,
VanGaalen creates another painfully
honest lullaby for the soul.
Moments after the hopelessness of
"Sara" subsides, the first glimpse of
VanGaalen's capability for rockability
emerges with the forceful beat of "Replace Me," drenching the listener with
confusion as to where this side ofVan-
Gaalen has been all these years and
solidifying the album as a new stage
in his musical career. The remainder
of Diaper Island follows this formula
loosely as the tracks interweave and
transition distinctively, but without
stepping on each others' toes.
A rather silly climax for the otherwise introspective and exceptional
disc can be found in "Shave My Pussy,"
a musical contemplation of whether
love can truly overcome any obstacle,
including hairy snatches. While ifs
an unusual theme for VanGaalen to
tackle, the execution displays such
signs of sincerity that you can't help
but accept the song, not as a humour
piece, but as another entry into the
catalogue of how shallow love is.
Diaper Island fumes with signs
of VanGaalen's organic growth as
a musician and leaves the listener
marooned by the disc's end, already
lonesome for more.
—Jacey Gibb
YUNG MUMS
YUNG MUMS
(Independent)
Yung Mums are definitely not of the I
stay-at-home variety. An all-gal trio J
from Vancouver, Yung Mums are a j
brash bunch with lo-fi leanings and 1
their sparkly new five-track EP is a j
short-lived shout down that ends all 1
too soon.
Yung Mums leapfrogs to action with I
"Dead South," a guitar-driven garage j
punk number with Poly Styrene-esque
vocals. Ifs raw and fun and over al- I
most before ifs begun. Thafs the 1
overall mental state of this collection I
of songs; they're hot hair-trigger, ex- 1
citable and economic in their brevity. I
Ifs not too much ofa good thing; in I
fact it's too little.
"Cobra" is a venom-spewing,
grimy punk peal that clocks in at a
minute 44, making it the lengthiest
track here. Ifs an intense, passionate
and not at all complex arrangement
that sounds a little muddy, and therein
lays Yung Mums' charm. Their d.i.y.
aesthetic and proto-punk patterns a
la The Sonics and MC5 are what make
them so agreeable.
"Shut It" and "Thru With U" continue their tattered but truthful lilt
while making a guitar-geared raucous
worthy of Waitin'jbr the Night-era Runaways. Similarly, closer "BC Budz"
is a brief but billowy number full of
swagger and punk posturing.
This pocket-size collection of
songs hints at a larger context,
hopefully, for Yung Mums, who are
certainly showing signs of flowering
into proud, scrappy and trigger-happy
musical monarchs.
—Shane Scott-Travis REAL LIVE ACTION
DEAD GHOSTS BY KATI JENSEN
NOMEANSNO / BEEKEEPER / THE FORD PIER VENGEANCE TRIO
The Biltmore / May 26th & 27th
j NoMeansNo has a sound that never really gets old to me. Sure, they've been
called old; brothers John and Rob Wright formed the band in 1979—thafs 32
years of live shows! Guitarist Tom Holliston has been in the mix since 1993,
so these three guys know how to play. If you missed their Thursday-Friday,
two-fer weekend at the Biltmore Cabaret, you missed out.
Bathed in a yellow-white glow of incandescence, the Biltmore's size perfecdy
matched that ofthe crowd, providing a level of intimacy similar to seeing them
I at a friend's basement show. A frequent haunt ofthe band, the trio exuded
comfort and control, clearly enjoying their time on stage. Appealing to the
I fans, they played double-encores both nights.
The first night was a benefit show dedicated to long-time friend, California-
based Dave Melrose, with proceeds going to his cancer treatment Melrose
handled the merch table and was often confused throughout the night for a
band member, humbly thanking fans at the end ofthe night who congratulated
him on a great set.
On Thursday night, local indie post-pop band Beekeeper played to a tough
i .crowd. Lightvocal harmonies juxtaposed with screamo, or candy pop and heavy
on the digital keyboard. They played a tight set, yet maybe tried in vain to win
over the crowd of NoMeansNo devotees.
By the time the headliners hit the stage, anticipation was high, especially
among the young, shirdess guys in front Rob Wrighf s heavy bass lines churned
people into motion and the raucous crowd pushed people toward the front all
night, spilling onto the knee-high stage. It didn't matter. Finding oneself on
stage was a good excuse to crowd surf back into the pit of sweat and serenity.
The Ford Pier Vengeance Trio opened the Friday gig. Ford Pier, who has
played in a number of different bands, including D.O.A., goes way back with
the members of NoMeansNo and the B.C. music scene. Think melodic hardcore pop, mixed with drawn out instrumentals and erratic tempo changes.
Both NoMeansNo sets featured "Jubilation," a track off 2010's Tour EP 2. The
music had energy and a magical mix of incredible technique, evidenced by the
impassioned performance. They showed that they could play as fast and hard
as they did 20 years ago with record quality precision. Fans in the know turned
to each other screaming lyrics and pumping fists in unison to favourites off
their seminal Wrong album, like "Rags and Bones" and "Two Lips, Two Lungs ,
and One Tongue,"which Rob joked theywere "contractually obligated" to play. \
You could see the exuberance in Rob as sweat dripped off his knuckles onto
his bass. Holliston's facial expressions revealed the focus and hypnotism that
seemed to wholly take over his body while he played guitar. John, meanwhile—
who Dave Grohl refers to as one of his inspirations—kept his head down as
he laid down the beat A cacophony of beautiful noise emerged with the skill
and expertise of true artists and performers.
All three musicians bring their unique talents and strengths to the stage, but
what makes the music is their ability to listen to each other and anticipate quick
changes. Ifs not a predictable, tired, old married couple type of familiarity with SANS AIDS BY STEVE LOUIE
their songs. Both nights found them embracing the energy in the room with
two-hour sets full of as much enthusiasm as a band 30 years younger than them.
If it says so on a NoMeansNo t-shirt, it must be true: Old is the new Young.
—Carrie Suuaaum
AUNTS & UNCLES / TYRANAHORSE / VINCENT PARKER / RED HOT
ICICLES BURNING ON FIRE / NARWHAL
The Cobalt /May 27
The release party of Tyranahorse's debut LP, Ghostwdjmotherhaivkprairieunicorn-
lionlioness at the Cobalt featured a mostly complementary lineup. Though they
were the group of honour this night, the evening had many stars.
First up was a drum-guitar duo Narwhal. Frontman Issam's guitar was so
out of tune it had to be intentional. Strangely enough, it nearly worked as an
artistic statement. A guitar can be simple and needn't be a weapon of virtuosity.
After this mayhem came Red Hot Icicles Burning on Fire, whose gold-
glittered grooves and Flea-esque bass lines kept us in their pocket. Many agreed
that the venue-provided drum kit sounded deadly. This, combined with the
co-vocalisf s synth, had me loving the B-52S all over again.
Then came misbooked misfit Vincent Parker, who prompted in me a need
for some fresh air. I've seen many things on the stage, but the DJ was one ofthe
most annoying. The rest ofthe bands were well chosen, though, and members of
Tyranahorse could be seen grooving out to the groups from amongst the crowd.
Tyranahorse's call and response vocals had me thinking yet again ofthe
B-52S, but now crossing flight paths with the Talking Heads. Tunes like "Joy
Wolf" and "Teenage Girl" impressed me. Overall, itwas just plain fun—ifs
been a long time since I've heard a kazoo. And then there was the unforgettable
theremin that swept the PA's limits, locking us into the band's wavelength.
Seeing the freaky workings of this instrument, played by PrOphecy Sun—who
was tangled in mic cabling- made for good show. They played loud, looked
proud and left the crowd demanding an encore. With one band left to go,
they didn't get one.
Aunts & Uncles then took the stage and compressed their set into whatever
time they had left, finishing a six-minute song in double-time. We only heard
a couple songs from them but the violin playing layered over a Strat was a
refreshing end to the concert.
—Evan Salmon
TIMBER TIMBRE/TASSEOMANCY
The Vogue Theatre /June 1st
The scenes inside and outside ofthe Vogue Theatre on the evening of June 1st
could not have been more starkly different. On Granville Street, swarms of
Canuck fans celebrated their first win ofthe Stanley Cup playoffs in an exuberant, drunken frenzy, while inside a somber and sacred display took place.
Purportedly psychic twin sisters Sari and Romy Lightman, now performing j under the name Tasseomancy rather than their former moniker, Ghost Bees,
commenced the night with a song entided "Anubis," an invocation of the jackal
headed Egyptian deity. Tasseomancy intoned a delicate blend of apocalyptic
folk, gothic metal and psychedelic rock reminiscent of a ritualistically produced
love-child of Current 93 and Joanna Newsom. Their mellifluous and organic
folk roots live on as phantasms in sweet reverb-laden vocal harmonies that
soared above the electrical hum of dirges praising the ancient ones or those
with horns and hides. The sisters led their backing band of keyboards and
drums with mandolin and guitar melodies winding through phrygian scales.
They finished their entirely too brief set (only about half a dozen songs) with
"Ashkelon," a surreal letter of love and loss to the seaside Israeli city.
Timber Timbre continued the solemnity and meditative, bleak mood of occultism with "Bad Ritual," the opening track of their most recent album Creep
On Creepin' On. The most striking quality of Timber Timbre's performance
was that each track was distinctively rendered in a manner starkly different
from the recorded versions. Each song was slowed to a near halt, giving the
show the sound ofa warbly, warped old 78 dragging along at 33 revolutions.
The tempo added to the already ethereal spookiness ofthe group's music,
stretching their spiritualist inflected doo-wop into the otherworldly liminal
space of an electroacoustic seance.
Lead singer/guitarist Taylor Kirk pulled us through dimensions of subtlety
with his characteristically morbid vocals, which were occasionally interspersed
with yelps and growls. Mika Posen's keyboard and fiddle lines, as well as Simon
Trottier's contributions on the lap steel and autoharp, sketched in some depth
to the otherwise minimalist arrangements. Kirk, after having a chuckle at the
expense ofthe Canuck fans out on Granville, introduced their track "Black
Water" as "Eye ofthe Tiger," injecting a rare bit of humour into the evening.
Overall, the effect was deeply powerful. The band, lit by a simple and static
red wash, built a world of sinister intensity, transporting the audience to an
underworld populated by the likes of Robert Johnson and Lustmord where they
seemed to divine hellhound blues out of an oblivion of noise.
—Anthony Meza
WOMANKIND / COWARDS / THE NEW VALUES / HEMOGOBLIN
&tf$Publ}wie$
Hemogoblin, who opened at Pat's Pub on the third night of Music Waste, stood
on-stage in silence for twenty minutes before the first sounds finally came out
ofthe speakers. Oddly, it wasn't a guitar riff or snare hit, though. Rather, the
wall of noise that started the gig was that ofa PA dying. Hemogoblin did their
best to combat the technical difficulties—the duo played a hi-gain set packed
full of goodies that made me frustrated to have to listen to it all through the in
high-pitched squeals and exploding bass fuzz ofthe mangled sound system.
Guitarist Ian Kinakin had more than enough six-string prowess to mash up
surf, thrash, and garage rock into a proper rock 'n' roll performance. Seeing
him work a loop pedal to add in bass lines and other backing tracks was a treat
and added depth to the stellar performance.
The New Values attracted a lot of front-line attention as the crowd squeezed
in tight to get a look at the threesome, a feat considering the intense volume at
which the kick drum was (unintentionally) coming across. The group channeled
a strong Cali-punk vibe with raking guitar riffs and steady bass lines—think the
Germs with a heap more talent —but the real draw was the smarts with which
the trio played their tunes. The almost academic combination of art-punk and
L. A. crunch made the New Values an easy act to enjoy.
To say Cowards "tookto the stage" would be inaccurate, since vocalist Keith
Wecker spent most of his set among the audience, screaming at the crowd
like he'd gargled whiskey before the show. Cowards played a fairly traditional
hardcore set in the vein of Fucked Up—a big, bearded guy shouting angry lyrics
atop post-punk guitar riffs. Maybe the sound guy was drunk, but the terrible,
grainy quality ofthe set didn't help Cowards stand out, even if Wecker was
standing on a table by the end of it all.
Womankind's Scott Malin looked slightly uneasy getting onto the stage,
j which was understandable given the state ofthe PA system. Despite the high
potential for failure, Womankind sounded great and played a raucous, if short
set. Like a rumbling, drop-top convertible version of Pissed Jeans, the band tore
through all four ofthe songs on their new self-titled record - "2 Out Of 10,"
"Five," "Miami Tan" and "Fang Fang" I before moving on to material both
j new and old. That Womankind were able to defeat the demons plaguing the
sound setup for long enough to thrash the crowd into exhaustion might lie in
Malin, who sung with such passion and anger as to be genuinely intimidating.
At the end ofthe night, the pub emptied quickly as the audience went home to
rest up for the next night of Music Waste—or maybe, like me, they just needed
I to give their eardrums a break.
—Fraser Dobbs
MT-40/TEEN DAZE/BARTEL/DBL DRAGON
PafsPub /June 2
Pat's Pub is such an enjoyable venue for a music show. On any given night you
can make your way through one ofthe more decrepit areas in Vancouver and
wander into the pub attached to the Patricia Hotel, where the beer is cheap, the
music is loud and there is no shortage of moustaches or high-waisted pants.
The second night of Music Waste 2011 was no exception and showcased local
bands MT-40, Teen Daze, Bartel and DBL Dragon.
DBL Dragon opened the night with their brand of indie dance pop. First
I off, awesome band name, especially if in reference to the awesome video
game/movie. DBL Dragon provided sexy pop beats for the more committed
fans on the dance floor, and created funky background noise for the fiercely
unapproachable women who occupied the pool table for most ofthe night
The crowd was a tad bit on the monolithic side during Andrew Harris,
a.k.a. Battel's, set In the audienee*S defense, it is quite difficult to move to
the guy's atmospheric, electronic shoegaze. Nevertheless, Bartel is a prime
example Vancouver's never-ending growth in electronic music, bringing
with him-an immense knowledge of sound design and composition to the
forefront of his live shows.
Now for my favourite part ofthe night's activities, Abbotsford producer
Teen Daze. He played songs from his Four More Years EP, as well as a few new
singles. Out of all the times I have seen the eclectic chillwaver, he has never
failed to deliver as less than a stellar performance.
Closing out the night was MT-40. Personally, I did not enjoy them. Their
vocals were far too washed out, the echo coming through the PA was unnecessarily high and the songs relied on the roughly the same concept for each song:
a keyboard loop and a drum line. The music did, however, have people dancing,
so clearly some people admire their style. Just not me. Overall, though, the
combination of great local talent and cheap Dead Frog beers made for a great
night. It also made for a shitty nighf s sleep and a hangover, but it was worth it.
j —AlecJ. Ross
DEAD GHOSTS / TEENANGER / NEEDLES//PINS
June 20 / Anti-Social Skate Shop
In 1998 when Refused named their final album <i6>The Shape of Punk To
Come, ifs safe to say that they were imagining something very different than
what passes for punk these days. Emo and post-hardcore have stripped the,
genre of its gritty edge and political outrage, replacing it with limp pop ten-
I dencies and high-school melodrama. Furthermore, punk's aging heroes have shed any last vestiges of credibility, with John Lydon and Iggy Pop appearing
| in cringe-worthy commercials (for butter and life insurance respectively). So
j much has happened to sully the name of punk rock. Thankfully, the verve and
I spirit displayed by the three bands that played the Anti-Social Skate Shop gave
[ us hope that there's life in the old dog yet.
1      Openers Needles//Pins had some nicely executed hooks - especially on the
I      choppy stomp, "Kalifornia Korner" - though some of their songs suffered
a little from a lack of
dynamics. On record, their singer's voice is reedy and weedy, butlive he's got
his yelping down perfecdy, lending a much more gratifying bite to their tunes.
j      Toronto's Teenanger burst out ofthe gates with the blistering "Bank Ac-
I count," a thrilling meld of
the Stooges' mayhem and Link Wray's more raucous moments. Vocalist
Riley Wild was brimming with tense energy, but not the grating machismo so
1 often seen in punk frontmen. While definitely the tightest band ofthe night,
I their technical proficiency did nothing to temper the pure rock fury. They
retained a rawness that kept things exciting.
Though their appearance suggested that headliners Dead Ghosts were
the youngest band on the bill, their musical reference points were definitely
| the oldest. Their tunes hearkened back '50s rock 'n' roll and '60s garage.
Executed with a youthful exuberance, their songs were to the point and seriously catchy, with vibrato guitar and reverb vox lending a definite authenticity
I to their classic sound.
j—WillPedley
SLED ISLAND FESTIVAL DAY 1
June 11 I Calgary, AB ,
I Even before I made it to Calgary, I was feeling Sled Island's good vibes. Just a
I few seats away from me on my flight was former S.T.RE.E.T.S./Bogus Tokus
I bassist Mike Payette, who was heading out to the fest as a curator. He planned
! a few metal-oriented shows and was also about to play his first show with his
j new band Scarebro. More on those dudes later.
1 My aunt picked me up from the airport and drove me to her place, where we had
1 an incredible vegan dinner and caught up on old times. All my Sled downtime
has been spent here. Ifs great. But onto the shows!
(Wild Nothing @ Central United
I met up with Discorder photographer/Real Live Action editor Steve Louie at
I this gorgeous church venue. A quick scan ofthe crowd revealed a ton of other
I CiTR and Discorder heads as well. Itwas like a family reunion. Things got off
I to a super mellow start, courtesy ofVirginia's Wild Nothing. Oddly, the troupe
sauntered out to the Law & Order theme before parading out their gauzy brand
J of dream pop. Aside from their intro, the band played it straight. Leader Jack
I Tatum delivered some octave-jumping vocals on the Smiths-y "Live In Dreams,"
but interestingly decided to skip out on his falsetto on the equally enigmatic
"Confirmation." Overall, the expansive church setting had their echo-laden
cuts ringing out extra heavenly.
Sans AIDS and Pat Jordache @ Tubby Dog
I Across town at hot dog joint Tubby Dog, Edmonton's Sans AIDS were offering
1 up some loose and wriggly, detuned indie pop. Playing in front ofa screen
showing some classic Top Cat cartoons, the trio's energized tunes seemed
inspired by late Cowtown-favourites Women, which possibly warmed the
j heart of that outfit's drummer Michael Wallace, who stood in the crowd. A
I cover of Captain Beefhearf s doo-wop number "I'm Glad" was ramshackle,
but super endearing.
Montreal popster Pat Jordache kicked off his set by showing off his new
j shirt, a striped button-up number he picked up at Value Village for $4.99,
Home of
Vancouver's
Music Directories
BANDS MUSICIANS RESOURCES
COMMUNITY
DRIVEN
CONCERT
LISTINGS
but ultimately he dissed the
thrift store. "They're dirty,"
he laughed, pointing to their
connections to Wal-Mart. "Ifs
all a scam."
His quintet then launched
into the energetic soul-pop
stunner "Get It (I Know You're
Going To)".
Jordache's touching baritone
warble resonated on "Phantom
Limb," which also saw him
dropping a funk-tastic bassline.
I can't wait to see this guy at
both the Waldorf and at Zulu
next week.
B-Lines @ Broken City
B-Lines are legitimately one of
my favourite Vancouver bands,
and, as always, they impressed
at Broken City. Singer Ryan Dyck
snarled at the devoted throng
singing along to "Social Retard"
and "World War Four," but the
dude started getting pelted with
Lucky Lager cans by the time "It
Rains" rolled around. "Whatever
you have in your hands, throw it
at us," he cried seconds before a
lobbed pint glass smashed at his feet. He countered with a kicking-and-crawling s
crowdsurf session. Just awesome.
Scarebro @ The Ship & Anchor
As hinted at earlier, Scarebro took to Calgary to play their first-ever show. Made |
up of Payette, Bison B.C. singer James Farwell and former Bison B.C. drummer j
Brad MacKinnon, the band bashed out a short set of tunes balancing '70s riff
rock and early '90s Vancouver Island pop punk (think M Blanket). "DuctTape" j
was a particularly adrenaline-fueled rager.
Friendo and Crocodiles @ Palomino
Calgary act Friendo delivered some super sweet and surfy, girl-fronted garage j
rock. They were pretty good, but their buzzy bubblegum began to blend by j
set's end.
Crocodiles, meanwhile, absolutely slayed the crowd at the C&W-themed j
basement venue. Singer Brandon Welchez commanded attention as he crooned,
cried, wiggled wildly and delivered weird, spoken-word ramblings throughout j
the night. Coming off like the lovechild of Iggy Pop and Jim Morrison, he waxed
on how the joint smelled of lepers, semen and disease during an extended build J
up on "Mirrors." The propulsive thumper "Summer of Hate," meanwhile, j
had him pick up a guitar and bash out razor-sharp jags of noise beside his j
six-string companion, Charles Rowell. Shades ofthe Jesus & Mary Chain j
reverberated around the room as most stood agog at the sonic masterpiece \
unfolding in front of them. It was loud, chaotic, sexy and the perfect capper
to the first night of Sled Island.
Go to discorder.ca for a full wrap up ofthe festival. sub:
TO DISCORDER!
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mm 'S- "*S,'-'--SS<-.tS>- (RUMBLETONE   radio   a   go   go)
Frank Rumbletone, host of Rumbletone Radio A Go Go, has been exploring
his interest in blown amps and speakers through the medium of radio since
you were still knee-high to a hotrod. He inherited his current time slot after
years of persistent encouragement from Nardwuar the Human Serviette, who
heard about Frank's old show in San Diego. Frank himself is a fixture in the
local punk, rock and garage scene, with a reputation as one ofthe city's best
live promoters and dedicated fans. Specializing in songs with an average
length of less than two minutes, he has crammed more fuzzed-out b-sides and
rarities into his decades-long college radio career than the average university
student will ever hear.
Discorder: What's been your most memorable on-air moment?
Frank Rumbletone: The most memorable was when a band called the Pandoras—this all-girl garage band—invaded the station. All of their songs were
pretty perverted and they actually deep-throated the microphones live on the air.
D: In this very radio booth?!
FR: No, that was in California. In this town, Litde Guitar Army came to demonstrate how good their litde guitars are—this was just last week. They came
in to demonstrate how bitchin' and superior their litde guitars are to the
average sized guitar.
D: Who's been your best guest?
FR: Itwas nice having [former CiTR program coordinator] Bryce Dunn down the
hallway. He was the real brains behind the program. I could ask him anything
about any band and he was able to spit out details.
D: Which album would you bring to a deserted island?
FR: The Morlocks' Emerge. That album blew out not only one pair of speakers
that I've owned, but two. That and maybe, oh... just one? Well, then the Dwarves'
Horror Stories. It's completely acid-drenched fuzz, backwhen they were basically
a '60s style punk band. I played that album like hell when it came out [in 1986],
way before anybody even knew who the heck they were!
D: What is your favourite CiTR radio show?
FR: Chis-a-riffic's [Parts Unknown]!
D: Wow, he's won two months in a row!
FR: Chris is just great. In the future, people are going to look back and say, "I
remember when that guy was doing college radio."
D: What does the future hold for Rumbletone Radio A Go Go?
FR: The future of Rumbletone Radio A Go Go depends on the listeners. As
long as the phone boards keep lighting up and people keep tapping me on the
shoulder at gigs and telling me how much they enjoy listening... that's what
keeps me coming here week after week.
Rumbletone Radio A Go Go airs Wednesdays from 3 to 5 p.m. // CiTR 101.9 FM CHARTS
STRICTLY THE DOPEST HITZ OF JUNE
#
ARTIST
ALBUM
LABEL
#
ARTIST
ALBUM
LABEL
1
Various4+
CiTR Pop Alliance
Vol.2
Mint/CiTR 101.9
FM
26
Timber Timbre4
Creep On Creepin'
On
Arts & Crafts
2
Hunx and His
Punx
Too Young To Be
In Love
Hardly Art
27
Panda Bear
Tomboy
Paw Trades
3
Chad VanGaalen4
Diaper Island
Flemish Eye
28
Handsome Furs4
Sound Kapital
Sub Pop
4
Austra4
Feel It Break
Paper Bag
29
The Donkeys
Born With Stripes
Dead Oceans
5
Sloan4
The Double Cross
Outside
30
The Rosebuds
Loud Planes Fly Low
Merge
6
Apollo Ghosts4+
For What They Do,
They Do
Independent
31
Sonny & the
Sunsets
Hit After Hit
Fat Possum
7
TheB-
Lines4+
The B-Lines
Nominal
32
Geoff Berner4+
Victory Party
Mint
8
Sean Nicholas Savage / Kool Music4
Won Ton Jazz
Arbutus
33
The Phoenix
Foundation
Buffalo
Memphis
Industries
9
Shannon And The
Clams
Sleep Talk
1234 GO!
34
The Mountain
Goats
All Eternals Deck
Merge
10
Sex With Strangers*^
Frontier Justice
Boutique Empire
35
The
Raveonettes
Raven In The Grave
Vice
11
Chains of Love4+
Singles
Independent
36
Les Breastfeeders4
Dans la gueule des
jours
Blow The Fuse
12
Braids4
Native Speaker
Flemish Eye
37
Hauschka
Salon des Amateurs
130701
13
SunWiz-
ard*+
Positively 4th
Avenue
Light Organ
38
Jennifer Castle4
Castlemusic
Flemish Eye
14
Korean
Gut4+
Your Misery, Our
Benefit
Mammoth Cave
39
Little Scream4
The Golden Record
Outside
15
Roxahne Potvin4
Play
Black Hen
40
Folk
Thief*+
Love, Heartache and
Oblivion
Independent
16
Times New Viking
Dancer Equired
Merge
41
Northcote4+
Gather No Dust
Independent
17
The Luyas4
Too Beautiful To
Work
IdEeFixe
42
The Good Lovelies4
Let the Rain Fall
Self-Released
18
Mother Mother4+
Eureka
Last Gang
43
Zola Jesus
Valusia EP
Sacred Bones
19
Shearing Pinx4+
Rituals
Isolated Now Waves
44
Bibio
MindBokeh
Warp
20
Fucked Up4
David Comes to
Life
Matador
45
Cowboy Junkies*
The Nomad Series
Volume 2: Demons
Latent
21
Indian Wars4+
Walk Around The
Park
Bachelor
46
Son dre Lerche
Sondre Lerche
Mona
22
Love
Cuts4+
Love Cuts 7-inch
Nominal
47
Frederick Squire*
Sings Shenandoah &
Other Popular Hits
Blue Fog
23
Myelin Sheaths4
Get on Your Nerves
South Paw
48
Womankind^
Womankind
Nominal
24
TheOhWells4+
The EP That We
Love
Independent
49
Wet Hair
In Vogue Spirit
DeStijl
25
Architecture In
Helsinki
Moment Bends
Modular
50
Purity Ring4
Ungirthed 7-inch
Transparent
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those with a plus (+) are
Vancouver based. Most of these excellent albums can be found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music
coordinator a shout at (604) 822-8733. We can tell you how to find them. Check out other great campus/community radio charts at www.earshot-online.com. TOP 15 TITLES OF NOTE.
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•*•*•*•"•■* •
www.facebook.com/peopie/
ZuluRecords-Store/680210042
tumble   zulurecords.tumblr.com
7teafRu&
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed   10:30-7:00
Thurs and Fri 10:30-9:00

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