Discorder CITR-FM (Radio station : Vancouver, B.C.) 2008-12-01

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AVAIL LP reissues HARMONY KORINE-The CoRected^aines SEXVID-i
LP/CD   LOW LPreis
(%R!AT5^II 726 Richards St, Vancouver, BC Canada V6B 3A4 W
mP2TII|"|>I STORE: 604-687-6355   DISTRIBUTION 604-687-0499   FAX: 604-687-0488     gr-
\J N0 w^Jf p STORES: Get in touch, email order: commerce@scratchrecords.com        JM
.scratchrecords.com      726 is on the east side of Richards St., between Robson and Georgr
2016 Commercial Dr.
604-253-7453      5^*?:**
Beat Street Records
439 W. Hastings St.
The Bike Kitchen
6139 Student Union Blvd.
Canterbury Tales Books
1990 W. 4th Ave.
Ambleside Location
#115 -1425 Marine Drive
West Vancouver
(or, free for station members)
Devil May Wear
198 E. 21st
The Eatery
3431 W Broadway
The Fall Tattooing,
644 Seymour St
Flaming Angels
644 Seymour St
Full Tilt Tuesdays
@ The Republic
958 Granville St.
Hitz Boutique
316 W.Cordova
Hot Box
2560 Main St.
The Kiss Store
2512 Watson St
Lucky's Comics
3972 Main St
People's Co-op
1391 Commercial Dr.
Red Cat Records
4307 Main St.
R/X Comics
2418 Main St.
The Regional
Assembly of Text
3934 Main St.
Scratch Records
726 Richards St
Slickity Jim's
Chat and Chew
2513 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
at Vancouver's finest small merchants and
supports CiTR 101.9 FM. Show it when you shop! ^^^^a Smith
^Sairck Thiessen
0 Ad Manager
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Layout + Design
^Nicole Ondre
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ackie Wong
tobert Robot
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Photo & Illustration
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Program Guide
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Riff Raff 4
Copyfight ; ...4
Textually Active 5
Film Stripped 5
Calendars ., 13-16
December by Zach Ingram
January by Denver Lynxleg
RLA ...'. 21
Under Review. 23
CiTR's Best of 2008 Charts 25
Program Guide 26
Land of Talk......... 7
Lead singer Elizabeth Powell gives us an udpate
on her band and new album.
Jesse Gander. 8
The man who has produced 300 Vancouver
albums discusses how he got where he is today.
Lykke Li 10
How does this music blog darling manage to be
seemingly universally beloved?
The Modelos 11
A surf-guitar band drawing heavily on Tex-Mex
influences still manages to be Canadian.
NuSensae 12
This Vancouver punh. duo discusses their history.
friends and darh voodoo sound.
A Conversation About Pop Music......... 17
Jennifer Weih and Brady Cranfield discuss
"Come On-Eileen" and the Beatles vs. the Stones.
Defektors 19
Vinyl vs. CDs! Girls! The Emergency Room! Our
reporter insists we spell a word wrong!
©DiSCORDER 2008 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
7,000. Subscriptions, payable in advance, for Canadian
residents it used to be $15 for one year; $15 US for Americans;
and $24 CDN elsewhere. Single copies are $2 (to cover
postage). Currently, we're taking a look at changing these
prices to look more like rates from 2008 as opposed to our
current ones which don't cover postage. If you want to
subscribe send an email to our editor and we'll work something
out based on current postal rates. Please make cheques or
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like to write for Discorder contact us at editor.discorder®
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Call the CiTR DJ line at (604) 822-2487, CiTR's office at (604)
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Fax CiTR at (604) 822-9364, email CiTR at CitrMgr@ams.ubc.ca
or pick up a pen and write #233-6138 SUB Blvd., Vancouver,
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Editor's Note
Greetings Discorder:
You hold in your hands' the Jancember issue,
the last issue we will print in 2008. Discorder
will be going into a hibernation period before we
come back in February raring to go. What you are
about to read is really only relevant in December so if you happened to pick this up in January
you might just want to turn your head slightly to
the left and pick something out from the table
of contents.
We're still celebrating our 25th Belated Birthday at Hoko's at 7 p.m. Dec. 5. It's an early show
so- you can still make whatever event you have
planned for the night be it seeing the Doers last
show with their current line-up, Nardwuar's curated portion of the Mint Xmas party or Mongrel
Zines late-night party at the Sweatshop. You can
find more information about the party itself on
our ad on page 18.
We are also on the lookout for a new production manager. If you think you're up for the job
check out our very formal ad for the job on this
We at Discorder much like many of the bands
we cover will be taking a break for the holidays.
There's always a bit of a dearth in concerts and
albums that' aren't somehow holiday themed
around this time of year. Though We at Discorder
personally plan on attending some of the holiday
themed local shows we will not write about many
of them as it would seem a little silly to fill our
February issue with Christmas related writing.
There is a little bit of Christmas writing in this
issue as our Under Review editor was so infused
with the holiday spirit that she took it upon herself to review this years metal Christmas offering.
On a more serious note with the recent Vision
Vancouver, COPE coalition taking over at Vancouver's city hall the city might get some welcome
change to the municipal bylaws that govern how
venues are run. Vision's arts-and-culture point'
person Heather Deal spoke to me at length for
an article on the prospective mayoral candidates
policies with regards to Vancouver's music scene.
The article never materialized due to a lack of
mayoral support, but I was impressed with Deal's
understanding of the issues. Deal spoke of updating Vancouver's dated licensing bylaws to make
it easier to run venues. Vision plans on sticking
with the Creative City plan which lays out increased funding for community based arts spaces.
Vision already has plans to start an independent
arts council to advise the city on policy, though
it's unclear who would be involved or hovrthey'd
be decided upon.
Happy holidays and try not to do anything
embarrassing, this New Years.
-Jordie Yow
Discorder needs a
production manager!
It could be you!
The production manager is responsible for:
• coordinating Discorder's work flow and production
• correspondence with the printer
• working with the art director to create templates and style
• typesetting, updating charts and program guide
• assisting the editor with the coordination of volunteers
• communicating deadlines and schedules to staff and
• troubleshooting all issues related to production
• general ass kicking
Ihe production manager is required to attend Discorder meetings, and must
be available the last weekend each month for production. When possible,
the production manager should work from the Discorder office. Ihe production manager will spend roughly 20 hours on each issue and be compensated
$200 per issue.
Qualifications: This is a demanding position that requires a serious commitment. The successful candidate will have highly developed communication skills, excellent organizational skills, and experience working with
Adobe Indesign CS3. Experience with project management and/or the
publishing industry is preferred. Knowledge of independent and local music,
art and culture is an asset.
How to Apply: Please email your resume and cover letter to CiTR Station
Manager Brenda Grunau at dtrmgr@ams.ubc.ca by Wednesday, Jan. 7,2009. M^B
Last column of the year folks—my
sincere thanks to all who dared to
wade through my ramblings each
month. To those who are seeing this
for the first time, you've been warned.
Starting with the band that refuses to die,
Electric Frankenstein, these, rock monsters
from New Jersey are large and recharged on
a new split record with Torontonian powerhouse Maximum RNR. I had a conversation
recendy with a friend about who has been
the better singer in Frankenstein since their
inception—whether it was the raspy voiced
Scotty Wilkins or the raspy-voiced Steve
Miller. While neither possesses the pipes of
Pavorotri my vote goes to Miller and he definitely displays his chops well on "Life In Rewind" and gives us reason (along with the rest
, of this quasi-legendary band) to believe that
real rock and roll never dies. Meanwhile, over
on side two, Maximum RNR doubles your
chances of going deaf in just under five minutes with two blazing tracks of metal-punk
boogie. Bolstered by Ian "C'mon" Blurton's
finely-tuned ear for supersonic sound quality,
"Turmoil" and "The Wheel" are fast, furious
and full of bite. As an added bonus, you get
awesome artwork adorning the sleeve of this
gem from two of Canada's foremost purveyors
of lowbrow art, Darren Merinuk and Johnny
Crap, so this is one for both the collector and.
the connoisseur.
Thanks to Deranged Records I finally got
my hands on a copy of the new White Lung
7", and I'll be damned if it doesn't surpass
their debut on Hockey Dad released earlier
this year. Natasha Reich's guitar playing is
crazy good, and I especially like the back-and-
forth jabs between her and now ex-bassist
Grady Macintosh on "Therapy" while Mish
Way shrieks like a banshee about a mystery
man of inspiration named Chad. "Magazines"
rides a speedy surf guitar lick with the rest of
the band holding on for dear life, but thanks
to Anne-Marie Vassiliou's steady and sure
backbeat, the wheels of this wild ride stay on
just long enough to ensure the jilted ex being
slagged gets kicked to the curb with a vengeance. "Backhouse" is a Uve favourite of mine,
and on record it's still just as volatile. Here's
hoping this incendiary mix of post-punk aggression channels its way into more homesteads by way of this awesome release.
Also recently released by the same label
is the newest slab from New Jersey trio the
Impulse International. Influenced by equal
parts first wave punk and early '80s American power pop, it's evident right off the bat
that "The Real Kid" plays like the Jam tune
"Standards" with a nice mid-tempo groove
completed with razor-sharp guitar and Brit-
inflected vocal deUvery. The flipside, "The
World Hates Me," stands up quite nicely to
anything that the Beat (Paul Collins, not
English) has released to date. It's a bit more
introspective lyricaUy and toe-tappingly good.
I'm impressed enough to seek out more, and
fans of Elvis Costello, the aforementioned
Jam and power-pop peeps everywhere should
Finally, something sweet to end this off, and
Chocolat fits the bill nicely. These Montreal-
ers (who include former and current members
of Demon's Claws, the Cockroaches and
CPC Gangbangs in their ranks) churn out a
three song EP sung en francais, but musicaUy
it speaks the universal language of good rockin' tonight. The standout for me was "Johnny
Depp," a bouncy, Bo Diddley-styled rocker
with some harp waittn added for good measure. Not sure if the song is reaUy so much
about the actor/musician than just a good excuse to name-drop for street cred, but I'U take
it for what it's worth. "GabrieUe" and "Charlotte," a pair of musical mavens more inspired
by the hypnotic and languid sounds of the
Velvet Underground and 13th Floor Elevators, fiU out the reminder of this platter and
make me want to trip out on the sugar buzz
already in place.
Here's to feeUng fine in '09!
Looking to obtain one of thosefine
Electric Frankenstein w/ Maximum
via www.electricfrankenstein.com/
or maximumrnr@hotmail.com
White Lung
and the Impulse International
via Deranged Records,
via Radio 81 Records,
Michael Geist came
to Vancouver to tell the
B.C. Library Association
how, for a few months
in the summer of 2008,
copyright law gained
rock-and-roll status.
by Greg McMullen
This summer, we saw something
remarkable. Tens of thousands of
young Canadians got involved in
federal poUtics, writing their MPs,
organizing community meetings: and debating the technical points of international trade
treaties. In the end, BiU C-61 was kiUed by
bickering between Stephen Harper's minority Conservatives and the official opposition,
not by the impressive copyright rebelUon
spearheaded by Michael Geist. Why did the
notoriously disaffected Canadian youth suddenly get involved to oppose something as
decidedly •unsexy as An Act to Amend the
Copyright Act? How the heU did copyright
become cool? SghlsJisI'
On Oct. 23, Geist was in Vancouver for the
B.C. Library Association's Information PoUcy
Conference, dettvering a pubUc lecture catted
"Why Copyright? The Fight for Canada's
Digital Future." Geist joked that after his opposition to Bill C-61 started to garner national media attention, his kids actually admitted
that their dad—a weU-respected member of
the geek blogosphere and Canada Research
Chair in Technology Law at the University
of Ottawa—wasn't so dorky after all. Joking
aside, Geist was amazed by how quickly his
Fair Copyright movement took off across the
country, and how eager ordinary Canadians
were to get involved.
Geist began by explaining how the movement was able to get so big so quickly. Digital
advocacy—YouTube Videos lampooning former Minister of Industry Jim Prentice, automated letter-writing forms and the 90,000+
member Facebook group—allowed people
from across the country to get together and
share their ideas, coordinating sophisticated •
real-world protests. At the same time, the
Canadian government has been taking its first
timid steps to real engagement with the Internet community, creating what Geist termed
Government 2.0. Behind the buzzwords,
Government 2.0 means that government is
more aware of and responsive to what Canadians are doing on the Internet, meaning that
onttne activism can be far more effective.
GeistTS next reason for the reaction to Bill
C-61 was far more compelling, and perhaps
explains why Canadians suddenly got engaged: our digital future. Over the past ten
years, the Internet has changed the way most
Canadians Uve their Uves. We Usten to music
on iPods, create YouTube videos and before
the RIAA's copyright lawyers got in the way,
we made digital mixtapes—"muxtapes"—for
our friends. We've uploaded over ten button
photos to Facebook, and millions more to
other onttne photo services. We make Google
Maps mashups to make sense of our cities. We
study from onttne materials, work with onttne
collaborative tools, and play in online worlds.
Geist suggested that when the freedom we've
come to expect onttne was threatened by the
bill, Canadians took notice and fought against
that threat.
That brings us to Geist's final reason that
so many Canadians decided to fight against
BUI C-61: the bill itself. Average Canadians
who couldn't have cared less about copyright
ten years ago are now running into sticky
copyright issues on a daUy basis. Rather than
smoothing out these problems, the bill would
have made copyright an even sharper thorn
in the side of Canadians. It would have left
most Canadians liable for thousands of dollars in damages and crippled the technologies
that we've come to rely on, from digital library
materials for students to screen readers for the
visually impaired. Canadians reacted strongly
against a piece of legislation they knew would
make their lives harder and less fun.
Geist concluded his talk by reminding the
audience that even though BiU C-61 is dead,
the Conservatives have made copyright a part
of their new government's platform. Tony
Clement, the new minister of industry, has a
chaUenge ahead of him, but he also has the
opportunity to be a hero to thousands of Canadians by fixing the problems with the biU
before introducing it as his own. If he doesn't,
he wiU face the wrath of Geist and his army of
copyfighters, emboldened by the fate of C-61.
Copyright may never be cool again, but we
know that our digital future is worth fighting
m This year saw a new addition to Vancouver's Rim
Festival circuit. The very first Brazilian Film Festival
of Vancouver kicked off on the evening of Oct. 22
at the Vancity Theatre, with the Canadian Premiere
of Os Desafinados.
"-' WSfitten and directed by Walter Lima Jr., Os Desafinados
(EngUsh title: Out of Tune) is a dramatic film about a fictional
group of friends and musicians who come together to form
the titular band in Rio de Janeiro in the 1960s. In pursuit of
their dream of making it as a band, the boys in Os Desafinados eventually move to New Y>rk City, where they endure the
hardships, poverty and insecurity that come with being struggling musicians and illegal, aliens, and tensions between band
members eventually flare up.
While the synopsis of Os Desafinados may look original
enough on paper, when watching the movie one is struck by
the sense that one has seen all of this before. Many times.
Done better. ir£al
Os Desafinados is set against the politically and socially turbulent backdrop of South America in the '60s and '70s, in the
midst of a Brazilian movement that was exciting both musically and politically. This movement spawned the careers of
groundbreaking artists such as Joao GUberto, Sergio Mendes
and Antonio Carlos Jobim, artists who would go on to provide
immeasurable influence over the following decades, in diverse
genres and aU over the world.
Bossa nova was also responsible for the birth of the Tropicalia (or Tropicattsmo) movement, which would go on to inspire
artists ranging from Beck to Cibo Matto, from Kurt Cobain
to NeUy Furtado. Still, bossa nova is not overly familiar to a
broader North American market (beyond perhaps "The Girl
From Ipanema"), and this film could have been a wonderful
Os Desafinados
(Out of Tune)
Written and Directed
by Walter Lima Jr.
opportunity to bring this music and culture to an international
audience. It's a shame then, that the movie fails to Uve up to
the potential of its premise. jQue lastima!
One of the biggest problems with the film is its pacing; at
128 minutes, it feels seriously overlong, Uke it's running closer
to three hours. The narrative drags along because for every one
or two engaging, interesting and believable scenes, there are
a dozen cringe-worthy corny moments, famiUar cliches and
awkward, contrived plot devices.
The element of poUtical turmoil could have made for a fascinating story, but instead the poUtical subplot and action seems
Uke more of an afterthought. The romantic subplot doesn't fare
any better, even though the two leads are likable enough. Rodrigo Santoro (best known to North American audiences as
Xerxes, the evil Persian god/king/transvestite from Zack Snyder's 300) plays the brash, idealistic pianist Joaquim. His love
interest is" the absolutely stunning Brazilian TV star Claudia
Abreu, who plays the pixie-like Gl6ria with appropriate brio,
although she doesn't do her own singing, and the dubbing can
be very distracting and off-putting during her songs.
At its core, though, Os Desafinados is about the music. The
performance scenes that are interspersed throughout are executed well enough, and the music is so good that it helps to
sustain the viewer's interest over the course of the film.
Os Desafinados is so disappointing because it could have been
so muchmore than a pale imitation of American music movie
cliches and conventions. As it is, you'd be better served by just
seeking out the soundtrack, or better yet, doing some research
on your own into the music of Gilberto, Jobim, Mendes and
the other masters of bossa nova. „^
(Textually Active j
f    The Fallen by Dave Simpson | Published by Canongate, Sept. 2008  j
by Andy Hudson
Lend a drum kit to a kid who can't
play drums, and break him in with
an H-gig two-week tour of Holland. Wire band members' hotel
rooms to play back their badmouthing next
morning. Pay members irregularly, never
mind royalties. Ditch your drummer when he
misses rehearsal to get married. Ditch your
guitarist, no forewarning, in an Australian
airport and print his grinning mug on your
next album cover.
Do att this, and put out 26 (or is it 27?)
albums of Britain's most jarring post-
punk, and you are Mark E. Smith,
lead singer and ego of the Fall.
Dave Simpson, a music critic for
the U.K.'s the Guardian, got to interview his hero over pints in 2005,
but' he wasn't satisfied. By writing
one little article for the paper,. Simpson would get himself on an absurd,
years-long task that cost him his car
and his girl.
To write The Fallen, Simpson did
his best to find and interview the 47
musicians who played with the Fall
until either Smith replaced them or
they escaped to safety.
Flipping through it, The Fallen
looks a bit like a stack of sports playing cards—profile photos of key Fall .,
players mark most of the 36 chapters
and Simpson tags each photo with a
cute quote from his interviews.
"I took a lot of drugs and was a bit
of a nutcase!" said original keyboard
player Una Baines in one.
"He'd knock on the windows or
sing through the letter-box!" said
multi-instrumentalist and longtime
band member Julia Nagle.
Trouble is, the book's not as snappy
as a pack of playing cards. The Fatten
dulls in places, getting repetitive as
he asks nearly 50 people the same
question—how.has Smith managed
to drive this band for 32 years? Some
of the ex-members''answers are a bit
o soap-opera,
a bit too he-said-she-
Music, at times, falls by the wayside. Simpson does have a little to
say about what stimulates the Fall,
besides lager and amphetamines—
Krautrock, New Wave and Margaret
Thatcher. Anyone new to the Fall
might wish Simpson had set himself
an even more Herculean; likely impossible task to detail the history of
every one of the Fall's 554 records.
And what about Smith? How
does he feel about a journalist nosing through 47 of the skeletons in
his closet and tip-toeing around his
relentlessly anonymous Prestwich
According to Simpson, as Smith
read the book at a local pub, he tore
it apart, chapter by chapter, and fed it
to a fire. Then he stood up and covered a few Hendrix songs with a blues
Maybe that's just a bit too harsh on
Simpson. There are loads of characters here among the ex-Fatters who
now drive buses, play improv jazz,
drink herbal tea or investigate new
mammal species. Fans will find this
book a good complement to Smith's
autobiography, Renegade, as a full
study of the man and his fabulously
nerve-wracked band.
Christmas Eve
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The first time I sat down with Eliza- -
beth Powell, she was in a much different place. So was her band, Land
of Talk In fact, the throat ailment
that she apologizes for (T have to get surgery") is one of the few carryovers from our
initial meeting over two years ago.   ,
In the fall of 2006, a former incarnation of
the band had just jumped on the small wave of
hype that their debut EP, Applause Boo Cheer
Hiss, was starting to generate. When I visited
with the band before a recent gig at the Media Club, they were touring in support of their
first full-length, Some Are Lakes.
Their latest, a mix of new songs and a couple compositions resurrected from Powell's
pre-Land of Talk past, builds on the success
of their debut, showcasing the frontwoman's
sharp songwriting. But, with production duties in the hands of Justin Vernon (better
known as Bon Iver)/Powell's gravelly croon
was brought to the forefront, something that
she avoided on the band's previous release.
"I buried them because there was no producer telling me not to," she said oi Applause
Boo Cheer Hiss. "So I was like, 'Oh God, these
vocals  sound awful. Double them. Triple
The result meant that at times Powell's
vocals seemed more like another instrument,
competing with the overdriven guitars for
room on a track By contrast, they form the
centerpiece on most of the songs on Some Are
Lakes. Vernon's influence can be heard on the
finished product, and his presence is a big reason that there's an LP at all.        &&&^,
"We already recorded [Some Are Lakes] with
[old drummer] Bucky [Wheaton], there was
just so much identity crisis going on. I don't
think I was capable of doing anything on my
that point," Powell said. "So I'm glad I
let people in to take care of it."
While Land of Talk was in a state of flux,
Powell found comfort by contributing her tal-
to another act, a situation that lifted the
pressure off of her.
"I knew Brendan Canning from when I
like IS," Powell said when asked about
stint with Broken Social Scene.
"My old boyfriend played in a band with him
and Feist and he kind of always kept tabs on
me—Brendan did—because he knew I played
my own music. And he'd email me or we'd see
each other on the street and he'd invite me in
to do vocal stufF," she explained of previous
collaborations dating back to Canning's days
as a house DJ through to his most recent solo
effort. The history led to her assuming female vocal duties on a recent BSS East Coast
swing.      /■
After I jokingly called a foray with the Toronto-based supergroup a "rite of passage for
Canadian musicians," Powell responded with
a laugh.
"Being a woman in the Canadian music
scene, you're already inevitably being compared to those people all the time. To actually sing their parts is almost absurd. Like, it's <
funny," she said. "But it ended up being the
best thing ever. It was the perfect time to be in
another band and what a great band to be in.
It's a family. That was sort of an unexpected,
wonderful thing."
Since then, bassist Chris McCarron has
also left the band (to join the Dears) while
Wheaton's place behind the drums was briefly
filled by two more temporary solutions. Andrew Barr is now keeping the beat while Joseph Yarmush, who originally signed on to
photograph an older incarnation of the band,
plays bass.
T always wanted it to be *a band,' like how
I used to see Fugazi or Sonic Youth or Pavement: a very collaborative thing," Powell said
when asked about the rotating cast of musicians that have helped her bring Land of Talk
to life over the past few years.
T guess at the end of the day, if I'm the one
writing the songs and writing the lyrics and
propelling things forward with my dreams
and my vision, it would be kind of weird to
make it something else,"-she said.
"I love my band," Powell noted. "But I'm
taking ownership for something that, I guess,
all along was mine, but I just didn't want to
take responsibility for it, and that's my music."
Tne first time I met Powell, it was six blocks
from where we met this time, but it's been a
long, sometimes tough road for her from there
to here. Still, despite losing a few things and
a few people along the way, Powell's emerged,
not unscathed, but certainly stronger.
"The positive note is that I'm totally realizing what Land of Talk is and that's a pretty
cool thing," she said with a smile.
It's certainly hard to argue with that.
Dec. 3 d   o
GaUery >°un0
Jan. 22'
Annuals w*
Jessica Lea
Jan. 29*
Feb. 24th
Jancember 2008^     7 by Jeremy Stothers | photos by Amy Scott-San*
Tesse Gander hovers over his wide mixing board, adjusting
I tiny knobs and tweaking the sound levels while a bluesy bass
une thunders through studio monitors. He seems at home In
front of the soundboard at Hive Creative Labs in Burnaby, and
by all means he should be comfortable. Gander, who celebrated
his 30th birthday this year, has been recording bands for nearly
two-thirds of his life, and he's spent nearly every weekend over
the past 15 years working with a band.
He's recorded hundreds of artists, including Vancouver
punks the Subhumans, metal acts Bison B.C. and 3 Inches of
Blood and indie favourites the Doers and the Pack A.D.
"I've got probably 2,000 hours of original music in my files,"
he said. "Man, if anyone wants to do a documentary of the
Vancouver music scene from about 1992 until now, or when I
die, I've got the soundtrack for it right here."
This year he recorded his 300th professional album, that's
not including the semi-professional recordings he did as a
teenager. "Time goes on and you don't really notice it, and
pretty soon you look back at that list and it's like 'Holy fuck!"'
Among the bands that have worked with him are veteran
Vancouver folk-rockers the Buttless Chaps. Tney recorded
their last two albums with Gander, but the Chaps' lead vocalist
Dave Gowans has known him for far longer.
"We were always friendly," Gowans said. "He's been involved in a lot of great bands, puttingj>n shows and getting a
- lot of bands to have really good records."
The Chaps recorded their latest album, Cartography, with
Gander at the Hive.
"We went back and he had a whole bunch of new ideas,"
Gowans said. "He shows a lot of care in his work, that's why he
has a great reputation."
And he doesn't mind helping out with more than just
Gowans explained that on their song "Migratory Birds,"
Jesse Gander stepped out from behind the mixing board to
lend support to the band.
"He played vibraphones with us," Gowans said. "He's a hell
of a vibes player." k^^^Srjc-
Jesse Gander's black-on-black Outfit hung neatly from his
sturdy shoulders. Tne sleeves of his V-neck sweater were rolled
up to his elbows, revealing a smattering of punk-rock tattoos.
His smile was slight but inviting, and he usually answered after
short thoughtful pauses. " ;'»P|^*i;Sf^fc." - -C ~, a "V" "O
, He knew he wanted to produce bands when he was about
II years old, listening to Metalttca's ...Andjustice For All. He
played it back through his ghetto blaster, but couldn't get the
levels properly balanced.
"I sat there with the EQr trying to adjust it so you could hear
the bass," he said. T figured that I could be recording it."   '
It all started with that ghetto blaster, a year later.
His high school punk band, d.b.s., named after a Danzig
song Dirty Black Summer needed to keep track of their jams.
Recording was the easiest way to do that. Rock and roll isn't
like those more structured genres, Gander said. If you don't
record a nice riff, it's easy to forget it. His band, like most other
rock bands, rarely wrote down the notes in their songs. So if
they weren't recorded, they would have been lost.
Gander volunteered to press the record button on his ghetto
blaster while his band pounded away. At that time, it was simply a matter of leaving the plastic box facing upwards in the
centre of the room.
"I've gotprobably 2,000 hours
of original music in my files.
Man, if anyone wants to do a
documentary of the Vancouver
music scene from about 1992
until now, or when I die, Tve
got the soundtrack for it right
As he was usually the singer in his high-school-aged bands,
and therefore the only one with a microphone, the job of recording naturally fell into his lap.
At about 15, Gander picked up his first four-track recorder,
an old Yamaha. He focused on recording d.b.s., playing down
at Cross Town Traffic and promoting shows around town^The
next few years were spent building up his band's P.A. system
and picking.up bits arid pieces11 of recording equipment. He
spent nearly every weekend recording his friends bands.
His home recording of the first d.b.s. album sold over 5,000
copies, which is pretty good for a bunch of teenagers, he said.
And when he was 15 years old, Gander recorded the first two
7" albums for anarchist-punk band Submission Hold.
"They were much older than ihe, probably in their mid-to-
late 20s,"he said. T'd have to get myriad to drive me over to
their house because Iwasn't old enough to drive."
Also, Gander worked on those records with James Farwell,
who now leads the heavy metal band Bison B.C.
Submission Hold toured the two albums across North
America and Europe and went on to be reasonably popular in
the early 1990s punk scene.
It was home recordings like that which helped get him a
job at a studio; the transition from behind the microphone to
behind the soundboard was smooth. The last d.b.s. album was
recorded at Profile Studios, where he was given a job by Cecil
English soOn after. English ran the studio and recorded many
punk bands including No Means No, D.O.A, and S.N.F.U.
"It was pretty natural," he said, "I learned to record by being
recorded so much."
He quickly became a sound engineer in Profile's smaller
room, which he re-named Rec-Age Studio.
After five years at Rec-Age, he moved into the Hive Creative Labs, which he now runs. It's an unassuming studio
tucked into a sparsely populated area in the Northwest edge
of Burnaby, a short walk from the Production Way SkyTrain
But recording hundreds of bands hasn't kept him offstage.
He's currendy the lead singer for the band Ghost House, and
bass player for Plus Perfect.
Self-producihg those bands has been a blast for Gander because of the liberties he can take with his own music. After all,
no one knows what he wants better than himself.
But Gander, in his typically humble way, admits that he's
been known to under-mix his own parts in the music. He'll
put the bass-line in the mix of a song to make the music feel
warm, but without putting his part high enough in the mix.
Then his band mates will come in and tell him to crank up his
The problem with tweaking his own songs is that in Gander's packed schedule, he can sometimes sell himself short.
"If someone else needs their music done by a certain date, I
can pull an all-nighter. I can make it happen," he said. But with
himself, "that's a different story." His projects can sometimes
be pushed back for weeks or even months.. v<^?^V "'
Veteran punks the Subhumans are coming into the Hive
soon to re-record their 1980 album Incorrect Thoughts. They are
going to approach each song as something entirely new'and
polish up the sound a bit, but not without losing the energy
of the band. *0 V;   \.'^> '■.,""■■ llfesf? "^
He tries to capture the energy of punk bands by recording
discorder r them live off the floor. Gander shies away from cheap recording tricks, like copy-paste techniques, that make modern punk
bands sound so polished they could rival pop-stars. And Gander tries to shake off old recording habits by approaching each
album differendy. When an artist comes back, he tries new
methods to keep the record from sounding old and stale.
When Vancouver-based roots-folk band Corbin Murdoch
and the Nautical Miles came back to Gander for their fourth
record, they decided on a different approach.
"In the previous albums we've recorded them in a fairly traditional way ... But on the new one we're doing one day a
month, for a year, and on that day we do everything—record
everything and mix it. We start from scratch every single day.
So every song will sound totally different because I will have
forgotten what I did last time. We'll intentionally do things
differendy ... The album will end up as 12 different recordings
with different states of mind, you know, it'll definitely sound
unique. We'll kinda shatter our previous methods."
His taste in music is both classic and eclectic, the last" five
albums he's listened to include the artists Neil Young, Tindert-
sticks, Social Distortion, Bob Dylan and the Ramones' album
Brain Drain.
"It's not one of their best albums, but Ghost House covered
'Pet Sematary' on Halloween, so as I was listening to that song
I figured I'd may as well listen to the whole album, and it's good
... I love the Ramones, they're one of my favorite bands."
The future holds exciting plans and lofty dreams.
Next August, his band Plus Perfect is going to Japan. "We
got signed to a label that's half Japanese and half Canadian ...
We got Osaka booked for the Aug. 17, so I guess we're going.
I can't wait!"
"I've never been there, but it's been a dream of mine. They're
just so hip."
Back in Burnaby, the Hive Creative Labs finished its first
five-year lease, and have just signed another one.
"So for the next five, years I'm going to be working at the
Hive full-time, making as many records as I can," he said. "And
I want to do some new records for myself too, some more
stripped down music. I've been involved in playing some pretty
dense stuff, like Ghost House has gotten pretty complex. I do
want to strip it down and maybe do something folky."
He wouldn't mind trying out other studios around Vancouver, or travelling to a studio elsewhere in North America.
"After all that, the real future is: I'm going to buy an RV,
I'm gonna sell off all my recording equipment except for the
bare essentials I need, and I'm gonna install all the recording
equipment that's left into it. Then I'm going to drive down
into South America or Mexico, and I want to record crazy
Spanish punk bands. You know, Mexico City's got like crazy
punk bands right now. I wanna go down there with my RV and
be like, 'Look, you feed me and let me crash at your place or
whatever and I'll record your crazy band for free.' I've wanted
to do that for a while ... It may be an unlikely dream, but it's
not a joke."
"Maybe, if I record a punk record that would actually reach
Mexico or become popular there, then that would, of course,
help me. I would have some sort of reputation on the scene
before I arrive."
"But I've got the next five years to figure that out." the hard-working
songstress with seemingly
limitless cool sucks in fans across the
human spectrum
by Jordie Yow | Illustration by Aisha Davidson
Lykke Li is one of those rare performers who can craft her songs
in such a way that they appeal to a
wide variety of listeners for a wide
variety of reasons.
But before we get into that, we should go
over the basics. Li Lykke Timotej Zachrisson
was born in 1986. She was raised all around
the world by her parents Karsti Stiege, a photographer who used to be in a punk rock band,
and Johan Zachrisson, a former guitarist in
Swedish cult band Dag Vag (pronounced Dog
Vog), who now gets by as a composer. People
.outside oi*Sweden first learned of Zachrisson
under her stage name Lykke Li when Bjorn
Yttttng (from Peter, Bjorn & John) came on
board to help produce her album, Youth Novels.
Novels is a wonderful collection of pop songs,
produced in a minimalist style that shows off
her accented vocals. She sings bluntly about
the personal in a refreshingly honest manner
and offers an insight into the interior life of
someone who seems to be strongly aware of
her own feelings.
Or at least that's the impression you get
from hearing the lyrics.      ''____W^
"I never analyze [the words I write]," Li admits in the 15-minute interview the afternoon
of Oct. 28, before her performance at Richard's. "It would be narcissistic."
Li somehow writes her music without
much initial reflection, and furthermore, with
an aversion to going back over it again.
"Yni cannot analyze yourself," she said.
"That's creepy."
One walks a fine line when writing blundy
honest lyrics. They can occasionally result in
the listener feeling embarrassed on behalf of
the songwriter, but Lykke Li avoids this pitfall. In her songs she reveals herself to be selfconsciously shy on "Dance Dance Dance," (in
which she says she dances to mask her shyness)
yet shows a flipside on tracks like her diatribe
against whining "Complaint Department" (in
which she tells an ex to stop whining).
She's mosdy self-taught musically. She
claims influences from far and wide, such as
Nina Simone, Edith Piaf and Joe Strummer;
aijd she encored that night (as she often does)
with A Tribe Catted Quest's hip-hop anthem
"Can I KickIt?"This group of musicians is diverse, but the end result of Li's music blends
her influences so seamlessly you wouldn't even
think of them if someone didn't lay them out
for you. However, this dissimilar group of
musical cues allows Li's fans to enter into her
world from all sorts of angles. Having a few
shared interests with coolistas of every stripe
has done wonders for her career, as her songs
contain enough litde hooks to pull in just
about any blogger.
Li might be even more popular in the world
of fashion than the world, of music; she has
just as many articles written about her in fashion spreads as she does in those of the musical variety. At the interview, Li was wearing a
long thick black jacket with a teepee on the
left breast and a fur lined hood that would
probably cause most people to overheat inside Richard's. She wanted to show it off after picking it up on Granville that day while
indulging her passion for vintage shopping.-
She wore her blonde hair in a fashionable
shoulder-length shag, and her face might be
described as pretty, but it was hard to tell as
her stage make-up was already thickly caked
The dramatic make-up betrays some of
the forethought she puts into her live performance. The one word Li used to describe it
was "Psychosomatic.''
Confusing answers like this were typical of
the short interview. A litde bit of eccentricity
can add to an aspiring star's mystique and Li
seemed aware of this. She was unable to pull
this trick on Nardwuar, however^ who interviewed her right after me, but I will chalk that
up to Nardwuar's amazing ability to simultaneously unsetde and charm his subjects.
What she said she meant by that one word
answer is that her live performance is like a
disease brought on by her own mind.
She did shake, but to be honest after she
said that, I expected her to writhe like a madwoman while she was onstage at Richard's.
Her presence was more restrained than, say,
Iggy Pop or Yeah Yeah Yeah's Karen O., but
she admittedly brought to the stage an emotional intensity that few can muster.
Li's live performance brings out the dynamic
energy found on her album. Her backing band
is made up of three gendeman who go by the
monikers Cowboy Matthias, Jon Jen and Rudolph (Li said they did not want their last names
divulged). Even those standing at the back of the
packed room were drawn into her as she plucked
the entire audience's heartstrings.
A veteran performer at the young age of 22,
Li was touring constandy well before Youth
Novels came out earlier this year, and this
appearance in Vancouver was the middle of
another long tour. Her performance at Richard's was innovative, with the song's tempos
shifting in a way.that draws one in. That
night in addition to her signature move, singing through a megaphone, she wore a huge
amount of bling around her apparendy strong
neck from which she would at times pull out
a kazoo on a string, and play.
Like many Swedes before her, she sings
in English. For ^commercial reasons, there's
a much greater market for English-language
music than Swedish, though according to
their Consulate General Sweden is the third
largest exporter of music in the world behind
the U.S. and U.K.
"Li also said she sings in English because
it makes it easier to express her feelings lyrically, even going so far as to, say Swedish is
inadequate because "there is only one word for
love." This is a confusing allegation because
when I quizzed some other Swedish speakers
about it I found out there are, in fact, multiple
ways to say love. Though in general, there are
apparendy simply a smaller number of words
in Swedish than in English.
To say she is not very attached to her Swedish
heritage might be a bit of an understatement-
she is also looking forward to moving to New
Y>rk when she finally finishes touring.
What one comes away with most is just how
much Li seeks to draw on a diverse group of
influences to give herself a wide base of appeal.
From buzz band breakers to fashion bloggers
and hip-hoppers to punk rockers, everyone
seems to be able to find a little something in
Li's persona that they can draw on.
This broad fanbase will probably work
wonders for her in the new world of niche
Internet markets, as every blogger can come
at her from a different angle and riot feel like
they are merely echoing one another. Li's star '
has likely just begun to rise, and if she doesn't
get too exhausted to keep up with it, she'll be
sitting pretty in a couple years. __. ' -- '_
by Melissa Smith | photo by Adam P. W. Smith
Separated from neighbouring Buffalo, N.Y. by only a
bridge, Fort Erie, Ont. is a small border town. Both
culturally and geographically it can be a rough place to
grow up, with the cold, long winters of the snow belt
finally giving way to the muscle cars, machismo and miniskirts
of summer. It is also the birthplace of the two founding members of the Modelos, guitarist and multi-instrumentalist Mike
Kenney and singer/guitarist Joe Rotundo, now residents of
East Vancouver. Meeting me at the Main to discuss their newly released Saddle Justice, the band is only half in attendance, as
bassist Brad Ferguspn is pursuing multiple creative projects and
drummer Geoff Hicks is currendy touring with Colin James.
Of the members present, Rotundo is the affable mediator with
a barely perceptible cheeky side. And, the underplayed humour
in Kenney's vocal delivery is so dry it occasionally recalls the
desert landscapes often invoked by the cowboy-surf stylings
of their music. Although the other musicians are absent for
the interview, both Rotundo and Kenney are adamant that in
addition to being good friends, they are also fully contributing
members of the Modelos, as both develop their own parts and
have creative input in the band. Hicks brought in Terry Town-
son as guest trumpeter, while Ferguson mixed the new album
and provided the seamless sampling in second track, "Circle
the Wagons." He also offered the painful-sounding screams
for opening track, "Dominatrix." When I enquire if their recorded attempt to invoke the ghosts of an old west brothel was
reality-based, Rotundo assures me it was improvisation, while
Kenney deadpans, "Of course there was no shortage of that
sort of thing going on during the recording."
Saddle Justice arrives three years after their first self-titled album, an independent release from 2005. For their sophomore
effort, they have added vocals to their primarily instrumental
sound and are now signed with local label Northern Electric
(label owner Richard Chapman designed and also serves as the
model on their current cover).
"We always did singing in our'live shows so this album is
more representative of what we do live," explained Kenney.
Rotundo looks flattered but also a bit uncomfortable when I
suggest I can hear shades of Bob Dylan in his vocal delivery,
and admits that both he and Kenney are admirers of Dylan,
seeing him whenever he performs in Vancouver. Like most
musicians, Kenney and Rotundo are huge music fans and list
their influences from Tex-Mex instsumentals to punk, and
view elements of their music as a sort of homage to both their
contemporaries and predecessors. This sense of adulation permeates their closing track, a cover of "Tidal Wave," which was
included after attending Dick Dale's October show at the Yale.
In terms of additional inspiration, Rotundo espouses the theory
that their music is also influenced by the Canadian landscape.
How the cross pollination of two distinct Western American
genres could possibly be considered Canadian is confusing, but
I figure the pints must be going to his head and remain silent
on the subject.
At present; the band has an ongoing residency at the Railway Club; the third Monday of every month is designated
Modelo Monday, an arrangement that usually allows all members to play despite their diverging schedules. In addition to
finding an audience at the Railway, recent newlywed Rotundo
also found his wife Shannon, who is a bartender at the cluB.
Both Rotundo and Kenney are very vocal on the importance
of the Railway in their lives.
"We owe a lot of our success to the people at the Railway
Club. Janet [Forsythe, who until last month, had co-owned
and managed the-club with brother Steve for 27 years] is very
good, she's been very supportive. It just gave us a space where
we can just do our thing. We often hang out there even when
we're not playing," Kenney stated.
This ethos also filters through in other ways, with Rotundo
designing gig posters for some of the bands performing at
the venue, and also their album's inclusion of Railway alumni
Debra Jean Creelman (of Mother Mother) and sound man/
whistier extraordinaire D. Trevlon.
The band would like to embark on a springtime tour of
Western Canada if their commitments and schedules permit
it. Kenney has been the organist for the Canucks for all of
their home games since 2000, which he balances with band
and child care duties while his wife Joyita Rubin (a classically trained cellist and bassist/vocalist for the band Onward,
Voyageur) teaches school. Although Rotundo is eager to get
on with the tour, he acknowledges it is easier for him as he
does nOt have children, and the tour will happen when everyone is able to participate. At present, the two have the best
of both worlds; they have built their lives as neighbours and
bandmates on the West Coast, but periodically return to their
shared hometown as success stories, the comforts of familial abodes taking the place of hotel rooms when they come
home to play. During the holidays, they will both return to
Ontario to see their families and play a Boxing Day gig with
high school friends who have learned their songs and form a
rhythm section for such occasions, thus temporarily satisfying
both Rotundo's desire to tour and Kenney's need for stability
for his family. They return to Vancouver in time to play a New
Year's Eve show with the Butdess Chaps and Rugged Uncle at
(you guessed it) the Railway.
Kenney has to rush off home, but not before being an absolute gendeman and insisting on paying for drinks, even though
he has barely made a dent in the pitcher. After he leaves, Rotundo reminisces about friends who died young, and voices
concern over many of the people who are still living in Fort
Eerie, completely messed up by alcoholism or drug addiction.
Even the ones who have lingered without succumbing to the
temptations brought on by boredom and litde opportunity
perplex him. Although he respects their choices, he can't quite
understand why they chose to remain. This is by rib means a
condemnation of where he grew up; in fact, each album contains a song to immortalize the area.
"I had some good times growing up in that area, and I put
a reminder of where I came from on each album. Hot Dog Alley is about a cruising strip and Death Ranch, from the new
album, is about a local boozecan. I had some crazy times there."
Suddenly Rotundo's assertion that his music is influenced by
the Canadian landscape makes complete sense. The thematic
discrepancies between gritty border towns and the call of the
ocean cohabitate in the internal landscape of someone simultaneously belonging to two seemingly incongruent worlds, but
who has managed to meld them together into a discernible
aural structure. It is musical verite, a sort of homecoming in
lyrical form.
The Modelos and friends play the Rail-way on Monday Dec. 19. All
proceeds from the show will be donated to the Vancouver Food Bank
and attendees are encouraged to bring a non-perishable food item.
jancember 2008
OTJ- »**
Iby Mark Richardson
r n many ways, Nu Sensae are a pui
1 Sure, newfangled tags like "noise punk"
L and "weird punk* are constandy hounding
Sthe group and their cohorts, but c'mon, punk
is weird and noisy by definition. No, for Nu
Sensae, punk will do just fine.
Now this isn't to say the Vancouver duo
are exacdy what you'd call a classic punk
band; rather, they're a group that takes snippets from the many rungs of the continuously
growing punk ladder. Bassist/vocalist Andrea
Lukic's guttural screeches can be traced back
to riot-grrl predecessor/punk-rock scream
queen Kat Bjelland of Babes in Toyland and
Le Tigre. Drummer Daniel Pitout also takes a
few cues from one of his teenage loves, namely
the tribal thump of X's drummer DJ. Bone-
brake. Add in the duo's own twisted brand of
theatrics, and they come out making a unique
racket in a city full of punk bands bent on rehashing the past.
The pair takes these elements, wraps them
up and hurtles them full throtde towards
unsuspecting audiences—a tactic that sends
some listeners careening for the exits, while
holding others captive with the duo's self-
proclaimed "voodoo punk" vibes.
"People have said we have a dysphoric quality. It makes people feel uncomfortable or they
say we have bad vibes, an eerie feel," Pitout
said. "Voodoo punk just sounded funny to us.
It fit."
Nu Sensae began like many bands: as a
thought in the minds of two high school
friends. But upon graduation, Nu Sensae went
from daydream to reality. After their first
group, Maggie Gutwrath, dissolved Lultic
and Pitout jammed on their own and found
they only needed a rhythm section and Lukic's vocals to pound out the dark punk sound
ex lurgeon
incubating in then* head.
Soon after—on Mar. 24,2007, to be exact-
Nii Sensae had their first show with Mutators!
Shearing Pinx and Modern Creatures at thei
infamous Alf House. In their minds, the show
was a disaster, though the crowd and other
bands didn't see it that way and encouraged
Nu Sensae to keep playing. Determined, the
duo practiced often and played any gig offered, including one of the first Emergency
Room shows. The band has since become a
staple in the ER scene and contributed three
tracks to the Emergency Room compilation.
Their close-knit ties with the already burgeoning underground noise and punk scene '
in Vancouver soon helped solidify their DIY
leanings and made the community that much
"There is a really strong community here.
Att of us are friends, all of the bands: Shearing
Pinx, Twin Crystals, Mutators, etc., with Fake
Jazz playing a major role," Pitout said. "The
scene now has more direction and people find
it easier to get into now."
The duo have started expanding beyond
Vancouver's borders as well. They recendy
completed a West Coast tour in the U.S. that
was booked entirely on their own. Thanks to
groups like Mutators, Modern Creatures and
Shearing Pinx, who have all helped carve a
path down the coast, Nu Sensae had no problem setting up shows that drew large groups
of kids out to see the latest Vancouver punk
band—no booking agent required.
After playing an average of a show a week
for most of 2008, taking part in several underground compilations and split cassettes, and
releasing their debut LP, Nu Sensae show litde sign of slowing the pace. The group's first 7"
is soon to be released by the newly launched,
-ritiscum. The group also have a
>rief northwestern U.S. tour lined up.
For those looking to get a piece of the band
right now, you can nab a copy of their debut
full-length vinyl LP (or half-length—the LP
is one-sided), which was paid for by saving the
money from a year's worth of shows. Released
on the local punk/noise/drone/everything label Isolated Now Waves, the album was recorded in a single day by close associate Nic
Hughes of Shearing Pinx, and the band silkscreened all the covers themselves.
Even if Vancouver hasn't been the most accommodating city for the noisy underground,
Nu Sensae and their brethren refuse to let this
stop them and have created their own opportunities, whether that be setting up and play
ing illegal venues or self-releasing their al-" ~
bums. As the crowds expand with every show,
it seems the rest of the city is finally catching
up to what has been bubbling underground.
, "Vancouver's music scene is pretty diverse;
it's noise, it's punk, it's everything," Pitout
said. "I think this is because it's a small community of bands who are really into making
music and ^playing with one another, and I
think the crowds respond to that."
"If these [illegal venues] ended tomorrow
the bands would still be playing music and
putting out records. Everyone is great about
doing things for themselves and not waiting
around for things to open up. I think this says
more about the bands than the venues."
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its. About
UBC's clocktower's organ
photo by Jennifer Weih
Jennifer Weih (pronounced why) is a performance artist who has been making UBC's
clocktower play Dexy's Midnight Runners
"Come On Eileen" sadly at random times.
Brady Cranfield is organizing high school students debating the merits of the Rolling Stones
and the Beatles as part of The Sound That I am
Looking For. The debate will take place 7 p.m.
Dec. 3 at Emily Carr in the main lecture hall.
We at Discorder had been interested in both
of these events and were planning on writing
about them in this issue seperately, however
when Weih approached us with the idea of allowing the two of them to interview each other
we thought that was a pretty interesting idea.
Brady Crandfeild: Why "Come On Eileen"?
Jennifer Weih: Ihe initial impulse was to play a happy song
sadly, for a number of reasons. lam interested in melancholy,
and I am interested in the way that sadness is a social problem.
In the end, it came down to a personal choice, which made
sense in so far as the performance as kind of an inversion of
the clock tower as institutional voice. And I really fike "Come
On Eileen" as a song. I have the completely uncritical celebratory blind response to the song. I am one of those people who
jumps up and wants to dance when that song'is played. I also
think that it is a beautiful song, and I thdught that it would
become a sad song nicely. And then as I did more research ■
into it, it has in its lyrics a really nice combination of references. The first stanza is about Johnny Ray who was an early
teen idol in the '50s. A lot of his songs were about misery. One
of the things that I am interested in with pop music is the
way in which it is a social narrative that you invest in. I know
that as a teenage girl I was really informed by the narratives in
pop songs and the second verse is about disaffected political
agency: "These people round here/Beaten down eyes/Sunk in
smoke dried faces/They're resigned to what their fate is."
So there is actually a fink in the text of the song between
these different kinds of political situations. And then the refrain is just party party happy happy sex sex. And that's really
what people know, so it kind of undoes itself, which I liked
about it.
B: You know, there is something about the contrast of happiness and sweetness of pop songs in general, and then the
mixed, often depressing character of real life. When the songs
are happier it seems to me that it makes the contrast of the
fantasy of the good life and the reality of the mixed life even
greater. It kind of makes them even more depressing, you know
like looking at a litde Utopia that reflects its absence. But pop
is also a thing that does what it seems to do. It does make us
feel better.... Y>ur first reaction to "Come On Eileen" is one
of being a fan, of that enjoyment, and that is significant but
it is always an ambivalent thing. Pop songs are a litde kind of
- perfect happy Utopia for three minutes and then you are back
to the real world, or you move onto the next pop song.
J: It's fike a little high. I feel [when] making a work about or
with pop music that some rendition or variation was my reflection upon that. Expressing that contradiction is part of what
motivated the piece in the first place.
B: And a performance is an interpretation in action. So, you
are highlighting something that is kind of an aspect of your appreciation of the song, which is its melancholy-ness, but what
I found interesting in listening to your performance is that
the song begins to become like a cloud. Pop music is usually
uptempo to maintain the catchiness of the hook, which has to
do with the way we perceive and the way our memory functions when we are listening to music. Because it does activate
us as bodies, as well as things that think and have awareness
and preferences, pop music usually is of a certain tempo. And
I don't think it is just an aspect of the industrialized character
of producing more of the same, but that it literally says something about the way that we are sensitive to music. So when
you listen to a catchy tune slowed down and stretched out,
especially on the carillon that has that long decay which lends
itself to sort of weird distorted overtones, the hook vanishes
and becomes collection of chords and a fragment of a melody
that you have to work to remember.
J: In a sense it denatures or distorts the pop-ness, which to a
large degree is a function of the bells (or, actually synthesized
bell tone) which is in one way a relic of the church. The way in
which the church bell was used [to] muster or frame a religious
experience relates to the pop song as a fantasy that sustains
you and as a source of social narratives. And then on the other
hand, the public clock is in a way a relic from the days prior
to the private time piece. Both the chiming of the hours and
the marking of time facilitated the functioning of society—organizing people's time, enabling punctuality, efficiency, things
like that. The melodic blur, or fog, that emanates randomly
from the clock tower is a kind of intervention into that.
B: Dexy's Midnight Runners, thematically and In real life,
they were an ideologically driven band. They had a sense of
working class purpose and were all about manifesting in their
music and in their lyrics a recognition of this working-class life
in its minutia—the everyday life which is all around that organizing principle of the clock tower or the workday or whatever.
So it does make sense to choose that song, because there is in
it a personal connection, and an interesting relationship with
social history from the ground up.
J: Iwas thinking about the the history of pop. It relates to
the question of the form or structure of the song as a drive, but
also the content as a drive. I was looking into melodrama and
reading about its incipient days in the 19th century ... One
of its attributes was intense sentimentality. And then you also
have a growing urban population, thanks to industrialization,
and it's their fives that are being organized by these clocks,
and they are going to their jobs, and they are getting some
discretionary income, and they are going to the theater, and
watching these melodrama productions. And now we have the
pop song which is kind of micro melodrama.
Now that we are talking about social history this would be
a good time to start talking about Beades vs. Stones. Is that
the tide?
B: Yes, part of doing this was to externalize my own confusion. I find it actually really hard to think about pop music
as a medium for art making. It seems somehow compatible,
but also not. You know, I love music and can talk about it,
but it is also something that is difficult to discuss. Especially
when you ask someone to explain their preferences. I really
see it as something that people really specifically want to not
think too deeply about so they can preserve this place where
they just enjoy or just feel or whatever without any reflection.
And obviously within those private experiences there is still
reflection and they still understand, but maybe they don't fully
address it.
[I am interested in] the funny juxtaposition of these two
modes of production that never seem to be in the same place
at the same time. Despite the interest in the art community
for pop music. But you can't really theorize in the same way.
It's hard to imagine it doing the same thing as an installation
work, or referencing the same set of ideas.
J: About the debate, I was interested to see when I looked
up debating that the structure of formal debate is about establishing differences. That was interesting to me because when I
started to consider, well, who would I choose, Stones vs.. Beatles, my fundamental question was really about broader similarities within pop music. And all these questions that we've been
talking about and how music operates in culture in a broader
way. So, I thought that .the form of the debate was fascinating
in itself-—that has a particular application—the parliamentary
debate, the legislative debate, the lawyer debates. It's a very
institutional, professional skill that they are developing, that
it's not about negotiating similarities but asserting differences,
with a winner and a loser.
B: Well, I think you can kind of see my weird feeling about
about pop music and trying to be true to that and thinking
about contemporary art and trying to be true to that, in having
a really formal setup deal with a subject matter that can't really
be completely formalized. You know—"vs.." What does that
mean? We can debate it forever, and that isrkind of appealing.
I am interested in that process. I also want to see how the students want to address the question.
I met with the,students and heard their initial positions.
They were imagining a proper formal debate where a proposition is introduced as a positive and [a] response is developed
as a negative. I encouraged them to think of it as.instead, like
you were saying as contrasting positives, that there is really no
negative in this set up. And I encouraged them to consider not
as just dollars earned or hits achieved but more of the symbolic
or connotative value of the two bands....
For example, it's Friday night and you have a party. It's 9:30
and what would you play at that pointto be right for that stage
of the party. It just seems to me that the Beades makes that a
better choice for that part of the party than later on. Once the
party is well under way, and people have consumed a certain
amount of alcohol, and things are getting looser, out comes the
Rolling Stones. Both things are good, it's not really this is better than that, it's just complimentary differences.
J: It's nice to imagine these high school students doing research, which is sitting in their room listening to Beades and
Stones music. It completely contradicts the formal fact collecting kind of research which a person is expected to do in such
a situation.
»cont. on page 18 »cont. from page 17
B: Yeah, what are those facts? What is the information?
What is the content? What are the ideas? Yoti're right, clearly it is a part of research. It really
J: When I first started thinking about it myself I was thinking in terms of social history
which is this whole other category of what they could talk about. The different relationships of
those two bands to what was happening in the late '60s, in terms of pop's ability to harness and
translate and exchange and mobilize politics.
B: Well this is the great thing about this debate. Again, there is no conclusion, it's just sort of
the energy of the debate ... Hopefully, they will expand into the social histories.
I don't want to control their work. For me when I think about the bands, I think about that
stuff. And I think they are the most famous pseudo competition in pop music. And they both
were part of a maturing media world. Especially on the part of the Beades who were really savvy
marketers. More than anything they really revolutionized how to market and how to make new
things, and how to present themselves in different ways. Rim—all the things that they did land
of gave birth to contemporary popular culture as a widespread phenomenon.
J: They were the first e
satellite fink up.
B: They were always about a kind of avant-gardist innovation. They used all kinds of music:
concrete techniques, electronic instruments and all of that stuff. They were really very intellectual and the Rolling Stones just couldn't compete in that way. But what they could do better
than the Beades was somehow to just be raw. 31111l*ll
Although both of them are complete constructions.
J: Are you going to limit how long they could go on? It could be 16 hours...
B: I am land of imagining kind of 30 minutes, 40 n
But these kids are hardcore. They know exacdy what to do. They know how t<
rell researched. I am excited about kind of letting them do the work.
discorder turns 25!
let's party!
Discorder has existed for a
quarter of a century and is one
of Vancouver's oldest music
publications. To celebrate we
at Discorder are inviting our
readers and all those involved
with our lovely little rag to
come on down to Hoko's.
We are especially trying
to bring in those from
Discorder's past who helped
us reach 25 years. Old editors
and writers will (hopefully)
regale us with stories about
the magazine before singing a song.
There will be a giant cake.
It starts early so we can
all come down have some
drinks, eat, sing the Smiths
(Hoko's has "There Is A Light
That Never Goes Out") and
still get out of there in time to
see whatever fun concert you
have planned (or go home if
you don't like being out late).
Time: 7 p.m. -1 a.m.
Place: Hoko's Sushi and
Karaoke Bar, 362 Powell
Cost: Like thpijiaqazine,
fhe partyis free.
needed for our 24 Hour
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For an interview, please call
Vancouver Rape Relief & Women's Shelter
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f 4307MAIN JiGisSJul 726R,CHARDS
f]f    604-708-9422 ¥¥,i^M 604-687-6355 \T_tW2b\ 604-738-3232
MINT RECORDS www.mintrecs.com
 18       discorder magazine^- the d
by Chris-A-Riffic | Photo by Steve Louie
Jeremiah Haywood plays bass. Evan Brewer plays drums. Ben
Phillips plays guitar and sings.
Three fun faks [sic] before I start. I finally saw this band
that Ryan Dyck from the B-Lines had been telling me such
great things about—the Defektors. It was Halloween Black
Sabbath cover night, and their version of "Fairies Wear Boots"
transported me back to 1970s Birmingham. Second, Haywood
told me that I played a show with his first band, Live Girls, at
the Marine Club and Matt Good was in attendance. I still fail
to recall. Lastly, they were supposed to play in a boxing ring
on their recent West Coast tour. The booker had to cancel the
show, citing "personal problems."
Discorder: Have you been in this band the entire time I've
been seeing you at shows, not knowing who you were?
EB: No, this band is about threejrears old, and I've been in
town for six years. Me and Ben are originally from Vernon. We
went to high school together.
D: Was it slow going at the beginning?
BP: Well, Evan never played, drums before.
EB: We played a show six months after we started.
BP: It takes six months to learn the drums.
EB: Our first show was at the Lamplighter with the Mutators. Justin Gradin [Mutators drummer] was from Kelowna,
which is right near Vernon, and he left for Vancouver at about
the same time I did. '^f %%?%$;
BP: It's a boring as shit place to live.it's a college town and
public transit takes you an hour and a half to get anywhere.
EB: It's all vacation homes and retirees. There's no culture
in the Okanagan.
D: The tour. How did it go?
EB: It was a bit of a disaster, but it was always fun.
[At this time, I was shown a photo of a show they did in CaU-.
forytia, and the only two people in front of the stage were members
of the B-Lines, their tourmates. We all laughed. Then we cried a
BP: The Smell in L.A. was pretty good. Le Face and the
Friendly Neighbors played and brought all their friends. The
furthest we got was San Diego. We got there and there was a
sign that said "change of ownership," and they literally sold the
bar that day.
JH: The very last show ended up being the best show. I sent
an email to every band in Sacramento and San Francisco that
I knew. Only two bands responded. They came over and they
were fun party people. There's girls in the band. We finally got
to talk to some girls.
EB: In America, I noticed there's not a lot of girls in the
scene. Vancouver's kind of spoiled in that regard. There's girls
that actually want to take part.
D: Recording onto vinyl. Are CDs evil?
BP: There's nothing inherently evil about it, it's just crap
technology. Why would you even bother? When a CD starts
• getting scratched, there's nothing more fucking annoying.
JH: Think of aU the CD players you've gone through in your
life, and how many record players you've gone through in your
BP: And the packaging. It's a piece of art. To me, you got
your vinyl and you got your iPod. Who needs CDs anymore?
JH: When I buy CDs, it feels like I'm just throwing money
in the garbage. CDs are going to be gone in five years anyway.
D: What you think of playing the [Emergency Room]?
EB: It's fun. I think our best shows have been played there.
BP: It's a community, it's not a bar. It's run by volunteers,
by our friends.
JH: And it really helped us. That's when we started to get
noticed. It was just a good situation.
EB: You can guarantee that- you can get 200 people in there.
And it's funny that people will consistently come to the ER,
but you put on a show at a bar and no one will go.
BP: Because no one wants to pay for high-priced drinks and
deal with asshole bouncers.
JH: We can't put it on there too often. We are taking a risk
every time we do it. We've pretty much been left alone. So far
it's been pretty incident free.
BP: And it's not near anybody's house or business that it
would matter to.
jancember 2008
or ijpj«:
p^        onnicim
%ffip<vw that*
c/fu patter that eotwone fo touting admtf
5   «4.2STOfiS^
luciest Christmas party in vamwu,*,,
where Satan Claws, mistletoe, pervy
partiers & stolen kisses abound!
ostumes with Xmas colour or themes
highly encouraged!
$9 with pass Jfl2 without
Dec 31
Club 23 West
Kiss 2008 goodbye at the wildest
party in the city! This event wiH
sell out so get tickets early!
Tickets available at:
All Sin City & Sanctuary parties
(every Saturday at Club 23 West)
New World Designs # Zulu O Priape
Little Sister's • Flaming Angels
online at Clubvibes.com
and Sincityfetishnight.com
Don't miss the first Sin City parties
of 2009 at Club 23 West!
All parties hosted by
Mr. Dark & those dirty DJs
Pandemonium, R-Lex, Pyxis,
Betti Forde, Abasi. Ceebas,
Catherinna & regular guests
Full dress code info, online ticket purchasing,
outtit suggestions, photo galleries and
outrageous videos from previous pofnets at :
20       discorder magazine)" Tanya Tagaq
Heritage Hall
October 23
A diverse crowd packed Heritage Hall for conversation, drinks
and katajjaq, the practice commonly known as traditional Inuit
throat singing. However, at the end of the night, there was
Uttle tradition to be found anywhere in the room. ?_W.
Nunavut native Tanya Tagaq purveys a form of throat singing that is rooted in the guttural growls and rhythmic chants
of katajjaq, but sounds more like a symphony of samples culled
from the arctic landscape and classical operatic performance.
Tagaq's unique sound is imbued with the melodies of modern
pop and the profound experimentalism of improvised music,
a combination that's almost transcendent when channelled
through her powerful voice.
Accordingly, the concert was a departure from the experience that most music fans are used to. Barefoot, yet dressed
in what could only be described as a diva's gown, the singer
began with a diatribe of sorts, letting the crowd know her feelings on contemporary gender relations, her baby at home in
Nunavut and an assortment of other things most personal and
disconcerting. With this personal baggage out of the way, she
launched into the real catharsis that everyone was there to see.
Collaborators DJ Michael Red and cellist Cris Derksen
set the scene, summoning an open soundscape of sparse beats
and haunting melodies for Tagaq to walk into. With sharp,
articulate gasps hurled from the back of her throat, Tagaq
summoned the surging rhythms that would form the basis of
the performance. Bursts of angry growls and explosive staccato wails began to nil the room as she jammed with Red and
Derksen, manifesting a particular musical language known
only to them. Tne group worked their way through movement
after movement in this manner, traversing through darkness,
majestic light and the wannest intimacy.
Tagaq played nearly every part imaginable throughout the
night stomping madly about the stage with microphone raised
above her head, she was a warrior; whispering softly along
with Derksen's cello, she was an innocent child; at the end, she
seemed to be an old soul, introspective and filled with creative
wisdom. The lucky crowd rewarded her and her bandmates
with a much-deserved standing ovation, acknowledging a remarkable performance by one Canada's most gifted artists.
Justin Langille
The Notwist
Odd Nosdam
The Commodore §|§liig3§
October 24
There are such things as Notwist people. Taking cues from the
gentle, intellectual heart of the band's frontman Markus Acher,
Notwist folk tend to look like they could use a hug, a book
and maybe some dancing in their Uving room when no one's
looking. Most of all, they're looking for that sonic moment of
bUss and catharsis made possible only by a German electronic
rock Outfit, which, through almost two decades together, has
no doubt felt its share of pain.^^t^^|^^^gi?^
On their visit, the Notwist didn't disappoint, making the
. cavernous Commodore BaUroom seem smaller and the introverted Notwist people feel less alone. The band's overwhelming temptation to pummel the audience with over enthusiastic
gUtches and proggy jams seemed hard to avoid at times, but
the evening's gems lay in its more subtle moments, such as
during "Gloomy Planets" from this year's The Devil, You and Me.
There, Acher and company let their guard down and turned
their backs to the crowd, playing for each other and indulging in the endearing, hopeful melancholy that has bonded the
band for 19 years.
Notable awkwardness ensued when lanky, bespectacled
lead programmer Martin Gretschmann whipped out a Ught
saber near the end of the set and uncomfortably played with it.
Nonetheless, Gretschmann's stage antics were a welcome reprieve from the obnoxious dudery of DJ opener Odd Nosdam,
who dominated his set with one-Uners usually escapable by
turning off CFOX in the morning. His San Francisco origins
ani DJ Shadow influences made for a promising venture in
theory, but his frat-boy persona was so offensive that some
Notwist supporters started shouting for him to leave the stage
by the end. Disappointingly, Notwist vocaUst Acher uttered
few words during his band's set, but his infectious kindness
Ungered. More proof that the loudest voices aren't often the
ones we most want to hear.
Jackie Wong
The King Khan & BBQjShow
The Dutchess & the Duke   p|||
Biltmore Cabaret
November 7
The King Khan & BBQjShow are aU about good times—wett,
at least until they hit Vancouver, where there was an aggro contingent in the audience bent on tarnishing the show.
The night started off civil, yet bland. Seattle's the Dutchess
6c the Duke were as cute as puppies with their sibUng-Uke
teasing on the microphones. This Hardly Art-signed group
was hardly entertaining, though, and the muffled sound system
didn't help the group's wimpy deUvery of wimpy folk narratives. Snore zone: population these guys.
By the time King Khan got on stage, the audience was starved
for rock bravado. The costumed denizens of quaUty surf/sludge-a-
biUy—Montreal/Berlin ckio of Khan and BBQ_(a.k.a. Mark Sultan) dressed up in ridiculous wigs and blouses—delivered raucous
vocals, more leg than I needed to see, and more rock theatrics than
you could Ught a guitar with.
However, soon I heard "This isn't a Limp Bizkit show," uttered
by Khan, unimpressed by the audience's moshing and pushing towards the stage. And soon after that, I was amazed to see a couple
fighting while Khan were getting going. I was even more amazed
when the woman turned her wrath from her bearded boyfriend
towards a friend oi"rnine.Trying to separate the two, my Good Samaritan chum was now getting rained on with hockey punches.
After the Cro-Magnon couple were extracted from the building, things settled down for a while. I'd almost forgotten all about
it when I felt something splash the back of my neck Turning
around, there was yet another bearded cretin with more anger .
than sense. This one was smashing beer sleeves on the floor, show- .
ering gawking gig-goers with shards of glass and alcohol. In an
instant; the two of us were locked in a standoff caused by pacifist
moi trying to put a halt to the ridiculousness of the situation. In
the end, no bones were broken, just dviUty.
To put it simply, some audience members acted Uke jocks at a
punk gig, detracting from the real focus of the night—King Khan
& BBQjShow. :M *i?P~p?"^^S^lS*?
Robert Robot    3%,0   '^"^'"S^^^^^
Gang Gang Dance
Mamie Stern
Biltmore Cabaret
November 11
You know, I'm not one for using tired Uterary devices when
describing new music. However, there was a bit of irony in
the fact that Gang Gang Dance and Mamie Stern, two of the
brightest, most creatively gifted acts coming out of New York
today, played the BUtmore Cabaret, one of Vancouver's preeminently dim-Ut, cave-like basement venues.
Even though it was a rainy Tuesday night, I had thought
that acts of this caUbre might draw a bigger Vancouver crowd,
but there was plenty of room to manoeuvre around the beUy of
the beast. Maybe an increasingly engaging local scene and the
mainstreaming of sub-cultural tastes among some circles of
music fans have removed the aUure around performances from
even the most innovative of the Pitchfork-approved set.
Stern took the stage first, firing off song after song of blazing, ingeniously sloppy compositions of guitar rock glory.
Sporting a fashionable T-shirt emblazoned with the words
"Uptown Bitch," she appeared genuinely happy to be playing
and certainly made good on her reputation for unhinged virtuosity. The whirls and wiles of Stern's velocity freak anthem
"Transformer" was the undeniable highUght of her set.
While Stern had looks that kiU and riffs that shatter windows, Gang Gang Dance's performance brought the proverbial noise for the evening. The quartet crafted a lavish set filled
with highUghts from their previous records and their new,
pop-inspired album Saint Dymphna, but it was how they started
it off that reaUy counted. The band luUed the crowd into their
netherworld with a hypnotic, half-hour long rhythm jam that
nearly shook the foundation of the Biltmore. Synthesizers
buzzed and guitar noise cracked while vocaUst Lizzie Bougat-
sos drummed manicaUy and sang notes that certainly do not
exist in the scales of Western musical notation. Some took the
opportunity to dance, but most in attendance were rightfully
entranced by dissonant drones and syncopated rhythms, elements of music that rarely break the surface of pop, especiaUy
in such a visceral and powerful manner.
Justin Langille
The Clips
The Bicycles
Hot Panda
Gang Violence
The Peanut Gallery
November 15
For a while, it looked like this show might not happen at aU,
and that, my friends, would have been a shame. OriginaUy slated for East Van's Di'Metric Studios (a yenue that by some accounts holds about 80 people), the show was actuatty canceUed
at one point. Alast-minute move to the Peanut GaUery "and an
almost-too-late phone caU to the Calgary-bound headUners
'saved the evening from defeat, though, and everyone rejoiced.
This bill" had legs from the start; Women, recently signed to
"major indie" Jagjaguwar, are a bona-fide; Pitchfork-approved
buzz band, and deservedly so—their self-titled debut is one of
the year's best.,
cont. onpg. 22»
Jancember 200JT
~2r »contfrom pg. 21
First things first, though. Vancouver's Gang Violence opened
the proceedings in style with their stark, angular dance jams.
If yoti've been paying attention to Discorder lately, you know
how strongly we are in favour of this trio. The early start time
did nothing to diminish the enthusiasm of band or crowd.
Next up was Hot Panda from Edmonton. I never reaUy got
into their debut EP and Mint Records T, but their performance definitely improved my opinion. They were charming
and enthusiastic, and a Uttle rougher around the edges than on
record. Their first fuU-length, slated for February 2009, wiU be
worth checking out.    -
Toronto's the Bicycles were next to take the stage, pumping
out song after catchy indie pop song to what was by then a
packed house. Their tight vocal harmonies and general bound -
ness give them a '70s AM radio vibe, and although the effect is
a Uttle twee on the whole, they're unquestionably a great band
if you Uke sugary things.
The Clips then took over the stage in what is normaUy their
practice space. I have seen these guys in a lot of dark, smeHy
basements and warehouses over the past few years, and tonight
was no different. They got the crowd dancing, as they always
do, and seemed distinctly in their element. It's great to see
them finaUy getting their due after a lot of hard work
Finally, early Sunday morning, the main event began. Women took the stage, and in a word, they absolutely kiUed it. The
band has tightened up considerably since I last saw them (at
Calgary's Sled Island Festival), and they tried out some new
songs, which held up weU to their album material. The performance had no banter, and very few breaks in the noise, which
was as it should have been. It's hard to describe Women's
sound adequately. There are points of reference (the nouveau-
shoegaze of No Age and Deerhunter, for example, or the
cleverly interlocking guitars of Television's Marquee Moon), but
somehow everything is made new again. Women is a band that
tickles each side of your brain in turns, both famiUar and unrecognizable. When they left the stage to yelps of "one more!"
it was with the self-assurance of a band that knows exactly
what they're doing, and whatever it is, it's good.
Alex Smith
Times New Viking
Richard's on Richards
November 20
There's no denying that 2008 has been a scarlet year for Mr.
Bradford Cox. Along with his successful run under the nom
de plume Atlas Sound, the many hours he's put in as executive
director of Deerhunter Inc. are now paying off nicely. Not only
did his band release a corker of a double album, Microcastle/Weird
Em Cont, they've also unofficiaUy become the year's indie rock
darlings, even snagging a high-profile opening spot for Nine
Inch NaUs along the way.      vi^§9Bft>
Cox and Co. must have learned a few tricks from their recent arena tour, Uke the importance of playing road-tested
material and, you know, songs people actually want to hear
("Nothing Ever Happened," "Lake Somerset," "Never Stops"),
while avoiding the meandering experiments that account for
roughly a third of their recorded output. And, Uke tonight, to
run the show is a professional and efficient touring machine:
doing away with amateur PA issues, eliminating limp banter
during songs, and nixing Cox's usual melodrama and awkward
stage antics. Instead, Deerhunter estabUshed the position that
they are now in contention to be an indie legacy act and not
just a gaggle of talented social rejects from the backwoods of
As for openers Times New Viking, the Ohioan trio played
a raw and concise set reminiscent of the early '90s glory days,.
Their sound feU somewhere between SweU Maps (okay, early
Pavement) and the scrappier side of the Flying Nun roster. The
band focused their songs around organ hooks accompanied by
chugging guitar and heavy on the bass-drum, rinse and repeat.
Not groundbreaking stuff, but if you missed the indie rock/
lo-fi explosion the first time around, this is what it sounded
Uke—just not as jaw-dropping and seminal as those historians
would have you beUeve.
Adam Simpkins
Shindig #7
Shane Turner Overdrive
Barcelona Chair
Deaf to Shouting
The Railway Club
October 28
On the eve of my champagne birthday, I made my usual way
down to the Railway Club. Entering the door, I was greeted by
the catchy tunes of Shane Turner Overdrive. This three-piece
pop outfit presented a tight, clean sound with Shane Turner
from the Choir Practice and his guitar at the helm. It turned
out Shane wrote the songs specially for this performance, a
true testament to the spirit of Shindig. These fresh tunes were
accompanied by bass and drums, forming a trio that played
with ease and finesse. Shane's Death Cab-esque vocals spun
melodies weU-served by the backing musicians, leaving his
solo tunes a tad lonely. As a Winnipegger, the BTO reference
was comfortingly famiUar, but also unfortunate.
Next up was Barcelona Chair, a guitar-violin duo who created instrumental soundscapes. Using distortion and effects, they
produced washes of sound with strings and bow, assisted occasionaUy by pre-recorded vocals, ticks and beats. Tne songs were
intriguing and wett planned, with deUberate arcs and waves
but sttghtly abrupt endings. While the guitarist exploited a full
range of sounds, the vioUnist played most conventionally, contributing minimally to the overall effect despite the enormous
potential of the vioUn. Smoother transitions and additional
instruments would have definitely added to the set.
My birthday arrived to the head-banging girl rock of sassy
femmes Deaf to Shouting. These black-haired, mane-tossing
women played their way through a set of derivative, yet entertaining numbers. This performance produced no surprises, except for the thrash metal Nirvana cover. It is unfortunate when
a cover song sticks out as the most memorable part of the set.
I toasted my champagne glass to the deserved winner, Shane
Turner Overdrive, and will see you next week at Shindig.
Brenda Grunau
Shindig* 8
Private Eyes
Hidden Fortress $i_jjp$p&
The Magician
The Railway Club
■ November 4
On the eighth night of Shindig, first up we had an act that was
exactly what I needed to hear. Private Eyes (formerly Body
PoUtic) is a dude named Damon who had to play solo because his band bailed before the show. But it was better that
way. Armed with a deUghtful voice, battered guitar and a secret
weapon (a fancy new looping station), Private Eyes deUvered a
warm and impressive set. Although he had great backing riffs
and impressive picking over top, where he got me was lyrically.
I am a bit of a gearhead but this guy actually got me to Usten
to the words.
Next up was Hidden Fortress, a tubular DJ and MC combo. When I say tubular I mean the group acted as more of a
nephron, regulating the musical PH of the night's performances. I am not super into hip-hop and I don't know a lot about
flow, but I think I can identify it and these guys had flow—-I
think. The angry "everything burns" lyrics felt somewhat out
of place given the "Yes we can" snules on people's faces from
whjtt's his face winning down south eartter that night, but who
am I to judge? Let's just caU it the audacity of dope. [ed. If
you're still confused he's referring to Obama.]
The last act of the night was another solo performance by
a guy called the Magician. He had a keyboard and cardboard
cutouts of Michael Jordan and football star Drew Bledsoe
holding (with" the help of tape) percussive instruments. He
also, as his name might suggest, performed magic tricks, which
were a tad more impressive than his tunes. In the end, though,
it was enough to sway the judges who I think were stunned to
see the Ukes of Jordan rocking out.
The Stereo Three
Railway Club
November 11
Tonight was the last show of Shindig's first round, the winner
completing the semi-final Uneup. In this final separation of
wheat from chaff, the first to perform was the Stereo Three.
The band played enthusiastic punk rock, and their friends in
the audience seemed to have a good time. I am going to describe their sound as forgettable, though, because beyond that,
I have pretty much forgotten what they sounded Uke.
Next up was a definite change of pace: SundayTrucker was
comprised of older, surly-looking rocker dudes playing sludgy,
down-tuned hard rock. The singer did a reasonable version of
the braying, marble-mouthed vocal deUvery typical of late '90s
Eddie Vedder imitators, but it all seemed a Uttle out of place.
Shindig is nominally open to any genre of music, but it tends
to lean pretty heavily in the indie rock direction. In any case,
SundayTrucker didn't go over wett with the college radio types,
but the longhair contingent was suitably amused, and the band
did hit a sort of plodding stride by the end of their set. Having
more or less deUvered on their promise to "rock [their] way
straight to hell," SundayTrucker gave way to US US US.
Now, there are criticisms to be levelled at these youngsters:
their lack of cohesiveness and overly ambitious musical ideas
resulted in a confusing mess most of the time, and the guitarist resorted to some truly embarrassing Shaft-style funk riffs,
ratcheting up the cringe factor. The heck with it though: these
kids were just so goddamn precious that I should probably just
stop being a grumpy old bastard. Sorry, Language Arts, but US
US US just won the cutest band at Shindig 2008 award. They
had parent-roadies, for crying out loud! Oh, and they also won
the round, so if you Uke cute stuff, you should try to catch them
in the semis (if you can tear yourself away from Puppy Cam for
long enough, that is).
Alex Smith
Shindig #10 NS^flf
Zombie Pistolero & His Guns
Fur Bearing Animals
The Railway Club
November 18
The evening got off to an introspective start courtesy of Zombie Pistolero 8c His, Guns, a one-man, bass and drum-machine
outfit who has clearly hoovered up the industrial quantities of
Joy Division and early New Order. The four-song set almost
began unnoticed among the audience chat and beer-ordering,
but after a gUtch in the first song, he came through in the last
couple with some dark bass hooks, strong melodies and confident resonant vocals. A Uttle too low on stage presence for this
night's audience, though, it seemed.
Next on were Hermetic, who upped the wattage of the evening by a noticeable degree and dragged the audience irresistibly to the front of the stage. With a short, hot set of three-
minute indie punk blasts, barely taking a breather between each
one, they easily became the favourites of the evening. Nothing
says pure honest lo-fi joy Uke furious barrages of guitar chords,
high energy and sUghtly shaky harmonies.
Last, Fur Bearing Animals, a soul-funk band with a sporadic
lean to old school. If this had been a competition of how much
musical equipment you could fit on the Rattway Club stage,
they'd have won before they'd even begun. Supremely well-rehearsed, deUvering tight, punchy funk rhythms a la Jamiroquai,
and a blistering cover of a Beastie Boys number, they definitely
seemed to be having the most fun of theevening, totally owning their set and the stage.
However, in spite of some perfectly recreated music (and
fashion) styUngs, a dash of Vocoder vocals, glo-sticks and
plenty of attempted audience interaction, Fur Bearing Animals didn't swipe the victory from Hermetic. It was a tight
race, but in the end less image and more energy deserved to
carry the day. ?|3?Ill
E.E.Mason i^ , nia
Beast///Sara Blackwood///Bring Me the Horizon///Down the Lees///
Glasvegas//AThe Great Outdoors///iNSiDEaMiND///Lioness///OokpiW//
Sebastien Grainger & the Mountains///Shout Out Out Out Out &
San Serac///Mavis Staples///The Olympic Symphonium///
Adrienne Pierce///and a very Metal Xmas///
(Pheromone Recordings)
It's hard to beUeve thaf" there was
an initial foreboding and trepidation when Beatrice Bonifassi .and
Jean-Phi Goncalves first dedded
to work together. Bonifassi is an
ingenious songwriter and acdaimed
vocaUst known for her powerful and
sensual voice. Goncalves, a drummer and electro-jazz composer, has
been sought after by many bands for
his musical style. Fortunately, both
Bonifassi and Goncalves had an innate conviction to carry out their
experimental blending of soul, rap,
electro, rock and jazz.
Extensive labour and decision
making was undoubtedly made by
Bonifassi and Goncalves as they
coUaborated and produced the album over a two year period. Working together they managed to create
a debut .album with an authentic
sound that isn't too genre specific,
and will likely appeal to most Usteners. Although certain tracks may
seem gloomy, the weU-written lyrics
engage the Ustener. For instance, the
song "Mr. Hurricane" explores the
dynamics of being a victim, but possessing the autonomy to choose not
to remain one. Producer Goncalves
skillfully manipulates provocative
sounding beats with bass, guitar
and sometimes piano. Yet, with aU
of Goncalves technical prowess, the
album would probably be void of its
authentidty without Bonifassi's incredible voice.
Nick Pannu
Sarah Blackwood
Way Back Home
(Stomp Records)
Sarah Blackwood, better known
as frontwoman Sarah Sin from
the Ontario psychobiUy band the
Creepshow, makes her debut as a
solo artist with Way Back Home, a
country-rock album that witt knock
your socks off. With her acoustic
guitar and clear and powerful voice,
prepare to be completely immersed
and captivated by the sincerity and
heartfelt urgency that she pours
into every word. There are many
highttghts on Way Back Home, as
Blackwood expresses her emotions
in their rawest form without sounding overly sentimental. At times,
Ustening to the album is akin to
reading her diary; "Trainwreck" tells
the story of the singer's former drug
addiction, whereas "Lonely Parade"
tackles bygone love, grief and lone-
Uness. While the lyrics are rather
sad and depressing, the rhythmic
strumming of the music won't get
you down; the restrained accents
of the sUppery, electric guitars, accordion, harmonica, bass and drums
emerge from the songs as ghostly
shimmers. Four years in the making, this album was worth the effort.
With her strong lyrical expressions
and a haunting voice that keeps you
wanting more, Sarah Blackwood is
set to make her mark.
Judith Walker
Bring Me the Horizon
Suicide Season
(Visible Noise/Epitaph) -
Just in time for the dark and dreary
Vancouver winter, hard-hitting metalcore arrives from the indie endave
of Sheffidd, U.K. to provide ari appropriate soundtrack for those misanthropic Mondays. Bring Me the
Horizon's new disc Suicide Season,
the foUow-up to their 2006 debut
Count Your Blessings, was recorded
and produced in an isolated viUage
in Sweden. Aggressive and visceral,
the music itself gives the occasional
almost pretty interlude to break it
att up and knock you off balance; the
cover image plays with the same adjacency—a young attractive woman
holds a bloody mass of internal organs. But overall, from the first beat
on the opener "The Comedown," no
time is wasted in kicking off the-ca-
cophony of noise and screams, leaving the Ustener with Uttle breathing
It's not perfect (nothing ever is),
and a couple of tracks are a Uttle on
the repetitive side ("It Was Written
in Blood" comes to mind, espedally
during the chorus). Nothing's too
revolutionary here, but it's all quite
well done. The production is crisp
and heavy. The playing and writing,
mostly pretty tightf and raw. Stand
out tracks are "Sleep With One Eye
Open" and "Chelsea Smile."
Pyra Draculea
Down the Lees
The Guest Room
(OffWhite House Records)
Laura Lee Schulz's second album as
Down the Lees hit stores last month
and this difficult album is unlikely
to move a lot of units. Recorded
in Schulz's home studio, The Guest
Room draws heavily on influences
that the fickle music pubUc usually '
would not be comfortable mixing.
Veteran local musidan Schulz's
vocals appear to be modeled on PJ
Harvey, though less refined and a
Uttle reminiscient of Bif Naked's
punk styUngs. On most of the album her dear vocals are overtop of
some fairly broody, building chords
with dynamic drumbeats backing
it up. These guitar and drum based
tracks come across like shorter Slint
songs, so you might Uke this if you
don't find SUnt boring.
There are three poppier tracks on
the first half of the album ("Alone
On A Thursday," "Talk Is Not
Cheap," and "The GalUvant") with
elegant drum machine backbeats
that could be simple noodUngs
from LA.'s DnteLThe exceptionis
on "The Gallivant" where it breaks
into an unabashed '90s rock breakdown mid-song—which ruins the
whole thing—before transitioning
into some muted drumbeats that
would have been a nice change if
they hadn't been introduced in such
an awkward-manner.
Can att these influences be
mdded together to produce something appeatthg? Do SUnt fans Uke
PJ Harvey and the Postal Service,
. or vice versa? These vastly different
influences add up to a sound that
would be off-putting to most Usteners. But the very small select group
of people who will Uke The Guest
Room are going to Uke it a lot.
Jordie Yow
(Red Ink Music) j|||gg|
Over the years, the music scene in
Glasgow has been fertile and diverse, so it's hard not to expect just a
Uttle bit extra from Glasgow bands
than just the average indie-pop-
by-numbers. This is probably a bit
unfair, espedally when they come
as instantly Ukeable as Glasvegas.
Think Belle and Sebastian accents
with the guitar sound of the Editors; though there's a shade less irony, ^ind more grit in this album than
there is with those bands. Glasvegas
have a good ear for a gorgeous, fragile melody paired with anthemic
arrangements and washes of guitar
noise—best demonstrated oh "It's
My Own Cheating' Heart That
Makes Me Cry"—and though on
occasion they veer sUghtly too dose
to four-chord meat-and-potatoes
Brit pop, they've definitdy got the
hang of writing well-crafted songs
that almost anyone would Uke.
Aside from "Stabbed," a funereal
monologue that misses being either
resonant or ironic, it's good songs all
the way, with no risks taken. But just
when you thought that one heart-
grabbingly good song was going
to give way to another forever, you
might start to wonder if this is att a
bit chart-friendly and anodyne. You
might just want a hint more character, or a smidge of variety. Glasvegas don't dettver tim—frankly,
they don't need to—but you get the
feeUng that although this is a fine
album, there's still room for more.
E.E. Mason
The Great Outdoors
(DDG Records)
Fall, the third EP by the Great
Outdoors, offers a consolation for
summer lovers basking in the afterglow of the fatting leaves and rus-
tttng sounds of this soft season. This
contribution from Adam Nation
and Steven Wells, who both sing
and play guitar, Randy Forrester
on keys, bassist Craig McCaul, and
drummer Steven WegeUn, shows a
softer side of the band; whose last
work Summer was surprisingly rocky
for the folk-blues quintet. The album
starts out with "Under the Sun," a
nostalgic tune about the finaUty of
summer and the progression of time
that drifts further and further into a
colder place. Frontman Nation sings
"Black Water Road" with a Dylan-
_like intimacy that makes your eyes
water.' At one part in "Ten Thousand Baby Birds," while belting out
lyrics about the aforementioned
birds amongst a mellow plethora
of bluesy sounds, the chorus gets
surprisingly loud when Wells rips
into "She's seen/Better days for me"
while shredding his electric guitar.
Final track "The Garden," contains
a chorus singing, "Witt you meet me
in the spring time/When the rain
is faUing down," while the strings
of a banjo are plucked almost or-
chestrally. While the band seems at
peace with the growing cold, there's
a sense of frustration and anger
which is quickly followed by a redemptive softness. Overall, Fall has
many strengths as a seasonal album,
and makes the transition into colder
days a Uttle easier.
Mini Salkin
(PubUc Transit Recordings)
Although the impulse to produce
a recorded musical document must
be hard to resist, DJs and turntable
musidans should really think long
and hard before abandoning the
warmth and energy of the stage
for the isolation of the studio. For
a musical style so heavily based on
the interaction between crowd and
performer, and loaded with improvisational possibiUty and feats of
technical ingenuity; the transition
into the recorded .format must be
made at a certain cost. The upshot
of this loss is the opportunity to
make a different sort of turntable
music, taking full advantage of the
studio setting and the album format
to arrive at something new and unexpected. While some artists have
carried this off successfully (UK's
Burial comes to mind), Toronto's
iNSiDEaMiND doesn't quite make
it; produdng a record that has lost
the vitaUty of a Uve mix, without
gaining the rewarding complexity
of a full-length album.
That is not to say that there aren't
successful moments on the album; a
number of tracks are great examples
of what's possible within the genre.
In particular, "Twttight Harvest"
with its crisp beat and subtle play of
repetition and variation is a standout on the record. Unfortunately,
the album as a whole fails to create
any sort of coherent Ustening experience, and this lack of unity is only
made more obvious by the awkward
(arid boring) interludes placed between them. While there are some
great* moments to be enjoyed here,
they are just that: moments. When a
record docking in at nearly an hour
would have been better executed as
a handful of singles, it's safe to say
that something has gone wrong.
(New Romantic)
Jeff Scheven and Ronnie Morris,
from post-punk indie band controller.controller, and Vanessa
Rsher of the experimental quartet
No Dynamics are the musical geniuses behind Lioness, which first
came together in 2007.
»cont. on page 24
^^£embeL2008^3Il23^ >xtont.frompg. 23
This Toronto trio blends the man-
made sounds of alt-rock with electro disco to produce the unique
electro-rock sound showcased in
thek debut self-titled EP.
Although dements of the styles
heard in controUer.controUer and
No Dynamics are reflected in Lioness' sound, the band manages to
maintain an originaUty by the manner in which they blend these elements together, with Fisher belting
out soulful moans over the. heavy
bass beats and incessant electric
rhythms that permeate the course of
each track. From beginning to end,
the sound is beUowing; the instrumentais compete with the digital
beats in a battle that neither can win.
With this EP, Lioness transforms a
once narrowly defined style, proving
that the growing buzz surrounding
their music in the past year is well
Total Home Job
(So Called Recordings)
Dan Godlovitch (a.ka. Ookpikk)
has dearly turned his Victoria
home studio into a lab for the dis-
sectioh and synthesis of electronic
sounds of att kinds, with a mission
to go beyond genre. The album
kicks off with two deceptivdy accessible tracks—including the
perfectly house-flavoured "Hair
Suite"—before launching into more
experimental territory with disjointed melodies, polyrhythms and
a handful of satisfying dissonance.
"Squire Twainy His Merry Men"
plays with an onslaught of drum and
bass beats, while "Wisps" and""Mr.
Carnivale" offer layers of chopped-
up tunes boundng off each other
and the percussion patterns. "Shop
Teacher" starts by machine-gunning
a heavy synth bass-Une which almost mutates into a hooldine, while
the hazier textures and stabs in the
far background sound Uke they'd
be at home on an early album from
Berlin's Pole.
There's real energy in this album,
and with its dominant analog-synth
sound, Total Home Job is more engaging and less freeze-dried than
a lot of electronica out there, but it
sometimes misses the spadousness
of other dectronica and the energy
can tip over into busy-ness. That
said there's plenty to enjoy here,
both on the first encounter and after repeated listenings; as under the
busy surface there's a lot more detail
and delight to discover.
E.E. Mason
Sebastien Grainger & the Mountains
Sebastien Grainger & the Mountains
(Outside Music)
Sebastien Grainger, former drum-
mer/vocaUst for the short-Uved but
renowned "dance-punk powerhouse
Death From Above 1979, offers a
collection of songs culled from the
deep reaches of his-, soul. Largely
written, mixed and recorded by himself, these recordings are glimpses
into the Ufe of a man who is turn-
ing over a new leaf and is telling the
stories of the friends, enemies, lovers and experiences that have helped
shape his Ufe.
. Wasting no time kicking into
high gear, the album's opener, "Love
Can Be So Mean," is an energiteed
and rockin' lesson in heart-felt
ethics. Things rarely let up from
there, briefly breaking the pace for
a funked-out nod to Prince on
"Renegade SUence," and the stormy
album closer, "Love Is Not A
Fans of Apostle Of Hustle or
Broken Social Scene may hear some
similarities, but wiU be pleased to
" discover an album that stands alone.
While a bit unruly and dirty under
the collar, Sebastien Grainger's efforts are a breath of fresh air. Straying slightly from the heavier stuff he
has worked on in the past, these are
soUd, anthemic tracks from a talented musician dipping his musical
toes back into the water. And while
he has stated that this album is
simply a beginning stage, it's a new
stage of musical progression and a
wdcome one at that.
Nathan Pike
Shout Out Out Out Out & San
In The End It's Your Friends
(Normals Wdcome Records)
This release emerges from the team-,
work of Canada's dandest electro
sextet §hout Out Out Out Out, and
their touring pal San Serac. The EP
indudes the title track Tn The End
It's Your Friends" by SOOOO, and
San Serac's reworking of the Shala-
mar disco classic "Friends," plus
remixes of each song. SOOOO remain faithful to their generally bleak
lyrical world view. "In The End It's
Your Friends" drills home an urgent
warning to "Beware, because in the ■■■
end it's your friends that witt fuck
you over." Lyrics aside, the music
does not encourage such gloominess, as the Ustener is provided with
steady electronic beats, heavtty layered with robotic vocoder vocals,
four bass guitars, two drummers
and enough synths to sink a small
pleasure .craft. In musical terms, all
songs showcase a sirrdlar electro
tech-house sound, but from a lyrical perspective they are completely
The vocals in San Serac's electro-
funk version of "Friends" bounce
along with the beat and indude a
more positive view on friendship,
reflected through lyrics Uke "If J had
a doUar for every time/Ihey have
stood by my side and things turned
out right/1 would be a mittionaire,
and my wealth they would share/
Because I'd be nowhere without my
friends." If you're into electronica, or
open to new music, keep your ears
open because this is just a taste of
the future, with the new full length
album by SOOOO being rdeased
early 2009.
Judith Walker
Mavis Staples
Mavis Staples Live: Hope At the
While good music can arguably
be produced anywhere, finding the
right location is definitely an asset to producing a great recording.
Where Uve performance is concerned, it's absolutely critical. Anyone who's been to a few Uve shows
wiU attest to the difference it makes
to a show's success when the musicians are in their element. This is
the inherent charm of a Uve album;
there's a rare and predous magic
about being able to recreate a moment in which a performer connects
with the audience.
That magic is present in spades
on Mavis Staples Live: Hope At the
Hideout, a release of 14 songs performed in a dub in her hometown
of Chicago. There's something of
the home court advantage in the album's tone; Mavis sounds genuinely
exdted to be there, and she communicates her energy to a wonderful
degree. For a woman who is used to
performing to packed stadiums, she
has a remarkable gift for channeUng
her big sound and bigger presence
into an audience that can't be more
than a couple hundred people. The
tunny, revival meeting-tinged stories
she Setts between songs are the perfect counterpoint for her guttural,
Solomon Burke-esque growl.
Possibly the best aspect of Hope
At The Hideout is being able to hear
the audience respond to the music. Whenever the band reaches a
certain emotional pitch, the crowd
pays it back in full with outpourings
of exdtement and love—or simply
with their reverent, undivided attention. During the war-tinged
"Waiting For My Child," when
Mavis steps away from the mic to
croak the Une, "If you can't come
home/Won't you please send me a
letter," you can practically hear the
goose bumps rising on every person
in the audience. -
Miranda Martini
from the full-time bands they're involved with. Other times they manage to create something gorgeous
that is worthy of the pubUc's attention. It appears that Fredericton,
N.B.'s the Olympic Symphonium
falls into the latter category with the
"release of their second album, More
In Sorrow Than In Anger.
Originally conceived as a means
to explore a softer side of music and
as a reprieve from their higher energy bands Share and Grand Theft
Bus, Nick Cobham, Kyle Cunjak
and Graeme Walker have recorded
an album that is nothing-short of
beautiful. Tender, lush and ultimate-"
ly calming, More In Sorrow takes the
Ustener on a gently winding journey
through a collection of musical styles
that demonstrate both diversity and
talent, with members sharing vocal
duties and a steady rotation of
Opening with the piano and guitar laced acoustic number "You Win
Some, You Lose Some," the tone
is set for the next 38 minutes of
easily digestible meanderings into
various genres, such as the country
themed "Blood From A Stone," the
folk-pop feel of "Intentions Alone,"
and the sad, darkened introspection of "Through The Day." With
a sound similar to the small town,
backwoods sensibilities of Iron and
Wine and Great Lake Swimmers,
More In Sorrow is a warm satisfying
album that merits repeated Ustening -
during these cold, blustery days of
winter. ♦-•
Nathan Pike
The Olympic Symphonium
More In Sorrow Than In Anger
(Forward Music Group)
Sometimes collaborations between
estabttshed musicians can fall flat
when attempting to create a distance
Adrienne Pierce
(Insect Girl Records)
It is fitting that Adrienne Pierce
was born the day prior to Christmas
Eve, as her new EP Winter invokes
the happier side of the snowy season. Rather than embarking upon
a tirade against materiattsm, Pierce
makes her point by sweetly singing
about the non commercial traditions of Christmas. The opening
track, "All That We Want" is an ode
to baking Christmas cookies, whue
"Raise Our Voices Up" and "Joy is
Within Reach" celebrate the simple
pleasures of building snowmen,
stringing Ughts and caroling.
Containing four original songs
and two covers, Winter is an endearing accolade to the innocence
of childhood and the comfort of
continuing to beUeve in magic;'
subject matter aUuded to on fourth
track "Making Angels." Although
the 1968 classic, "Put a Little Love
in Your Heart" has been covered
multiple times before, Pierce's re-
interpretation coalesces with the
rest of the album so wett, the song
could be her own. Aside from being much too short, if there was one
bUp on this otherwise stellar offering, it is the cover of Peanuts classic
"Christmas Time Is Here," which
is deUghtfuUy charming and quirky
for the first fewttstens, but becomes
a bhvtiresome when the disc is on
constant play—a reattty for a release this enjoyable. Resonating
with good cheer, this celebration
of snowflakes and ruddy cheeked
wholesomeness will be playing well
into spring thaw.
Melissa Smith
Various Artists
We Wish You A Metal Xmas and A
HeadbangingNew Year
(Armoury Records)
Unlike most j compilation discs,
Metal Xmas does not feature any
bands, but indudes 28 musidans
who form into either quartets or
quintets to offer some serious holiday tunage. Spanning the likes of
Anthrax, Megadeth and Queensryche, the commonaUty amongst
these purveyors of seasonal mayhem
is that most of them are middle
aged white men with a long history
in the genre, although there are also
a limited number of younger musidans and a few from outside the
metal community.
The most interesting tracks are
also the more friendly of the bunch.
Tlie second track on the disc, offered
by the only trio, is by far-the best,
as Motorhead vocaUst Lemmy is
accompanied by guitarist Bitty Gibbons from ZZTop and Dave Grohl
of Nirvana/Foo Fighters on drums
to offer a bluesy version of "Run
Rudolph Run." Track six offers a
lovely, restrained version of "Little
Drummer Boy," which is not surprising, as featured drummer Simon
Phittips has drummed the spectrum
from Toto to Judas Priest. While
the cover of John Lennon and Yoko
Ono's "Happy Xmas (War is Over)"
does not succeed in the almost insurmountable task of surpassing the
grandeur of the original, taken on its
own, it is a pleasant offering to wind
things down and condude the disc.
However, if you feel a bit of the
bad Santa coming on, proceed directly to track eight for a thrash
metal version: of "Sttent Night"
deUvered by Chuck Billy of Testament. For extra effect, hurttng yourseU7 at the watts while screaming,
"Come dance with me grandma"
should achieve the desired affect of
clearing the house or getting yourself sanctioned. Either way, you'll be
away from your family, and truthfully, isn't that what we all want for
Melissa Smith
\jy- *W^M«^M08
■y^7//v *fc </rtforf /z?i.y of the whohyenr llllI^IIIlfeRj-nS^JlllllllMf IIIff illllf
Black Mountain**
In the Future
The Green Hour Band**
Live a Little More EP
Trouble In Dreams
Canadian Tuxedo
The Pack A.D**
Funeral Mixtape
Greenbelt Collective**
Our Homes
Elbow Beach Surf Club*
Billy Club EP
Burnt Oak
Lullaby Death Jams
Secret Trials
Fake Shark Real Zombie**
Zebra Zebra
Andy Dixon**
The Mice of Mt. Career
Chad VanGaalen*
Soft Airplane
Flemish Eye
No Kids-
Come Into My House
Arms Way
Dylan Thomas & the Vancouver Vipers**
Fortune TeUer Miracle
Hello Blue Roses**
The Portrait is Finished
and I Have Failed...
Crystal Castles*
Last Gang
Fucked Up*       £^^§§1
The Year of the Pig
Vampire Weekend
Choose Your Destination
The Legendary Pink Dots
Plutonium Blonde
No Age
Sub Pop
The Good News**
The Clips**
Flemish Eye
Fond OfTigers**
Release the Saviours
Drip Audio
Young and Sexy**
The Arc
Mint .
Gang Gang Dance
Saint Dymphna
The Sodal Registry
Hawaiian Bibles**
There's Good People in
the City
Haute Voltage
The Emergency Room
Jason Collect*
Here's to Being Here
Hexes & Ohs*
Bedroom Madness;
Noise Factory
You Say Party! We Say
Paper Bag
Coin Gutter**
Some Are Lakes
David Shrigley's Worried
Do the Earthquake
A Little Tradition
Final Fantasy*
Spectrum 14th Century
Adas Sound
Let the BUnd Lead Those
Can See but Cannot Fed
The Raveonettes
Lust Lust Lust
Musicworks 100
Kate Maki*
On High
Vivian Girls
Sheafing Pinx/Stamina
SpUt 7"
Nihilist Spasm Band*
Live @ Western Front
Hank Pine & Lily Fawn*
North America
Fuck Buttons
Street Horrrsing
I Ate Your Legs
Bison B.C.**
Quiet Earth
Metal Blade
Arms To Hold You   .
Dandi Wind*
Yolk ofthe Golden Egg
Summerw Lovers Unlimited
Ghost House**
The Old Ghost House
Reluctant          \'^%$£t
Stolen Minks*
High Kicks
New Romance
Life Like
Love Is All
A Hundred Things Keep
Me Up at Night
Whats Your Rupture?
King Khan & the Shrines
The Supreme Genius of...
Blood on the Wall
The Sodal Registry
The High Dials*
Moon Country
The Penguins**
Had To Be
Independent ~
What's WrongTohei?**
Cut Copy
In Ghost Colors
Jay Reatard
Matador Singles '08
Ghost Bees*
Youth Club
Jad Fair & Naofumi Ishi-
Adam & the Amethysts*
Amethyst Amulet
Too Thirsty For Love
Birthing the Giant
Flat Duo Jets
Two Headed Cow
Chicken Ranch
Ramblin' Ambassadors*
Vista Cruiser Country
Laura Barrett*
Victory Garden
Paper Bag
Beach House
Devotion    "^Jaff^
Carpark , JEjf^sl
What Does It All Mean?
1983-2006 Retospective
Illegal Art
Seventh Tree
Catting Out
Coconut Coolouts
Party Time Machine
All Girl Summer Fun Band
Looking Into It
Flight of the Conchords
Sub Pop
Unity: A Tribute to Desmond Dekker
Bacteria Buffet
Crystal Antlers
Touch and Go
The Consonant C*
Capes 8c Crowns
The Sumerwood Warren
Tokyo PoUce Club*
Elephant Shell
Saddle Creek
El Perro Del Mar
From the Valley to the Stars
Control Group
Man Man
Rabbit Habits
Thao with the Get Down
Stay Down
We Brave Bee Stings and
Kill Rock Stars
Forest City Lovers
Haunting Moon Sinking
Out of this Spark
Sudden Infant Dance
2 Many Babes
The Art Department
James Pants
Stones Throw
Hercules & Love Affair
Mute Dii^giraffli gonii®
You can listen to CiTR online
Sunday Monday Tuesday
at www.citr.ca
Wednesday      Thursday
BBC (News)
Give em The Boot.
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FiHfe-'    -
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£.. flui V V
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These Are The
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Generation Arahilation
^ cp«r3^;.., •
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9    :^P°P-"
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Reel to Real fTalkV
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Crimes And Treasons
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News 101 (Talk)
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News 101 (Talk)
The Leo Ramirez
Show (World)
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Son Of
icgsi aug
*   NasteVolna
"'^foai_i *
Flex Yom Head
."(W&i^ _.
Shadow Jugglers
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O'^t&pcii mental)
Mondo Trasho (Ed)
Live From Thun-
Synaptic Sandwich
-v- "Ecfec^e)%r;i?
TSjfoas Show (Jazz)
":;*3tticefo9t(iBt)V   '
Hans Kloss Misery
Fill In
Beats From The
OfJ^uf jH^pol?) t
' Basement (Jl^^&rfl
Vangeance Is Mine
OtSfksfcroadcast   '
CiTR Rebroadcast
CiTR Rebroadcast
ion. Always rhythmic, ahv
rys      can hear some fave
> you never      QUEER]
TANA RADIO                     <
aptivating. Always crossin
r         knewyou liked.
(World) 9-10am                          1
Dedicated to the gay, lesbian,
bisexual, and transexual com
(Eclectic) 8-9pm
(Talk) 10-llam                         {
Reggae) 12-3pm
munities of Vancouver. Lots
(Eclectic) 8-llam    S*§0;*
A program targeted to
Reggae inna all styles and
British pop music 1
romallde-      of human interest features,
(Eclectic) 9-10pm
' Yovu favourite Brownsters,
Ethiopian people that aims
cades. Internationa
pop (Japa-     background on current issues
The one and the only Mon
James and Peter, offer a sa
• ^^I^Jencouraging education
nese, French, Swed
ish, British,      and great music.
do Trasho with Maxwell
voury blend of the famiUar
and personal development in     5
US, etc),'60s sount
[tracks and      <queerfmradio@gmail.com>
Maxwell—don't miss it!
and exotic in a blend of aural
Canada.   ^***p\                    <
Roots) 3-5pm
lounge. Book your
0-stt 0r/-^ RHYTHMSINDIA
deUghts. <breakfastwitbthe- >
KOL NODEDI              Or 5
leal cowshit-caught-in-yei
day now!
(World) 8-9pm
(Dance) 10pm-12am
(WorU).l^_$$fc- ?     -^
xx>ts country.
Z                    Rhythmsindia features a wide
Join us in practicing the
Beautiful arresting beats and        *
(Pop) 5-6pm
range of music from India,
andent art of rising above
(Eclectic) ll-12pm
voices emanating from all
Eclectic) 3-5pm
Welcome to St Trc
pez! Play-       including popular music
common ideas as your host
Fun and independent music
continents, comers, and voids..
Dedicated to giving anylo-
ing underrated mus
ic from           from the 1930s to the pres
DJ Smiley Mike lays down
supported by a conversational
East Asia. South Asia. Africa.      <
al music act in Vancouver
i        several decades!
ent; Ghazals and Bhajans,
the latest trance cuts.
monologue of information,
The Middle East. Europe.           c
rack at some airplay. Whei
\         <st.tropezl01.9@grr
iailcom>          Qawwalis, pop and regional
opinion and anecdote focus
Latin America. Gypsy. Fu-          i
iot playing the PR shtick,}
language numbers.
sing on the here, the now, and
2fi       discorder magazin
e7" — the next week.
Ralph Towner, plus guests,
ver Canucks to the World
feeUng good. Tune in and
< becktrex@gmail. com>
The October Trio.
Rock Paper Sdssors Cham
tap in to good vibrations
pionship. <ethanwener@
(Jazz) 10-12pm
that help you remember why
(Talk) 12-lpm
Kenny Clarke-Francy Bo-
Sweet dance music and hot
you're here: to have fun! This
(Punk) 12-lpm
Hosted by David Barsamian.
land Big Band
jazz from the 1920s, '30s and
is not your average spiritual
A fine mix of streetpunk and
(Hardcore) 6-8pm
ity show.
old school hardcore backed
(Pop) l-3pm
(Punk) 12-2am
Punkrock and hardcore
by band interviews, guest
Parts Unknown, an indie
Going on eight years strong,
since 1989. Bands and
(Eclectic) 12-lpm
(Ska) 10am-12pm
speakers and sodal com
pop show that has been on
this is your home for aU the
guests from around the
Sweet treats from the pop
Canada's longest running
mentary. '
CiTR since 1999, is Uke a
best the world of punk rock
underground. Hosted by
Ska radio program. EmaU
marshmallow sandwich: soft
has to offer.
Duncan, sponsored by do
requests to
and sweet and best enjoyed
nuts. <duncansdonuts.word-
< djska_t@hotmail. com>
(Metal) l-3pm
when poked with a stick and
Vancouver's longest run
held dose to a fire.
(Eclectic) 8-10am
ning metal show on the air.
(Roots) 6-8am
Live from the Jungle Room,
(Eclectic) l^pm
(Hip-hop) 12-lpm
If you're into music that's
(Talk) 3-4pm
Bluegrass, old-time music,
join radio host Jack Velvet
Punk rock, indie pop and
Top notch crate digger DJ
on the heavier/darker side
Vegan baking with "rock
and its derivatives with Ar
for an edectic mix of music,
whatever else I deem worthy.
Avi Shack mixes under
of the spectrum, then you'll
stars" Uke Laura Peek, the
thur and the lovely Andrea
sound bites, information and
Hosted by a doset nerd.
ground hip hop, old school
Uke Power Chord. Sonic as
Food Jammers, Knock
inanity. Not to be missed!
< www. weallfalldowncitr.
classics, and original breaks.
sault provided by Metal Ron,
Knock Ginger, the Superfan-
<pacificpickin@yahoo. com>
<beatstreet@telus. net>
Gerald Rattlehead and Geoff
tastics and more.
ANOIZE (Noise) 11:30am-
die Metal Pimp.
(World) 8-9:30am
(Talk) 2-3pm
(Dance) l-2pm
(Eclectic) 4_5pm
Sample the various flavours
An hour and a half of avant
Ink Studs focusses on un
Betti Forde has been a
(Roots) 3-5pm
Explore the avant-garde
of ItaUan folk music. Una
rock, noize, plunderphonic,
derground and indie comix.
pro DJ for over a decade.
From backwoods delta low-
world of music with host
programma biUngue che es-
psychedeUc, and outsider as
Each week, we interview a
She's DJed throughout the
down sttde to urban harp
Robyn Jacob on the Rib.
plora il mondo della musica
pects of audio. An experience
different creator to get their
world in places Uke Paris,
honks, blues, and blues roots
From new electronic and
folk itaUana.
for those who want to be
unique perspective on comix
BerUn, Rome and Malmo.
with your hosts Jim, Andy;Tr^JM£^
experimental music to im
educated and EARitated.
and discuss their Own inter
She couldn't be happier
and PauL   -                 ^Sfitl^>
provised jazz and new das-
< lukemeat@hotmail. com>
esting and upcoming works.
to be back at CiTR with
< codeblue@buddy-system. org>
sical! So weird it witt blow
(Rock) 9:30-ll:30am
The Broadcast, showcasing
your mind!
Open your ears and prepare
(Talk) l-2pm
(Hip-hop) 3-5pm
women in music.
NEWS 101
for a shock! A harmless note
< crimesandtreasons@gmail.
(World) 5-6pm
(News/Talk) 5-5:30pm
may make you a fan! Dead-
(Talk) 2-3pm
(Eclectic) 2-3:3Qpm
The best of mix of Latin
Vancouver's only Uve, volun
Uer than the most dangerous
We play an international mix
American music.
teer-produced student and
ago'go           £&:'
DOUBT        Sj&jJ
of super-fresh weekend party
community newscast. Every
(Rock) 3-5pm
(Rock) 6-7:30pm
jams from new-wave to for
week, we take a look back at
com> '
Primitive, fuzzed-out garage
PsychadeUc, add punk,
eign electro, bane, BoUywood
(World) 6-7pm
the week's local, national and
freakbeat, prog and other
and whatever else we feel
News, arts, entertainment
international news, as seen
grotesque and sodatty rel
Uke. <www.radiozero.com>
and music for the Russian
from a fully independent
(Eclectic) ll:30am-lpm
(Talk) 5-5:30pm
evant artifacts from 1965 to
community, local and abroad.
media perspective.
An edectic mix of indie with
today, with a particular em
(Nardwuar) 3:30-5pm
rock, experimental, world,
phasis on Vancouver's freak
Join Nardwuar the Human
(Talk) 5:30-pm
reggae, punk and ska from
flag with pride. < www. mys-
Serviette for an hour and a
(Dance/Electronic) 7-9pm
Canada, Latin America and
half of Clam Chowder fla
The show celebrates its sev-
(Indie Rock) 6-7:30pm
Europe. Local bands play
(Pop/Eclectic) 6:30-8pm
voured entertainment. Doot
' enth year on the air.
Uve on the Morning After .„
First Wednesday of every
(Experimental) 7:30-9pm
doola doot doo...doot doo!
(Eclectic) 6-7:30pm
Experimental, radio-art,
< nardwuar@nardwuar. com>
Join jotty John Tanner, radio
sound collage, field record
NEWS 101 (Talk) 5-6pm
survivor for almost half a
(Talk) l-2pm
ings, etc.
century now heard alternat
Laugh Tracks is a show
(Eclectic) 6:30-8pm
Recommended for the in
(Sports) 6-10:30 pm
ing Mondays with an edec
about comedy. KUph Nes-
All-Canadian music with a
Every show is full of electro
tic musical mix of many eras
teroff, from the 'zine Gen
focus on indie-rock/pop.
< artcorpse@yahoo. com>
bleeps, retrowave, computer
from the '50s to today.
eration Exploitation, hosts. •
(Soul/R&B) 10:30-12am
generated, synthetically ma-   „-^>OjOj
<generatibnexploit@yahoo. com,
The finest in dassic soul and
nipulated aural rhythms. If
(Indie Rock) 7:30-9pm
musicalboot@yahoo. ca>
(Roots) 8-10pm
rhythm & blues from the
you Uke everything from
Two hours of edectic folk/
(Live Music) 9-llpm
late '50s to the early '70s, in
(Jazz) 9pm-12am
(Talk) 2-2:30pm
roots music, with a big em
Featuring Uve band(s) every
ducting lesser known artists,
music/retro '80s this is the
Vancouver's longest running
phasis on our local scene.
week performing in the
regional hits and lost soul
show for, you!
prime-time jazz program.
(Talk) 2:30-3pm
C'mon in! A kumbaya-free
CiTR Lounge. Most are
Hosted by the ever suave,
Movie reviews and critidsm.
zone since 1997.
from Vancouver, but some
Gavin Walker. Features at
times bands from across
(Eclectic) 12-2am
the country and around the
Beats mixed with audio from
(Hip-hop) llpm-lam
Dec. 8: "Before Dawn" flut
(Talk) 3-4pm
(Talk) 10-11PM
world are nice enough to
old funis and dips from the
Hosted byJ-Boogie and Jo-
ist/saxophonist Yusef Lateef.
A national radio service and
Developing sexual health, ex
drop by to say 'Hi.'
elboy, promising Usteners the
Dec. 15: "Green Street" gui
part of an international net
pressing diversity, celebrating
latest tracks, the dassics, the
tarist Grant Green
work of information and ac
queerness and encouraging
(Eclectic) 12-6am
rare and the obscure, current
Dec. 22: The Christmas Jazz
tion in support of indigenous
pleasure at all stages, <www.
It could be, global, trance,
events, and the special fea
Show: "The Miles Davis
peoples' survival and dignity.
spoken word, rock, the un
(Roots) 8am-12pm
tures of peeps coming into
AU-Stars Chistmas Eve
usual and the weird, or it
Now in its 22nd year on
the studio. Most importantly
(Talk) 4-4:30
could be something different.
CiTR, the Saturday Edge is
Usteners can expect to be
Dec. 29:"Outward Bound"
Radio that gets professors
(Hans Kloss) 1 lpm-1 am
Hosted by DJ Pierre.
a personal guide to world &
entertained.. .church.
Eric Dolphy.
talking at UBC.
This is pretty much the best
< auraltentacles@hotmail. com>
roots music—with African,
Jan. 5: "Lenox Avenue
thing on radio.
Latin and European music
Breakdown" saxophonist Ar
(Sports) _4:30-6pm
in the first half, foUowed by
thur Blythe.
Tune in each week to hear
Celtic, blues, songwriters,
Jan. 12: "Brass Shout" trum
Daryl Wener talk about the
(Talk) 9-10am
Cajun and whatever else fits!
peter Art Farmer.         .
world of sports. I'U discuss
Join host Marie B and dis
Jan. 19:"Batik" guitarist
everything from the Vancou
(Talk) 8-10am
cuss spirituaUty, health and ETERNAL SONIC RENEWAL
Raise your glass with Zulu antf celebrate this year's musical feast!
STAFF TOP 10'S OF 2008 In no particular order, here's what rocked our year!
All regular priced staff picks on sate 10% OFF until January 31*, 2009.
SHRINES-The Supreme
Genius Of...
GIANT SAND-Provisions
HOYT AXTON - My Griffin Is Gone Reissue
TOWNES VAN ZANDT - s/t Reissue
CHARLIE FEATHERS - Wild Side of Ufe ft
GROUPER-Dragging A
Dead Deer Up A Hill
it and I am it anil you    I
are it...
KING KHAN & THE SHRINK - The Supreme Genius
*•" IP
FENNESZ-The Black Sea
THEE ok SEES - The Master's Bedroom Is Worth
Spending ft Night In
RODRIGUEZ - Cold Fact Reissue
Mountain: Uve at
Canterbury House 1968
SHE & HIM-Volume 1
BECK - Modern Guilt
SILVER JEWS - Lookout Mountain, Lookout Sea
BOB DYLAN - Tell Tale Signs Bootleg Series
DENNIS WILSON - Pacific Ocean Blue (Reissue)
RANDY NEWMAN - Harps and Angels
Uneasy Flowers
Nil SENSAE -s/t onesided 12
- Nadir Emergence      .
| REVENGE - Infiltration. Downfall. Death._
MARNIE STERN - This is It and I am it and you
are it... k
U.S. GIRLS - introducing I
WHITEHOUSE - Erector LP reissue
i^jjIILi Mil I Hill
M* -' ''' *■■ THE DUTCHK
mw?*m*m jay REATARD
ABE VIGODA- Skeleton
•StiesThe Dutchess
Singles 08
Blind Lead Those Who Can
See but Cannot Feel
SILVER JEWS - Lookout Mountain
SHE & HIM-Volume 1
DESTROYER - Trouble in Dreams
VANCOUGAR - Canadian Tuxedo
In Ear Park
MAX RICHTER-24 postcards in full colour
THE CRACKLING -Keep Rill Ambitious
BONNIE "PRINCE" BlttY - Ue Down in The Ught
HEUO, BLUE ROSES - The Portrait Is Finished And I
Have Failed To Capture Your Beauty...
NO AGE-Nouns
BON IVER - For Emma, Forever Ago
Postcards In Full Colour
Portrait is Finished and I
Have Failed...
Zulu's Top Ten
Rules: Pick your fave
10 releases that must
be from 2008.
Enter at Zulu - and you
could win a $50 Gift
All entries will be posted on
our website in January 2009!
AH entries must be received by
nr 31", 2008.
TWIN CRYSTALS-Two Girls Seven Inch
MAGIC LANTERN - s/t and High Beams
LAZY SMOKE - Corridor Of Faces Reissue
VALET-Naked Acid
NUDGE-Infinity Padlock
BECK-Modern Guilt
GROUPER - Dragging A Dead Deer Up A Hill
WINDY WEBER -1 Hats People
FIFTY FOOT HOSE - Cauldron Reissue
SHE & HIM-Volume 1
GROUPER -Dragging A Dead Deer Up A Hili
DIPLO VS. SANTOGOLD - Top Ranking Mixtape
SILVER JEWS - Lookout Mountain Lookout Sea
FENNESZ - The Black Sea
RODNEY GRAHAM - Why Look For Good Times?
AIDAN BAKER TIM HECKER - Fantasma Parastasie
SHE & HIM-Volume 1
GROUPER-Dragging A
Dead Deer Up A Hill
Soft Airplane
LYKKE U - Youth Hovels
ATLAS SOUND <- Let the Blind Lead Those Who
See But Cannot Feel
GAL COSTA-1969 reissue
FLYING LOTUS - Los Angeles
DESTROYER-Trouble in
Best Game In Town
SINGER -Unhistories
Various -
Shop'til you tfrop-
^ are open late.
Wed Dec 24*
Thurs Dec 25* CLOSED
SiSfitec 26th BOXING DAY
Tangiene Poholko
December 1-January 15
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


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