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ill^^S^^ EDITOR'S NOTE
There's a stack of paper by my bedside thafs steadily grown since I started
jotting down every single concert I've been to since the '90s. Unfortunately,
years of wear have caused the paper to tear; the comers of each sheet are
crinkled, the Bic ink of my litde boy scribble is starting to fade and the paper
itself is stained yellow from oxidization. Terrified of losing my log, I recently
started digitizing the list onto my laptop and it's...it's been a bit ofa chore.
I'm only at the year 2000 and Pm already well over 300 shows into this project
I can tell you this: things didn't start off so hot On September 4,1990, the
first day of school, my parents took my sister and I to B.C. Place to see the New
Kids on the Block. I'll admit I had some fun watching Joey-Joe hang tough with
his buds, but the real reason I was brought to the gig was because my mom
and dad knew there was no way in hell they were going to find a babysitter for
me on what was essentially the biggest day ofthe year for teen girls city-wide.
Three years later, I was redeemed when my dad brought me back to the venue
to watch Neil Young, Pearl Jam and a pre-public urination scandal Blind Melon.
The most significant show of those early years, oddly enough, took place
on August 12,1995 just outside of that very same stadium. The NFA skatejam
in the parking lot was headlined by local hip-hoppers the Rascalz, but itwas a
performance from the super trashy hardcore act Pipebomb that blew me away.
They were fast obnoxious and furious and proved to me that you didn't need to
shell out the big bucks for out-of-town bands to be entertained. Since then—like
a lot of you, I imagine—I've caught countless gigs at downtown bars, bams
in Langley, house shows in the suburbs and everywhere in between just to see
my favourite bands. And you know what? A ton of them were home-grown.
Truthfully, I haven't seen all ofthe bands featured in this issue. The first
time I saw Heavy Chains, however, was last summer underneath a bridge in
East Van and their skull-penetrating, cyclical grunge licks have been stuck in my
mind ever since. I do think I'll have to head out to Abbotsford, don some body
paint and freak out to spazzters GSTS sometime soon, though. I'll make sure
not to get neon dye all over my keyboard when I type up the post-show details.
Discorderly yours,
Gregory Adams
EDITOR
Gregory Adams
ART DIRECTOR
Lindsey Hampton
PRODUCTION MANAGER
Debby Reis
COPY EDITORS
Sarah Charrouf, Steve Louie,
Debby Reis
AD MANAGER
Maegan Thomas
UNDER REVIEW EDITOR
Sarah Charrouf
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Steve Louie
WEB EDITOR
Reilly Wood
CALENDAR LISTINGS
Debby Reis
ACCOUNTS MANAGER
Corey Ratch
PROGRAM GUIDE
Bryce Dunn, Debby Reis
OFFICIAL TWEETERS
Dorothy Neufeld, Debby Reis
CiTR STATION MANAGER
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Student Radio Society of UBC
PROMOTIONS INTERN
Dorothy Neufeld
COVER
Heavy Chains
I WRITERS
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request TABLE M
OF
CONTENTS
MAY
2011
REGULARS//
06/RIFFRAFF
Disable / War Victims / The Ramblin' Ambassadors / Koban
07 / TEXTUALLY ACTIVE
CR Avery 38 Bar Blues
20/CALENDAR
22 / PROGRAM GUIDE
25/ARTPR0fECT
Jennilee Marigomen
28/UNDER REVIEW
B-Lines / Blanche Devereaux / the Fleshtones / Mathieu Lavigne / Oh Susanna
/ OK Vancouver OK / Okkervil River / Papermaps / Skip Jensen / the Stick / the
Strange Magic / This Is Franco / Twin Library / Viami Mice / Xray Eyeballs
FEATURES//
UVEACTION
Jeans Wilder / Girls Rock Camp Fundraiser / Safety Show / Apollo Ghosts / War
Baby / Weirding / The Devon Clifford Memorial Foundation Benefit / Tame Impala
AIR
mmEAVY CHAINS
Grungy noiseniks Heavy Chains might have a soft spot for Harry Potter, but
besides that the band has a strict "no-nerds" policy.
10/THEALBERTANS
With their membership currently spread across a couple continents, it's tough
to get a band practice going, but the Albertans sublimely poppy sophomore
set Neu> Afle has us hoping they get back to gigging ASAP.
■mmmmfORTREss
As our own Cail Judy found out Miracle Fortress main man Graham Van
Pelt can turn any place, even your bedroom, into a veritable dance club.
14 /MAN MAN
All it took for Philly freak rockers Man Man to deliver their finest and most
personal album yet Life Fantastic, were a couple nervous breakdowns and
a visit from the taxman.
16/GSTS
■111
39/CHARTS
You don't have to don a fresh coat of body paint to enjoy Abbotsford spazz
punks GSTS' tunes, but trust us, it just looks cool. RESTRICTED ENTERTAINMENT
PROUDLY SUPPORTING ALTERNATIVE CULTURE I MUSIC! NIGHTLIFE
|SATURimY7NlAWlL§,^vP"|
A TRIBUTE TO
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BREWING CO.
1701 POWELL ST
604.568.3877 RIFF RAFF
Hello again dear readers, and welcome to another installment of record
nepotism gone awry. As we head full-on into May, the old adage of
April showers bringing certain fresh-smelling and colourful plants is
rudely crushed into the dirt by the heels of bullet-belted crust punks.
and their manifesto for their gloomier-than-thou outlook on life,
herein played by Atlanta, Georgia's Disable and Gothenburg, Sweden's War-
victims. This recent split single allows for maximum venting on issues of dirty
politics, the gory results of war, and other pleasantries whilst blitzkrieg-style
riffs steamroll over an earthquake of drums in tracks like Disable's "Enola"
and Warvictim's "Take Control." Fans of d-beat and hardcore will undoubtedly
find their holy grail here and kudos to local lanky punker the Foat for bringing
this to the masses via his Charged//Distorted label.
And now for something completely different. Calgary's the Ramblin'
Ambassadors have released another killet slab of treble-heavy instrumental
rock and roll. "Pine Beetle Express" shoots down the rails faster than a swarm
of those pesky critters feasting on a forest full of woodsy goodness. Like
Huevos Rancheros, of which guitar slinger Brent Cooper was a founding
member, the Ambassadors marry the best parts of surf and spaghetti-western
soundtracks with a dose of perky punk to great effect The results are always
spectacular. Rounding out this platter are two Shadows (yes, the penultimate
British instrumental combo) numbers—"The Savage" and "Pants Off, Dance
On (FBI)" —worthy of any hi-fi.
Lastly, locals Koban deliver a dose of gothic pop worth its weight in "Solid
Gold," as the lead-off song from their new single attests. Guitarist Samuel
Buss and bassist Brittany Westgarth, along with their drum machine, craft
four songs of sublimely spacey but seemingly catchy post-wave in the vein
of Warsaw, early Bauhaus or even Cocteau Twins. Tracks like "Listed" and
"Bastille" move along darkly on sparse, barked-out vocal lines and staccato-
laced beats. These guys would not be out of place on a bill with Mode Moderne
or Shi Yi. In fact I would pay good money to see that happen. Ok, Koban, the
ball is in your court Make it so.
And with that I am out
Disable/Wdruictims: Chargedl/Distorted Records www.chardeddistorted.bloaspot.com
The Ramblin' Ambassadors: Eat Shit And Die Records www.esanddrecordtn4s.c0m
Koban: The Broadway to Boundary Records www.thebroadwaytoboundary.com fc TEXTUALLY ACTIVE
BY CAIL JUDY
i
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trr
nv*
38 BAR BLUES
38 Bar Blues
by CR Avery
Write Bloody Publishing
CJL APERY
H.ue
If you like poetry that will kick you in the balls, steal your girlfriend and
smoke your cigarettes, than you should read CR Avery's $% Bar Blues.
Are you familiar with the mystery that is CR Avery? A musician/
spoken-word artist/songwriter/poet/beatboxer/harmonica virtuoso from
Commercial Drive, Avery has been performing music and poetry since he
was 17. He's recorded an astonishing 16 albums, written and performed six
hip-hop operas up and down the West Coast opened for folk legend Billy Bragg
and is constantly on tour. His website says that "his incredible live performances
have been described as Bob Dylan in the body of Iggy Pop colliding with Little
Walter, the Beastie Boys and Allen Ginsberg." That's quite a cast of characters,
but it's an apt description. He's a blue-collar poet for the working man who
both likes to read and get into fights on the weekend.
38 Bar Blues stands on its own as a fine work of literature. This is outlaw
poetry. The book examines different facets of Avery's life as a touring musician,
as well as his love of women, cigarettes and the road. His publisher describes
the book as having "the grit of any bar-room brawl you can imagine but filled
with such romance you can't put it down."
The poetic imagery in his work is what really makes Avery's writing stand
out Take this stanza from his poem "A Few Thousand Words:"
Hie sun has gone to sleep in a heap of summer dresses.
The Mexican moon has not risen jrorn her jbldout bed
for the 9 below zero night shift.
Please lift the lights in the apartment windows qfour village.
They are our only lonely guide
through the charcoal cold of her bitchy mysteries.
They will shine and illuminate unshaven black thighs
up to her royal blue undergarments,
waiting for handsome altar boys who are really young dykes
with switch blades concealed under their cloaks
to light the orphan star.
Ifs like reading a pane of stained glass. You could say his writing is akin to
Americana because of his rustic images and tough style, but he loves Canada
too much to be labelled with anything resembling "America." Avery revels in
his Canadian roots and pays homage to national figures like Pierre Trudeau
and towns like Sault Ste. Marie. This is brass knuckle poetry that will punch
you in the face on one page and kiss your hand like a gentleman on another.
Fans familiar with CR Avery's work will finally be able to understand what
he's saying in "Birdcage," a poem he often performs live about a man and
a woman enjoying conversation in her "living room of living rooms" about
her "birdcage piano." It's a truly phenomenal poem, but once you've seen it
performed live, it comes to life in a whole new way. Avery's gravelly vocal delivery
brings a dynamic quality to his work that will make you weak in the knees.
If you're a fan of Tom Waits, Charles Bukowski or Leonard Cohen, you'll
enjoy 3 8 Bar Blues. And the next time you're on Commercial Drive, give CR Avery
a cigarette, buthold your girl close ;if he whispers a poem into her ear when
you're not looking, brother, she'll be gone...and so will he. fc BY SARAH CHARROUF
PHOTOS BY HEAVY CHAINS
Discorder recently caught up with local thrash/noise band Heavy Chains in
their studio on Hastings. Speaking above the din of other artists working and
drinking in the canvas-lined studio, Heavy Chains chatted about their experiences in the band. It wasn't long before their humour and sarcasm gave the
interview a new tone, and everything flowed from there—just like their music.
The artists in Heavy Chains aren't new to the stage: members Anne-Marie
Vassiliou and Andrea Lukic play in White Lung and Nii Sensae, respectively. The
gritty grunge punk act is rounded out by Brody McKnight He can't keep still
on stage. He usually seems like he could care less if there's anyone watching
him, preferring to keep his back turned to the crowd as he wails on his guitar.
Lukic's energy is concentrated in her brutal vocals, but she has enough stamina
left over to hammer out punishing and repetitive bass lines a la Brainbombs.
Meanwhile, Vassiliou stays perfectly composed as she assaults the drums with
precision. Their new album, A Very Real Hell, comes out this month on local
imprint Broadway to Boundary. You should check it out Discorder: [To McKnight] Are you in any other
bands right now?
Brody McKnight: Yeah. Well, sort of. One doesn't
have a name. We haven't done anything yet We've
been practicing for a year. It's a slow process.
[Heavy Chains] is the band that I've .been doing a
lot more stuff with.
Andrea LukiC: What's that Guns N' Roses album
called that took...
BM: Chine^feemocracy. Yeah, that's me right now.
AL: You should call it Chinese Democracy.
BM: I should; probably will.
D: Then you'd have to souhcfflke^ltiave Guns N'
Roses influence.
AL: Everyonejhas a GNR influence.
D: [To Lukic and Vassiliou] You both play in pretty
well-received and well-liked bands. How do you
balance being in two bands? p "*&&
AL: It's tough in Heavy Ch^j^There's mjm£$j&>
mand in Heavy Chains.
Anne-Marie Vassiliou: it takes a lot out of us. it's
exhausting.
AL: The songs are so heavy [but] we manage. We
setbv- %&^:
AMV: We scrape by.
D: Do you find that being in Heavy
Chains is a well needed alternative to
the other bands you're in? Did you start
it to do something differe^fe:^
AL: Well, we're not really doing anything
different in this. She's still playing the
drums and I'm still playing the bass
and singing. We have the same roles.
BM: I think it was just to make this as easy on us
as possible: one riff for the whole song. But this
turned out to be super hard because when you have
verses and choruses you can kind of tell where you
are. I find that I have to think more, because if I'm
playing the same riff over and over again, I have to
pay more attention to what the drums are doing.
I don't know what she's [Lukic] doing on vocals.
So, it's more difficult Ifs a tough band to be in.
AL: But it pays off. Wait 'til this album comes out
There'll be a big payoff.
D: There was a Heavy Chains song that Andrea put
on a playlist a while ago called "Heavy Chains 5"
that sounds really different than your live shows;
the song is much more bass-heavy and the vocals
are much more tame than on the new album, too.
It sounds a lot more like Nii Sensae.
AL: That one was recorded on a four-track. We
changed a few things in that song. But it could
just be the quality ofthe recording. Nii Sensae just
recorded on shit So that might have something
to do with it
D: I searched the term "Heavy Chains" and found
that it refers to biology. Then I noticed a song by
the Japanese metal band...
- BM: Loudness?
D: Yeah. Is that where you got your name?
BM: No. I think I thought of it one day; it came really
fast We were trying to think ofa band name and I
thought of it one day and I told them at some show
and they liked it. I think I saw it somewhere. [To
Lukic:] You told me thatyou went to some club in
Europe called Chains, a metal bar. And I work in a
stock room for a record store and I saw a sticker that
said "heavy" on it and I just thought ofthe story
she told me, and I just saw that word. Ifs pretty
obvious. I knew about that Loudness song before,
but it didn't come from that Some people think it
came from [a] Gucci Mane [song].
AMV: Yeah, there's a song called "Heavy" and he
says something about his chains.
BM: I think Kanye has a new song called "Heavy
Chains."
AL: Ifs just a cool thing.
BM: It just sounds cool.
D: Did you see that photo of LiP Wayne wearing
a punk vest?
HEAVY CHAINS DOESN'T LIKE
ANYTHING THAT'S FOR NERDS,
—ANDREA LUKIC ON STAR TREKkHU HARRY POTTER.
Everyone: No.
D: He's got an Anti-Cimex patch and studs all over
his black leather vest.
BM: Is that a recent photo?
D:Yeah.
AL: Maybe he's just mad that he's been in prison
for so long so he needs to get into more aggressive music.
D: Well, I was convinced thatyour band name came
from that Loudness song because Andrea's vocals
remind me of G.I.S.M. a little bit When I saw that
there was a Japanese metal song called "Heavy
Chains," I thought it just made sense that you'd
be influenced by Japanese punk and metal.
AL: We do a G.I.S.M. cover.
BM: Yeah, we do a G.I.S.M. cover thafs coming out
on a seven-inch in a couple months.
AL: I think we're influenced by a lot of things.
BM: Yeah, it wasn't a main influence going into
the band.
AL: But we can't really deny it since we do a G.I.S.M.
cover.
BM: But that came later. That was almost a year later..
But I don't know what it was [that influenced us].
It was just being brutal all the time. More brutal.
[sarcastically] Every time we have practice, Anne-
Marie is like "We've gotta write a song thafs more
brutal." If there was a pedal that justhad a "Brutal"
setting on it, we'd have five of them turned up,
and thafs us.
D: Cool. I've been thinking about the local scene and
I've noticed that Heavy Chains doesn't really fit into
anything thafs going on right now. ^ 1%
BM: Good.
AL: Maybe we started this band because we wanted
to make music that we would go see. The repetitive-
ness of the Brainbombs... a 'ib$&toSs[kv:&&
BM: The Stooges.
AL: Yeah, we're influenced by bands like that So,
that would make sense.
BM: We really want to get onJ5pffen. So we tried to
tailor our sd@ajj|d;to what Geffen would want. We *
wanna be on the same label as Nirvana and Sonic
Youth [were my^^^x^rii
D: Do you wish you c^uMgo back in time?
AL: I would go back in time. Not to the '90s. Hell
no. Maybe to, like, the^gas; '
AMV: Steal sj^feone's invention!
;/. $|ji With the knowledge I have now...
IpV: You could start the Internet
AL: That would be so cool. - - "vYy' •i£-
BM: Like in BackTo The Future 2, I'd just
take a sports almanac back and bid
on hockey. Just become rich.
'Air Yeah, I'd definitely go to the past
Any decade, aside from the '90s. I
> V ffl$t have any desire to go... maybe
the early '90s. I don't know.^^^go stop a war too.
I'd stop WWII. I'd write Harry Potter, or something.
I saw the new movie, it was so good. I've never
read any of it or seen any ofthe other movies, but I
thought it was good.
D: I think that was the worst one.
AL: Really?
BM: I've never seen any of it I have no idea what
ifsabout
AMV: Me neither. Or read them. It grosses me out
AL: The movie is great Daniel [Pitout Nii Sensae's
drummer] had to force me to go and I thought itwas
gonna suck...But Harry Potter is for nerds.
D: Would you rather watch Star Trek?
AMV: I would never watch that either. Ifs also for
nerds.
AL: Heavy Chains doesn't like anything thafs for
nerds.
AMV: We like to bum nerds.
AL: Drown-a-nerd. [laughing] That's gonna be
our [album]: Drown A Nerd. It'll be us smashing
computers.
Heavy Chains play their record release party at the Astoria,
May 10. h THE ALBERTANS
BY ROBERTFOUGERE
ILLUSTRATION BY SARAH JANE HOLTOM
The Albertans are a project pooling the collective and creative consciousness of five talented musicians who actually live outside the
majestic province of Alberta. The band formed in Vancouver just
over three years ago from the ashes of vocalist/guitarist Joel Bravo
and bassist Ian Everall's former band, Sex with an Angel, a New York
based collective whose material was eventually released as the Albertans' first
EP, also called Sex with an Angel. They've since solidified their lineup to include
drummer Curtis Mclean and keyboardists Alison Yip and Krystin Monaghan.
The group cut their teeth by touring extensively stateside, which might help
explain how they've managed to fly under the local radar before the recent
release of their second full-length album, New Age.
The especially enigmatic and egoless Joel Bravo recently spoke with Discorder
on a weekend visit to Vancouver from his home-away-from-home of Bowen
Island, and answered some questions about the band and their new album.
Early into the conversation, the singer/guitarist confirmed suspicions that
naming the group after the country-loving province of Alberta might cause some
misguided listening expectations. The Albertans play a particularly sweet brand
of indie rock that doesn't rely as heavily on distortion as it does on simple and
clean guitar parts, punchy bass lines and well timed keyboard flourishes. New
Age's title track features a group chorus which brings Arcade Fire and Akron/
.Family to mind. Despite this, their first tour was booked by their agent with
an alt-country band that they should not have been sharing the stage with.
"People just didn't know what to do with us," Bravo said.
The musician also explained that there is more than meets the ear at first
listen to the new album. The album's lyrics contain the obvious references to
New Age spirituality, but really, the majority ofthe tracks were written from
the perspective ofa 14-year-old, juxtaposing New Age with coming-of-age.
"New Age refers mainly to that weird time at the very beginning of
adolescence when everything is changing and you have this raw emotional
intensity thafs kind of unparalleled. You could fall in love like you never could
before... paralleling that with New Age religions and thinking about how the
two play off each other," Bravo explains. He notes, however, that he doesn't
necessarily share the feelings ofthe fictional characters he writes about
A top priority of Bravo's is making sure the Albertans' records are on par
with their live show, which is no easy task given their dynamic range and
stage presence. Most of their tracks are danceable and keep you on your toes.
They've got their set-list on speed dial, progressively working the crowd up as
the night goes on. Ifs also pretty obvious that they're genuinely happy to be
there, which makes watching them all the more enjoyable.
Bravo suggested that for the next album, more time in the recording studio
and dedicated songwriting will even out some ofthe swings that work well
on stage, but might not translate on record. He also made it clear that the
collaborative spirit ofthe Albertans is something that will remain very important
to future efforts, pointing out that the first single from New Age, "The Wake,"
was written from scratch as a group effort. It also features a video made by the
band using vintage film footage that is an uncanny fit for the track.
Despite having just released a new album, the Albertans are currently
on a short hiatus while Yip, an accomplished painter, attends a residency in
Germany and Everall records with a side-project called Deadbeat Darling in
England. Geographical constraints don't worry Bravo, though. He likened his
commitment to the band to a long-term relationship. "Ifs like being in love
with someone," he explains, and right now the relationship feels very enriching
and stable. Having found bandmates that share his sentiments has allowed
Bravo to relax and focus on other things, like The Secret of Sugarloqf, a musical
he's directing that was created by the middle school kids at Island Pacific
School on Bowen Island. Aside from that, Bravo and the other Albertans are
eagerly awaiting Yip and Everall's return to Canada this summer so they can
hit the road once again, fc
11 MIRACLE FORTRESS
ILLUSTRATION BY TYLER CRICH
12 Graham Van Pelt is a swiss-army knife of musical talent
As the man behind the Montreal-based solo project Miracle Fortress, he acts as composer, arranger,
performer, producer and engineer—every word and
every sound of Miracle Fortress is born from him.
His first album, 2007's Five Roses, was nominated for a Polaris
Music Prize and heralded by critics and fans as an indie-pop
masterpiece. Awash in synth-laden soundscapes and layered
vocals, the album had people wondering if he was a long lost
cousin of Brian Eno's. His new album Was I the Wave'!, however,
veers Miracle Fortress into new terrain: bedroom club music. It
feels like a dance party for one. It may be a significant departure
from Five Roses in sound, but not in spirit. Discorder caught
up with Van Pelt over the phone to get the skinny on the new
album, and the musician came across much like his records:
introspective, deeply personal and full of ideas.
The genesis of Miracle Fortress began simply enough as
an outlet for the music that didn't fit into Van Pelfs full-time
band, indie-dance-rockers Think About Life. "Ifs not a band
that I'm the lead singer in or anything," he says of that project
"I've always made music on my own. Ifs something that Pm
addicted to doing. [Think About Life] is a dance band quite a
bit different than anything else I've been a part of. My role is
not the centrepiece.I write a lot of music for Think About Life
[for other people to perform]."
While Van Pelfs first album focused heavily on psychedelic,
six-string guitar loops that intertwined in melodic splendour.
Was I the Wave? takes root in more euro-centric club synths
and deep, oscillating beats that play with your sense of space.
Hypnotic opening track "Awe" builds on layers of reverb, with
pulsating synths weaving in and out a foreshadowing ofthe
album to come. The finely-tuned, dreamy closing piece "Until",
one ofthe few guitar focused songs on the album, brings to mind
images of angels playing harps on a cloud. The album ebbs and
flows like, well, a wave. The hooks are submerged in an ocean
of sound. When asked about the new album's distinct shift
in style, Van Pelt laughs. "Yeah, people seem to have noticed.
I [made both records] using the same tools and techniques,
but the biggest thing that people who paid attention to the last
album will notice is I don't play nearly as much guitar [on the
new album]. I brought more drums and programming into the
fold and I hadn't done much of that previously."
What's most surprising about Miracle Fortress' recent
transformation is that Van Pelt didn't set out to make an electronic
record. "I tried to let [the recording process] be pretty natural.
I didn't set out to do any kind of music that had a name. It was
an organic, experimental process," he says before pausing to
muse over his methods. "I waited for things to start making
sense next to each other. Itwas a really slow process and I took
a lot of time just experimenting with different sounds I could
use and integrate into the music. Ifs a big process. Nothing
you hear was specifically pre-meditated or planned out other
than certain experiments working out and becoming the natural
decisions that got made."
VaH Pelfs patience and focus paid off: Was I the Wave? is an
intoxicating album, requiring repeat listens and a sturdy set of
headphones. From its club numbers to the '8os dance-pop feel
of "Spectre," a thoroughly uplifting track that hearkens back to
a time when the Smiths ruled the British airwaves, the album's
an all-access pass into the unique musical mind of Van Pelt
Each song unlocks the door to this man's creative sensibilities.
Miracle Fortress is aptly named. Van Pelt really is a fortress
unto himself, crafting his records alone. Working in solitude
does, however, offer its own unique challenges. When asked
if he enjoys being alone or if he finds it difficult he chuckles,
"You could ask that question to anybody alone in their life."
"If s a big proposition to work by yourself on something,"
he continues in a more serious tone. "I do try to reach out for
a little feedback from people I know, but for the most part
you're on the war against all of your sensibilities and seeing
what kinds of comprises you can come up with [when] all the
different parts of your personality [are] presenting themselves
at once." For Van Pelt winning this war is all important
The Miracle Fortress website describes the creation ofWds
I the Wdue? as "a product of [Van Pelfs] occasionally hermetic
temperament... [expressing] themes of alienation, anonymity,
or the desire for the assurances of intimacy." When asked if
he agreed with this statement, Van Pelt said the description
is "more in reference to me as a person than feeling like I was
left all alone with the music, like life wasn't fair. I'll always be
somebody who spends a lot of their time working on their own,
doing music and finding sounds."
For Van Pelt there's nothing he'd rather be doing than
creating music. "Ifs a hobby I picked up as a teenager and
I don't ever imagine I'll spend much time away from it I'm
extremely lucky to be able to do this." And lucky for us, Van Pelt
has crafted a dynamic record that will reach out and connect
with those who take the time to swim in its sonic waves.
Miracle Fortress Opens/or Shad at Fortune Sound Club, May 7. ^
13 AM.
Philadelphia-based idiosyncratic visionaries Man Man are bound
to turn heads with their fourth album, Life Fantastic—an emotional
saga set to an infusion of fluid dreaminess, layered explosive-,
ness and terminal wanderlust. Though known for their crazed
stage antics, intricate and oddball lyrics and use of almost every
instrument under the sun (melodicas, saxophones, kazoos), the
band's latest finds bandmates Honus Honus, Chang Wang, Pow
Pow, Jefferson and Turkey Moth extending beyond the scope
of Frank Zappa and Tom Waits comparisons and into a realm
of controlled musicality and sincere honesty. Differing from
their previous album Rabbit Habits' chaotic mentality and spastic
execution, Life Fantastic sees Man Man refocus and recollect
creating a range of emotionality, from the IRS-audit-inspired
"Piranhas Club" to "Steak Knives," which laments tortured
relationships and untimely deaths. Teetering between pop and
experimental music, Life Fantastic finds Man Man growing not
only as a band, but as people outside of their onstage personae.
Speaking with Discorder, frontman Honus Honus, bom Ryan
Kattner, delves into the complexities ofthe album as well as
some misconceptions about Man Man. £4
MORE
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DiSCOrder: Three years is considered a long time
between albums in the music industry—did the
band feel pressure to get this album out?
Ryan Kattner: We did. The longer you take to put
out a record, the more bands fill the void and push
you to the wayside. Life wasn't going to let me get
this record done any sooner than it did and ifs more
important for us to release a good album rather than
rush one out We have never been a band that fits
snugly into a category other than our own, so we
weren't too concerned about getting lost in a wave of
whatever rehash was occurring. My favourite thing
about this record is that it still doesn't sound like
anyone else. I mean, it sounds like us.
D: Really? I found this album diverged quite a bit
from previous Man Man albums—chaotic dissonance doesn't seem to reign, but rather a more
controlled sound does.
RK: [Laughs] I was just testing you. Thafs the one
thing—it would be a great misfortune for us if people
didn't actually listen to the record. We sort of get compartmentalized into "just another Man Man record,"
and it comes hand-in-hand with our reputation as a
live band. As a live band we're having fun and trying
to share what we do, so it does present a different.
picture of us.
D: Have you developed a negative reaction towards your
live shows because they are so easily trademarked?
RK: No, no. The only negativity is I think our playfulness gets misconstrued as goofy or silly, and there's
a fine line there. It can get people thinking thatwe're
not serious about our craft If our whole thing was
just banging on pots and pans, why would we waste
our time writing songs and having shitty personal
lives? When we play, we want to earn you and don't
want to take for granted that you're there. We still
feel like we need to prove ourselves because you
need to stay hungry and on your toes.
D: You've mentioned in other interviews that there
is an absence of structure on this album, but even
with more "typical" Man Man songs like "Dark Arts"
and "Knuckles Down," there's still structure. Was
that in reference to the songs, themes, or yourself?
RK: Thematically, there is definitely an absence of
structure in my life, and thafs what I like about
this record and, in a greater scope, about music:
the transformative quality. Lyrically, the songs were
a real labour of love to pull together and muscle
through some really tough personal times. And it
was s tuff all people go through, but I was able to air
it out through the songs. But for the transformative
quality, for someone else, they won't hear any of
that and they'll just enjoy the songs as what they
are because at the end ofthe day, the songs just
need to be open enough that people can affix their
own meanings.
D: The ability to storytell is ripe in both the lyrics
and instruments on this album, specifically with
"Haute Tropique." Are these stories your stories
or Honus Honus' stories?
RK: Specifically, those songs were two experiments
that [the band] wanted to provide music and have
me provide context and content to tie in. Thafs
really difficult for me, because typically most songs
start with a skeleton structure—just words and
piano or guitar—and I just don't really know how
to separate the two. I feel like that [lends to] the
album's idea of lack of structure and I wanted to .
do a song about human nature, so that's kind of
what that song's about
0: Does the lack of structure tie into the chant-like
section of "Bangkok Necktie?" It sounds like an
infusion of influences, from an old mariner's song
to prose from a tall tale.
RK: None of us have any musical training, we're all
self-taught So when we have these kinds of ideas,
there aren't any boundaries. For ["Bangkok Necktie"], I really like doing chain-gang style sounds
because I went to high school in Alabama where
they reinstated the chain-gang, so you would be
driving the highway and see people chained to each
other. Thafs insane! They stopped it because they
found it inhumane, but [the sounds] kind of stuck.
Parts of that song were also kind of inspired by the
[David] Carradine death [a speculated auto-erotic
asphyxiation] and the extent to which people will
go for love or personal gratification. I don't want
to contextualize the song too much, but that was
definitely floating around. It's dark, you know, "get
a rope, get a room."
D: There does seem to be this battle of dark versus
light on the album.
RK: It really is a battle [between] those two things.
I know most of life is like a second act but'if s the
highs and lows that fascinate me. When all that
stuff was going on, I felt myself falling back into
bad habits and allowing myself to get swallowed
up. And ifs a song like "Dark Arts" that helped
me get a lot of that stuff out of my head and thafs
when I could finally see the light on [Life Fantastic].
It took a good deal of time for me to even want to
write songs because, initially, this band just kind of
happened out of therapeutic reasons and needing
some form of something to get it out—a staged
exorcism. Or just a stage. And as years went by,
and one bad decision turned into three albums, I
UCliS .
making me
found that playing music was actually J
more crazy than more healthy and I defmnely didfrr
want to fall back on old tricks. Lyrically, I just didn't
feel anything, but I was able to refocus and go back
to why I started playing music in the first place.
D: How so?
RK: I just had to ride out the storm a little bit. I would
have never guessed that getting audited would be
something that would re-clarify my vision. I would
never pray for that to happen to anyone, but that
lends itself to the transformative quality of music.
I got audited, which was a nightmare. Especially
when you're someone who's got all your stuff in
storage. It was so surreal and Kafka-esque, I was
like "what are they going to get from me? I have
nothing." I was losing my mind, and my dad was
like "Why don't you write a tax song?" and I was
like "Fuckyou, dad." At that point, things couldn't
get any worse—I had friends dying, and no place
to live— and itwas like "I'm barely getting by, and
now I'm getting audited?"
D: Well, now that line about punching your dad in
the face in "Piranhas Club" makes sense.
RK: I love my dad [laughs]. For me if s a tax song,
but ifs basically about telling people to do what
they want. But ifs different foreveryone. Ifs also
a little ridiculous.. .vdriving a car into a lake because
ifs going to make you feel better. I think everyone
is damaged to a certain extent so you might as well
embrace that rather than trying to keep hiding it
and running away.
D: Specifically between songs like "Steak Knives"
and "Piranha's Club," you can hear your emotional
process and, at points, recovery.
RK: ["Steak Knives"] kills me. That was probably
the hardest song to write, and it was the first song
[written for Life Fantastic]. I had two very close friends
pass away, and relationships ending, and all my stuff
in storage. I didn't know what to do and I started
writing that song. It took almost a year for that song
to get written. It is the most bare bones song. I think
ifs a gorgeous song, but ifs a hard one for me to
listen to though... I'm hesitant to say that ifs a very
personal record, because they're all very personal,
but there was a directness on this one that I maybe
stayed away from in the past. Personally, it was
written during this period when I was drifting. My
head and my heart were in different places all the
time and it was just a matter of trying to connect
them and get them back in the same place. I can't
say where they both are now, butthey're both closer.
Man Man plays the Rickshaw, May 17.fc
15 GSTS
DREAM VISIONS AND STRAIGHT SECRETS
BY MARTIN LEMELIN
PHOTO BY LINDSEY HAMPTON
Picture this: A wild troupe of half-nudes tromping around a roaring
' blaze of flames? systematically stomping out primitive beats and
flaUingtbek arms In me air with complete abandon. Realizing that
conseryative clothing has no place in such an orgiastic gathering,
nfcn^H^TOwlrWrnWdrawers. And then there's the paint buckets
ofthe brightest colours known to man are being hurled and splattered all over
random faces and limbs. Ifs a celebration of nothing in particular. Ifs a vision that at least half the members of Abbotsford-based rowdy rockers GSTS
would like to see come true.
"We had a vision that we wanted our shows to be really animalistic and
primitive," Drew Riekman tells Discorder over a three-dollar breakfast at Bon's
Off Broadway. After revelling in this would-be dream for a few moments, he •
snaps out of it "I don't know. Ifs just this thing that I have that I would love
to see come true!"
Fittingly, GSTS (pronounced "Gee Es Tee Es") used to paint themselves
up regularly before shows in the hopes of making a reality ofthe above mentioned vision, but now they aren't so sure. "I just don't like the idea of people
expecting it" bassist Rubin Houweling says ofthe one-time ritual. Vocalist
Caleb Campbell and drummer Tyler Corbett seem indifferent about the paint
Riekman, however, holds a little more affection for the practice, but admits the
fact of the matter is that "we don't want people coming to our shows to see us
get painted up. We want people to come and hear our music."
Put simply, GSTS just like to jam. Currently, they have ten new tracks
recorded and have also planned a summertime tour to Montreal with fellow
Abbotsford natives, Oh No! Yoko, but as always, funding these endeavours is
a reality that can nun dreams into nightmares.
"We're just trying to get some money together to support this tour," Riek-
man explains before slurping down his eggs, sunny-side up.
Despite sitting on some newly recorded tunes, GSTS and "spiritual advisor" Stephen O'Shea, formerly of You Say Party, have decided to put off
releasing a new album just yet But don't you fret: a three-song promo to the
upcoming full-length is available on the GSTS Bandcamp page, paving the
way for the full album's release in September. Riekman's plan is to release
the promo album, and hopefully raise enough money on the road to support
16 the release ofthe full-length.
The as-of-yet unnamed album's opening track, "Hot Damn! Snake On My
Gun," starts off with a distorted mix of frantic guitar picking and a manic, driving
rhythm. There are more than a few tasty little licks spliced in, but the main feel
seems to be one of pissed off enjoyment The GSTS sound leaves an anguished
and apocalyptic impression, but not in a depressing kind of way. Screaming
until your throat is useless and making a lot of noise is downright fun, and that
seems to be what GSTS is all about Just don't tell them that
"We don't play obnoxiously loud," Riekman insists. "We all bought our
equipment to make sure it would sound good." And to be fair, it does. There's
almost nothing obnoxious about a song like "There's a Triangle in All of Us,"
another track from the upcoming full-length. By far the slowest song on the
album, it takes its time before it explodes. From its gradually evolving entrance,
you're struck with a sense that you might be in the wrong place, like the first
steps into a friend ofa friend's house party. When the bass suddenly cuts through
to make way for our first taste of Campbell's screech, you start to think these
hooligans might be worth a listen. And when the boom finally does come, the
sudden crash of cymbals, deep pulsing bass and rolling licks are running at full
bore. Campbell's spine-tingling shriek, "I've got it all!" punctuates this yarn
of hullabaloo to the point where you just can't help but get physically involved.
Whereas a song like "Break Your Fingers High Five Jam Time" immediately
smacks you in the chops and takes you through a maze of disorienting twists
and turns, "There's a Triangle in All of Us" shows us how well the band can
work together, creating a lengthy and almost seamless number that should
appeal to the headbanger in us all.
Thafs the kind of enthusiasm these songs inspire.
Even with all ofthe chaotic changes, there are moments in each of these songs
where you can't help but bounce along. It doesn't matter thatyou can't understand
what the hell Campbell is screaming about in "My Gay Friend and Our Straight
Secret" His piercing vocals scream for recognition in a most intrusive way.
GSTS still have a ways to go, though. While their upcoming album is something they ought to be proud of, they'll have to work hard to get it out there. Tbif s
what their summer tour is all about taking their Abbotsford music scene on the
road. As for the body paint and debauched antics, you'll just have to wait and see. *
17 ■Mr
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boots country.
SHAKE A TAIL FEATHER
(Soul/R&B) 3-spm
Alternating 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
Alternating 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.
queerfrnradio@gmail.com
RHYTHMSINDIA
(World) 8-Qpm
Alternatina Sundays
Featuring a wide range of
music from India, includ
ing popular music from
the 1930s to the present;
Ghazals and Bhajans,
Qawwalis, pop and regional
language numbers.
TECHNO PROGRESSIVO
(Dance) 8-gpm
Alternatina Sundays
A mix ofthe latest house
music, tech-house, prog-
house and techno.
BOOTLEGS & B-SIDES
(Dance/Electronic) o-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) nam-i2pm
SYNCHRONICS
(Talk) 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
fTalk) 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
(Rogue 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 ifs just music.
Find us on Facebook!
EXPLODING HEAD MOVIES
(Eclectic) 7:30-9pm
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.
May 2: Celebrating the
Hammond Organ master
| Richard "Groove" Holmes'
\ birthday with Groove! His
first with the great tenor £
man Ben Webster.
I May 9: Charles Mingus'
favourite tenor player:
Booker Ervin and co. with
The Book Cooks.
May 16: Celebrate the birth-
I day ofa great bandleader:
I Woody Herman with one of
his best bands in a live date
J from: Encore!
May 23: Another birthday:
j icon Artie Shaw. A selection
j of his last small group re
cordings as a clarinettist Although he lived until 2004,
he never touched the clarinet
after these 1954 dates.
May 30: One more birthday:
Benny Goodman! Some
great live recordings by his
band and his quartet and
trio from the 1930s in The
King of Swing.
CANADA POST-ROCK
(Rock) i2-i:ooam
Formerly on CKXU, Canada
Post-Rock now resides on
the west coast but it's still
cornmitted 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.
THIRD TIME'S THE CHARM
(Rock) 9:3o-n:3oam
Open your ears and prepare
for a shock! A harmless
note may make you a fan!
Deadlier than the most
dangerous criminals!
borninsixtynine@
hotmail.com
MORNING AFTER SHOW
(Eclectic) n: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@gmall.com
http://giveemthebootword-
press.com
WINGS
(Talk) 3-3:30pm
Alternating Tuesdays
PROF TALK
(Talk) 3-3:30pm
Alternating 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
fTalk) 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
fTalk) s-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) 8-9pm
CRIMES & TREASONS
(Hip-hop) 9-npm
crimesandtreasons@gmail.
23 CABARADIO
(Talk) npm-i2:3oam
For the world of Cabaret
Tune in for interviews,
skits, musical guests and
more. Ifs 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-n:3oam
ANOIZE
(Noise) n:3oam-ipm
An hour and a half of avant-
rock, noize, plunderphonic,
psychedelic and outsider
aspects of audio. An experience for those who want to
be educated and EARitated.
lukemeat@hotmail.com
THE GREEN MAJORITY
(Talk) i-2pm
Canada's only environmental news hour, syndicated by
CIUT 89.5 FM Toronto and ,
wunv.greenmajority.ca.
DEMOCRACY NOW
fTalk) 2-3pm
ARTS REPORT
fTalk) 5-6pm
REEL TO REAL
fTalk) 6-6:3opm
Alternating Wednesdays
Movie reviews and criti-
DISCORDER RADIO
(Talk) 6-6:3opm
Alternating 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) 6:30-8pm
Alternating 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 shriek, 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
fTalk) 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
(Eclectic) i-2pm
Punk rock, indie pop and
whatever else I deem worthy. Hosted by a closet nerd,
www.weallfalldowncitr.
blogspotca
INK STUDS
fTalk) 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
(World) 3-3:30pm
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
fTalk) 5-6pm
j A national radio service
and part of an international
I network of information and
action in support of indigenous peoples'survival and
dignity.
I ARE YOU AWARE
(Eclectic) 6-7:3opm
I Celebrating the message
behind the music: Profiling
I music and musicians that
j take the route of positive
I action over apathy.
I STEREOSCOPIC REDOUBT
1 (Rock) 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, the 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) 7:30-9am
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.
CITR LISTENER HOUR
(Eclectic) 12-ipm
Tune in each week as you,
the CiTR fan, gets to program an hour of adventure
for the whole world to hear!
For more info, contact
program coordinator Bryce
Dunn at citrprogramming@
club.ams.ubc.ca.
BARNBURNER
(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
(Nardwuar) 3:30-spm
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.
THE BASSMENT
(Dance/Electronic) 9-io:3opm
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 EDGE
(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
POWERCHORD
(Metal) i-3pm
Vancouver's longest running metal show. If you're
into music thafs on the
heavier/darker side ofthe
spectrum, then you'll like
it. Sonic assault provided by
Geoff, Marcia and Andy.
CODE BLUE
(Roots) 3-spm
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
24 ART PROJECT//JENNILEE MARIGOMEH
ennilee Marigomen is a Vancouver-based photographer. Her work
investigates everyday phenomenon and the tensions between the
natural world and urban intervention. Jennilee was one ofthe recipients ofthe Magenta Foundation's Flash Forward Emerging Photographer Award in 2010. She has participated in exhibitions and fine art
auctions in New York, Los Angeles, Chicago, Stockholm, Toronto,
Boston, Washington, San Erancisco as well as in Japan, Lithuania
and Argentina. Her work has been featured in Inventory Magazine,
PIG, Foam, Vice, Tiny Vices, Celeste, o_ioo, Elle Girl Korea, Waterfall Magazine
and in the collective benefit publication Smoke Bath by Seems Books. Jennilee
initiated and co-curated the ongoing photograph projection shows Stream (Los
Angeles and Baltimore) and Night Vision (Vancouver). Her most recent initiatives
are acting as the Art Director/Photo Editor for online arts and culture publication
01 Magazine, collaborating with New York-based artist David Horvitz and putting together limited-run books with small presses in Japan, London, and Paris,
jennileemarigomen. com
25 l6 27 JHLINKS
HI
R REVIEW
B-Lines are a sight to see live; their onstage energy is always high. Vocalist.
Ryan Dyck dances and swings around
the stage and often times moves right
into the crowd's space-nit's not unlikely for him to get right into an audience member's face. Thankfully, their
recently released twelve-inch brings
that energy to your bedroom, with
each song ripping apart your speakers
for no more than a minute and forty
seconds before the next track kicks in.
Despite a few lineup changes,
Dyck's vocals remain slightly high-
pitched and rooted in early punk
and hardcore. The guitars, drums
and bass are always tight, fast, and
catchy, working in perfect harmony.
Bruce Dyck's cymbals crash while guitarist Scotty Colin and bassist Adam
FothergilTs fingers blaze across their
fretboards rapidly. Like their live performances, the record is fun, raw and
perfect for anyone looking to get into
party-mode and is especially reminiscent of being a teen rebel (see "Psychedelic High School").
—Sarah Charrouf
BLANCHE BEVEREAUX
SIAMESE TWINS
(Independent)
While not a particularly fast-paced
record, Siamese Twins is filled with
the requisite energy for garage rock
greatness. The album evokes the
I sounds ofthe Cramps, alternating
between bluesy shuffles and aggres-
■ sive rockers.
"Hot Mess" is the standout track
! and its title is appropriately descrip-
! tive of how it sounds. The chorus is
j well crafted and features a torrent of
! instruments backing the manic cries
I ofthe lead singer. "Pleasure Pier" is
| a groovy shuffle that showcases the
frantic guitar skills of Greg Pqthier,
| which blend well with the drums.
None ofthe songs are complex,
I nor are they overly long, and the pro-
duction value is distinctly lo-fi: the
I vocals are sometimes out of key and
I completely unintelligible. Regard-
I less, these factors are the hallmarks
of great garage rock, making Siamese
Tunns an album wofth bearing.
I '—Adam Clarke
THE FLESHTONES
BROOKLYN SOUND SOLUTION
(YepRoc Records)
The Fleshtones deserve a break.
Seriously. These garage-rock vets
started at the legendary CBGB in 1976,
and have toured, written and recorded
relentlessly since then—without even
getting close to the Billboard Top 100.
They even maintained a certain ano-.
nymity through the New York garage
rock revival ofthe early '00s. Could
this album change that?
The Brooklyn Sound Solution features
a new element: guitarist Lenny Kaye,
best known for writing and playing
with Patti Smith. His guitar, which
noodles through most ofthe tracks,
seems like it belongs. Most songs are
instrumental, with guitar comfortably taking the place of vocals. Of
the album's 12 songs, six are covers,
including the Beatles' classic "Day
Tripper." Covering classics is a risky
move: who can do it better than the
original? But the Fleshtones tend to
pull it off, making the songs seem
more like a tribute than a rip-off. Of
the originals, "Solution #1," "Solution #2" and "Back Beat #1" seem
like instrumental vehicles for Kaye
to showcase his guitar talent Far and
away the best track ofthe album is
"Bite Of My Soul," a raucous burst
of energy that'll stick in your head.
There's nothing about this album,
musically at least that lets you know
ifs from 2011. It could have been written and produced 30 years ago. That
said, ifs not so much that the Fleshtones are living in the past but they
are enjoying a very specific sound they
created. Their bouncing beats carry
*70s-rock vibes. The vocals, when
present are energetic, with the band
shouting together to punctuate key
words. Every track is upbeat and infectiously cheerful. The Fleshtones even
smile in their promo shot.
The Brooklyn Sound Solution is not
a breakthrough, nor is it a huge
departure. This is an album from
I a band that seems very happy with
where they're at Maybe we, the fans,
can meet them there and have a good
time too.
—Jeremy Stothers
MATHIEU LAVIGME
LITTLE WARS
\ (Independent)
Some albums just end up getting lost
in the piles of hubris, never to see the
[ light of day, but every now and again
one wings its way to some reviewer
who in turn is touched by it For years
now, I have seen Mathieu Lavigne in
and around my neighbourhood, but
had no clue that he was a musician. So
imagine my surprise when his debut
album was assigned to me for review.
What was even better was that I actually enjoyed it! Little Wars is a strong
first effort that at times brings to mind
the syrupy qualities ofWill Oldham's
folk-country output mixed with the
gruff stylings of Dan Mangan, but as a
whole it is very much Lavigne. For the
most part this is acoustic guitar, voice
and a bit of sparse backup. Ifs not a
jumper of an album and it might be
best suited for those rainy inside days
when there is more time to soak in its
lyrics and musical textures, of which
there is plenty. The standout track on
Little Wars is the hugely personal "Sixteen Months." The French number
"Au Milieu D'un Eti," however, comes
in at a close second, adding a bit of
buoyancy to a fairly low key album.
28 To carve out your own sound while
staying true to a genre can't always
be easy when speaking of unsigned
street level musicians, but Lavigne
has managed quite well for himself.
Aside from a wee bit of filler on Little
Wars, he is off to a good start
—Nathan Pike
OH SUSANNA
SOON THE BIRDS
(Oirrstd€)
"Home sweet home." No other phrase
quite captures the warm and endearing quality of Oh Susanna's newly released Soon the Birds. Singer-songwriter Suzie Ungerleider, who performs
under the name of Oh Susanna, has
released four albums prior to Soon the
Birds. While her latest sees her backed
by members of Canadian country rock
legends Blue Rodeo and the '90s Canadian rock group Weeping Tile, it
has a light, fresh and unmistakable
sound that neither exemplifies the
standard country album nor adheres
to it If good ol' boy country music and
folk were ever to produce a love child,
it would be Soon the Birds.
Most ofthe album reflects this hybrid, with an overall soothing quality
to the songs that is further emphasized by the uniquely pure, somewhat
motherly tone of Ungerleider's vocals.
Overall, the songs are well arranged, but the consistency in vocal
style distracts from the musical differentiation that is going on. Perhaps ifs
because, though very pretty, the clarity
of Ungerleider's unique voice seems
I somewhat less befitting of country
I and folk and perhaps more inclined
for alternative rock or pop music.
The lyrics of most ofthe songs,
I though simple, are sincere and in-
I voke a certain nostalgia. In fact, a
I recurring theme ofthe album seems
to be its tendency to remark on dis-
I appointments and reconciliation in
a beautifully sad, yet hopeful light.
This feeling, very poignantly created, is perhaps Soon the Bird's greatest
strength. It is nice to hear something
so unusually and unabashedly different that pushes towards closing the
gap between two genres of music that
can often be strict in terms ofa collectively understood sound.
—Amanda Steiner
OK VANCOUVER OK
I FEEL NICE/HOUSES
(Greenbelt Collective Label)
The notion of originality in contemporary music is a fallacy. After all,
j there is only a finite number ofways
to combine the same few notes to
create something different In order
I to make interesting music, an artist
must assimilate their influences and
attempt to rearrange the pieces into
new shapes and patterns. Central
to OK Vancouver OK, aka Jeff John-
I son's, success in making great music
is his ability to do this with great skill
! and imagination.
On the rousing "Life's A Beach,"
he sings a tune elemental in its emotive power. Ifs as though he's reached
into the ether and plucked out a song
that hadn't yet been found. The factory-like clangs and booms of "I Feel
Nice" give way to an arresting, otherworldly passage of melodica. On "The
Universe Is Fucking Real," he sings
about existential matters over a a Casio
keyboard preset of "Twinkle, Twinkle,
Little Star." Elsewhere, he channels
the spirit ofthe great American folk
songwriters with "Come Alone" and
"The Wind Blows In My Pockets." In
these songs he demonstrates his ability
to write simple but memorable songs
on acoustic guitar in a more traditional
style, as well as finding an unexpected
wonder from experiments with synths
and keyboards.
Always at the core of OK Vancouver OK's songs is a melody of striking emotional resonance carried by
Johnson's brilliant voice. The beauty
these melodies capture is hard to
pinpoint Ifs the kind of ephemeral
beauty ofthe fading light, a stunning
landscape, a smile from a friend or of
any unique experience that reminds
you that you're alive. Or as he more
eloquently puts it in the opening line
of "Laying in a Park I Talked With the
Dogs":"Whata special time as any is."
—WillPedley
OKKERVIL RIVER
t AM VERY FAR
Okkervil River seem to have a flair for
the dramatic which has never been
more apparent than on their latest
offering, I Am Very Far. Abandoning
some ofthe conceptual themes that
j drove Okkervil's previous albums,
I Am Very Far plays like a songwriter
having pushed himself and his band
in a new direction. Still present is a
darkness and ambiguity in its lyrics
and the dramatic arcs and sways in the
music. However, this time around ifs
a little more intense and wide open.
Apparently, a couple of times during the recording process, band leader
Will Sheff brought in two drummers,
two pianists, two bassists and seven
guitar players and recorded in the
same room while doing multiple
takes until the songs were just right
On these songs, "Rider" and "Wake
and Be Fine," you can nearly feel the
tension crackling from the speakers.
These are easily two ofthe best tracks
on the album due to their huge and
almost celebratory nature. But this
isn't light-hearted cheer rock, nor is
it a gloomy blues jam. Rather, it is an
interesting mix ofthe two. Themes
of death and violence are tucked away
neatly inside hopeful passages, while
a staggering array of strings, choral
arrangements, horns and even filing
cabinets being thrown across a room
carry you out to sea. But forget trying
29 to navigate these waters because ifs
not even certain that Sheff himself
knows where he's going. Ifs not that I
Am Very Far is a confounding departure
from past works, but it is clear that
this is a different album than what
fans might be used to. It is an album
that has been written from a place
where past ideas and concepts don't
exist, a clean slate if you will, and from
that has been born a crisp, loose and
magnificent piece of art.
—Nathan Pike
PAPERMAPS
PAPERMAPS
(Sparks Music)
The clanging alt-rock of Papermaps' I
self-titled debut goes down as easy as
a cold pint at the pub, which is probably where it would sound best This
album, with its shout-along choruses
and tightly distorted hooks, is meant
to be played loudly.
While this the first proper album
from Toronto's Papermaps, the band
has been around since 2004. Up until
October 2010, they were known as
ExffiPo. With the new name came a
newer sound; Papermaps is slightly
more refined and accessible (both musically and by search engines). Most
songs have clean verses that transition well into heavier choruses. Lead
vocalist Dean Marino's moans and
yelps tends to grow on you as the album progresses, and his guitar work
complements his tone and pacing.
Papermaps' finest moments are when
the guitar shimmers over a steady
rhythm. The band has also mastered
staccato bursts, punctuating most of
ifs songs with them.
Marino also recorded the album
in his studio and produced it, but
perhaps they could have used a bit
more input from a separate producer. The album's main shortcoming
is that good musical ideas such as
tight bursts, a push-pull rhythm or
a neat phrase, tend to be over-used;
they become less interesting with each
repetition. Fortunately, there are a few
stand-out tracks that show the band's
potential. Lead single "Reunion" has
all the band's tricks done well and it
builds to a convincing climax. "Com
plicate Things" is, ironically, the simplest song on the album, and Marino $
I sounds his most sincere on the chorus
I when he sings "guitar is all right /but
you can't make a living."
The album's shining moments j
could convince the listener that this \
band could go big—or, at least big
enough to make a decent living. Hopefully they do. But if they don't, this
album would still go great with a cold {
beverage.
—Jeremy Stothers
S»P JENSEN
KIHISW OF THE 6B0ST
?}0&&kmn$tT!jumas)
If you're in the mood for some unfil-
tered rockabilly, then take five dollars,
head over to Skip Jensen's Bandcamp
page and let this one-man band add
some spice to your blues collection.
The Spirit ofthe Ghost is largely a raw |
and unrehearsed journey Jensen's \
vocals wail about often ignoring the
suggestion ofa tune, while his guitar
offers some catchy riffs accompanied \
with a rhythm section driven by his
feet Jensen indulges us with multi-
track recording tactics on a few songs,
but largely the music is akin to the I
live experience, with slight mistakes
adding a sense of intimacy. For most
ofthe record, ifs as if Jensen walked
into the studio, straddled his drum
kit strapped on his guitar, pressed
the record button, played for 40 minutes and called it a day. The result is
unadulterated blues-rock, void of any
pretentious elements. If you require a
comparison to put Jensen's talent in 1
perspective, think Mark Sultan (BBQ).
Seeing as how they are both based in
Montreal, often play as a one man \
band, and have that raw '50s blues-
punk feel, the parallels are striking.
The Spirit ofthe Ghost is Jensen's first
full length offering, though he has I
released a number of seven-inches
and is involved with numerous bands, I
including Scat Rag Boosters. The LP I
is consistent with his previous en- j
deavors, highlighting his expressive J
guitar work and vocal bellows. From
bouncy riffs in "Circling Around" to
the country blues feel of "Revival,"
The Spirit ofthe Ghost jangles its way i
through punchy motifs and catchy
jingles. Jensen has achieved a sense j
of vitality by recording an album that
resembles a live gig; this unfettered
quality makes The Spirit ofthe Ghost j
highly recommended.
—Slauko Bucifal
THE STICK
FIORTKODE
^Independent)
As blaring synthesizer chords assault I
you on the title track ofthe Stick's first 1
release, Fight Mode, you can't help but
think that shifs going down. If the EP \
is the local Vancouver duo's attempt j
to put their listeners into a fighting
mood, they couldn't have picked a j
better opening track.
SFU graduates Julian Hou and I
Michael Loncaric have a background
in performance art, which plays an j
active part in their elaborate live per- ]
formances.
The four-song EP demonstrates {
the Stick's effective combination of
hip-hop vocals and eclectic electronic
production. Hou and Loncaric's own
concoction of rapping and singing j
(reminiscent of !!!'s "Must Be The
Moon") is possibly the highlight of j
the record, and the falsetto in "Pseudo
Breaker" could almost be mistaken
for a cameo appearance from TV on
the Radio's Kyp Malone. The duo's j
musicianship does not fall behind,
with plenty of interesting timbres and I
head-bobbing beats to go around,
particularly with the late-'gos video }
game vibe of "The Great Kowloon"
and the final two minutes of the al- |
bum's closer "Let's Eat" which builds
into a powerful cacophony of percussion and synthesizers.
Fight Mode is available for purchase
and free streaming on the Stick's j
Bandcamp page and the duo will be I
performing at the Waldorf on May 10. j
—Daniel da Silva
THE STRANGE MAGIC
SPRIN6 REVERB
(Northern Electric)
Spring Reverb is characterized by the j
Strange Magic's combination of disparate influences. It begins with the
album cover, which shows the silhou- 1
ette ofa young girl, a palm tree and
two soundboards in the background.
This contrasts with the back cover,
which depicts convoluted metallic
pipes in a long tunnel—perhaps a
place for a rocket ship. And strangest yet, inside one finds a photo of
prohibitionists holding signs that
read, "we want beer."
The album begins with the sci-
fi prog number "Dr. Theremin," in
which no theremin could be distinguished. From here things jump from
the classic rock solos of "Planet of !
the Humans" to the back road country jingle "Long and Muddy Road,"
which eventually evolves into an experimental track full of incomprehensible female vocals. The Strange \
Magic appears to make quite an effort
to remain open to suggestions from
all ten of their members.
The lyrics follow a similar theme, j
ranging from odes to the aforementioned "Dr. Theremin" to discussions
on the fate of humanity to relatively I
banal descriptions of getting high on j
"White Rock Beach." Overall, Spring I
Reuerb gives the feel ofa band trying j
hard to leave a lasting impression I
upon the listener, but ends up with \
something aimless and almost silly.
The title itself is misleading, for I
out of the confusion of sounds, no
feeling of spring arises. Reverb? Yes.
Amateur lyrics about cheese, sci- I
ence, drugs and Frankenstein? Yes. !
But springtime? No, that scene was
forgotten. Maybe that's why it appears j
in the title, just to get one more disconnected image in there. Yet with |
such a lack of focus, one can't help but I
recognize a underdeveloped band that !
needs to rethink their spells.
—Andy Resto
THIS IS FRANCO
SHELTER *
(fndepen^ea^l
The Lower Mainland's musical ex- I
ports never fail to impress, and thafs I
no exception with This is Franco. Shel- j
ter, their newest opus, is a culmination |
of all that makes indie music good,
though this doesn't necessarily make j
it unique.
From the get-go, ifs evident that j
30 This is Franco plays on the tried-and-
true formula of catchy pop music.
"Shelter" opens with Kristen Cud- j
more of Language Arts' hauntingly in- ;
nocent vocals. Sadly, the second song j
marks the end of guest appearances I
as the band flares themselves out over .
ten more tracks. Nearly all of Shelter {
is built around acoustic rhythms and
electric leads, which is fantastic and
works well for the indie vocals. The !
bass and percussion are solid, provid- i
ing a sonic background for the rest j
ofthe group.
For a small band that primar- j
ily plays local shows, This is Franco j
can sound big—the moving "These |
Fields", is a prime example of what
the group can do to sound huge.
However, This is Franco really excels I
is in the slower, more sprawled out !
gems, sung about simple themes and
. simple times. "True Story" exploits
this formula, exposing a softer, more I
meaningful side ofthe band.
What This is Franco could really
benefit from is some direction. Despite producing an excellent album,
there's nothing much in terms of
originality. Sadly, this is the curse of
indie music today; ifs daftly hard to
be unique.
—Kami! Kratvczyk
TWIN LIBRARY
THE HEAVY 0RA6
(Indtjmdent)
As the summer rolls in, the lazy freedom begs for an appropriately hazy
soundtrack. Twin Library's newest
release, The Heavy Drag, fits the bill,
beach-themed cover art and all. The
Edmonton band's effects-laden sound
combines the raw textures of garage
rock with nostalgic psychedelia.
Although straightforward acoustic ;
guitars and breathy, harmonized vo-
cals drive the music, the songs are
interspersed with simply effective j
percussion, surf-rock guitar solos on
"There's Nothing Out There," and
Velvet Underground-esque, bloodcurdling feedback on "Dark Maps."
The band also makes tasteful use of
sampling, best demonstrated in the
space-age radio conversations of album closer "When I Was So High."
The tracks themselves are short and
sweet, like fleeting summer mo- j
ments (the album itself clocks in at
just over 15 minutes). The Heavy Drag
is available on Twin Library's Bandcamp page, and makes for a quick )
but rewarding download that begs
to be replayed once the spring rain
finally recedes.
—Daniel da Silva
VIAMi MICE
CIVILZATtON
(Independent)
Viami Mice is a collaboration between
Ryan Parchanslti and Sarah Lane Sinclair. Coming together over a deep
love of beer and goth music, the locals
have produced a seriousjy bizarre al- I
bum titled Conization.
The best way to describe the tracks
is to say that they are deeply rooted in
Avant Garde synthwave with a heavy j
dose ofblack eyeliner goth thrown in j
for good measure.
"Cereal" is full of jarring, abrupt j
beats with vocals that moan, "Cereal... j
thou shalt give me cereal...cereal."
"Forever Yours" follows in a simi- i
lar vein with constricted vocals and
convulsive beats. "In Harmony's Way"
is one ofthe more accessible tracks j
on the album. While beginning with
a new wave vibe similar to Gary Nu- j
man's "Cars," the song shifts halfway
through, with loads of guitar reverb
finishing off the track quite nicely
The album has an experimental
feel that messes with the mind. It is |
easy to get distracted as it is unclear
if Viami Mice are taking the piss or if |
they are dead serious. Or are they dead
serious about taking the piss? Civilza- j
tion is an adventure in the absurd.
—Katherine Boothroyd
XRAY EYEBALLS
NOT NOTHING
(Kanine Records)
Right from the kickoff cut,
"Crystal"—a dirty dance floor dirge
about drug addiction and lost love—
if s easy to see where Brooklyn's Xray
Eyeballs take their cues. Their over-
modulated whirr whispers affection
to The Jesus and Mary Chain, synths
creep in a la Suicide, and their garage-
y fizzle points towards the Velvet Underground. Though wet behind the j
ears, the Eyeballs show a lot of flair
and feeling.
Not Nothing is their debut LP,
though frontman OJ San Felipe has \
been cutting his teeth for a while now
with his other band, the energetic garage revivalists Golden Triangle. Xray j
Eyeballs are darker than that act but j
still know the ins and outs of playful
power pop—take the synth drenched
track "Drums Not Dead" as ans ex- \
ample. It injects playful boy/girl vocals
that go from sweet to creep.
Distinct themes that the group em- j
braces on nearly every track include j
a devotion to drugs, death and en- j
nui. On "Egyptian Magician," Felipe
shadily suggests a youthful Lou Reed, \
especially when he repeatedly purrs, I
"Let's all get high." Combined with
the occult imagery in the lyrics and
the garage aesthetic, the track could
easily accompany the art house films
of Kenneth Anger and do them con- 1
siderable justice.
Several tracks on the album jump
out; "Broken Beds" is strange and \
spacey while "Xray Eyeballs Theme"
is about as playful as a suicide diatribe can be. There's a kitsch quality j
to these songs, many of which are
criminally catchy. The Wall of Sound- j
saluting "Big Toe" would make Phil
Spector proud, joyously calling to j
mind the intro to the Ronette's "Be
My Baby. "Only thing is, ±is baby has
teeth that bite.
The Eyeballs are flirtingwith other
people's sounds and not so much settling in to their own, and that may
be a problem for some listeners. But |
the fun that they're obviously having, \
coupled with their rock star postur- I
ing, implies that they're content to \
fake it till they make it And make it
they most likely will. With NotNothing,.
ifs fair to say thatXray Eyeballs are on j
to something, and their, dark future j
looks positively phosphorescent
—Shane Scott-Travis
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1ISTINCS
31 JEANS WILDER/DIRTY BEACHES/
WATERMELON
April7/TheWiildorfHdtd
Unfortunately, I missed opening act
Watermelon, but I heard that their
set which featured some new grun-
gy songs and a trimmer three-piece
lineup, was their best yet
As far as I could tell, Dirty Beaches,
aka one-man band Alex Zhang Hungtai, was the high point ofthe show
in terms of both attention and attendance. Throughout his performance,
Hungtai seduced us with his badass
Elvis demeanor, whether he was slicking his hair back with a comb, crashing
his guitar into the cymbals of Watermelon's drum kit (which still sat on
stage), or immersing himself into the
respectfully ambivalent crowd. I could
tell people were excited about Dirty
Beaches, but they didn't feel the need
to throw each other around excessively.
I sometimes wonder about Vancouver's
ambivalence towards movement and
if it has something to do with shows
taking place on a weekday.
In spite of performing solo, Hungtai
successfully maintained a captivating
energy. Utilizing a warm vintage amp,
a condenser microphone and a twangy,
reverberating guitar, bis music, both
retro and forward thinking, seems to
come from an ambiguous era. Though
he used a loop pedal, his short, repetitive samples weren'ttedious.butmedi-
tative and engulfing.
Apparently, a lot of people left after
Dirty Beaches to go to the competing
Moon Duo show at the Media Club.
People who stayed, however, sat hypnotized and chilled-out as Jeans Wilder, a.k.a. San Diego laptop musician
Andrew Caddick, hovered above his
glowing MacBook and miniKORG set
up. His music may have been misunderstood. Underneath the hauntingly
hypnogogic, juvenile, reverberating
noise that filled the Waldorf laid passive structures of pop songs. Attunes,
it sounded like reggae ton ran through
a Gameboy, with some modulated and
sanitized synthesizer over top. His set
was complemented by watery visuals
projected on the walls ofthe Waldorf,
as well as some colourful lighting
which added to the melancholic atmosphere ofthe show. I think the crowd
felt more unified once the stand-up
comedian came out ofjeans Wilder, as
he bantered about expensive Canadian
beer compared to America's "cheaper
but weaker" product I bad fun heckling and I thought it was a good show.
—Olivia Meek
GIRLS ROCK CAMP FUNDRAISER
April 7 /The Wise Hall
wnei^LsirrrvecnitTneGirTsRQCK
Camp Fundraiser at the Wise Hall in
East Vancouver, I wasn't sure what
to expect The hall was dimly lit with
candles and the stage was decorated
with shiny streamers acting as a curtain to hide performers backstage.
It felt vaguely like a middle school
dance where organizers attempted to
transform a gymnasium into a concert
venue. But as the young performers
took the stage, it was clear nobody
in the crowd was disappointed by the
venue's amateur aesthetics.
Although the lineup included local superstars Vancougar and Carolyn
Mark, it was the opening acts that
drew in the crowd. The first half of
the show featured participants of Girls
Rock Camp Vancouver 2010, including Kerplunk, Clarice Scop and other
former campers, showcasing their
rock 'n' roll skills. They sang original songs, Ani DiFranco covers and
even a memorable —albeit ear splitting—cover ofNirvana's "Smells Like
Teen Spirit," as performed by the band
Wildlife. One performer even recited
an original poem. The entertainment
was reminiscent of an amateur talent
show but the roaring applause made
me feel like I was in the presence of
rock stars. By the end ofthe night, I
was convinced I was.
Girls Rock Camp Vancouver, a
nonprofit organization, provides a ;
week long summer day camp at the
Urban Native Youth Association on
East Hastings street for girls ages 8-18
to learn the ins and outs of being a
rock 'n' roll musician. The camp's I
32 mission is to provide young women a
supportive and fun space to learn how
to play instruments and write songs.
Better yet young girls get to explore
their own creativity and gain confidence in their own voice. The night
was a fundraiser to ensure funding
to organize a camp for 2011.
In between acts, camp organizers
Sarah Buchanan and Eli Leary acted as
emcees to educate the crowd about
the program and to encourage donations. It wasn't a tough sell. The all-
ages audience was made up of family,
friends and community supporters.
There were t-shirts for sale and a
50/50 raffle was held as well. In its
third year running, the camp is already
very popular. The 30 spots available
each summer are taken quickly, and
girls who don't register in time are
put on a waiting list Since the camp
partners with the Urban Native Youth
Association, ten of those spots are
reserved for Native youth.
Buchanan was pleased with the
! turnout but said she is hoping to gain
more visibility outside of East Vancouver and increase the number of camps
they can organize in the future.
As the show went on, the pride in
the hall was palpable. During intermission, a slideshow of photos of last
year's camp was shown, complete with
audio interviews with the girls. Itwas
the sort of thing that makes your heart
melt The Girls Rock Camp raised over
$1,400 that night putting them in a
great financial position to start making
plans for camp this year.
After the intermission, Vancougar's
performance picked up the tempo. The
energetic pop-punk sounds ofthe all-
female band turned the Wise Hall into
a dance party. Carolyn Mark followed
soon after and ended the night on a
softer note. Dialing down the volume with her folk and roots inspired
tracks, Mark's voice and acoustic guitar acted as a lullaby for all the kids
in attendance. The second half may
have featured experienced artists but it
was the range of talent earlier on that
demonstrated how rock-stars are born.
—Ashhj Kissman
SAFETY SHOW/THE FALKLANDS/
HERMETIC/ ONWARD VOYAGEUR
April /TheRailway Club
At one point during Onward Voyageur' s
set at the Railway Club, a couple of
band members brought their iPhones
out and incorporated some kind of effects-laden piano application into their
music. Unfortunately, you couldn't really hear what they were doing due to
a rather muddy sound mix, so it just
looked as if a couple of musicians were
busy texting as the rest ofthe group
played around them. Novel, but kind of
an odd moment in an otherwise decent
set by this local band. Their jangly guitar playing offered some sweet melodies and bass player Joyita Rubin was
quite proficient in her craft. They had
kind ofa music-to-make-cute-eyes-
with-your-lover thing going on, making sense ofthe term given to them on
their Facebook page: posi-pop.
Up next were Vancouvef s Hermetic,
an impressive duo that played straight-
up energetic rock that veered towards
chaotic and loud. I love a good two-
piece that can pull off a full sound with
little to work with, and six-stringer Eric
Axen and percussionist Bart Newman
did it up right Sometimes all you need
to rock out hard are drums, guitar and
voice.
Now, I'm trying to remember
clearly what the Falklands were like,
but either the drink specials rendered
me incapable at that moment or they
just weren't all that memorable. My
guess is the former, because I have
definitely enjoyed their recorded stuff
in the past However, I do remember
some facial hair, checkered shirts and
a sound vaguely reminding me of Fugazi. Other than that, I'm at a loss. I'm
sure they played good songs though.
I was excited to see headliners
Safety Show after listening to their
latest album, Blackiwrter, on their Bandcamp page and loving every second of
it. With cutely drawn shower curtains
hanging in front ofa couple of band
members, vocalist Katie Lapi and
friends laid into a set that got bodies
moving through their boy/girl harmonizing vocals and happy sounding pop
rock. Though their live output didn't
quite capture the feeling I got from
the album, itwas cool to see them live.
Even though I was obscured by booze
fumes for the last half of this night it
was still a pleasure to get out and see
some ofthe local talent this city has to
offer. I'll definitely keep my eyes peeled
for more lineups like this in the future.
—Nathan Pike
UNNAMED GUIDED BY VOICES
COVER BAND/APOLLO GHOSTS
/ROLE MACH/KOREAN GUT/
INDIAN WARS/MASTER CHEF
April 9 / Lanalou's
This was the first time many in attendance had been to Lanalou's. Even
Apollo Ghosts/Master Chef member
Adrian Teacher mistakenly called it
Hoko's. The former sushi and karaoke
bar has now become a gastropub filled
with antiques and an old-timey feel.
The yam and potato poutine looked
delicious, but the drinks were a bit expensive. The staff were young hipsters
instead ofa friendly family. While the
changes can be described as mildly
disheartening, at least they still have
bands. The stage and sound system got
some good use as six musical groups
took to the stage throughout the night.
Master Chef, a side project made up
of Adrian Teacher from Apollo Ghosts
and Alex Zhang Hungtai from Dirty
Beaches, opened. The duo played a set
of jammy, melodic post-rock, which
sounded nothing like their other projects. Though primarily played on two
guitars, Teacher moved to the drum
set for their last song, giving the closer
a bit more oomph. Though it showcased their improvisational skills, it
didn't really set the emotional mood
that the rest ofthe bands would carry
for the night It might, however, be
something one would enjoy more in
a recorded format
The scruffy looking Indian Wars
were on second and put on the best
performance ofthe night effortlessly
delivering a set of surfy garage rock
with hints of psych. Lead singer Frase
With's nasal vocals were layered atop
feedback and distortion as the band
gave the audience a relaxed, well-
practiced set that was loose in just the
right sort of way.
This was followed by Korean Gut,
led by Jarrett Evan Samson, who also
runs Geographing Records. The band
filled in for Watermelon, who had cancelled last minute. Korean Gut was ;
a four-piece heavy on the reverb and
'90s revivalism, and played well in
what would be the first of Samson's J
four trips to the stage. Role Mach
brought Samson back to stage, handling bass duties in Patrick Geraghty's
large ensemble of musicians playing
manic, high energy songs. Geraghty
was in good spirits as he jovially led
his band of young veteran musicians
(which, in full disclosure, contained
my roommate on saxophone) through
their live set They played songs both
old and new before closing with the
crowd-pleasing "All Roads Lead Into
the Jungle," whose frenetic crescendo
had the entire room screaming along.
Apollo Ghosts had originally
been scheduled to play, but cancelled
pre-show in favour of presenting an
unnamed party band. To everyone's
surprise, they still went up on stage to '
play four brand new songs. Samson returned to the stage a third time as their j
new bass player. The new songs were
all good, but their closer had everyone
enraptured as it showcased pop writing
at ifs finest
The aforementioned party band
was a Guided By Voices cover act consisting of Teacher, Geraghty, Fine Misfs
Jay Arner and Gord McCullough. After
calling Samson back to the stage one
more time, they let him know that this
was a late birthday present and they'd
only be playing Guided By Voices songs
for him to sing. Not being a fan, I was underwhelmed, butSamsonwas delighted.
So were the people in the audience who
knew the indie band's back catalogue.
The night was a well balanced event
with lots of litde sets to keep everyone
entertained, but nothing so long as
to bore. Lanalou's looks like it will be
carrying on the Hoko's legacy for the
foreseeable future.
—Jordie You)
WAR BABY / EEEK! /
WEBSHERRIFF
April 15 / The Princeton Pub
The all-local triple bill at the Princeton
Pub only managed to attract about half I
33 the number that had populated it an
hour earlier—staging a show after a
hockey game has its disadvantages.
But it would be a mistake to judge
this night on crowd volume. Those
that made the trek were enveloped by
a different kind of volume, composed
of sound waves instead ofthe wave."
Web Sherriff are an intensely dramatic two-piece whose set relied on
tides of intensity and possessed passion to get their point across. Front-
man Francis Cruz tore up the stage like
a marionette, with his manic, jangly
guitar rhythms thrown in like an afterthought. Control came from drummer
Justin Devries, whose tight conducting seemed to just barely contain the
energy coming from each song. Vocals were a real treat as Cruz yodeled
glitter-glossed lyrics with diva quality. From jumping around the stage
to spending the last song sitting down
with his eyes closed, he put on a strong
show with just enough glam to keep
things interesting.
Eeek! introduced themselves with
a soft-spoken story about unlocked
doors and chasing invisible thieves
with hockey sticks, which served
as a quiet explanation of their band
moniker. Musically, however, Eeek!
play wool-sweater thrash, with their
jarring songs hinting at something
brooding just below the surface of
each simple, driving track. Voices
sounded hoarse and strung-out in the
way shoutingmatch participants might
rasp. For how well the trio played together, self-confidence was lacking,
especially when a broken string forced
awkward and apologetic banter during
repairs. The band played a little too
loud and a little too fast to compensate
for the downtime. Despite the mid-set
string fracture, Eeek! played strong
and finished their set with shy grins
on their faces.
War Baby finished off the night as
any good closer should: bigger, flashier, and hundreds of decibels louder
than the competition. Sporting amps
larger than the house PA system, their
sound check sounded like a freight
train barrelling through the bar, and
most casual observers took a few steps
back when the band kicked it into high
gear. Led by phenomenally talented
drummer Kirby Fisher, the band never really "turned off:" they generally
spring-boarded from one tune straight
into the next. Unfortunately, this is also
the thrash-metal band's biggestfault:
everything was buried under a layer of
sludge so deep it was impossible to
differentiate between complicated guitar riffs and lead vocal duties. Maybe
everything was so loud to compete with
Fisher's machine-gun drumming style,
but War Baby fell flat—or maybe I was
just deaf by that point
—Fraser Dobbs
WEIRDING / GALGAMEX / AN-
CIENTS/HIDDEN TOWERS
April 16/The Astoria
Modern metal is shit. More accurately, a lot of modern metal, with its
clumsy uses of pop melodies, is overproduced, clinical and soulless. Fortunately, none ofthe four local bands
on this bill fell into such pitfalls and
reminded us that there's still plenty
of great metal being made, and much
of it right on our doorstep.
Former CiTR Shindigwinners Hidden Towers began the night's show
with an inventive deconstruction of
metal's boundaries. Lurching from
frenzied polyrhythmic thrashings
into jazzier passages, they completely
disregarded anything approaching a
traditional song structure. It was refreshing to witness a band with such
considerable technical ability actually
doing something interesting with their
skills instead of basking in their own
smugness and indulging in unlisten-
able displays of their own proficiency.
It's hard to overstate just how good
Ancients are. Their storming "Built
To Die" showed that it is possible to
seamlessly combine melody with brutality by making it an integral part of
the song's arrangement rather than
just tacking on a cheesy chorus as an
afterthought as so many bands do.
Each one of their songs is an expansive,
sprawling epic with a dizzying number
of brilliantly crafted riffs. They're biting hard on the heels of Bison B.C. as
Vancouver's most formidable masters
of metal. Let's hope an album will soon
be forthcoming, because big things are
surely afoot
What Galgamex lack in hooks,
they make up for in sheer, brute force.
Frontman Chris Mathis got in people's
faces by taunting them and throwing
himself into the mosh pit He did a
great job of properly interacting with
the crowd, an important part of live
performance that many bands on this
level overlook. Attention to dynamic
shifts and variation was sometimes
sacrificed for pure grind and power,
which resulted in some of their material being a tad monotonous. Being
34 able to pull off this level of ferocity in
death metal, however, is a lot harder
than it looks or sounds and for this
alone they deserved respect
By the time Weirding (formerly
Weapon) finally began their set,
much ofthe crowd had dispersed.
Had there still been a significant audience remaining, it seems likely that
the audience would have parted like
the Red Sea by the Moses-like command of Weirding's clout "Cursed
and Damned" steadily built up around
only a couple of gargantuan riffs, invoking die ardour and determination
of mountain explorers. Though their
vocals were sometimes unrefined,
the fluidity with which they unfurled
such hulking grooves exhibited great
finesse. That said, the band clearly understood the value of volume—their set
was obscenely loud—utilising some
impressive amplification to their advantage. The British band Charger
once had a t-shirt with the tongue-in-
cheek slogan "Volume Over Talent"
and though you could be forgiven for
thinking that maxim might apply here,
there's much, much more to Weirding
than that
—Will Pedley
THE DEVON CLIFFORD MEMORIAL
FOUNDATION BENEFIT
April 20 / The Biltmore Cabaret
To adherents ofthe Vancouver music
scene, Devon Clifford, departed drummer for local dance punk darlings You
Say Party, was an amiable and much-
loved figure for many years. His tragic
death lastyear—an onstage collapse
during a performance at the Rickshaw,
due to a brain hemorrhage—left the
Canadian music community cast down
and crushed.
In the wake of this shock, Clifford's
family created the Devon R.B. Clifford
Memorial Foundation. The purpose
of this foundation is to provide music
education, instruments and programs
for financially impeded youth. To benefit this brilliant cause, a sterling lineup of local bands and DJs filled the
fashionable Biltmore Cabaret for what
was to be an emotional, lively, upbeat
and canonizing evening.
The night began with the charm
ing jangle pop of Chains of Love. It
was their live debut and the sparkling
six-piece's passionate performance—
peppered with hand claps and harmonies—showed a lot of promise. Vocalists Nathalia Pizarro and Rebecca
Marie Gray Law, delectably dressed as
to recall the ravishing pop splendour of
Ronnie Spector, added sugar to their
set which was short and sweet
Between acts, a thick red curtain
was drawn across the stage, adding to
the theatricality ofthe evening. When
Clifford's parents and sister took the
stage next, it was to thank those in
attendance and to say a few words in
Devon's honour. There wasn'ta dry eye
in the house after their eloquent and
inspiring words. Much to the Clifford's
credit this strengthened the evening,
reminding the attentive rabble to be
joyful and to rejo"ice.
Next up was an aggressive acoustic
set from East Van garage punk purveyors the Vicious Cycles. Their rowdy
show was uplifting and energizing as
they tore through Celtic-infused folk
punk ditties (think Droplock Murphys)
that were mostly about motorcycles,
it seemed. For a rousing and relevant
set closer, they led the crowd in a sing-
along to Johnny Cash's reworked gospel number, "I'll Fly Away," which was
dedicated to Devon.
Then itwas Hard Feelings, one of
Devon's former bands, turn to give
tribute. Playing a breezy and buoyant batch of garage rock tunes.they
obviously enjoyed themselves and the
fun they were having was contagious.
Though their set seemed swift, no one
seemed to mind as the Tranzmitors, in
their modish suits and gracious smiles,
stormed the scene soon after.
Ifs with good reason that the Tranzmitors are local favourites. Their exuberant performance overflowed with
flair and feeling. It takes considerable
cajones to try and cover the Jesus and
Mary Chain, for instance, and their
punched-up pop version of "Between
Planets" delighted in everyway. Then-
brand of boogie down yet raucous
punk rock literally begs you to grind
it out on the dance floor, and that's
exactly what the crowd did.
Those that still had pluck kept
shaking it as DJs Slim Roy and Jon-
ny Was laid out some soulful beats,
playing the evening out elegantly. The
night was also highlighted by a bake
sale, commemorative t-shirts, artwork
and even knitwear provided by Devon's
mom and grandma.
Those wishing to continue cherishing all that Clifford stood for
should peruse devonrbclifford.com,
keep smiling, and embrace and enshrine the music and musicians in
your life. That's what Devon would
have wanted and that's what this evening sweetly asserted.
—Shane Scott-Travis
TAME IMPAU/YUCK
April 21 / The Commodore Baihotm
As Yuck sashayed to the stage, it was
apparent they fit the '90s indie rock
template to a tee. Female bassist a la
Pixies, Smashing Pumpkins, Sonic
Youth or Superchunk? Check! Conventional quiet/loud maxim? Check!
Okay, maybe that's a little unfair.
After all, these savvy revivalists are
a playful bunch and their music is
snappy, regardless of how obvious
their influences are.
Ifs possible, as they proved to the
crowd while tearing into their engaging set to be a compendium of familiar musical platitudes and still fully
transcend them like when frontman
Daniel Blumberg, sporting a fitting Jim
Reid (ofthe Jesus and Mary Chain) style
hairdo, ground out a fuzzy, Dinosaur
Jr.-style guitar solo during "Get Away,"
or when he let fellow axe man Max
Bloom do some shredding on the My
Bloody Valentine-inspired shoegaze
show-stopper "Holing Out" It was
crystal clear where Yuck take their cues,
but their grasp is every bit as cardinal as
those guitar gods before them.
Similarly, when Blumberg and
bassist Mariko Doi traded off vocals
on the precious pop blur of "Georgia,"
they emulated the Evan Dando/Juliana
Hatfield heyday ofthe Lemonheads. As
the refrain of "still in love with you"
filled the Ballroom, I suddenly felt a
blitz of nostalgia for my teens, for high
school and for a first kiss.
Lef s hope it isn't too long before
Yuck comes back to town, and maybe
on their next visit they'll be the crowd-
pulling headliner. But there were no
complaints here when they left the
stage, as itwas Tame Impala everyone
had come to see. The anticipation was
tangible in the short time between sets
when the cheering and doobie passing
wouldn't let up.
When Perth, Australia's freshly appointed psychedelic stoner rock czars
appeared before the Commodore
crowd, they were graciously greeted.
The applause was soon drowned
out in waves of dramatic drone and
crunchy guitar. Vocalist Kevin Parker,
with a voice like honey, led his band
through a seductively shambolic batch
of songs taken mostly from last year's
stunning LP, Innerspeaker. Tracks like
"Solitude is Bliss" and "Alter Ego"
proved fittingly dreamy and druggy,
providing lots of room for these proficient players to jam out and explore
abstract and awesome tangents.
Tame Impala were airtight; with
affably barefoot bassist NickAllbrook
and drummer Jay Watson were mooring for Parker and fellow guitarist
Dominic Simper to show off then-
prowess. Glorious guitar noodling
ensued on "Desire Be Desire Go," but
not in a self-loving, disaffecting way,
thankfully.
Opting not to go through the formalities of an encore and leave the
stage needlessly, Parker and his boys
instead closed the night with an extended and otherworldly version of
"Half Full Glass of Wine" that was
gilt-edged and elevated the evening,
rightly, into outer space.
—-Shane Scott-Tratris
35 m
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36 V
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37 BY JENNESIA PEDRI
(POWERCHORD)
Ask the Mistress of Metal what album she'd take with her to a deserted island and you'd be asking a lot Bring up her radio show Powerchord's upcoming 25th
anniversary concert at the Rickshaw (May 21), however, and her veil of indecision is lifted.
When the Mistress, the third person to host the long running heavy metal program, realized that 25 years had passed since Metal Ron and Gerald Rattlehead
first started Powerchord on CiTR, it was obvious to her that they had to commemorate the occasion. The milestone is especially impressive, given that Powerchord
is the longest running metal radio show in Canada. "Kind ofa big deal," is how she put it
She further describes the concert as "Canadian head-banging history." Featuring a of diverse ballot of Canadian metal talent—Woods of Ypres, Titans Eve,
Scissortooth, Scythia, Magnus Rising and Auroch—the concert represents what Powerchord's all about: bringing metal to the masses. All proceeds from the
concert will benefit the Music BC charitable foundation, bringing the gift of music to classrooms across British Columbia.
Discorder: What's been your most memorable on-air moment?
Mistress Of Metal: I had a guy who thought he was Ozzy Osbourne. He came
on and had this album he recorded himself, and it was just off the wall. He
sounded like Ozzy. He was actually really good, I have to give him credit but
he was a little weird. He actually stood up in the studio and was looking up at
the ceiling and was just so into it. But the song was playing on-air and he was
singing just to himself, not knowing I clicked the button on-air, and it was
awesome. He sat down and the song changes and he says, "Wow, I just had
a moment" and I said, "Well, that moment was just caught on-air." He was
like, "Ahhh, really? Loye you!" Itwas more just having someone who literally
thought he was Ozzy Osbourne. Plain and simple. He was not his own person;
he was Ozzy Osbourne [laughter].
D: Who's been your best guest?
MoM: Best guests would have to be Titans Eve, who are on the show ballot
Funny guys. The stuffthey come up with is good content and just makes people
laugh. They're just lighthearted, funny guys and if s just a pleasure to interview
people who just go off on their own tangents.
D: Which album would you bring to a deserted island?
MoM: Wow. That's a hard question. It'd have to be Megadeth. All the way,
Megadeth. Dave Mustaine, I love him. Nobody's voice can make me feel as
good as his. He hits all the right notes. It's very well done. I can't remember
which album it is...OK, it's United Abominations, but The System Has Failed is so
good too. Just say whatever Megadeth album I can grab first
D: Whaf s your favourite CiTR Show (aside from your own)?
MoM: Generation Annihilation. Why? Because they have always been so supportive of Powerchord. And the show is well put together, showcasing a great
array of punk rock talent
D: What is the future of Powerchord?
MoM: That it will continue for many, many, many more years. I believe that
if one of us can't continue doing it there'll be another person that'll come
along thafs a metal lover who will do just as good a job. If 11 live on forever.
As long as CiTR is around, Powerchord will be there. If it happens to go tits
up, wow...that'd be a sad day.
Powerchord can be heard every Saturday from i-3pm on CiTR 101. aFM or any time via
podcast. Visit www.citr.ca for details, fc
38 //CiTR 101.9 FM CHARTS
STRICTLY THE DOPEST HITZ OF APRIL
#
ARTIST
ALBUM
LABEL
#
ARTIST
ALBUM
LABEL
1
Geoff Berner*+
Victory Party
Mint
26
The Raveonettes
Raven In The Grave
Vice
2
Kellarissa* +
Moon of Neptune
Mint
27
Obits
Moody,
Standard and Poor
Sub Pop
3
Oh Susanna*
Soon The Birds
Outside
28
White Cowbell
Oklahoma*
Viva Live Locos:...
Burg Hertzberg Fest
Slick Monkey
4
Vivian Girls
Share The Joy
Polyvinyl
29
Those Darlins
Screws Get Loose
Oh Wow Dang
5
OK Vancouver
OK*+
Houses
Greenbelt
Collective
30
Bill Callahan
Apocalypse
Drag City
6
Various
R&B Hipshakers ...
2: Scratch That Itch
Vampisoul
31
Vinyl Dog Toy*
The Secret to Health,
Wealth... Happiness
Klankboom
7
Les Breastfeeders*
Dans la
gueule des jours
Blow The Fuse
32
Boy Genius*
Sampling With
Impunity
Little Whore
8
Crystal Stilts
In Love
With Oblivion
Slumberland
33
Cowboy Junkies*
The Nomad Series
Volume 2: Demons
Latent
9
Kurt Vile
Smoke Ring
For My Halo
Matador
34
TV On The Radio
Nine Types Of Light
Interscope
10
Channels 3
and 4*+
Christianity
Gilgongo
35
The Good Lovelies*
Let the Rain Fall
Independent
11
Lumerians
Transmalinnia
Knitting Factory
36
Tennis
Cape Dory
Fat Possum
12
Dum Dum Girls
He Gets Me High
Sub Pop
37
Eve Hell and The
Razors*
When The Lights
Go Out
HellFi
13
Cowpuncher*
Cowpuncher
Independent
38
J. Mascis
Several Shades
of Why
Sub Pop
14
Gil Scott-Heron
& Jamie xx
We're New Here
XL Recordings
39
The Rural Alberta
Advantage*
Departing
Paper Bag
15
Hauschka
Salon des Amateurs
130701
40
Is/Is
This Happening
Guilt Ridden Pop
16
Timber Timbre*
Creep On
Creepin'On
Arts & Crafts
41
La Sera
La Sera
Hardly Art
17
The Albertans*+
New Age
Ernest Jenning
42
Peace*+
My Face
Pop Echo
18
PJ Harvey
Let England Shake
Island
43
The Pains Of Being
Pure At Heart
Belong
Slumberland
19
Ron Sexsmith*
Long Player
Late Bloomer
Warner (WEA)
44
Colin Stetson*
New History Warfare Vol. 2: Judges
Constellation
20
John Wesley
Coleman
Bad Lady
Goes To Jail
Goner
45
The Mountain
Goats
All Eternals Deck
Merge
21
Hunx&
HisPunx
Too Young
To Be In Love
Hardly Art
46
FolkThief*+
Love, Heartache
and Oblivion
Independent
22
Steve Dawson*+
Nightshade
Black Hen
47
Exene Cervenka
The Excitement
of Maybe
Bloodshot
23
The Baseball
Project
Vol. 2: High and
Inside
Yep Roc
48
Bass Drum
of Death
GB City
Fat Possum
24
Miesha
& the Spanks*
Gods Of Love
Transistor 66
49
Quintron*
Sucre Du Sauvage
Goner
25
Cold War Kids
Mine Is Yours
Downtown
50
Sonic Youth
Simon Werner
A Disparu
SYR
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. His name is Luke Meat. If you ask nicely he'll tell you how to find them. Check out other great campus/community
radio charts at www.earshot-online.com.
39 GET YOUR DOSE OF
THE HELPLESS BLUES
ZULU IS YOUR SOURCE FOR
FLEET FOXES!!
m*
Fleet Foxes
Helpless Blues CD/LP
CassNicCofflbs
Vfrt's End CD/LP
wfcS,
Thee Oh Sees
Gastlemania CO/LP
PA N QJf
Panda Bear
fomooy CO/LP
«%GliosfiC0/ip
Pains of Being Pure
At Heart
Belong CO/LP
_ Booker T
^HoaHFfomMe
CO/LP
HmesNewTOng
Dancer Equired!
CD/LP
Unicorns
Whowmcuto«;^ir
tP reissues!
ll U»" " ' _■■' 'jl'l**
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^!?•SSS1«'•*,,1,I
Zulu stop-••aiyn
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Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Thurs and Fri 10:30-9:0
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 2011-05-01
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