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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2009-06-01

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o they shoxythorsey, don/tthey? th&van&ouver nighty japandroids
the/padoa/.d: safety show herwvetic/ view yeary resolution/fun/100
thre&inxzhes of blood/  edL^aheth/h\x*<fo
joel/ the/roAAfVand/the/sidewcdh  mr. plow the^winhy g&n#ban#
they wuyhaM)\o\od^e/ hotloiny organ/trail/ yyvcuyw my proje^tiblue/
leaJhahranvson/ hwmxAn/hi/~\tte>reel/ the/weather rock/n/ the^jolty
hidsthese^ dayy th& salteens aMapsin^ opposites the/ v\asty on/
clover honey trail/vy russia/ the/petrole4A4n/-byprodux^ fan&haw
the/org<wv witviejfrprotection/pro^ajM/ death/sentenx^/ tfae/S%ris
fond/of tilery the/pen#uins cran/ nerve/tubes hef Ora/ panty boy
victoria/, victoria/  the/basewventsweety har en/foster adjective/
Operation/mcdteout romance/ bossanxrs/a/ the/ewoky readyvnade/
the/ choir practice/ in/ wiecUxxsrey destroyer motoro4na/ the/front
vnyytery maxzhines the/r.o/.d.O.O: the/zaddle&orey brand/new unit
the/pa^lovwyt&py  42  better friendsthan/lovery motorcycle/man/
van/oou^ar   thes riff randells the/ vuxtionxxl/ shield/ cx^deaAMu elias
dandOwinxl/ you/toy party! we/say dieA    	
Over 500 bands can't be wrong. Don't miss the fun.
Submission deadline August 3, 2009. Send 3 original
songs to
Or, mall CD/cassette/mlnldlsc to:
SHINDIG' 09, 233-6138 SUB Blvd, Vancouver BC V6T 1Z1
Ambleside Bookstall
#115 -1425 Marine Drive
2016 Commercial Dr.
Banyen Books
3608 W. 4th Ave.
Beat Street Records
439 W.Hastings St.
The Bike Kitchen
6139 Student Union Blvd.
(or, free for station members)
Canterbury Tales Books
1990 W. 4th Ave.
917 E. 17th Ave.
Devil May Wear
198 E. 21st
The Eatery
3431 W. Broadway
The Fall Tattooing       Hot Box
644 SeymoilrM O       2560 Main St.
604-676-3066 604-871-0095
Flaming Angels
644 Seymour St
Full Tilt Tuesdays
@ The Republic
958 Granville St.
Hitz Boutique
316 W. Cordova
The Kiss Store
2512 Watson St
Lucky's Comics
3972 Main St.
People's Co-op
1391 Commercial Dr.
Prussin Music
3607 W. Broadway
Red Cat Records
4307 Main St.
R/X Comics
2418 Main St.
The Regional
Assembly of Text
3934 Main St.
Saje Natural Wellness
2252 W. 4th Ave
1291 Robson St
Scratch Records
726 Richards St.
Slickity Jim's
Chart and Chew
2513 Main St.
3467 Main St.
Twigg & Hottie
3671 Main St.
Vinyl Records
319 W.Hastings
VOZZ Boutique
2855 W. Broadway
A Friends of CiTR Card scores you sweet deals
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discorder magazine 1 Editor
Art Director
Nicole Ondre
Production Manager
Debby Reis
Copy Editors
Andy Hudson
Debby Reis
Alex Smith
Melissa Smith
Graeme Worthy
Ad Manager
Marie Benard
Under Review Editor
Melissa Smith
RLA Editor
Alex Smith
Layout -.
Nicole Ondre
Debby Reis
Steve Masuch
Bryce Dunn
Jonathon Evans
Dan Fumano
. Aaron Goldsman
Alex Hudson
Andy Hudson
Justin Langille
Alex McCarter
Mel Mundell
Quinn Omori
Mark Paulhus
Nathan Pike
Amy Scott-Samuel
Chad Thiessen
Calendar Listings
Melanie Coles
Somewhat sacred tape
mandala collaboration
by Justin Wright (tape)
and Nicole Ondre (photo
& text).Toy instrument
jewels from Hexenhaus,
made by Diadem, Red
Clover, and Mr. Ugly.
Thanks everyone, we
love you.
Photo & Illustration
Merida Anderson
Noel Begin
Sarah Cordingley
Aisha Davidson
Vanessa Disler
Lindsey Hampton
Travis Jutson
Duncan McHugh
Quinn Omori
Program Guide
Bryce Dunn
Luke Meat
Peter MacDonald
CiTR Station Manager
Brenda Grunau
Student Radio Society
of UBC
June 2009
Editor's Note
6. Pink Mountaintops
Steve McBean, patron saint of East Van and frontman
for Pink Mountaintops (and Black Mountain), on his new
album's influences: LL Cool J a*nd Danielle Steele.
8.The Constantines
Curling! Tundra! The Tragically Hip! Politeness! Can the
Constantines be any more Canadian? I guess we could
hax^irT&rviewed them in a Tim Hortons.
16. Signal & Noise
You think CBC Radio 3 breaks nevy^*jnd? Check out
the experimental sounds and images from Vancouver's
best avant garde festival.
17. Music Waste Preview
Are all the great choices at this local music festival too
much for you? Worry^Dj*nore. We'll help yojjj^^O.
18. No Gold
Aaron Goldsman pays a visit to the home of local dance
pop trio Nq Gold and eats a bowl of gazpacho.
Dearest Discorder:
Talent! Discorder is hosting a Talent Show!
"Show Up, Show OffT on June 3! Which entertaining and unusual skills will be displayed?
It is a mystery! Perhaps you will have enough
ability to win one of the glorious prize packs
(graciously provided by Mint Records, Pacific
Cinematheque and CiTR). It's only $2 at the
Astoria and you—yes, you—can be one of the
many judges just by showing up. Included in
the price of admission is a ballot upon which
you can select your three favourite acts for
the night. Show up early! Bring your talented
friends! If you want to perform, make sure you
register beforehand, then you don't have to pay
cover. There may still bedtime to register, email to sign up.
What a talented city we Uve in. One of the
most heartbreaking parts of my job as editor
is deciding which of the many, many talented
artists in Vancouver to showcase each month.
There are so many good artists that the hardest
part is not finding new people to write about,
but finding space to put all the things we want
to write about.
Speaking of talent, we're talking about talent by the way, look at the artists showcased
in this issue. From established ones like the
ever-so-Canadian, and talented Constantines |
(see page" 8) and Pink Mountaintops/Black
Mountain's talented Steve McBean (page 6) to
up-and-comers like the talented tropical trio
No Gold (page 18).
No Gold is among the bands playing in this
year's Music Waste. Devoted to showcasing local music for cheap, it's one of the best ways to
check out the talented up-and-coming bands
of our city. And if you have a $15 festival pass
and a way to get between venues, this is one
of your best chances to see ever so many great
bands for so Uttle. To see our picks for the fest,
check out page 17.
For more unusual talents we've also gone
and took a good look at Vancouver's avante
garde sound fest, Signal & Noise. This fest is
the only fest in Vancouver devoted to looking
at new ways of making sounds. See page 16 if
that piques your interest
Whatever your skfil I hope you aU show up
to show off a bit on June 3 at the Astoria.
Cheers, talented reader, cheers,
Corrections to the last issue:
4. Riff Raff
The Isotopes | Dead Ghosts | Manic Attacks
Film Stripped
Anvil! The Story of Anvil
5.Textually Active
Music & Youth Culture
Venue | Hoko's | Little Mountain Studios | SASS
11. Program guide
A pull-out with the calendar on the other side!
12. Calendar
by Merida Anderson
20. Real Live Action    %
Dancing In Our Debt | Bur&ka-Som Sistema | Dan Deacon | Vivian Girls | AbeVlgoda | The Weakerthans
22. Under Review
Big Joe Burke | Caledonia | Dinosaur Jr. | Director |
Great Northern | Green Go | Hanne Hukkelburg | Jason
Lytle | Leverton Fox | Moll Flanders | Rat Silo | Rock
Plaza Central
23. Charts
I In the May issue, Discorder incorrrectly stated that Andy Dixon would be teaching a moccasin
, making workshop at Goonies—this is in fact being taught by Daniel McRorie. Sorry guys. We
think it sounds awesome.
Last chance to take the Discorder survey!
Tell us what you think, and think about what you
tell us.\Ne would like to make a fabulous magazine for you every month.Tell us how.
©DiSCORDER 2009 by the Student Radio Society of the University of British Columbia.
All rights reserved. Circulation 10,000. Subscriptions are available and cost the current
rate of postage. writefor Discorder,
e-mail To comtirbute illustrations or photography, email Ad space is available for upcoming issues and can
be booked by calling (604) 822-3017 ex. 3 or emailing promotions.discorder@gmail.
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email If you send us anythingand it gets broken, lost,
scratched, mishandled, eaten/damaged, popped or explodes in-any way, we cannot
replace it or reimburse you. Discorder is published by CiTR, which can be heard at 101.9
FM as well as through all major cable systems in the Lower Mainland, except Shaw in
White. Rock. Call the CiTR DJ line at (604) 822-2487, CiTR's office at (604) 822-3017
or CiTR's news and sports lines at (604) 822-3017x2. Fax CiTR at (604) 822-9364,
email CiTR at or'pick up a pen and write #233-6138 SUB Blvd.,
Vancouver, B.C., V6T 1Z1, Canada.
june 2009 fflmffi
by Bryce Dunn
Ola amigos! Summer is almost here and who better to usher in our favourite season than the boys of summer, the
Isotopes? They step up to the plate with a new EP caUed Heat-
seeker [ed. We're talking about the local baseball-themed punk
band called the Isotopes, not the Rochester surf guitar band or the
British jazz rock group.] Now truth be told, I hate baseball—it
ranks alongside golf as one of more boring sports to watch. But,
I'U cut these guys some slack as they do knock it out of the park
with four blasts of pop punk that'U have you cranking the stereo
to drown out the sound of the hockey fans that are bemoaning
the premature demise of the Canucks playoff run. If Screeching Weasel was armed with LouisviUe sluggers, this is what the
Isotopes sound Uke as songs Uke "Suicide Squeeze" and "Poison
In The Clubhouse" wiU no doubt burrow their buzz-saw melodies deep into your brain and try to provide the armchair cynics Uke me a soundtrack to swing some bats to. Catch these guys
Uve as they bring the heat June 10 to the Red Room in support
of New Hampshire's punk rock gods, the Queers, to see (and
hear) what att the fuss is about.
I blame my anticipation for the arrival of hot times in the old
town tonight for not reviewing these next two releases sooner,
but two local bands were given 7" status recendy courtesy of
French rock-and-roU label Yakisakana Records, and both are
definitely worth putting down the beer and getting off the couch
for. Dead Ghosts continue in their dominance of badass garage
stomp with two new winners in "Bad Vibes" with its cathartic,
Cheater SUcks-styled basement rock,-and "Mayday," which gets
a Uttle neo-rockabitty on your behind with the help of some
finely placed yelps and a head-boppin melody to boot. There's
a spUt single out with a choice cut from the Dead Ghosts sharing a side with the similarly sloppy Smith Westerns, who are
out of Chicago, that's worth a Usten, but everything these guys
do is top notch. A former and a current Dead Ghost makes up
two-thirds of Manic Attracts, who work a sUghtly punkier side
of the garage with "Shut It," aU three tinny chords and a cloud
of dust, backed by a moodier mid-tempo number in "Teenage
Teenage" reminiscent of Jay Reatard's current output of lo-fi
pop, but all in aU pretty sweet. These cats don't play out Uve too
much, so grab this release and make a point of seeing them if
they ever hit a stage near you.
Enjoy and see you next month!   ^
643 Records
Dead Ghosts/Manic Attacks SpUt EP
Yakisakana Records
Hit up Dandetton, Red Cat or any of our finer indie record
shops for a copy
Film Stripped:
Anvil! The Story of Anvil
Directed by Sacha Gervasi
by Dan Fumano \ illustration by Audrey Egeland
In the early '80s, Toronto heavy metal band
Anvil were on the verge pf superstardom.
They played harder and faster than almost
anybody else at the time, earning them a legion of young fans, with' members of MetaUca,
...As the film shifts from
Tokyo to Scarborough,
Ontario twenty years
later, it's clear that the
dream has died. Or at
, feast it should have
^ied. Long ago. Many
Slayer and Anthrax among their acolytes. Lars
Ulrich (of Metalttca), Tom Araya (of Slayer),
Z&_$lj$m. (of Anthrax) and Slash (of Guns N'
Rosesy all appear in the film, each speaking
to &e magnitude of Anvil's influence on their
own music. Drummer Robb Reiner pioneered
the use of the double bass-d$tjri technique
that has since become a drumming staple in
4       discorder magra#^'
metal Meanwhile, singer and guitarist Steve
"Lips" Kudlow pioneered the technique of
performing in a leather bondage harness and
playing his guitar with a dildo. This; however,
has not become a staple in metal. (Yet.)
Their first three albums were popular enough
to land them opening spots for the likes of
Iron Maiden and Motorhead, and some major
festival appearances, including the Super Rock
Festival in Tokyo in 1984, where they played
with the Scorpions, Whitesnake, and Bon Jovi.
CUps from this performance open Anvil! The
Story of Anvil, an engrossing look at the three
decades of Anvil's career and, perhaps more
importantly, the friendship between founding
members Reiner and Lips over those decades.
When we see Anvil on stage rocking a stadium full of Japanese rock fasts, they look like
bona-fide rock stars. They are Uving the dream.
But as the film shifts from Tokyo to Scarbor-.
ough, Ontario twenty years later, it's clear that
the dream has died. Or at least it should have
died. Long ago. Many times over. But for Lips
and Reiner, the dream is aUve and so is Anvil, at least in between shifts delivering pubUc
school lunches and doing home renovations.
It's a long way from a Tokyo stadium to an Etobicoke sports bar, but these Reiner and Kudlow, nice Jewish boys from suburban Ontario,
keep on rocking (along with later band additions, Ivan Hurd and Glen Five).
With Anvil!, director Sacha Gervasi has
"My favourite type of dancing is done upon a bed"
made the best rock documentary in recent
memory. He clearly has a deep and abiding affection for Reiner and Lips and for Anvil, for
whom he was a teenage roadie in the '80s. But
he also has a very keen eye for the unintended
humour that comes up in his subjects' comments and actions, and the results are often
hilarious, creating a "real life Spinal Tap" feel
Indeed, the similarities to This is Spinal Tap
are impossible to ignore, beginning with the
fact that the director of the classic 1984 moc-
kumentary is named almost identically to Anvil's drummer, Robb Reiner. In the movie, we
see them visit Stonehenge, their amp actuaUy
turns to 11, and Reiner's name. Then there are
the lyrics. Just about any of Anvil's lyrics would
stand in for songs performed by the Tap, espedally the sexual songs that have been a staple
of Anvil's repertoire for years. Songs Uke "Mattress Mambo" (opening line: "My favourite
type of dancing is done upon a bed"), "Hair
Pie" (opening-Une: "Dessert is my favourite
meal, I eat it every day"), "Five Knuckle Shuffle" and "Tag Team" are clealy of the same ilk as
Spinal Tap classics like "Lick My Love Pump"
and "Big Bottom" (though possibly even more
Audiences going into Anvil! expecting a real
life Spinal Tap probably won't be disappointed,
but they wiU definitely be surprised at the emotional depth of this film. When Lips' loving sister offers to help him out during a critical turning point for the band and he tearily chokes out,
"Family is important shit, man," it's a touching,
poignant (but still funny) moment '^■^-VJ
• Anvil! is an excellent film, regardless of
whether or not you are a heavy metal fan or
even a music fan. But if you are, all the better. ?& ll Tsbctualfy /^Rvg;
Music & Youth Cult^^^
^t^y*-idfnburgh^|Bii^ity Press -
jjjjj-jjfocV Hudson
Salmon pink and decked with pie charts, Dan Laughey's Music & Youth Cwfewre looks pretty plain
next to Punk* Not Dead, Post-Punk Portraits and PleaseWllMe!: An (>alWsmyifP_m%^^^
•  - And, Uke a frumpy bridesmaid, Laughey opened with a withering look at aU the weH-studied
subcultures on the shelves—from Teddy Boy rock and rollers to beats, mods, punks and so on—
and concludes that, with a few exceptions, both journaUsts and academics have badly sexed up
jjgw^fetofy of youth culture. h^^___Y^\^__^'^^_^^i__^f- '4°nt\ j'SJfcfrj
What do you imagine kids were up to in mid-1970s Britain? Punk shows and motorbikes?
Your average Brijt, writes Laughey, was more likely suiting or skirting up for a Mecca Dance
haU—a nationwide chain that kept up dance steps and dress codes.     vJ^lSg
A senior media studies lecturer at Leeds University, Laughey says too many researchers get
blinkered by pet theories or don't talk to anybody.
Steeped in semiotics—studies of signs and symbols that gave us Barthes' sparkling take on
soap ads and Da^ Brown's     	
holy shit—Laughey 'says a m ■_W^I^^1
•^ lot ^jheoiiatsare[haPpy to   Given all thetspectacle of 1930s
1 see a photo of a punk with a
swastika patch, chalk it ^^ and 1940s youth cultures,
"shock value" and call it a dag ■■". JK£%&
no interviews, ni ^ount   Laughey corWudes that-they
of how a fascist fad symbol
r^^outsideitsow^^;.,had more in conrimon with youth
on buses, streets arid punks- ^^R&IK
at-iarge. cultures today than the counter-
For  this  book, Laughey EJEslSzia
j||g?to 232 high school and   cultures of the 1960s and 1970s.
coUege kids from a smaH city     ■      -	
in Greater Manchester and,
despite spats over Linkin Park vs. Motorhead, he found surprises: eclectic is the norm, and most
kids respect a pareiifebhangra/bluegrass/T. Rex coUection. *^*fpfi
Seventy years before him, a group of sociologists were doing much the same thing, in exactly
the same place.
In 1937, a group of 50 professors and students-from the University of Sussex formed a kind of
gentle secret agency called the Mass Observers.
During summer holidays, they aU moved to Bolton, the same town where Laughey found his
"youth sample." The group was instructed "to see before being seen, to hear before being heard"
and to secretly record as much as could be gleaned from the schools, factories, pubs and trams of
a city so ordinary the Mass Observers renamed it "Workfown" in all their reports.
Sifting through the findings, Laughey discovered that pre-war teens with jobraetualfy had
more spare cash than their parents—enough for dance mags and gramophone records. Big-band
jazz beat out any other music genre across aU ages and income brackets, and aH the hip kids Uved
to go on "promenades."
Given aU the spectacle of 1930s and 1940s youth cultures, Laughey concludes that they had
more in common with youth cultures today than the counter-cultures of the 1960s and 1970s.
Back in the dance-haH days, neo-Marxists like Theodor Adorno were first to point out that
the new, mass-production pop machine could have, a positive social effect—records wera4£f"g§0in»
access, remix and re-record.
But, stuck in a dominance/resistance paradigm that assumes all youth culture aspires to be a
fist against The Man, even guys Uke Adorno went off the rails.
When Laughey quoted Adorno's tirade against jitterbugging, it smacks of the same moral
panic you read in today's anti-hipster rants:
"Their only excuse is that the term jitterbugs, Uke aH those in the unreal edifice of films and
jazz, is hammered into them by the entrepreneurs to make them think that they are on the inside.
Their ecstasy is without content... the ecstatic ritual betrays itself as pseudo-activity." .
One bonus in Laughey's approach is the number of first-hand accounts he coUected. After a
whack of theory, we hear from bus-riding, mall-shopping goths in 2006 and an unnamed man
who told a Mass Observer in 1939 that "I occasionaUy attend a dance for the sole reason of showing the local society that my wife is desirable and attractive."
The book has drawn flak for focusing on individuals and their Ustening habits. Laughey downplayed a few sticky questions, like why so many of the kids he spoke to divide pop genres into racial
categories. And his biggest question—was 70s punk the last true "subculture"—goes unanswered.
Those are dodges, but maybe forgiveable ones in a book that's clearly trying to inspire better,
more evidence-based research into such questions. If you're a budding sociologist or extra keen
on secretly observing and recording your feHow humans, Music & Youth Culture makes for good
homework, ph
Jordie Yow keeps you up-to-di^^^^m^^^ind
ISjWm ofVmmm^sJive music-e^w^^Sknts.
If you were wondering what the ads in last
month's issue crypticaHy stating the word
"Venue" in last month's issue of Discorder
were, wonder no more. Venue is what's going
to be located at the newly renovated Plaza,
With a whole new interior and new branding.
"It's a complete renovation of the dub,*
said Dax Droski, a representative "6t jiM
Adelphia Group which wiU be running the
new night spot.
The new venue wiH be located in the exact same location on the Granville strip and
is slotted for a mid-June     	
opening. It wiH stiH be
keeping up the practice
of a weekend curfew, with
any Uve shows ending at
10 p.m. tp kick off a Dj
night that wiU be play--
"""tt^^pBp, rock and retro"
, with "bass heavy electro
remixes." Droski said
people who attended the
shows would be welcome
to -stick around and that
the music wiH probably fit the tastes of concert goers a lot more than the previous R&B
nights that shuffled people out the door at the
Plaza. Mondl^fW Thursday wiH be concerts
without curfews so audiences can expect to
enjoy normal set times. The newly renovated
Venue wiH be targeting a hipster crowd with
the electro-pop outfit the Veronicas akeady
booked for June 27.
. With their sexed up ads and ironic name
they may be trying a bit too hard to present
themselves as "cool," but any effort to change
GranviHe Street's image can't be aU bad. Ei- .
ther way they're going to have an uphiU slog
trying to convince hipsters to head back to
GranviHe Street, especiaUy now that venues
in East Van have buHt up foUowings.
. Fans of Uve music in town wiH also be
happy to note that Hoko Sushi and Karaoke Bar is going to be providing music once^.
again in Vancouver.
"Now I have a Uve music permit from the
City and the ttquor board* said Jian Chao, a
manager at Hoko's. "So I am very happy"
Hoko's got into trouble in February when
it was found that they had been operating
for years without the proper permits for Uve
music. They have since applied for the missing permit, and plan on being careful not to
breach their midnight curfew or the City's
strict noise bylaws.
"We do not play loud music, like heavy
metal," said Chao. She hopes the city witt allow for some leniency from those enforcing
the bylaws, which (as we have noted before)
are strict enough that almost every business
open past 10 p.m. in Vancougar is breaking
them almost everynight.      ^jm&
For a taste of what sort of music Hoko's wiH
be booking, check out the Phantom Islands
night, which is hosted by Jarrett Evarf§smj"t»,
son of Collapsing Opposites and Shipyanljg „
Little Mountain Studios cancelled a number of shows after receiving noise complaints
during One Cool Word's Third Birthday. The -
night was shut down early and a number of
bands who had shows booked at the art gal-
"Now I have a live music permit frorwthe City and the liquor
liS5|tr said Jian Chao, a manager at Hoko's. "So I am very
lery/venue later in the month found themselves scrambling for a new place to play.
Though things seem to have stabilized now,
the venue is still closing ear|y to avoid further noise complaints and they have changed
their Facebook group name to Little Mountain Oatta*y> which implies that they'll be
focusing more on their role as an art gallery
than a music venue in the future.
What do Hoko's and Little Mountain have
in common though? They're both some of
the few venues in Vancouver that aHow music fans undo: the age of 19 to see music. If
you're as annoyed at the lack of aU ages spaces
in Vancouver then ydu may want to consider
joining the Safe Amplification Site Society, "a
non-profit society dedicated to establishing
a permanent all-ages space for -music- and
other arts events in Vancouver."
"There's been a lot of problems with venues
getting shut down in Vancouver, particularly
aH ages venues," said Ryan McCormick, a director for SASS. The group is organizing to try
and work with the city and poUce to provide a
safe venue that underagers can attend.
"We want & venue that's stable and att ages,"
said McCormick. The group is still looking
for a site and plans to run it without liquor
sales so they are hoping to get things going
with government grants and donations from
the pubUc. They're just getting started and
looking for people who are interested in get-
ting involved. To find out more about them
check out their website at^W
jiMe 2009■ , by Jordie Yow
r.^nt .man--tor ~B\£cfc\ Mountain. His music
*Ohas "'helped put- Vancouver on the -radar of independent, music critics
everywmro. He has been raise sir!:i albi :ri's as a side-project under the name
|:^ink Mountaintops since<2Q04: It's a Uttle hit mete experimental, and asMcBear
said in this interview, it's:a little more personal. McBean.chatted with Discorde\
via phone,from.'Switzerland about his newest album Outside L$ye, which is
described in the press release as "ten songs of love and hate he. 'y ad like a
Danielle Steele romance novel.'' _ .fev*/"\ $$M
Discorder: How's it going? ___$&
SM: It's going pretty good. .       0
D: Are you in Switzerland right now?
SM: We're in Switzerland, yeah. We're in Uke
some big cement building that's leaking sewage. It smells awesome.
D: What are you doing there?
SM: I'm just going to play a show.
D: Awesome. So I wanted to talk about your
discorder magazine %
new album Outside Love. Are you afb^^)ij«^
ieUe Steele fan?
SM: [chuckles] I am in—I've never r&tffjrany
of it, but if I picture what I think, IH six I "%bx\
a fan, but just a fan in sorta iny Jujiagm^ori. I
always really Uked the covers. ThexFabio covers
and stuff in the '80s and '^s^n^ke London
Drugs and all mat stuff.   £?\
D: So how do you imagine DanieUe Steele then
to be if you've never read anya^J^?
SM: Very poUtic, veiy romantic, v^y^fort?*
art by Aisha Davidson   D:Yeah.
SM: Remember that song? It was kinda based
f$lsi|&P on if LL Cool J wrote that song now and if he
were never a rapper or an actor what he would
write. I dunno something like that.
D: So which "song on the album is based on
SM: I'd say most of them.
D: So how did LL Cool J have that influence?
SM: WeU that's the thing, it's one of those
songs that you think in your head. You know
how things have kind of a grace period? After
15 or 20 years, like a fine wine or something,
they age. They become better. It was kind of
in the theory that that song throughout time
became way more epic and beyond itself. As
opposed to the original version which wasn't
aU that good but it had it's merit.
D: I'm just looking at the lyrics right jiow
[reading off a lyrics website] "When I'm alone
in my room sometimes I stare at the waU / And
in the back of my mind I hear my conscience
SM: Yeah [chuckles] That's some deep shit. EspeciaUy for the time. LL Cool J, he's very masculine. He's a very big attractive man. But for
him to go out on a limb after "Momma Gonna
Knock You Out" and "Going Back To CaU" to
puH that out of his hat was pretty brave for the
time, I think. He coulda just stuck with what
he was doing, but he decided to try a different
thing. He decided to put his heart on his sleeve
or on his Kangol [ed. The hat LL Cool J wore in
the '80s was a Kangol.] Right out there.
D: On this album ... you've got "Axis: Throne
of Love." Is that a throwback to [your previous
album] Axis of Evol.
SM: WeU the original plan was Axis of Evol was
supposed to be an EP and this album Outside
Love was supposed to be called Axis: Thrones
of Love, and the EP was supposed to come out
and then six months later put out the album.
But we never finished recording. Like a couple
of the [songs] "And I Thank You" was recorded I guess three years ago. We did a bunch of
stuff and never finished it. The Evol record just
kinda became a short LP.
It was my friend Steve Balogh. When we
were working on Axis: Thrones of Love. He
somehow came up with the term Axis of Evol.
With this record there wasrftireaHy a plan
to do a record, and then my friends Cory and
Fiona, they got married and I was the best
man and Sophie Trudeau from Montreal was
the maid of honour. They were Uke, "You've
gotta play a song together at the ceremony"
and we were Uke, "OK." We actuaUy played
"Closer to Heaven" [ed. The closing track on
Outside Love.] at the wedding as soon as they
did their vows. And then we got reaUy drunk
and were Uke, "Hey, that's fun! We should
make a record." [Sophie] came out to Vancou-
ver, so it was a lot different than the other ones.
It wasn't just "write the songs and record." A
lot of the songs were lying around for a bunch
i of years. Me and Sophie coHaborated on the
arrangements. I guess while Black Mountain
was touring, whenever I'd get home I'd record
bits there. Like Jesse Sykes, I ran into her [on
tour]. I was reaUy into that Sunn O))) record
r that she sings on. So I was Uke "Do you want
" toT&dbA&iMSWf_**iS)\
jyQu kpgiw—perfect love stories where every-
thing happens in the right way and everything
comes true. I don't know.
D: So did you make a conscious (effortJijgjnake
an album based onjfour idea of DanieUe Steele
novels or is fl:«on$ething that came to be after
you'd written some songs? r ffl
SM: That was kinda later. The first thing was
based on—you know the LL Cool Jr [song] "I
Need Love"? ; D: Speaking of Black Mountain, how do you
divide your time between Black Mountain and
Pink Mountaintops. Does one take priority
over the other? ~j_&% '■$%
SM: I don't think that anything takes priority over the other in a heart way. ... Touring
with Black Mountain is quite easy. Over the
last couple years we've been offered some cool
stuff. It just takes up most of our time. That's
"the band" you know? It's the same five people
and everyone else's other bands kind of have
" LL Cool J, he's ven||§|
masculine; He's a very
Big attractive man. But
for him to go out onS^|||
-alimb after "Momma
Gonna Knock You Quf'
and "Going Back To Cali"|
to pull that out of his ha||
was pretty brave for'XmM
time I thinko
a revolving cast ... It's always**hard to teU.
I mean, when the first record came out a lot
of stuff happened that we didn't think would
happen. We were just basically being Uke, "I
hope we can get through a thousand CDs."
D: Just fo^peopje^ho h^e^(&rfp^3l^la£k
Mountain, how would yoi^ayJPittk Moun
taintops is different than Black Mountain?
SM: It's different, especially more nowadays.
Lyrically it's kinda different. With Black Mountain we're writing stuff for me and Amber
[Webber] to sing either separately or together
and that's just a different element And maybe
it's a bit more theatrical. And with the Pink
stuff it can be more personal. They are farther
apart now, it makes things easier. There's still
some stuff that well try with both bands. If it's
a riff, it's definitely Black Mountain. If it's like
"Oh that's a kiHer riff" than that's just kinda
a given. For some reason Pink Mountaintops
makes my feet move differently on stage. I always wear Vans when I play in Black Mountain, but for some reason Pink Mountaintops
is more of a dress shoes kinda thing where you
can flip your feet around and stuff, whereas
Black Mountain is more soUd ground.
D:oThafs interesting because when you look
at the first Pink Mountaintops album, whichv
J^alLabqut sex, lyricaUy at least, it seems that
llSrik: Mountaintops has grown closer to Black
^l^pjSritf&f than it was back then..;.
SM: With that record, it was just kinda "I'm
gonna do this." No one was Ustening to us.
I just turned 40. We stiU play some of those
songs, but I played an instore the other day
somewhere in the UK and I was going to play
"I (Fuck) Mountains." But then these kids
showed up and they were Hke seven. I can't—
I'm not going to play that song in front of
kids, I'm a responsible adult! WeH maybe not
responsible, but a caring man. After awhile
that would get pretty stupid r^ifty^quick, un-
"I was going to pla$41|f
(Fuck) Mountains." But
theft these kids showed .
up and they were like
seven/t^n't^'m not
going to piay that: song
in front of kids, I'm MX:\
responsible adult!" •
less you're Uke Christina [Martinez] from Boss
Hog. She could do it forever.
D: So what are you doing right now? Are you
just touring in promotion of this album?
SM: Yeah we're just touring ... I think the plan
is this summer, to actuaHy be home. None of us
have actually spent a whole summer in Vancouver in Hke five years. That's when you reaUy
fid! in love with Vancouver, the city. I'm always
there in November or January, February and it's
aH grey and I'm Uke, "I fucking hate this place?
We're going to try and write a whole bunch of
Black Mountain stuff. ... Well be home in ...
June, July, August so well get to go to the beach,
ride our bikes, do all that fun stuff.
D: I also wanted to talk about "HoUjfajRjK^E
think it's the happiest song you'vee\"g wjiroenXc
SM: I think it is.
SM: I dunno. That's a pretty old song. I think
the initial vocal take and the bongos and
acoustic guitars—there was Uke seven of us at
the Hive [Studios], this was maybe four years
ago. It was me, Josh [Stevenson], Amber, Lindsay [Sung], Cory [Gangnes], Keith Parry, kinda a campfire thing. I think it was just a couple
mics. It was probably written in Uke two minutes. It's just more a celebration of friends. You
< always have one or two friends who are going
through heartache or anything, financial crisis or their pet's died.... Whenever [you have]
something bad happen in [your] Ufe you suddenly realize how many great friends you have
that sometimes you take for granted. ... You
end up going out for beers and you end up
being Uke "Hey, do you Uke this band?" "Do
you Uke that band?" "Oh, cool skate board,"
as opposed to reaUy talking Uke real humans,
just communicatmg^jj|etty much sums it up
with "Everyone I love deserves a hoUday in the
sun" on the beach in Mexico or wherever. If
they're into snow it could be the Antarctic or
the Arctic. Bifffj^pne deserves happiness, even
people I don't know.
D: Is there anything else. yaU wanted to talk
about beforef lfn§§i|EK^
j S£j|: I 4unno. I'm not good with final words.
It's like saying goodbye. It's always hard. I usu-'
aUy Uke to gypsy fade into the night ^
D: What's that song about?
june 2009 art by Lindsey Hampton
With Glowing Hearts, We See Thee Rock
by Dan Fumano
Constantines stand out from most of their
peers in the Pitchfork-approved, "major
indie" world of rock music. They shun irony in
favour of sincerity. In interviews, they're earnest
and polite instead of flippant and aloof. And
unlike too many of their contemporaries, they
never come off as elitist.
They are also Canadian. Canadianness is not unusual or uncommon in and of itself, since so many Canadian bands currently enjoy success and acclaim
south of the border and elsewhere. But few bands
seem as Canadian as the Cons. They have invoked
Canadian geography and landmarks in their lyrics,
recorded (with Canadian supergroup the Unintended) a spUt album of NeH Young and Gordon Light-
foot covers, and—in case you needed soUd proof-
named their third album Tournament of Hearts after
Discorder's favourite curling tournament.
Speaking in the Commodore's green room before
their May 1 show, singer/guitarist Bryan Webb admitted that their home arid native land "definitely"
has an influence their music, a straight-ahead, muscular brand of rock that blends the urgency and
ethos of punk with classic rock sensibUities, folk
influences and howled heart-on-sleeve lyrics. Webb
explained, "For me, its just where we grew up. It's
in how we play and how we act and how we are in
pubUc, because that's where we grew up ... I'm inspired by the physical part of this country, and I
love travelling across Canada, and when we're in the
States or in Europe, I compare everything to travelling through Canada. It's a pretty nice country to
drive through and the variety of landscape is pretty
Webb is hesitant, however, to describe this inspiration as patriotic. "No, not patriotic, reaHy. I don't
rank Canada above other countries in any way, po-
liticaUy or anything. Patriotism    ^______
is such a loaded idea." Instead of
patriotism or nationalism, Webb
prefers to look at this inspiration
as regionalism.
"I Uke regionaUty in art and
music and literature. It,gives a
good perspective for the writing...
Its just regionalism and sensitivity to one's surroundings... I think
we would have been as sensitive
to it if we were from Mexico or
something." Pause for a moment
to  imagine a Mexican version
"I'm inspired by the
physical part of this
country, and I love
travelling across
8        discorder magazine % (jLos Constantinos!) belting out Mariachi-
inspired rock. Awesome.
Fittingly, then, Constantines were in Vancouver for* two nights in early May as part
of a massive cross-Canada tour with their
good friends, Winnipeg's the Weakerthans.
The "RoUing Tundra Revue" took the two
bands through more than 20 different Canadian cities, including several smaUer stops
not often included on rock tours—Nanaimo,
Kelowna, SackviUe, Regina, Whitehorse
(two shows!) and Guelph, the coHege town
in Southern Ontario where the Constantines
first came together in 1999—with Webb and
Steve Lambke both on vocals and guitar,
DaUas Wehrle on bass and Doug MacGregor
on drums. After a few years and an album as
a four-piece, they brought keyboardist WiH
Kidman into the fold, and this has been the
Hneup ever since.
Over March, April and May, the tour has
given them some great opportunities to erijoy "some
reaUy incredible experiences" Jn different parts of
their beloved country. Webb
told stories of campfires and
canoeing in Cowichan Bay,
seeing Neil Young play in
Edmonton and flying in a
Cessna 172 Skyhawk over
the foothiUs of the Rockies
near Calgary. The single-
engine, four-seat Skyhawk
is the very same aircraft that
appears on the cover and liner notes of the Constantines'
exceUent 2008 album, Kensington Heights,
their fourth album so far and their first for
their new label, Arts & Crafts.
Webb explains that the move from Seat-
tie-based Sub Pop to Toronto's Arts & Crafts
was motivated by a desire to bring the business back to Canada, and have a sense of
proximity and community with their label.
"We had a great relationship with everyone
at Sub Pop and we were reaHy inspired by
everyone there, and obviously by the history
of bands there," Webb said. "But the Arts &
Crafts office is Uke a five minute walk from
our rehearsal space in Toronto, and just being able to go out for a beer with the people
that are handling your business is so much
better than feeUng like they're far away?
To commemorate the tour, the Constantines released a seven-song EP, intended as
a companion piece to Kensington Heights.
The EP, titled Too Slow for Love, includes
stripped-down versions of a few Kensington Heights tracks, a couple of songs from
earUer albums, plus a breathtakingly beautiful version of Jon Langford & the Sadjes'
"Strange Birds."
As-it turns out, the recording of Too Slow
for Love came about through a connection
With another beloved Canadian rock band—
perhaps the most iconic and most Canadian
of aH rock bands.
"We were offered a chance to record at the
TragicaUy Hip's studio, the Bathouse, near
Kingston in Bath, Ontario. It was a beautiful
house, like an old, LoyaUst-era house. They
offered us the space to record for a weekend,
and we thought it would be fun to just go,
and record everything pretty much Uve off
the floor. We had aU the amps in different
rooms of the house, and we had this Uttle
web of cords going into each room connects
ing everybody. It was a reaUy nice experience, reaHy meHow and e'asy. I hope that the
next record, we can structure the songs so
they're meant to be recorded that way'
"We had toured a bit with [the Hip],
and^they were great people, reaUy kind and
generous," Webb went on to explain. "Gord
[Downie] actuaUy came in when we were
mixing [Kensington Heights], curious to hear
the new record and we started to talk to him
about whether their studio was avaUable at
aU in the next year, and they were reaHy into
letting us use it."        -
Webb said it was a great way for five buddies to spend a weekend. "You can teU they've
buflt itto be kind of a clubhouse, just a reaUy
nice place to be for a long time. It was great
to just hang out, play pool at night, go for a
"Being able to go out for
a beer with the people
that are handling your
business is so much
better than feeling like
they're far away"
walk on the shore of Lake Ontario."
Webb doesn't mention it, but along with
a control room, vocal booth, premium analog and digital recording equipment, the
Bathouse also boasts a hockey pond on the
property. How Canadian.
StiU, as much as the Constantines' music is
informed and inspired by Canadian region-
aUsm, its appeal is universal. There is good
reason for the media's repeated references
to the Clash, Fugazi, the Replacements and
Bruce Springsteen as styUstic touchstones
for the Cons. The music and lyrics of Cbn-
stantines speak to the same universal emotions
and urges as do the best songs by these classic
acts, combining the youthful exuberance of the
Clash, Fugazi s pounding rhythm section and
punishing dual-guitar attack, the ramshackle
charm of the Replacements and the common-
man sensibiUties of the Boss.
Such comparisons aren't meant to trivialize or beUttle Constantines' music, but to
celebrate it. Like their musical forebears, this
is the kind of music that kids (of any age)
identify with and want to shout along to the
choruses of. Over four albums and myriad
tours, Constantines have buflt upon then-
punk rock roots, adding incisive, Uterate lyrics and melodic songcraft, whue expanding
the scope of punk. In addition to the anger,
disenfranchisement and bitterness that are
typicaUy the province of punk rockers, Constantines have made room for hope, consolation and love.
And these five Southern Ontario boys
made sure to keep room for campfires, canoeing and songs about Canada, tod. kK.
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June 2009 by Mel Mundell   ||g
If you're into ATM dance parties, being locked in a self-
storage unit, meditating in an organ the size of a room,
pirate-radio plays in the park, re-writing Vancouver's
history or psychic readings of pizza crust with a vegan
option, then you must have attended the life changing
Signal & Noise festival, as I did this Apr. 23 to 26. If you
didn't, I suggest you make a resolution to attend next
year's festival, right now.
Jeffery Allport
At VIVO Media Arts Centre, ground zero for
the ninth annual Signal & Noise festival, bikes
were piled high out-front. They seemed to be
greeted by the rhythmic cacophony of Stephan Schulz's Drumline, which was mounted to
VTVO's front wall. Like a vocalized speed trap,
three snare drums were triggered by the passing cars.
Volunteers, signified by matching braided
headbands, greeted me with screams and warnings saying, "You don't want to go in there." I'm
still not sure if this was a joke, but strangely,
the door was locked. Eventually someone left
and I darted in, smiling back at the nervous
The main room was rushing with sound.
People were pinned to the walls-and all the
seats were taken. Three projected images raced,
roared and fluctuated between sky and ground
in a chase between deer and wolves, eagles and
ravens—the hunters and the hunted. A live audio composition of a wild animal snuff score
was taking place at the back, hidden in near
darkness. The gallop of hooves, the wind rushing through feathers was too real and too loud.
This was Hope and Prey, a fierce and majestic
collaboration between Portland-based artists,
composer Daniel Menche and filmmaker Vanessa Renwick.
Menche, whose antics are as innovative and
extreme as his sonic work, is well on his way
to becoming this year's Signal & Noise comedic wiseman. He remarked that "people chase
each other around in films all the time." So, he
implied, why not watch animals do the same
The serene Renwick studied wolves and developed wolf and wild animal footage since
the late 1990s. When asked about her work she
recalled reaching a point and deciding, "I'm
not going to go to schooL I'm going to make a
film and hang out with wolf biologists." If you
get a chance to witness her work, you'll be glad
Event photos by Noel Begin
she didn't pick the education route.
One hour into Ryan Trecartin's film, I-Be
Area, where virtual reality bought-out reality,
I managed to tear my eyes from the screen,
remembered I had a body that was inhabiting a room with other bodies, and turned to
see people stumbling from their chairs, some
never to return. At this point I broke into a
paranoid sweat over who had spiked the wine
with psychedelic drugs.
I-Be Area reveals a hyper-cyber space divided into areas like, plots of purchased land.
"Originals" and clones—as people in the audience called them—traipse around speaking
in SMS [ed. Text messaging jargon.] It was like
online social-networking gone berserk in a
virtual high school popularity contest for identity where children are left in rooms screaming
and people are moved to the desktop trash can.
One of the few moments of discernible
plot in I-Be Area happened when a pregnant
character revealed a target painted on her
stomach. Removing the stuffing from herself,
she screamed, calling it a "power prop." Menopausal lesbians in this movie can purchase
children through Internet auction which gives
them all the parenting power. In this, I-Be Area
contains a social commentary and futuristic
forecast, disguised as a hallucination, revealing a critique of heteronormality. After being
immersed in the cyber-queer capitalism of
I-Be Area, ironically, I wondered two things:
How much does this area cost? And where can
I buy it?
The Mystic Pizza Occult Snack Den ambient
room supplied Signal & Noise goers with an
amber-lit refuge, as well as mystic healing. There
were three pizza choices, including a Julia Roberts variety in honour of her role in the installation's namesake film, Mystic Pizza. This installation filled VIVO with the alluring aroma of pies
magically produced by the Canadian born, but
Portland-based artist couple, Helen Reed and
Hannah Miami.
According Reed, through the use of the
"divine," psychic clues could be found in a patron's crusts and crumbs—all to the tune of a
mystical mix-tape, which included darkwave
artist Diamanda Galas.
Patrons sat at one of three small round tables. The positioning of the crusts and crumbs
on the plate, the crumb to crust ratio, the directional relationship between pizza eater and
pizza, all inform the artist's psychic script. The
pizza partners divined my crust by shaking up
my plate's crumbs to the rhythms of an undisclosed question with impressive accuracy
and attention at the end of a busy mystic-pie
filled weekend—and all for a mere four dollars
(including the vegan slice). It was, in truth, a
mini-therapy session and nourishment for the
body, spirit and eye.
Jeffery Allport's solo percussion improvisation brought the main space—including
the standers and wall-leaners—to an intense .
breath-holding near-silence. The work was
performed without the use of electronics, but
rather with snare drums, mallets, rubber balls,
cymbals, vibration and tuning forks. Most of
Allport's instruments were acquired from the
Sally Ann and a medical supply store, as opposed to Long & McQuade—a dreaded destination for the artist. Refreshing to the experimental music and noise-norm, Allport is
a self-identified musician, although he said,
"Some people wouldn't consider me one."
Although the work felt more exploratory
than realized at stages, Allport appeared to
place emphasis on listening as opposed to
playing, exposing his process, as well as his
"Science of Sound," the artist lecture featuring Allport, Sara Gold, Daniel Menche and
Brady Marks as facilitator, explored the idea
of capturing what was referred to by Marks as
the "holy moment"—a place of cathartic connection, and even spirit, within improvisation.
This holy moment in Allport's Signal & Noise
performance was not only achieved, but was
delicately transferred, leaving the ear renewed.
Showcasing media artists at home and
abroad in a presentation of new-tech contemporary work, Signal & Noise provided a view-
finder into the current (and what we can either
hope or dread is to come) realm of art, as well
as in our interactions with media, technology,
nature and each other. <S£
A still from Ryan Trecartin's I-Be AREA
At this point I broke into
a paranoid sweat over
who had spiked the
wine with psychedelic
A still from Vanessa Renwick and Daniel
Menche's Hope and Prey
Jem Noble and participants after Self Storage action.
16      discorder magazine ^
Anju Singh and Her Jazz Noise Collective Wine Glass
Hannah Miami and Helen Reed's Mystic Pizza Occult
Snack Den. photos by Sarah Cordingley
/jiiuluz> uy oaian ^uiuinyie)
Ah, Music Waste. This is everything that's right about Vancouver in the
summertime. Do yourself a favour: get a pass (it's a steal at $15), a bicycle to zip between venues, and check out as much as you can. You can
even plot your route beforehand on the handy Google map available at along with a full event schedule. Here are our picks
of the pack.
June 9
Healthy Students | Hard Feelings | Tight Solid | Progressive
Thinker @ The Cobalt
Healthy Students are a hardcore outfit featuring Andy Dixon
(of Secret Mommy, Winning, and a ton of other rad bands). The
versatile-Mr. Dixon's been on a bit of a roll lately (last year's The
Mice of Mt. Career is an excellent, excellent album), and with
members of Taxes rounding out the band, Healthy Students are
a pretty good bet. We have heard lots of positive things through
the grapevine about the other bands on this lineup, especially
about Hard Feelings, so put your money on this one, cause it's
a sure winner.
June 10
Sex Negatives | Totally Ripped | The Internet! | Shipyards |
Ahna | Ejaculation Death Rattle | Boogie Monster |
yellowthief @ The Cobalt
It's noise night at the Cobalt! Some of the best examples of
Vancouver's vaunted noise scene are on this bill: the largely improvisational Sex Negatives, the tremendously named Ejaculation Death Rattle, and some of the wildest drumming you'll
ewer witness courtesy of Boogie Monster's Tony Dallas. You
may want to pack earplugs to this one, or you're risking (possibly permanent) ear damage. On the other hand, isn't that what
noise music is all about?
illii^li June 11
Gang Violence | Animal Bodies | Makeout Videotape | Crystal Swells @ Honey Lounge
Sarah Cordingley of Gang Violence said in an interview
with Discorder, "We're dance, we're punk, we're electro and
we're rock, but we're not any hyphenation of than." That pretty
much sums up their sound, but they are also one of the best live
bands in Vancouver. If you haven't seen them at one of their
performances about town yet, it's well worth the effort They're
still pretty enjoyable the second and third times around. Rob
Andow and Bobby Siadat, who provide the non-vocal portion
of the band, play a tight fast set that is mesmerizing to listen to
when combined with Cordingley's powerful voice.
Also worth mentioning are Makeout Videotape, a lo-fi garage outfit who sound Uke the UK invasion happening with Ariel Pink's production style. If they're as good as their Myspace,
then they're worth showing up a bit early for.
London Drugs | Haunted Beard | MT-401 Techromancer |
Kidnapping @ The Biltmore
Noisy electronic music all night long. With a dancy element
in the form off the brilliandy named Techromancer, heavily processed experimental music from Haunted Beard, fuzzy
Gameboy dance music from London Drugs (who literally program their music on Nintendo DSs) and screamy high energy
keyboard-drum-machine combo MT-40, you won't be disappointed if you have any interest in the genre. Even though Sean
Orr's Kidnapping is the exception to all the electronic music,
they're solid musicians and a solid band—if you can get into
Orr's voice. &20?e*
June 12
White Lung | Modern Creatures | Nu Sensae | Needles &
Pins @ The BUtmore
White Lung's Local Garbage 7" was one of the best 45s of
2007, and they're still going strong. With Modern Creatures
and Nu Sensae also on the bill, the night will be an Emergency
Room (R.I.P.) reunion of sorts, and a noise-punk extravaganza
not to be missed. In fact, you may as well just curl up on one of
the Biltmore's plush banquettes after Thursday night's show to
make sure you get a good spot for this one.
Ghost Bees | Timber Timbre | Rose Melberg | Kellarissa |
Ian Wyatt & Jasper Baydala @ Secret Loft
If the punk, noise and rock of Music Waste is a Uttle bit too
intense for you, then you may want to check this night out
for its more low-key Uneup. Local Mint artists Rose Melberg
and Kellarissa always give beautiful performances and out-of-
towners like Ghost Bees and Timber Timbre are a bargain at
the five dollar cover (or less if you get a pass) to get in.   \
June 13
Japandroids | Hermetic | World Club None @ The Biltmore
Japandroids have been staring at us off what seems like the
cover of every magazine in town this month. These local buzz
kids have been Discorder faves for awhile now and this show, \
fresh off the celebrity of their new album, wiU be deservedly
packed. Showing up early to make sure you get into the Biltmore won't be a waste of time. Shindig winners Hermetic give
an excellent performance and the rumour miU teUs us World
Club None had the panel of judges for Music Waste buzzing.
Twin Crystals j Vapid | Pompoir | No L. A. Kill @ The Astoria
This one's a no-brainer. Consistently one of Vancouver's best
Uve acts, Twin Crystals are a sure bet for Music Waste excellence. And as for Vapid, if the idea of noisy, energetic punk excites you even a Uttle bit, it would be best if you didn't miss
them. Since the Japandroids show at the Biltmore starts early,
there should be plenty of time for you to hop on your bike and
coast gently down into Strathcona to catch this show. Don't forget your helmet!
No Gold I Certain Breeds | Role Mach @ Funky Winkerbeans
These bands don't have a lot in common musically. The
rhythmic No Gold [ed. Seepage 18 for more] wiU be headlining
for the no-nonsense no wave outfit Certain Breeds and the epic
psychedeUc barrage that is provided by the seemingly endless
army of players in Role Mach. That said, each of these bands
do have one thing in common: the ability to put on a soUd performance and entertain a crowd. This night is in collaboration
with No More Strangers, so expect dancing when the bands
wrap up.
Comedy Waste:
Do you Uke comedy? Yes, you do! And you're lucky, too, because this year's edition of Music Waste includes a healthy dose
of the funny stuff. Local sketch comedy acts like Bronx Cheer,
Manhussy and the Sunday Service will be joined by the video
production team Weekend Leisure as well as a contingent from
Vancouver's Uvery improv comedy scene. You'U laugh, you'll cry,
etc. Do it!
Art Waste:
The Waste franchise has also decided to expand into the world
of visual art, displaying not only the art of local musicians such
as Ben Jacques (Haunted Beard), Andrea Lukic (Nu Sensae)
and Justin Gradin (Sex Negatives, Mutators), but also the art of
people known about town for being artists of the non-musical
variety. The exhibitions wiU be taking place throughout the city.
Going to see them is a great thing to do before heading to check
out some bands if you don't fed like pre-drinking.
Check for more details and listings. "O.
NO Sensae
june 2009 17 by Aaron Goldsman
While smiling through the vertical bars of a rather imposing gate in Strathcona, Liam Buder, bass player and
vocaUst for local band No Gold, unlocked the entryway and
led me to a small courtyard between two houses. Buder shares
the one farther from the street with his two band mates, guitar
player Jack Jutson and drummer Haley Pearse, who were poring
over a large cookbook on the kitchen table as we walked into
the house. This thick volume with tiny type is called The New
. Best Recipe. "Our bible," Jutson told me as he closed the book
and put it aside. "It's got everything." He went on to extol the
virtues of the book (which did sound pretty comprehensive)
in what remains of his Australian accent Jutson left Sydney for
Vancouver with his family just days after finishing high school
because his dad took a yacht-designing job in the city. He met
Buder a few years later, in 2005, and the two have been hanging
out and making music ever since.
They met appropriately enough, when they both found
themselves on the wrong side of the tracks at the Commercial
Skytrain station, trying to make their way out to the suburbs.
As Buder remembered it he saw Jutson and thought, "This guy
kind of looks Uke he would know what he is doing, so I'm just
going to follow his lead." Jutson had the same idea, and pretty
soon they were both lost
"A couple of hours later, we were in a burger line-up together,"
Buder said, laughing. Pretty soon they had started a band called
Yukon that after a series of radical transformations—including
the addition of Pearse, a high school friend of Butter's—became
No Gold in early 2007.
Since then, No Gold has been a near-constant presence in
the Vancouver music scene, playing countiess shows in different venues across the city. Their loud, tropically-inflected take
on dance pop is unlike most other music being made in the city
and the intense energy of their shows has kept their audiences
18      discorder magazine %
coming back for more. When asked about their unique sound,
the band seems as pleasantiy surprised as any member of their
"We aH come from different influences, what we reaUy like to -
Usten to and stuff. The style that we've developed comes from
playing our individual instruments, then getting into a room,
drinking some beers, sweating a lot and then whatever comes
out, comes out. As long as it sounds good to us, that's what we'U
play? said Buder.
Looking to bis band mates for confirmation, Buder shrugged
and said, "There was never any specific intent on building a
sound. It just sort of came out."
" TBS"1oose collaborative process can be felt in their Uve sets,
where the band is open to experimentation on stage. "A song,
for us, is reaUy just a sort of structure to work within, rather
than something carefully worked out that you just sort of repeat on stage," said Pearse. "the sOng gives us guidelines, but
that's it."
The result is the sort of dynamic interaction between them
and the crowd that the band aims for. Ultimately, they seem to
be less concerned about their precise sound and more about
the energy they're able to estabUsh in the room with their audience.
And as far as No Gold is concerned, you can't find a better
city than Vancouver for their kind of show. While we may hear
no end to the complaints about how hard it is here for bands,
with what seems to amount to an open war against independent Uve music venues being waged by the city, the guys are
rather upbeat about the whole situation.
"There are people who are willing to put a whole lot of effort
into [the music scene in] this fucking crazy city," said Buder,
and that seems to make all the difference. "There are a lot of
people who want to go to shows and dance in Vancouver, so
people are always going to make venues out of non-venues,
figure out weird shit in basements, or whatever else needs to
The guys actually prefer a makeshift venue to a more legitimate one, because it lets them focus on what they Uke best about
making music. A high-tech sound system generally leaves them
wrapped up in specifics, but basements and dive bars let the
band relax.
"In places that are less technically advanced, I don't give a
shit and all I see are the people in front of me having fun,"
said Buder. To make things work, sometimes you have to make
compromises, an idea the band seems to like.     .,
"Making concessions is definitely part of the appeal, and I
think that as a band, an analogy between us and a concession
stand, I likel," said Pearse. "Pretty accurate I think. We're just
giving people hot dogs and popcorn."
The band currendy has plans to set up their concession stand
in record stores, with a debut LP tentatively slated for release in
the faU. After losing their practice space when the Emergency
Room was closed at the end of last year, Buder's dad offered
the band his freestanding single car garage so long as they left
room for his gardening tools. Pearse is now putting the finishing touches on their new soundproofed studio, a project they
aU consider a great success—considering he did it with no
experience or training other than some 1970s handbooks on
acoustics he found at the VPL. The guys are looking forward to
taking their time in the studio, finding a way of translating their
sound from thcstage to a record.
"We're going to have to make a hobby of recording before we
get to a finished recording," Pearse admitted.
Jutson nodded, adding, "it's going to be a longer process than
just writing some songs and going into the studio and recording them in a couple of weeks. It'U be sort of slower. Well take
time to try things out and I think in the end it'U be better."
Their label, UnfamiUar Records, is behind them 100 per
cent on the project, and is giving them as much leeway as they
"It's pretty weirdly ideal," Biitier said. "I don't know how we
stumbled into it"
This summer, when they re not slaving away in their new studio, the band plans on spending as much time as possible out
at cabins of friends and family. They just got back from a week
at Pearse's family's cabin on Lasqueti Island, which is apparently overrun with feral sheep. After offering this bit of trivia,
Jutson paused and said, "We actuaUy have One in the freezer
right nowr
At this point Pearse—who has been flipping through a cookbook on Indian food for the last ten minutes or so—looks up
to teU us he's trying to find a recipe for lamb samosas. Taking
this as a cue that the interview is over, Butler hefted a pot of
gazpadio outof the refrigerator and began ladling it into bowls
with generous doUops of homemade hot sauce. After handing
me a spoon, he told me, "I hope you Uke it spicy."
It tasted pretty good. <S CLU S
"Clues have created their own sound that has yet to be labeled by
music biogs/ of the most important albums of the
decade...they made the perfect album."
(firj»t-ever lOyoTatffta}
"The best album to come out of Montreal since Funeral."  Nightlife
& FOR THE'   ,. ,
a mesmerising experience somewhere between revolution and
fairytale...Elfin Saddle have created some of the mosl s£nfn0
songs to enter my ears recently"
"so distinctive and very fine..,fok rr
Japan and Appalachia."
ic dark as moss, tinged with
Dancing in our Debt by Duncan McHugh
Real Live Action.
"There's no reason we can't do
this stuff in Vancouver."-^Harlan
: Shore of Search Parties
Kellarissa & Rose Melbourg / Bible Belts / The
Rub / Aaron Read / Search Parties
April 241 Vancity ATM Lobby
For the second time, Dancing In Our Debt's ATM lobby concert went off without a hitch, this time as part of Signal & Noise
[ed. for more on this, see page 16]. At a Vancity hank machine
near city hall, a ragtag group of musicians and fans gathered to
hear some acoustic music   ^.jS'^
"There's no reason we can't do this stuff in Vancouver,"
shouted Harlan Shore, organizer of the event and lead singer
of Search Parties.
The Vancity lobby worked surprisingly Well as a small concert venue, being a large enough space for the audience to
crowd around the performers without feeling a shoulder-to-
shoulder crush.
Search Parties graciously opened with a short—but enthusiastic—acoustic rock set Their music definitely tends toward
the rock side of that spectrum, but Shore's vocals do lend themselves to punk stylings from time to time. Search Parties ate
on hiatus for the summer, but be sure to check out this prolific
band when they start up again in the fall.
Aaron Read's acoustic songs are quite good and his voice
is reminiscent of the nasal drawl of Neutral Milk Hotel's Jeff
Mangum. Unfortunately, I missed the entire set due to Vancity s
surprisingly effective soundproofing. You couldn't hear a thing
that was going on inside from the outside, and if your back was
turned, you would have no idea that the place was crowded full
of people Ustening to music.
Bible Belts came on after an unremarkable performance by
the Rub with a bit more interactivity. Alison Therriault took the
lead here, performing most of the set accompanied by an accordion and partner-in-crime Chris Alscher (a. t a. Chris-a-riffic)
who was sadly unable to bring his piano into the bank They
did manage to entice the audience to sing along with them, especially with their closing cover of the Crash Test Dummies'
Finishing off the night was a couple of rare duets from Rose
Melbourg and Kellarissa, who normally perform solo. The two
songs they played were strong showcases of their respective -
vocal talents, and the final cover tune, from Robert Altman's
country music film Nashville, was a beautiful way to end the
—Jordie Yow
Buraka Som Sistema / DJ Sega
April 241 Biltmore Cabaret
This was a party. Buraka Som Sistema have spent the better part
of a year touring all over the world, bringing their infectious,
ass-shakingly awesome funk wherever they go. On this particular Friday night, the Portuguese crew turned the Biltmore
into a sweaty, sexy basement dance party. If you missed it, you
missed out.
DJ Sega, a young Philadelphia native, quickly, kicked the
party into gear. Instead of taking a place on the stage, Sega set
up his tables across the dance floor, just in front of the sound
booth. Having the DJ right on the edge of the floor worked
well, as it felt more like a house party than a club night. Sega got
the crowd moving with an impressively diverse set that incorporated chopped up~bits and pieces of everything from Biggie
to Nirvana, and from Beyonce to Bill Nye the Science Guy.
With the crowd sufficiency warmed up, Buraka Som Sistema
" took the stage around midnight For audiences outside of Portugal and Angola, Buraka is probably the best-known example
of Kuduro music, a lively and danceable Angolan genre that
combines traditional African rhythms with electro, techno and
Buraka's lineup included two live percussionists, a DJ and two
vocalists (Conductor and Kalaf). They were also intermittently joined onstage by the absolutely entrancing Blaya, a rapper/
dancer who excelled in both of her roles. When she took the mic,
she sounded hke a hyperactive, Portuguese M.I.A., and when she
was shaking it, she reminded you where this music got its name;
Kuduro ("cu duro") means "hard ass" in Portuguese.
Although "Sound of Kuduro" (a single which, in its recorded
form, features M.I.A.) was a definite highUght it's hard to pick
moments that stood out as the dance floor was packed, bouncing up and down through the entire show. At certain points
during the show, dancers from the crowd made their way on
stage and boogied with the band, who encouraged it all die
When these Portuguese party starters (plus a couple of An-
june 2009 19 golans) come back to town, wear comfortable shoes, get there
and get down all night
—Dan Fumano
Dan Deacon / Future Islands / Teeth Mountain
April 26 / Richard's on Richards
Along with the Future Islands and Teeth Mountain, Dan Deacon and his 14-piece band conjured up one of the most intense
dance parties Vancouver has seen this year.
Teeth Mountain came on first to a full Richard's on Richards.
The band's hypnotic drumming and melodic horns drew the
audience in—drummer Kate Levitt was particularly engaging.
The Future Islands, a synthpop band who also hail from Baltimore's Wham City coUective, continued to build excitement in
the crowd in preparation for Deacon's electronic pop spectacular. But few were prepared for what was to come.
Through the shadows, the shape of a vibraphone along with
masses of circuits, wires and samplers could be made out while
the dulcet sounds of Enya wafted through the air. Dan Deacon
and his band emerged. Deacon looks as though he whiles away
his hours in the basement playing World of Warcraft, but when
he and the band began to play, the venue became a pulsating,
tricked-out sweat lodge, complete with spinning rainbow Jack
Russell terriers and a flashing skeleton. This was not a show
to attend as an observer—ten minutes into Deacons set I was
drenched in sweat and was forced to punch my way through
the frenzied audience to throw away my bag, sweater and notebook in a flurry before rushing to plug back in with the moving
Deacon's instructive games and participatory activities are
not only fun, but possibly necessary in order to ensure the au-
^dience does not get excited to the point of aggression due to the
explosive nature of the music He encouraged the audience to
join in a fancy dance contest a mass high-five circle and finaUy
a "gauntlet" formation where the audience made hand-bridges
up the stairs to the balcony and down a back stairway to the
main room. Nearing the end, he played "Crystal Cat" forcing
the audience to delve deep into their bodies to find one more
ounce of energy.
It was an amazing performance although Deacon may have
been having too much fun issuing his comically overdramatic
instructions to audience members, who would follow and repeat whatever he requested. This included a "repeat after me"
rant directed at the drummer from Teeth Mountain before the
show even started, where Deacon got the audience to point and
tell her en masse tq,"respect other people's ideas" This seemed a
negative and out-of-context twist in a performance that otherwise remained fervenuy positive and fanciful straight through
to a manic conclusion.
A final note: to those of you with bangs, be forewarned: if
you attend a Deacon show they wiU become putrid strings of
sweat, stuck to your forehead and dripping. You wiU stink, lose
your friends, and look Uke you went swimming. But the experience wiH be worth it—it was so intense, I would recommend
that you get a good night's sleep beforehand. Or just pop some
E, whatever. '• ;.~ -f^r*
[ed. In no way does Discorder support illegal drug use.]
—Alex MeCarter. \ <?%£§<_%
" If you put your thumb in your
beer and shake it up and spray it
all over us, that's what we like.
That's what we're like in the
States... freaky... and nasty.
Freaky and nasty!" —Juan
Velazquez from Abe Vigoda
Vivian Girls / Abe Vigoda / White Lung
April 291 Biltmore Cabaret
Vivian Girls and Abe Vigoda, two of America's latest greatest
rock, exports, had a hard time getting the crowd going at this
Wednesday night gig.
Abe Vigoda guitarist Juan Velazquez called the crowd out on
it half way through their set... sort of.
"If you put your thumb in your beer and shake it up and
spray it all over us, that's what we Uke," Velazquez bantered, trying to break the ice after their fifth song. "That's what we're like
in the States... freaky... and nasty. Freaky and nasty!"
Velazquez and his bandmates were the highUght of the night
tearing through song after song of up-tempo, angular guitar
rock, soaked in reverb and played with enough unabashed charisma to make them look Uke they were performing for the second or third time. Nevertheless, most in the audience remained
stationary on the dance floor or sitting in the couch-like booths
of the Biltmore. Sure, it was a Wednesday night but this line
up was fiUed with some seriously creative takes on the contemporary punk/garage-rock revivaUst sound. Bodies should have
been vibrating or thrashing accordingly.
Openers White Lung didn't really help out the cause. While
their set was tight and guitarist Natasha Reich shredded the shit
out of her guitar parts, vocaUst Mish Way sounded withdrawn,
resulting in an awkward, forced kind of third-date chemistry
with the crowd.
Halfway through their North American tour, Brooklyn's
Vivian Girls seemed a bit stiff, but they still brought the fire
that they've been getting so much press for. Songs Uke "AU the
Time" and "WUd Eyes" sounded almost ethereal Uve, with guitar solos stretched out to folk-like lime signatures and vocal
harmonies honed to cacophonous perfection.
By the end of the night Vivian Girls bad warmed things up
nicely by inviting significantly drunk portions of the audience
onstage to dance and play horrible, impromptu tambourine to
finishing numbers "Damaged" and "My Baby Wants Me Dead".
The notorious lack of crowd participation at good rock
shows in places Uke Vancouver and Toronto often seems Uke a
mysterious, intangible problem, but it ain't. Venues: drop your
drink prices by a third and tell security to relax about letting
performers and crowd mingle. I guarantee a 50 per cent increase in pure, uninhibited rocking out as a result.
—Justin Langille
The Weakerthans / The Constantines
May 1 / Commodore Ballroom
The Weakerthans' strength has always been John K. Samson's
words. Sure, their melodies are catchy enough, but their mix of
pop, punk, and country isn't anything original, and musically,
the band's execution of any of the genres they dabble in, while
good, isn't particularly notable. Your enjoyment of a Weaker-,
thans Uve show, then, is often tied in directiy with your abiUty
to join in with the band's faithful in what's sure to be a rather
large group sing-a-long. During their most recent Vancouver
visit, a two-night stand with the Constantines, it was hard not
to be swept up amongst the joy of everyone who showed up to
sing the gospel.
The Constantines, who once again joined the headliners for
a tour-dubbed "The Rolling Tundra-Revue," took the stage first,
firing off a set that puUed fairly evenly from across their four
album catalogue. The band seems to get a little meUower with
every successive release, but mixing the soft strums of newer
cuts Uke "Time Can Be Overcome" with the raw excitement of
early songs Uke "Young Offenders" lent the set a balance that
paralleled the pacing of their best effort, Shine a Light. Unsurprisingly, it was the songs from that album, the band's second
release, that shone the brightest. "Nighttime Everytime" got a
crowd that was mosdy waiting for the Weakerthans to shout
along before it shd into a jam that would make Neil Young
proud and the tide track closed the opening set in epic fashion. It was "Young Lions," though, that was the fittingly majestic
Vivian Girls by Duncan McHugh
20     discorder magazine % "The notorious lack of crowd
participation at good rock shows
in places like Vancouver and
Toronto often seems like a
mysterious, intangible problem,
but it ain't. Venues: drop your
drink prices by a third and tell
security to relax about letting
performers and crowd mingle. I
guarantee a 50 per cent increase
in pure, uninhibited rocking out
as a result."—Justin Langille
The Weakerthans started their portion of the evening off
with a trio of slower, newer tunes before bursting into "Watermark" four songs in and jolting the crowd to Ufe. The upbeat
number from their second record was the first "classic" song
played from the band's repertoire, and while they peppered the
set with cuts from all of their records, from there on in, the
audience was very much in the headliner's hands. It happens at
almost every show I've seen the Weakerthans play, but it's stiU
a bit surprising to look around and see just how many people
seem to not only know, but also sing along with, every single
word that escapes John K. Samson's mouth. I've always been
wary of bands that inspire such a devoted following (maybe
because it's mosdy jam bands that do), but for whatever reason,
at least with this band, it's hard not to enjoy yourseU when everyone around you is having so much fun.
—Quinn Omori x|
CiTR*$ charts reflect what's been spun on, t^e aff for the
previous month. Hifcldds with stars (*) mean they come
from this great land oT outs. Most of these phat platters
tan be feuntiPajtftner {read; iraiel^ndent) music stores
across Vancotiv^tF yotrean't $&d %m there give the
," IfiSsft, ®$t_$$jfc a aheut at (604) 822-8733 H&Raro?
Knit Mountaintops*
\ Outside Love
\ Jagjaguwar
\ 20 Years Of Merge
j Merge
King Khan & the Shrines
| Vice
Nti Sensae*
\ One Sided
j Now Waves
Throbbing Gristle
j TheThird Mind Movements
; La Petite Nicole
j I Blame You
! Sub Pop
Chain & the Gang
\ Down With Liberty... Chains!   '
! K
| Fantasies
1 Last Gang
\ Clues
j Constellation
Add Mothers ... Paraiso UFO
! Lord of ...and the Magic Elixir
j Alien8
Swan Lake*
\ Enemy Mine
I Jagjaguwar
Black Dice
\ Repo
j PawTracks
Green Go*
j Borders
| Pheremone
Apollo Ghosts*
\ Has/tings Sunrise
I Independent
Patrick Watson*
| Wooden Arms
1 Secret City
and Girls Club
1 In The Red
Neko Case
i Middle Cyclone
Dan Deacon
j Bromst
j CarPark
\ You Can Have WhatYou Want
= Gnomonsong
\ CrackThe Skye
j Warner
The Handsome Family
j Honey Moon
\ Mint
Junior Boys*
\ Begone Dull Care
Cheer Accident
\ Fear Draws Misfortune
j Cuneiform
The Bran Hakes
\ 1 Have Hands
; Illegal Art
is Luke Meat. i,^fcask nicely he'll teft-you how to
Strictly the dOPeSt            .  .   0 ■_^etfi.-i&jBQtioi£E.other great camrxis/community. radib
_\if<rVf hfiku • * * *                        charts check out www.earshot-or*finaifp||^^             JM
Universal / Dress Up   I
\ WhereThe LandMeetsThe Sky
Experimental Dental School
\ Forest Field
\ (a)spera
Her Space Holiday
1 XOXO... New Kid Revival
MtBh- ^k
; Hibernation
Bill Callahan
\ Sometimes... An Eagle
Drag City
Neil Young*
\ Fork In The Road
Fetus Grinder*
\ Terror In The Woman's Clinic
Joel Plaskett*
1 Three
\ Fin du Monophone
The Brains*
\ The Brains
Snake Flower 2
\ Renegade Daydream
Crystal Antlers
j Tentacles
Touch And Go
The Datsuns
\ Headstunts
Cooking Vinyl
\ Si&Hif^V'r
Vulcan Sky
Easy Star All Stars
I Easy Star's Lonely... Dub Band
Easy Star
Stompin'Tom Connors*
\ A Proud Canadian
\ Post-Nothing
Comet Gain
\ Broken Record Prayers
WhatsYour Rupture    1
. Everything She... Ampexian
1 Set'Em Wild, Set 'Em Free
Dead Oceans
Bell Orchestra*
I As Seen Through Windows
Camera Obscura
\ My Maudlin Career
The Black Lips
\ 200MillionThousand
june 2009
21 Undef Review
Big Joe Burke
(YVR Records)
It maybe surprising to discover a quote by Lord
Byron on a country album, but this is exacuy
what you will find on Quiver, the sophomore
effort from Vancouver's Big Joe Burke. As a
foUow-up to 2007's debut Love or Money, you'll
stiU hear the honky-tonk that Burke does so
well, but this time around it's a bit lower key.
Burke utilizes the steUar line-up from his first
album with the versatile psychobiUy musician
Gord Smithers on guitar and fiddle, Pat Darcus
on upright bass and acclaimed blues drummer Sandy Bone. It serves as a testament to the
talented restraint of the supporting musicians
involved that their outside influences are left at
the studio door with the resulting sound being
one that is alt-country dusted with a few folk
Quiver contains 13 songs, nine of which are
originals penned by Burke. Covers include
material by Merle Haggard, Gordon Light-
foot and unexpectedly, the Beatles, which
works surprisingly weU. Burke's cover of Bob
Dylan's "Don't Think Twice, It's Alright" is a
welcome addition to the disc as it's a frequent
staple of his Uve sets and a complete showstop-
per of a rendition. Why this man has not yet
been scooped up by Nashville is one of life's
sweet mysteries. Either there is no justice
in this world or he hasn't yet been heard by
someone with the power to make that happen.
Let's hope for the latter, [ed. Maybe he just likes
—Melissa Smith
We Are America
It is'the turning points in our Uves that sometimes spur us to produce poignant and effective bodies of work that offer clear sight into
another's Ufe and way. of dealing with, changes. We Are America, the latest output from
Halifax's Caledonia, paints a picture where
shift, self-expression and transformation
is key. Thematic quaUty aside, it's the bands
alt-country/folk vibe with a twist that makes
tins music interesting. The fact that they like
to mix things up by injecting rock influenced
atmospheric walls of distortion alongside reggae infused jam-outs, sometimes at the same
time, doesn't hurt either. Take for example
"The Plague," a song that makes good use of
combining different genres and making them
fit nicely. One might think that folk country
and reggae would make a horrible match, but
they manage to sneak it past you and before
you know it your head is bobbing. Picture
hints of Jeff Tweedy backed by the Maytals
with roots planted firmly in the country Ufe
and you might get an idea.
While there are a couple of weak tracks
in this coUection, they are nothing to balk
at. "Winter Drops From Trees" is a neat Utde
meditative spoken word piece featuring Tanya
Davis on vocals and "Scott's House" is a great
number, with a catchy banjo intro and. soft,
driving beat set to pedal steel and accordion.
We Are America is surprising, fun and worth
the time taken to absorb it.
—Nathan Pike
Dinosaur Jr.
Farm is Dinosaur Jr's second album since the
original hneup reunited in 2005, and it finds
the trio revisiting the sound that made it such
a touchstone for '90s alt-rock. As you'd expect
from Dinosaur Jr., the guitars are permanendy
distorted and the rhythm section never lets up,
with the album's 12 songs offering Utde in the
way of variation—there are no guest musicians
on the record, and scarcely any overdubs beyond
guitar-leads and the occasional vocal harmony.
StiU, despite the heavy-hitting arrangements,
the group lacks the aggression typicaUy associated with hard rock, mainly because singer/guitarist J. Mascis comes off as perennially bored,
as if there's nothing hed rather do than sit at
home on his couch getting stoned
The 21st century incarnation of Dinosaur
Jr. is a Utde less adventurous than the band of
old (there are no Sonic Youth-style noise freak
outs), but its knack for melody remains untarnished. The album has more than its share of
unforgettable choruses, and even the guitar
solos are almost hummable. Best of the bunch
is "Plans," a sun burnt frizz rocker with the
oblique but affecting refrain of "I've got nothing left to be / Do you have something for me?"
Intoned in Mascis' apathetic deUvery, the plea
for help seems all the more desperate, and the
overaU effect sounds something Uke Pearl Jam
with a really bad hangover. Actually, lets give
the group its historical due—Pearl Jam sounds
like Dinosaur Jr. without a hangover.
—Alex Hudson
III Wait for Sound
(Grapshoot Economics)
* This Irish four piece returns with I'll Wait for
Sound, a foUow up to their magnificent debut
We Thrive on Big Cities, released by Adantic in
2006. This time out, the lads from Malahide
(a seaside suburb of North Dublin) are going the indie route and releasing on their own
label. Perhaps as a means of exerting control
over their sound, they insisted on seff producing their first album, but for this sophomore
release enhsted the efforts of Brad Wood
'(Smashing Pumpkins, Ben Lee) as producer
and Barny Bancroft (Arctic Monkeys, Franz
Ferdinand) to mix. For those inclined towards
comparisons, imagine a sUghdy happier version of Interpol.
VocaUst Michael Moloney is once again the
chief songwriter and aU 10 tracks retain Director's distinctive, indie-boy-done-wrong sound,
as Moloney's haunting, deep timbre soars
above and interweaves with trademark riffs
from bassist Rowan AveriU and guitarist Eoin
Aherne, whfle drummer Shea Lawlor keeps
time. It's a very weU crafted effort, but there
isn't a single on I'll Wait for Sound to match the
sonic grandeur of "Reconnect," the breakout
track from their first album—which is perhaps
the downfaU of creating an indie pop masterpiece on your debut. At present the band has
not secured a distributor for the North American market so for those of you hell bent on
out-referencing your hipster friends, pick this
up as an import through Faction Records and
collect your weU deserved bragging rights.
—Melissa Smith
Great Northern
Remind Me Where The Light Is
(Eenie Meenie Records)
Since the White Stripes broke into the mainstream in 2002, there seems to have been an
influx of rock duos flooding the market. Some
rely heavily on the gimmick and less on actual content, while others, Uke Great Northern, prove themselves talented and passionate
musicians. Instead of focusing on raw power
and minimalism Uke the White Stripes or the
Kills, Solon Bixler and Rachel Stolte take sim- ,
pie parts and layer them on top of each other,
becoming song constructors. As each song
progresses, more layers of instrumentation
and vocals are added, creating a huge sound
without affecting the mood or the tempo of
the track. Each song is carefuUy crafted, creating massive pieces out of tiny parts, causing
the Ustener to forget that this is essentially the
work of two people. This song writing formula
is complemented by clean, crisp production
quality that aUows the music to resonate out of
the speakers and fill the room at any volume.
The result is 11 beautiful tracks ranging from
the upbeat opener "Story" to the profoundly
sad "Driveway? The only drawback to the album is the vocal production. Rachel Stolte's
gende, feminine voice is often trapped in the
layers, unable to explode to the forefront of the
songs and realize its potential. That aside, Remind Me Where The Light Is serves as a beautiful piece of contemporary indie rock that compares well with many of the bands at the top of
the scene. Put it on, turn it up, close your eyes
and disappear into the atmosphere.
—Mark Paulhus
22      discorder rri^Mne % Green Go
(Pheromone Recordings)
Recording a debut album seems Uke an incredibly stressful ordeal. You have to work out a
coherent sound that embodies the Uve act you
were before entering the studio and carry it
through the whole record without exhausting
itself. Add the extra pressure of the inevitable
make-it-or-breakrit stance that a first album often carries, and ifs a wonder people get around
to making that first record at all. Although these
anxieties logically would have had to fall on the
members of Guelph party band Green Go, their
debut record shows few signs of any stumbling
trepidation. Perhaps it's the conservatory training of the band's fronting duo, Ferenc Stenton
and Jessica ToUefsen, or the confidence of a
band that has reached a sort of hometown hero
status with a reputation for insane Uve shows.
In either case, Borders sounds Uke the work of a
band that knows exacuy what it wants and has
the experience to do it Specifically, they seem
to want to make you dance. And though the
obligatory skittery new-wave drums and lunar
synths are present here in abundance, Borders
does not sound Uke yet another rehearsal of the
current '80s dance revival. Competentiy moving through various iterations of post-punk,
electro-pop and funk while still retaining a
crisp, polished and unified sound, the record
offers a style that, though familiar, is engaging
from start to finish.
—Aaron Goldsman wSs^Aia
Hanne Hukkelberg
Blood From a Stone
Originating from Kongsberg, Norway, Hanne
Hukkelberg has been making music and testing out her vocal capabilities from the ripe
old age of three. Performing with an ever-
expanding cast of friends and accompUshed
musicians, Blood From a Stone is Hukkelberg's
third release as a solo artist Listening to the
disc, one can certainly detect Hanne's early
punk/noise roots, and Jier assimilation into a
scene that championed d\i.y. noise and experimentation over musical uniformity. Like the
songs from Cocteau Twins, Joanna Newsom
or Coco Rosie, Hukkelberg's music has a distinctly ethereal quaUty. It captivates and entices, transporting the Ustener through a series
of dark, foreboding and enchanted spaces.
Blood From a Stone certainly lends itsetf to the
majesty and grace of Hukkelberg's voice. If the
world is a stone, Hukkelberg is the crimson
blood that spills forth from it—unapologetic,
whimsical, and brimming with emotion and
depth. Hukkelberg's music offers a cathartic
diversion from the humdrum of the everyday
as it creates a space to engage in fantasy, and
acts as a medium for ecstatic, unadulterated"
feeling. Drawing inspiration from bands Uke
Einsturzende Neubauten and Sonde Youth,
Hukkelberg utilizes everything from kitchen
utensils to clacking type writers, flag poles,
shrieking sea gulls and purring cats, to weave a
unique and poignant miasma of textured, layered and ambient sounds.
—Amy Scott-Samuel -
Jason Lytle
Yours Truly, the Commuter
Yours Truty, ihe Commuter is a solo album in
the truest sense of the word. Former Grandaddy frontman Jason Lytie played all of the
instruments on this debut disc, written and
recorded in his adopted home of Bozeman,
Montana. Based on the evidence here, moving
to smaU-town America hasn't done much to
improve his mood, since the album is heavy
on weighty ballads and wounded, sorrowful lyrics, "I may be limping, but I'm coming
home," Lytie sings on the tide track; I'm not
sure exacdy what injury he's referring to, but
I'm guessing he's not talking about his leg.
Lytie sings in a thin, nasal drawl—it's not
unpleasant to Usten to, but it has a tendency
to sound a Utde weak when paired with muscular arrangements, such as on the fuzzed-out
"It's the Weekend." His voice fairs better on the
sombre acoustic numbers, especiaUy when
fleshed out with lush harmonies and subde
electronic flourishes. There are echoes of Elliott Smith in the heartbreaking "I Am Lost
(and the Moment Cannot Last)," a reverb-
soaked piano waltz with ghosdy backing vocals and a waU of synth strings. As is the case
on much of Yours Truly, the Commuter, die
. pathos is laid on a Utde thick, but the lush in- .
strumentation and sharp melodies prevent it
from ever sounding too bleak. lljKSls
—Alex Hudson
Leverton Fox
Country Dances
(Gravid Hands)
On their debut album, Leverton Fax devise surprisingly cohesive arrangements that remain
true to their clearly experimental and improvisational roots. Country Dances can be summarized as the band's first few identity crises
wrapped in a tidy package, as it compiles and sets
out to blend a variety of electronic and organic
sounds into a psychedeUc, avant-jazz experiment Songs Uke the gtitchy, low end grumbler
"Rubbed Out," die haunted-basement-dwelling
"Radar Remote," and the cavernous "Vulpecu-
la" are all dripping with cosmic mud and help
send the album into darker, more evocative
realms. The hazy "N4 Comedown" and album
standout "Spectre & Wagon" are among some
of the album's more subdued songs that focus
on intermittent jazz-style percussion and echoing trumpet augmented by thin layers of gritty
feedback, swirling synthesizers and samples
from field recordings. It is these songs that prove
the band's akeady ambitious approach to musical catharsis. In comparison, tracks Uke "Prang"
and "Uncle Jack" seem sUghdy juvenile and atmospherically misplaced due to their simplicity.
The more complex layering on the album allow
for the band's improvisational qualities to fully
exert themselves and while its occasional rigidity certainly leave more to be desired, the album
finds, for brief moments, a loose identity within
: its semi- viscuous layers of sound.
—Chad Thiessen
Moll Flanders
If You Cant Understand What You
Don't Understand It's Not Easy
(Crying Bob Records)
Pop/rock sextet MoU Flanders hail from Sweden but sings exclusively in English, presum
ably hoping to break through to the same
worldwide market enjoyed by feUow country-'
men Peter, Bjorn & John and the Knife. Unfortunately, the band's grasp on the language
isn't quite strong enough to make it work. The
inexpUcable album tide could almost he forgiven, but the clunky lyrics are impossible to
ignore—most of the songs contain simpUstic
rhyme schemes and awkward syntax. "Friday
Mght" features the danger "Maybe visit MySpace online / But my computer sucks, HI take
a nap." Worst of aU, the tune's sombre deUvery
makes it impossible to tell if it's a joke.
Nevertheless, the band has enough musical
ideas to make the album entertaining, if occasionaUy frustrating. "La La La" is a hypnotic
new wave groove, brought to Ufe by rich vocal harmonies and gorgeously chiming guitar
breaks. "Valentino" is similarly infectious, with
a joyous keyboard riff set against a stomping
beat and lush saxophone flourishes. "Fading
Away" even features sections of a cappeUa
vocals, simultaneously bringing to mind die
Beach Boys and a barbershop quartet. Ignore
the lyrics and you could swear that the band
was going to be the next big Swedish export.
—Alex Hudson
Rat Silo
Jim Newton, a Vancouverite whose previous
band, Sons of Freedom, received critical notice in the late '80s and early '90s, is die creative
force behind pop/rock band Rat Silo. After a
12 year hiatus from the music industry, Jim
has assembled a crack band of industry veterans—including members of Jakalope, Numb,
54-40, SNFU and the Tainted Lovers—to re-
cord Doubleplusungood.
The album shows aH the signs of a guy who
has returned to making music for me right
reasons: he's good at it and he loves it And at
this point in his career, Newton's not going to
puU his punches, and has earned the right to
teU it like it is, as opening rocker "Oh, Fuck Off
Tony" sardonicaUy demonstrates. But if this is
a man who casts a weary eye at the world ("I
Blame It On Your Momma" and "Jiggle My
Wiggle"), he has come out with his optimism
(mosdy) intact, an achievement in itself, which
he celebrates on "Shiny Light" He has also not
lost his capacity to love, which expresses itself
in wonder and gratitude for relationships on
"Hello Beautiful Girl" and "Candy Let Your
Hair Hang Down." The songs are unpretentiously simple in both composition and arrangement and while this approach can make
for music that occasionaUy sounds famiUar,
the essence of this music lies in its spirit, not
innovation. Hopefully that's something that
music fans can still be grateful for.
—Jonathan Evans
Rock Plaza Central
At The Moment Of Our Most Needing
(Paperbag Records)
Sometimes an artist creates simply out of the
need to express, not expecting people to take
the time to notice let alone appreciate their
work Such was the case when Rock Plaza
Central released 2007's Are We Not Horses; an
album that quickly gained in popularity and
allowed for some very favourable reviews and
lip service from industry biggies, such as Roll
ing Stone and Pitchfork.
At The Moment Of Our Most Needing is the
fourth release by Rock Plaza Central. Largely
inspired by die William Faulkner novel Light
In August and described by founder/singer/
noveUst Chris Eaton as a sort of love song to
one of the novel's central characters, the album
can be best described as a journey. But it's hard
not to be intrigued even a Utde bit by RPC's
music that sounds as if it has been written and
recorded by sUghdy crazed and terribly drunk
hiUbiUy rockers with a penchant for Neutral
Milk Hotel, Songs: Ohia and Thee Silver
Mount Zion Orchestra.
Songs Uke "A Mule on Fire" and "The Hot
Blind Earth" show influences steeped in big rock
while "The Wrong Side of the Right" sounds as
if it could have been recorded with deep '30s
American folk music in mind. This is not your
typical album. Highly inventive, intelUgent and
fon to Usten to, At The Moment Of Our Most
Needing will stick to you tike glue and is indeed
a journey that you wiU not soon forget
—Nathan Pikr ^  0
June 2009 23
•J THE WELL NOURISHED STEREO Zulu's easy plan far better sine living.
Yesterday And
Today CD
The fearsome and fearless Atlanta
foursome come back with another shot to the head. Certainly not a group to rest on their laurels,
Deerhunter delivers five new tracks on this extended play. This is not
some stop-gap release between albums, or mere leftovers from their
most recent Microcastle album, but an all new session. The band
loves the EP format and thinks it does not get the respect it
deserves. Hell, some bands arguably \»?ork best in the EP format
(think Cocteau Twins or My Steady Valentine), and now maybe we
should add Deerhunter to that list. That's certainly not to say their
albums aren't great, but with 2007 s Fluorescent Grey EP and this
new one. a lucid argument can be made that minute for minute, and
hook for hook, their two EP's can't be matched for visceral energy
and pop smarts.
CDEP 10.98
Hie Eternal
Aside from their perennial role as
tastemakers and curators of the
underground, Sonic Youth's business since their kind-of-comeback
with 2002's Murray Street has been
the delivery of solidly excellent art-rock albums to stoke your summertime. With The Eternal, their first album for mega-indie Matador
since leaving Geffen, they're bringing those two jobs together: every
song here is a subtle homage to the artists and musicians that SY
finds eternally inspiring: you can hear sonic echoes of or riff-citations from the Dead C, Neu!, Kevin Ayers, Sonic's Rendezvous Sand
and the Winers. Even the artwork is homage: it's a painting by the
late John Fahey. The band is also back up to a quintet: following Jim
O'Roiirke's departure, Pavement Free Kitten bassist Mark Iboid has
joined up as a full-time member. The Eternal also features the first-
ever instance of Kim, Thurston, and Lee all singing on the same
song. If you didn't take advantage of the "Buy early, get now" deal,
you can pick up the album June 9f.
CD 16.98    2LP 27.98
Still Night, Still Ught CD
Field is Axel Wiltner. and his last
album, From Here We So
Sublime, was one of the most
acclaimed releases ot 2007, receiving a 9.0 on Pitchfork and universal
praise. It was arsoundtrack to the spit-shined airport of your dreams
- faceless, futuristic, and fuzzy. You could dance to it, sleep to it, or
daydream to it: it's a versatile little album. Wow, Winner's label,
Kompakt, has teamed witlnANTI- to release his anticipated follow-up,
Yesterday And Today. On the new album, Winner expands his
palette, continuing the oblique sampling strategy of From Here We
Go Sublime while building up the rhythmic architecture; on the title
track, Willner collaborates forthe first time with Battles drummer
John Stanier. Since startling the world with From Here We Go -
Sublime, Willner has been much in demand as a remixer, with tracks
from Them Yorke to Battles to Maps raising his profile, so that now
legions are gathered, in that spit-shined terminal, waiting for their
blissed-out departure.
CD 16.98
Yours Truly, The
Commuter CD
After 15 years at the helm of
Grandaddy - the Modesto,
California ouintet whose celebrated
five-album run started as a project i„   _
Jason Lytie's bedroom and took him t,^*t*Sl^^w*lfr*'s^ a    QQ "J fiQft
around the world - Jason lytie returns with a new collection of
songs that are at once a continuation of and elaboration on the musica! and lyrical ideas he explored in that band. The title - Yours Truly,     DIRTY PROJECTORS
The Commuter - tells it all: songs about the treks we all make, from
one state to another, from inner lives to outer, and the tolls those
travels take. Musically, the dreamy soundscapes mirror the dramatic
environment of Lytie's newly-adopted Montana, where tne record
was written and recorded, while the twang of centra! California farmland remains in the inflection and phrasings of the Modesto native's
urmjfsfakabie voice. Electronic flourishes collide with acoustic guitars and soulful piano parts, recreating Lytie's signature electro-lo-fi
atmospheres. "I wrote all the songs, I engineered the whole thing, I
recorded it, I played all the instruments - this is what I do," says
Au Revoir Simone epitomize innocent beauty: a band of three tall,
graceful Brooklyn brunettes (they could be sisters, but they
aren't) who play sweet yet sophisticated synth-pop, setting their
hushed vocal harmonies against layered lunar textures and the electronic heartbeat of an analog drum machine. Thoughtful but unpretentious, they are a pretty cotton sundress in a world of nylon and
neon. Like Cocorosie minus the fake blood and beaded headdresses, An Revoir Simone are pure charm with a casio keyboard, ali clean lines and classic si
They've slowly stolen hearts over the course of two albums, to the point where number three
arrives weighted with considerable buzz and anticipation, but not to fear: Still Mght, Still Light is
brightly coloured hot air balloon, and its going up. up. ..UP!
CD 16.98
Around Tne Well CD
tracks collected on Around the Well span from iron ami
Wine's earnest sessions which yielded the band's debut (2002's
The Creek Drank the Cradle} through material recorded for 2007's
The Shepherd's Dog. The double-disc collection is broken up into
two sections. The first hatf js an assortment of hushed home
retsrdings, unedited and raw, and the second highlights moments
captured in the confines of proper studios with the help of other
musicians, friends and engineers. The album's title comes from a line in the song "The Ti
Swinger, a fan favorite which was written for and included in the'movie In Good Company. Three
more songs written and recorded for the film finally make their appearance here as well: "Belated
Promise Ring,* "Sod Matte the Automobile' and Homeward, These Shoes." ftround the Weil also
brings together hard to find covers such as The Flaming Lips' "Waitin* for a Superman and New
Order's "Loire Vigilantes," along with one of Iron and Wine's earliest originals, "Sacred Vision,"
which appeared on a compilation for Sound Collector magazine.
Jhelli Beam CD
A dashing young figure in the Los
Angeles underground hip hop
scene. Busdriver returns with his
' latest, Jhelli Beam - both smart
and smart-ass, theatrical without      J
being pompous, and. as always,
funny as hell. SB's tegendarily
breath-defying flow teeters precariously on top of samples of classical music, jazz drumming and proggy guitar parts, without ever losing sight of the electronic music that helped dearie Ms sound,
erttftralted fans and stood out from the soggy beats that vwsjghed
down much of his contemporaries' work. Sound schizophrenic? It's
not. And as usual, Busdriver has some heavy friends to help out:
legendary underground battle rapper Nocando guests on a classically
witty Busdriver track least Favorite Rapper" while Islands' preco- -.
cious Mick Thorburn s influence can be heard on an almost ELO-fla-
vored song Happy Insider." The sum of Jhelli Bean's seemingly
disparate parts creates a record that Is mindfully engaging and booty
shaking at the same time - a wholly unique take on what an underground hip-hop album snouStbe.    "=
CD 16.98
FoBowing a gaggle of seven-inches for goose-y labels such as X!.
What's Your Rupture?, S-S, and M'Lady's Records, Detroit's
noisy darlings, Tyvek. deliver a tong-pfe^er that coujdn't make
Siltbreeze happier were the colonel slathered in foie gras and
seared to a crisp. The details of this release have been a closely-
guarded secret, but if you saw the band in '08, some of these jams
might ring a bell. Combining an uncanny channeling of The Urinate
and early Mekons, Tyvek drops jaws to floors with solid acorns of
repetitive punk/pop numbeTsllaftKGeme oaks almost instanta*
r neously. The inclusion of Damon (a.k.a. Teets of Puffy Areolas)
brings in another sorric dimension and suddenly the band's set     «
- veers into a Velvet Underground-by-way-of-The Feelies stratos-   -
phere. Here you'll find a mixture of both, the blend of two perfect
worlds. Practically a year in the maJorig, ftis baby is worth every
second of the wait.
Lytte, and we are glad he's taking passengers on this journey.
CD 16.98
Enter The
Vaselines 2CD
The Vaselines have long been celebrated by musicians and music
enthusiasts across genres and
across the globe, including super-fan
Kurt Cobain Sub Pop's May 5
release Qf Enter The Vaselines is an opportunity for those already
familiar with the Scottish bands brief career to delve deeper into
their body of work, while those new to their music can experience
firsthand why so many hold them in such high regard. This new collection is effectively a deluxe-edition reissue of the 1992 Sub Pop
release "«^s/me^va»lirHK/fulUengths
/the_way_ofJhft_vase1ines/" The Way of The Vaselines, which compiled the band's two EPs (Soa-of a Gun and Dying for It) and their
sole LP release (Oum-Dum). Enter The Vaselines is the definitive
triple LP/doubie CD Vaselines collection. It includes new mixes and
re-mastered versions of everything by The Vaselines, plus never-
before-heard demos, and live recordings from 1986~in Bristol and
1988 in London.
Bitte Circa CD
It's hard to overestimate tha magnitude of this release. Over many
years and several releases, Dave Longstreth has proven his restless, quixotic genius with cross-pollinated genre experiments,
unconventional song structures, and an ambitious, high-concept
approach to indie rock. While often difficult, his songs have always
had a core of raw emotion and overreaching passion,.hinting at "
potential for a major statement, a rapturous breakthrough. Last
year's Rise Above was a landmark release for the projectors: still fuelled by a strange concept
(Stack Flag song reconstructed from memory), it introduced a new, soukous-flavoured guitar style
and a higher level of collaboration with Longstreth's now-solid bartdlhat made for their most powerful and accessible record.'Bitte Srca sees them taking it to the next level: everything they've ever
done, done better, just songs, a pure album, radiant, beattttfuJ, sublime, spiralling, snaking, and
ttMBftiBg;. No indie rock band right now is more inventive, more vital. This is artful, abstract soul in
the tradition of Prince and the Talking Heads. Essential. AVAILABLE JUNE 9th
CD 16.98
Even more for your...
2CD 16.98
fflfflZLY BEAR -veckatimest CO/LP
DAVE AUM - And the Guilty Women CO
NEKO CASE-Middle Cyclone CD
DUCWMS-sA :sj&
BLANK DOGS -Under ami Under CO/LP
IMP - The World in Your Eyes CD
LOOP-Gilded Eternity CD
SIR RICHARD BISHOP -The Freak of Araby
BAC*ORET!l-My Electric Family CD
MT.EBffi-Lhre in Copenhagen 3LP
MAGNETO FBDS -69 Lave Songs 6x10" LP
VARIOUS- Nicola Conte Presents Viagem 2
AcidCQEP T^p
PAUL mum - Just a Dream CD/DVD
You've seen them on Pitchfork,
you've seen them on the cover of |
Exclaim! and 77w Georgia Straight
and if you've been out and about,
you've probably seen them rocking
the collective socks off various
venues in town for the last couple.
years. You might even have their Lullaby Death Jams album or All
Lies EP. Well, folks, this here is the full-length (vinyl-only, 'cuz that's ,
how. things are going these days), arriving with a fanfare, clouds
parting, and ray of light the day of Japandroids is at hand.
Vancouver's most powerful power duo are taking their maximal teen-
angst garage-pop to tne world, and the world is loving it. No Fun -
City, meet your new heroes. They're fun dudes. You'U like them.
CD/LP 16.98
LP 14.98
Sale prices in effect until June 30,2009
•n SUPpOlt Of mm ntSBt
MM* am HOUR!
Zulu Records supports
SORiG tOUf FSIIl! In fact we want to
give away a couple of passes for two to take in    ■
Calgary's SLED IStANBFESTIVM. June 24-27 to se
Liars, Women, Woodhands, Tricky Woo, The
"Breeders, Obits, Anvil, The Coathangers, HEALTK
The King Khan & BBQ Show, The Evaporators, Mount
Eerie, Hot Liffle Rocket The Pack A.D., Sub-linguals,
Githead, Final Fantasy, The Rural Alberta Advantage,
The Whitsundays, The Dead Science, Andrew W.K.,
Agnostic Mountain Gospel Choir, Novillero, The
Bronx, Nardwuar*s Video Vault, Slim Twig, Quintrop
and Miss Pussycat, O'Death. Monotonix, Jonathan
Toubin, Malajube, Ladyhawk, Library Voices,
Hollerado, Japandroids, The Cripple Creek Fairies,
Holy Fuck. Battle Snakes. SEE-STORE FOR FULL
these are moments: part 1
drawings and screenprints for the past,
present, and future
by alanna scott
Zulu Records
1972-1976 W 4th Ave
Vancouver BC
tel 604.738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9=30-6:30


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