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 ,:^rWm
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UK/BLOGS/BEN l
IBilBS'** Illlipilf! jSv
/Or"   17   ^l^W^U^^C   i8^ Mppp|
where the |
world's
OGStcome t0
play
K B^
, Queen Elizabeth Theatre
1 February 18 & 19,2010
I A stunning tribute to
I the songs of Neil Young
j by legendary producer
j Hal Willner.
Phoenix
witrt specif guests
YGuSayPaW
WeSavDfe!
*
j The Orpheum
| January 22,2010
Dance-rock that is bursting
with hooks and smarts.
I
r itu and Colour
The Orpheum   ^ .
February 19,2010
Breakout Canadian
bands deliver atmospheric,
romantic pop.
m
fhell|heum
February^ 2010
Speaking out and ^^^^^
tall with the Somali-Canadian
rapper and south Saharan
poet-guitarists.
WMM
Unl lor free for station members]
212 Productions Ltd
454 W Cordova St.
604-685-2426
Antisocial
Skateboard Shop
2337 Main St.
604-708-5678
Audiopile
2016 Commercial Dr.
604-253-7453
Band Merch Canada
www.bandmerch.ca
Banyen Books
3608 W 4th Ave.
604-732-7912
Baru Cafe
2535 Alma St.
604-222-9171
Beatstreet Records
439 W Hastings St.
604-683-3344
The Bike Kitchen
6138 Student Union
Blvd.
604-822-BIKE
Blim
197 E 17th Ave.
604-872-8180
Bonerattle Music Ltd
2012 Commercial Dr.
604-251-BONE
Devil May Wear
198 E 21st Ave.
604-216-2515
Dream Apparel +
Articles for People
311 W Cordova St.
604-683-7326
The Eatery
3431 W Broadway
604-738-5298
The Fall Tattooing
644 Seymour St.
604-676-3066
Flaming Angels
Boutique
644 Seymour St.
604-689-3224
Fresh is Best Salsa
&Co
2972 W Broadway
778-737-2442
Grindhouse Video
2911 W 4th Ave.
604-734-7463
Gumdrops
2029 W 4th Ave.
604-733-1037
Hart and Sole
Clothing Inc
843 Granville St.
604-630-9151
Highlife Records
1317 Commrecial Dr.
604-251-6964
Hitz Boutique
316 W Cordova St.
604-662-3334
The Kiss Store
2512 Watson St.
604-675-9972
Lucky's Comics
3972 Main St.
604-875-9858
Pacific
Cinematheque
1131 Howe St.
604-688-8202
People's Co-op
Bookstore
1391 Commercial Dr.
604-253-6422
Prussin Music
3607 W Broadway
604-736-3036
Red Cat Records
4307 Main St.
604-708-9422
The Regional
Assembly of Text
3934 Main St.
604-877-2247
Royce Clothing
and Shoes
2817 W Broadway
604-731-4474
R/X Comics
2418 Main St.
604-454-5099
Rufus' Guitar Shop
2621 Alma St.
604-222-1717
Scratch Records
726 Richards St.
604-687-6355
SIickity Jim's
Chat and Chew
2513 Main St.
604-873-6760
Spank Clothing
1027 Commercial Dr.
604-255-1131
&
856 Granville St.
604-677-3202
&
2082 W 4th Ave.
778-371-1305
Spank Shoes
1181 Commercial Dr.
604-568-1229
&
2066 W 4th Ave.
604-677-3583
Thriller
3467 Main St.
604-736-5651
True Value Vintage
710 Robson St.
604-685-5403
Twigg & Hottie
3671 Main St.
604-879-8595
Vinyl Records
319 W Hastings St.
604-488-1234
The Wallflower
Modern Diner
2420 Main St.
604-568-7554
Woo Vintage
Clothing
321 Cambie St.
604-687-8200
lAFriends of QTR Card scones
you sweet deals atN^noouver's
finest small merchants and
supports QTR 101.9 FM.
Show it when you shop!
citr.ca EDITOR
Jordie You;
ART DIRECTOR
Lindsey Hampton
PRODUCTION MANAGER
Debby Reis
COPY EDITORS
Liz Brant, Aaron Cummin^, Anne
Emberline, Andy Hudson, Debby
Reis, Mine'Salkin, Al Smith, Maeaan
Thomas
AD MANAGER
David Stansjteld
UNDER REVIEW EDITOR
Mini? Salkin
RU EDITOR
Al Smith
WED EDITOR
Reilly Wood
CALENDAR LISTINGS
Melanie Coles
PROMOTIONS DIRECTOR
Leanna Orr
PROGRAM GUIDE
Bryce Dunn
DISTRIBUTION
Jamie Anstey
CiTR STATION MANAGER
Brenda Grunau
PUBLISHER
Student Radio Society of UBC
COVER
Intake by Ben Jacques
EDITOR'S NOTE
Dear Discorder
Lists. Most music nerds love making them. They are always indulgent and subjective. Is one band really better
than another or is it just a matter of personal preference?
While it's easy to say that the Beatles are better than my
buddy's bar band, are they better than Throbbing Gristle
or are they just different?
Still certain bands and albums always seem to rise to
the top. Obviously, we think lists are important We made
this issue all about a list. We asked a jury of our peers to
niake their own lists of the best local bands of the decade
and they all sat down and agonized over who they thought
deserved their votes. We wanted to honour the heroes of
our scene. It's a list for someone who loves Vancouver and
the bands that make our scene great. We focused it on the
bands themselves and not albums because we wanted to
keep the options open, but this list didn't do two things
which are also important (though a bit less important in
our pages given the mandate of the magazine). The first
is that it does not recognize the album and secondly it
doesn't recognize people from out of town. The following
list attempts to make up for this. This is what I think are
the best albums of the past decade. Maybe you won't love
all of them, but if you love music you should probably have
an opinion on each one. They're in alphabetical order.
Cheers, SHi
Jordie Yow
Arcade Fire - Funeral
The Avalanches - Since I Left You
Bon Iver - For Emma, Forever Ago
Broken Social Scene - You Forget It in People
Crystal Castles 1 s/t
Death From Above 1979 - You're a Woman, I'm a Machine
Destroyer - Notorious Lightning & Other Works
The Flaming Lips - Yoshimi Battles the Pink Robots
Girl Talk - Night Ripper
The Hold Steady - Boys and Girls in America
The Hood Internet - The Mixtape Vol. 1
Kanye West - Late Registration
The Knife - Deep Cuts
LCD Soundsystem - Sounds of Silver
M.I.A. - Kala
Modest Mouse - The Moon & Antarctica
The New Pornographers - Twin Cinema
The Postal Service - Give Up
Sufjan Stevens - Illinoise
Radiohead - Kid A
The White Stripes - White Blood Cells
Yeah Yeah Yeahs - Fever to Tell
JANCE
WRITERS
John Bartlett, Anita Bee, Sarah Berman, Nathaniel Bryce, Sarah Charrouf, Spike Chilton, Claire Dickson,
Bryce Dunn, Kaitlin Fontana, Simon Foreman, Robert Fougere, Dan Fumano, Alex Hudson, Andy Hudson,
Marielle Kho, Bob Kronbauer, Ben Lai, Justin Langille, Scott Lyon, Doug Mackenzie, Adam Mannegren,
Miranda Martini, Sancho McCann, Duncan McHugh, Luke Meat, Sean Nelson, Dorothy Neufeld, Quinn
Omori, Tristan Orchard, Stephanie Orford, MarkPaulHus, Robert Robot, Mark Richardson, Chris-a-Riffic,
David Stansfield, Al Smith, Trey Taylor, Maegan Thomas, Curtis Woloschuk, Quentin Wright
PHOTOGRAPHERS & ILLUSTRATORS
Merida Anderson, Chris Dow, Robert Fougere, Kate Henderson, Ben Jacques, Michelle Mayne, Leora Morinis,
TJ Reynolds, Steffen Quong
PROOFREADERS
Simon Foreman, Natalia Kalicki, April Knibutat, Dorothy Neufeldw
©DiSCORDER 2009 by the Student Radio Society
of the University of British Columbia. All rights
reserved. Circulation 8,500. Discorder is published
11 times a year by CiTR, which can be heard at 101.9
FM, online at www.citr.ca, as well as through all major cable systems in the Lower Mainland, except
Shaw in White Rock. Call the CiTRDJ line at (604)
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DISTRIBUTE.
To distribute Discorder
in your business, email
distro.discorder@gmail.
com. We are always looking for new friends. TABLE OF CONTENTS /JANCEMBER 2009/WWW.DISCORDER.CA
// FEATURES
8 / THE BEST BANDS OF THE DECADE     26 / NEVER ON A SUNDAY PT. 2
Discorder has put together a list of the best 50 bands Vancouver has produced
in the decade. Check it out.
15 / ART PROJECT: BEN JACQUES
Ben Jacques is an artist/animator living here since 2005. Jacques started drawing
at an early age to help escape the blinding reality of life. He plays noisy music
in Haunted Beard and you can see his art here.
18 /BLOGS
Have you heard about the Internet? It's pretty sweet. Apparendy some people
use it to talk about music in Vancouver. This is about them.
20/TYLER FEDCHUK
Radio Zero, Gang ofYouth, 1/2 Alive, Ice Cream Social, Far Away Friday, Night
Shift. Tyler Fedchuk is one of the best DJs and promoters in town. He speaks
with our reporter in a laundry room.
Discorder continues its chronicling of places you can go to party with a look
at House Party, Honey Lung and Wot Do U Call It
28/THE MENTAL BEAST
A bunch of bands and funny people are working together to make an Xmas-
themed podcast, album, concert and narrative video that you can check out
in all its various formats.
33/LILY FAWN
Lily Fawn chats with us about her new album and her desire to steal babies,
amongst other things.
// REi
//RE
6 /TEXTUALLY ACTIVE
Satellites of Love with John K. Samson and Christine Fellows /
Johnny Cash: I See a Darkness by Reinhard Kleist
6/RIFF RAFF
Simply the best vinyl of the year.
19/COPYFIGHT
Mark Hosier of Negativland
21 /PROGRAM GUIDE
24 /CALENDAR
by Steffen Quong
30 /VENEWS
A&B
46 / CHARTS
The most spun records of the year from CiTR,
36/UNDER REVIEW
Blockhead / Collapsing Opposites / Cool Sound Death
/ D.O.A. / Quadruple Dare / Hypnophonics / Kings of
Convenience / Pointed Sticks / Solarists / State Radio
/ Sufjan Stevens & Osso / TV HeartAttack
40 /REAL LIVE ACTION
Broadcast / Built To Spill / Copyright/Copyleft / Dinosaur Jr. / Islands / Propaghandi / Shindig #6 & #9
/ Shonen Knife / Chad Van Gaalen
CHECK OUT OUR WEBSITE!
DISC0RDER.CA IS HOME TO LOADS OF CONTENT WE CANT FIT INTO THE PRINT ISSUE OF THE
MAGAZINE, UKE EXTRA REAL LIVE ACTION AND UNDER REVIEW REVIEWS. THERE ARE FEATURES TOO! THIS MONTH YOU CAN CHECK OUT GRAEME WOOD'S INTERVIEW WITH PROPAGHANDI, CHRIS-A-RIFFIC'S CHAT WITH DYLAN THOMAS, WHO RECENTLY GOT A CHEftUE THAT
WAS SUPPOSED TO GO TO BOB DYLAN, AND TEN REASONS WHY EVERYONE YOU KNOW WHO
MOVED TO MONTREAL MADE A TERRIBLE MISTAKE. CHECK DISCORDER.CA REGULARLY FOR
NEW ARTICLES, PHOTOS AND ALL THINGS MUSIC RELATED! // RIFF RAFF
TOP TEN 7"$ OF 2009:
(IN NO PARTICULAR ORDER)
BY BRYCE D
MOJOMATICS / ANOTHER CHEAT ON ME/DOWN IN THE GRAVEYARD (Douehemaster)
Italian garage-blues duo that kicks it up a few notches on this one, but
everything else they've done to date is also stellar.
SIX CHURCH / DEAD END/LET DOWN (Sweet Rot)
Primal and pounding noise rock that begs more listens—from the spawn of
a Defektor and Master Ape brain child.
B-LINES / BURNT CDS EP (Nominal)
Blink-and-you'11-miss-it punk pop perfection from one of Vancouver's liveliest acts going.
THE FLIPS / THAT GIRL STACEY EP (Bancroft)
Sexy Shirelles-style sextet knocks out some sweet soul grooves—looking
forward to hearing more.
WOVEN BONES / YOUR SORCERY/HGWLtN' WOOF (Sweet Rot)
Sweet Rot grabs two terrific songs out of this Austin, TX trio's trick bag of
sun-baked pysch-punkand I'm smiling from ear to ear.
Y THROTTLE / STOMAS UBER SHOREDITCH EP (Wrench)
When you are only one of two acts that Crypt Records has signed to release a
single in the last ten years, you know the stakes are high. With this their first,
thankfully, the sound of 1977 has never been better than these U.K. street
brats debut
THE JOLTS / BORN SPEEDINYGIMME GASOLINE (Eat Shit & Die)
The song tides on this release will double as the epithets written on the tombstones of these local leather-clad greaseballs. While the four-on-the-floor
muscle-car rock sound may seemingly be dead, their legacy as one ofVancouver's
hardest rocking bands will never be buried.
MEAN JEANS / LICENSE 2 CHILL EP (Dirtnap)
If you like pizza, skating pools and the Angry Samoans, you will like this
record—period. If you don't, you are not my brah, brah.
THE BON / STUPID QUESTION/ANCIENT TIMES (Boppa Do Down)
Toronto quartet puts out one of the snappiest and wittiest garage rock records in recent memory; it will make the guys jealous and the girls dance-
guaranteed.
BUZZER / TEACHER'S PET/STUNNING FREAK (Tic Tac Totally)
California cavemen make a power pop racket that would make the Sweet sweat
bullets—basement party music for the masses.
L
// TEXTUALLY ACTIVE
JOHNNY CASH: I SEE A DARKNESS.
ABRAMS COMIC ARTS, 2009.
BY REINHARD KLEIST
REVIEW BY ANDY HUDSON
SEE A fllft.KNESS
The night before he gave the Folsom prison concert that made his career,
Johnny Cash got a visit from his friend Reverend Gresset, who came to
Cash's motel room to deliver a reel-to-reel tape. Listen to "Folsom Prison
Live" and you can hear Cash's voice waver the next day, Jan. 13,1968, when he
tells the convicts gathered at Folsom that he got his closing song, "Greystone
Chapel," from their fellow inmate, Glen Sherley.
"It was a terrible, terrible thing to point him out among all those cons,
but I didn't think about that then," Cash said later in an interview with Time.
"Everybody just had a fit, screaming and carrying on."
Most of the 224 pages in Reinhard Kleist's comic book biography lead up
to the Folsom concert and the moment when Johnny Cash, 6'2" and millions
of records strong, leaned down offstage to shake the hand ofa man in prison
clothes who couldn't help casting his eyes to the floor.
The way Kleist tells it, in black ink and with Sherley narrating, Cash's life
looks shades darker than it did in Walk the Line, the 2005 biopic that centres
on Cash's marriage to June Carter. Kleist's take is positioned in even sharper
contrast with Hello, I'm Johnny Cash, a colour comic put out in 1976 by Spire
Christian Comics to shepherd young rockers from sex and drugs to regular
churchgoing. In one panel, a man runs out ofa bright-lights Vegas casino
yelling, "Johnny Cash is in there and he's singing about Jesus!!!" Kleist, a German graphic designer with a studio in Berlin, has a proven eye
for phantasmagoria. His comics include the Berlinoir vampire series, a biography of H.P. Lovecraft and Amerika, a wordless travelogue by a mute dwarf who
lives within the New York underground. The way Kleist draws him, Cash is
always The Man in Black, playing every gig in black jeans, a black jacket and
an open, pointed collar.   .
Not only does he shade out the rhinestone cowboy outfits of Cash's early
days, Kleist passes completely on what became Cash's biggest undertaking
of the 1970s and the highlight of the Christian comic: a feature-length film
shot in Israel with a matching double LP in which Johnny drawls the story of
Jesus Christ.
But if Kleist tends toward the darker episodes of Cash's life, it's not for lack
of material. Kleist's noir style suits Cash's hard living days, days when he had
burned through his first marriage with booze, amphetamines and one-night
stands. Kleist lets the pages go to black when the troubled star nearly kills
himself in Tennessee's Nickajack Cave, and later splits Cash's body into a
tangle of lines and glass shards as Cash finally kicks his drug addiction with
self-induced withdrawal.
Still, an edgy, noir vibe is not all that Kleist's comic holds over Hello, I'm
Johnny Cash. Kleist punctuates the gospel ofjohnny—floods on the cotton farm,
lights in the cave—with a set of vignettes that imagine, in very different styles,
the songs "Folsom Prison," "Big River" and "A Boy Named Sue." Some work
better than others. But the kind of biblical psychedeUa Kleist draws into his "Big
River" sequence and, in the epilogue, a sequence drawn from "Riders in the
Sky," goes a long way to explaining why this book won the highest awards for a
graphic novel in Germany and sold out its first English-language print run.
And if Kleist sometimes draws an iconic Man in Black at the expense ofa
fuller, more detailed picture of the real-life Cash, the book does draw attention
to a part of Cash's story that is often overlooked—the sad fame of Glen Sherley,
who shot himself years after he won early parole, a job and a few records, by
sending a song to Johnny Cash.
JOHN SAMSON AND CHRISTINE FELLOWS TALK
SATELLITES OF LOVE: A WRITERS' FESTIVAL TALK
WITH HOST MERYN CADELL, WHO TEACHES CREATIVE WRITING AT UBC, ABOUT SONG-AND LYRIC
WRITING.
//OCTOBER 21
Kicking back beside the stage before their Vancouver Writers' Fest talk,
Christine Fellows and John K. Samson joked that they were not being very
fashionable today, sporting "the Larry David look," i.e. runners and jeans. Fellows' chuckles were contagious. She and Samson laughed frequendy together
in word play or self-mockery. And that night at the UBC Robson Square lecture
hall, the creative couple brought a welcome breath of fresh, frozen Winnipeg
air to the Vancouver soundscape.
Fellows and Samson are something ofa power couple in the Canadian music scene. Fellows, a solo artist since 2000, has worked with artists including
Veda Hille and the Weakerthans, and is currently working on a project with the
Pan-Canadian Folk Ensemble. Samson is currendy singer, songwriter, and lead
guitarist for the Weakerthans, and is a former punk artist with Propagandhi.
Both folk rock artists are known for their lyrics, and that's what they're here
to talk about.
The married couple work in harmony, so to speak, in the same house,
but in separate rooms on separate projects. "When one person's writing it
inspires the other," Fellows said, even though, as Samson added, they are
"very different musicians."
Each artist approaches lyric-writing differently. When asked which comes
first, music or lyrics, Fellows said that hers come together. Samson, on the
other hand, will write his lyrics first, often long sentences or a sonnet, before
setting them to music.
Both said editing plays an essential part in their process, and advised aspiring lyricists that lyrics are rarely perfect the first time around. Pared down
words yield better songs, they emphasized. Sentimentality, on the other hand,
is the kiss of death.
There's something bittersweet (not sentimental) about the Canadian ethos
that Samson and Fellows both capture. Meryn Cadell, host of the talk and an
assistant professor in the UBC creative writing program, pointed out that
Winnipeg, the artists' hometown (native for Samson, adopted for Fellows),
breeds a sense of longing in its music, and a sense of humour about death and
tragedy. "It requires some fortitude to stay [in Winnipeg]," Samson said. The
couple joke about the city's influence on what Samson calls "all our secular
death songs."
Perhaps it's why Winnipeg has become a nest for fledgling artists. The
city is "full of characters," according to Fellows. "Like dancing Gabe," said
Samson, recalling an especially memorable Winnipeg personality. The couple
claim that nowhere else they have lived have they encountered such a cozy
community of artists.
To stay perky in Winnipeg's hibernatory, potentially depressing conditions,
a sense of humour becomes a necessity. "I think whimsy is essential for all
great art," Samson said.
Whimsy brings Samson and Fellows together as artists and, I suspect, as
a couple. Though they say their musical styles differ, there are key characteristics they share. Samson and Fellows are highly verbal—in person and in
their music. They use complete sentences in their lyrics—something many
artists don't do.
Fellows and Samson don't spout the cliche's and generalities you would hear
from lesser lyricists. Each of their songs is a short story. Fellows performed
one song she wrote from the point of view ofa statue in a museum's archives
that ached to be put on display. Samson sang his song about a cat disapproving
of its depressed master. Together, Samson on guitar and Fellows on piano,
they sang an ode to their former house. It was a dilapidated place in which
poop from encroaching animals built up in the basement each winter. Every
year they would have "another shit Christmas," Fellows joked. As an homage
to the house's sinks, whose taps were installed backwards, Samson ended
the song with military Taps, played backwards—playful, bittersweet, and
thoroughly Canadian. -—x
_
of the
This is Discorder's final issue of the year and, whaf s more, tfce decade. ■I -'
So as we-say goodbye to 2009 and tbe awkwardness of not knowing wfiat-bo
c^0p|6p^l^Ep^|at preceded it (The auj^ts*?,'Tlie;2ooc»w?nriieaer08''?),
let's get down to that favourite activity of compu tsive music nerds (and indeed,
compulsive needs everywhere): making lisis'.
Few Discorder's Best of the Decade, u c contacted 33 local music jbracsalists,
D}$> critics and broadcasters to find ©ut everyone's fawurite ten local hands
or .artists of die past ten years. To t*e eligible, an artist simply had to play a
show or release an album between Jamaatcy j, 2000 and Seeerober 1, 2009,
Each iespondeni to our survey rated daefr: isea favourite actsin order, pH out
of more than 150 acts named, we have calculated this Top 50 using our highly
scientific polling methods*
.- fi was {pate a decade fot Vancouver music, and a number of tbe artists on
•die list have achieved success and acclaim internationally. Some of the highest-
ranking acts ars virtually unknown outside the city, but weJMowed by the local
population. Meanwhile, some of the Vahedut*er acts to have gained the most
notoriety jtougMfkkttbocfecinigft) don't appear on ova: hst at aH.    ;
SUl^&ig over these 50'names #jiigj|j it^s, hgen a pre&y rich decade with
some really craadvepeople doing some realty cool things, ft seems to suggest
thatwhen it's raining outside, lots of people are staying indoors, writing great
songs, tinkering away at keyboards and p<^dmg away oivguttam, and making
all kinds of cool, weird sounds. Here's £0 another ten years of snore of this.
8 OUR ESTEEMED JURY:
JULES ANDRE-BROWN (CiTR, Crimes & Treasons)
ANITA BEE (CiTR, Samsquantch's Hideaway)
SARAH CHARROUF (Discorder)
JENNA CHOW (CBC)
CHRIS-A-RIFFIC (Discorder, CiTR, Parts Unknown)
SHAWN CONNER (Guttersnipe)
SHEA DAHL (AMS)
AISHA DAVIDSON (Discorder)
STEVE EDGE (CiTt^The Saturday Edge)
KAITLIN FONTANA (Spin, Exclaim!)
SIMON FOREMAN (Discorder)
DAN FUMANO (Discorder)
& ~:J$f0M 6AWLE (CiTR, Stereoscopic Redoubt)
ALEX HUDSON (Discorder, Chipped Hip, Beat Route)
MARIELLE KHO (QTR, We All Fall Doum)
BOB KRONBAUER (Vancouver Is Awesome)
BEN LAI (Discorder, CiTR, Thunderbird Radio Hdl)
GRANT LAWRENCE (CBC Radio 3)
CHRIS LITTLE (Discorder)
MICHELLE MAYNE (Discorder)
DUNCAN MCHUGH (CiTR, Duncan's Donuts)
LUKE MEAT (CiTR, Anoize)
QUINN OMORI (From Blown Speakers)
TRISTAN ORCHARD (Winnie Cooper)
CAM REED (Music Waste, Only)
MARK RICHARDSON (CiTR, Pop Drones)
AL SMITH (Discorder, Exclaim!)
SPIKE (CiTR, Canadian Way)
DAVID STANSFIELD (Discorder)
TANYA VANTHOURNOUT (the Skinny)
CURTIS WOLOSCHUK (West Ender)
QUENTIN WRIGHT (CiTR, Chips With Everything
JORDIE YOW (Discorder)
Unabashedly lo-fi, charmingly fun and undeniabl*
serve up a bratty mix of songs about heartbreal
u Gangbang     TftlJoltsrip shit up.
Stojko.
lead vocals.
The three ladies who make up this acoustic folk trio sprinkle beautiful hints
of blues and country throughout their music making each of their songs a
Godfathers of the local punk scene. Ifs probably safe to*say that they've influenced a good number of the other 49 artists on this list
Listening to Bend Sinister is like a lesson in the history of rock. There's a litde
bit of everything here.
Bus punk. They've been written up in the Buzzer. Who else can make that
Ne^f/defunct, everyone still holds out hope for a reunion of these pop mae-     claim?
stros.
Andy Dixon takes everything from acoustic instrumental samples to the sounds
of people at judo practice and makes brilliant electronic blends.
Hauntingly beautiful melodies, thoughtful lyrics and, yes, brass. BEST OF THE DECADE
TMs beer-soaked, *70s-influenced riff-rock quartet (made up of former members
of 3 Inches of Blood and S.T.R.E.E.T.S.) is, sadly, no more. If you never got a
chance to see them live, you really missed out; rarely have you seen four guys
having so much fun on stage. The crowd always had a pretty killer time, too.
—Dan Fumano
Dan Mangan is one ofthose artists who comes around every once in a blue moon
and is especially difficult to classify. Conveniently tucked into the "indie rock"
genre by the media, Mangan's refreshingly folksy, poppy, rootsy sound complements insightful lyrics sung with a most righteous voice. It is best described as
belonging in the musical genre of Completely Most Awesome.
—Bob Kronbauer
26. KIDS THESE DAYS
Though this quintet collective only released one album in 2004, the folky-
proggy-synthy-tinged rocker All These Interruptions, is a definitive, yet still entirely
unique, Canadian power-pop masterpiece. The members of Kids These Days
accomplished this and banged out some mind-blowingly epic live shows too—
all while maintaining high profiles in such other prominent local bands as
Octoberman, Mohawk Lodge, Bells Clanging and Tailor Island. The fact that
all five regularly took turns fronting Kids These Days and playing different
instruments, live and on the album, added to their charm.
—Spike    '
Everyone involved with Channels 3&4, a band somewhat ignored in this city
during their brief lifespan (though they garnered some attention overseas), has
gone on to form some of the city's most recognized groups: TVvin Crystals,
Shearing Pinx and, recendy, Gang Violence. Now that the above-mentioned
bands have done well for themselves, the current resurrection of Channels
3&4 should reap the attention they have always deserved.
—Mark Richardson
Tegan & Sara (and their devotees) were teenagers in 2000. Hardcore fans
remember them then: rounder, folkier—miles from die sleek, sexy rock machines they are today. Then, both (not just Tegan) called Vancouver home,
and could be seen in multiple venues the year over. This was, for Vancouverite
fans, a golden age. All those nights together, that confessional stage banter?
As they get famous, it's like we're watching our cool friends get the attention
they deserve.
—Kaitlin Fontana
s$___Wk_W___._
The* Tranzmitors took the best sounds of decades past and brought them
together in a harmonious union of sound. Blending power pop, garage rock
and punk feelgoodery, the Tranzmitors are exacdy what we've been searching for these ten long years. If there were a Best Dressed Band of the Decade
category, they'd win that as well.
—Marielle Kho
This No Wave/punk/noise trio have proven that you can have a successful band
in this city without any management or label help. With coundess self-promoted
shows, handmade releases and several self-booked tours across Canada and
the U.S., Shearing Pinx have inspired a new generation of local bands looking
to do it for themselves.
:—Mark Richardson
10 The Pack A.D. play gritty, soulful blues with the powerful thrust of garage and
punk. The tight-knit duo of singer/guitarist Becky Black and drummer Maya
Miller have released two excellent albums, but it's their live show that inspires
religious devotion (or.fanaticism?). Leaving crowds with their hands in the air,
whooping and hollering. Testify! Amen!
—Dan Fumano
22. FUN 100
There are so many memories I have aboutthe Abbotsford pop-punk fivesome.
At the Shindig finals, they wore Canucks jerseys and their friends waved towels
throughout their whole set. On the final chord, singer Ryan Dyck dove over the
drum set and onto his brother Bruce's lap. There was also the final show, Feb.
3,2007. One hundred people too many flooded the Mt. Pleasant Community
- Centre, a guy busted a window with his head and had to be taken to intensive
care, the cops came, and the sound guy cut the power before Fun ioo's set
even started. Then Johnny Hughes, at the top of his lungs, started singing a
Fun 100 song, 200 people joined along, and four or five songs later, I'd just
witnessed the best show of my life.
—Chris-a-n*5tc
Matterhorn is an under appreciated classic. The less than favourable Pitchfork
review comparing the band's music to Radiohead (as if that's a bad thing), and
stunted release didn't help. But the album feels like a rainy Vancouver night
with its textured layers and Edo Van Breemen's ghostly voice over "dance to
stay warm" drum beats.
—Tristan Orchard
20. AC NEWMAN
If you like the poppiness of the New Pornographers then you'll love Carl
Newman's solo project in which he indulges his sugary side. His songs have
everything you could ever want in terms of catchy hooks and memorable
choruses. His two albums are so easy on the ears they can be called, without
question, some of the best power pop you're likely to hear.
—Jordie You*
A fixture in Vancouver noise-punk and the epitome of the scene's d.i.y. aesthetic,
Twin Crystals boast a near-constant stream of cassettes, CD-Rs and 7" singles,
as well as being our city's most reliably chaotic live act. Buy their shit and go
to their shows, because this band fucking rules.
—Al Smith
18. THE EVAPORATORS
The Evaporators deliver energized garage punk that has nothing to do with •
serious and everything to do with fun. Notwithstanding a rock-solid recorded
output, Nardwuar's righteous visual impact is unquestionable and it's onstage
where they spread their joy thickest. No one can remember a time when this
band was not peaking. To see the Evaporators live is to turn a sweaty mass of
hair and nylon screaming about cheese into a cherished lifetime memory.
—Quentin Wright
their own genre. You really have to see them live to experience it firsthand; like
an orgy, it's very much a communal thing.
—Tristan Orchard
limsfYtui -•
What can you say about Vancouver's favourite drinkin' band? Remember when
vocalist Jason Grimmer had us all chanting "Fuck The Pic" at said venue because
the staff wouldn't let him drink his 26 of Crown Royal? Remember guitarist
Allen Forrister barfing a neat little puddle onstage at The Brickyard without
missing a lick? Remember the Nasty On kicking ass every time they played? If
you don't, you were probably as drunk as them.
—Luke Meat
li. 3 INCHES DF BLOOD
Should you ever find yourself defending Helm's Deep against thousands of
marauding ores and facing almost certain .death, put on some 3 Inches of
Blood right before riding into the thick of things. You will fight valiantly and
crush the enemy; you won't even need Gandalf.
—Scott Lyon
Petfecdy crafted pop songs deUvered by a band oozing with zest and spontaneity.
When one considers the impressive collection of projects Adrian Teacher has
previously been involved in, it's easy to see that Apollo Ghosts' swift ascension
to the upper echelon of the Vancouver music scene was no fluke.
—Ben Lai
13. THEY SHOOT HORSES,
"Ofchestrated chaos" might be the best descriptor for this dearly-departed
oompa band's distinctive brand of circus pop. Their delirious live shows were
awe-inspiring spectacles that not only traded in cacophonic melodies and
mildly menacing anthems, but also some of the most frenzied playing this
side ofa music therapy session.
—Curtis Woloschuk
12.P:AN0
Mck Krgovich is the closest Vancouver has had to a pop genius this century.
Starting with their debut in 2001 through three more albums, Krgovich, P:ano's
lead songwriter, along with bandmates Larissa Loyva, Justin Kellam and Julia
Chirka, showed remarkable range and inventiveness. These are albums worth
listening to for the rest of your life. Though they've since broken up, P:ano's
spirit lives on with No Kids (Krgovich, Kellam and Chirka) and Kellarissa
(Loyva's solo project).
—Duncan McHugh
Tlie bearded Steve McBean's efforts as an individual songwriter have a more
personal feel, and are definitely less riffy than his more famous project, Black
Mountain. Pink Mountaintops have come a long way since their 2004 self-titled
release, which had eight songs about sex (even so, some of them are quite
good). With this year's Outside Love the band has cemented themselves as one
of the best Vancouver has to offer.
—Jordie You*
Combining exotic Middle Eastern and World music sounds with cut up drum-
machine beats, Basketball ends up tapping into something primal, creating
11 BEST OF THE DECADE
10. RED LIGHT STING
Thef were only a band for about five years and they haven't been a band for
more than five, but I still haven't seen any band live more times than I saw the
Red Light Sting. They inhabited the same sonic real estate as countless other
early-'oos bands, mixing No Wave and hardcore in spastic fashion, but something about the quintet set them apart from their contemporaries. Maybe it
was the tag-team attack of Gregory Adams' quiet-loud-then-louder vocals and
the punctuating shouts of Zoe Verkuylen. Or maybe it was the way Verkuylen
stabbed at her synth like she was soundtracking an 8-bit video game. Maybe
it was the way Paul Patko and Geoff MacDonald held down the low end with
the kind of precision that made all of the sonic chaos that was piled over top of
it danceable. Maybe it was Andy Dixon's razor sharp riffing. Or maybe it was
something that I'll never quite put my finger on. What I do know though, is
that when Discorder asked me for a list of "the best local acts of the decade,"
it took awhile to decide how to fill spots 2-10, but I had "the Red Light Sting"
penciled in at #1 immediately.
—Quinn Omori
9. BISON B.C.
Every bit as heavy, hairy and powerful as their moniker implies, this metal
behemoth formed when James Farwell, leader of beloved skate-punk shredder
S.T.R.E.E.T.S., found Bracf Mackinnon, a drummer who had done time with
some other much-loved Vancouver bands including Radio Berlin and Pink
Mountaintops. Then, with Dan And, Farwell found a counterpart uniquely
equipped to share the guitar/vocals/songwriting/beard duties with him. Finally,
they found an accomplished avant-garde jazz saxophonist, Masa Anzai, to play
bass, because why the fuck not.
They signed with metal powerhouse Metal Blade Records, changed from
Bison to Bison B.C. (which stands for either Before Christ, British Columbia
or perhaps Brutally Crucial, depending on whom you ask and when), and
kept on rampaging.
Extensive touring over the last two years has earned Bison B.C. a fan base
around North America, but back in Vancouver, they're revered as nothing less
than hometown heroes. And the quartet has earned this well-deserved adulation the old-fashioned way: getting up on stage and just fucking crushing it
But that's not to belittle their recorded output—their upcoming third album
(their second for Metal Blade) is probably one of the most anticipated local
releases of the new year.
—Dan Fumano
8. MUTATORS
In the annals of No Wave-revivalist noise music, the Mutators exploits are writ
large. Coming into their terrifying own with the addition of singer Lief Hall,
the trio's 2008 full length Secret Life is perhaps the most fully-realized statement
of the scene that emerged from the East Side's fly-by-night Emergency Room.
They called it quits in 2009, much to the chagrin of the rest of us; during their
run, they were the best band in Vancouver. There, I said it. The Mutators were
without comparison in their ferocious energy, combining ear-shattering blasts
of noise with remarkable songwriting, and Hall's Lydia Lunch-on-steroids
bellowing was both genuinely frightening and kind of mind-blowing, given
her small stature. With several North American tours under their belts, the
Mutators were like noise-punk evangelists, preaching from ratty basement
pulpits across the continent. Drummer Justin Gradin's new project, Random
Cuts, is definitely worth keeping an eye on.
—Al Smith
7. YOU SAY PARTY! WE SAY DIE!
The trials and tribulations of You Say Party! We Say Die! has been well documented over the past few years. Aside from being banned from entering the
United States in 2006 due. to visa troubles, the band almost broke up in 2007
during a stressful European tour. Assertively proving true the old adage that
what doesn't kill you only makes you stronger, the Abbotsford natives defied
12 all odds and put out one of this year's top albums.
However, it is through live performance that the quintet demonstrates its
true potency. If you are going to name your band You Say Party! We Say Die!, you
better kick ass on stage or people are going to leave your show disappointed.
Fortunately the band has Uved up to and surpassed all those expectations
since their first gig in 2004. No one will ever question YSP!WSD!'s magical
knack for whipping a crowd into a frenzy by performing their dance-punk
anthems with unrelenting energy and enthusiasm. But equally impressive
is their recent ability to captivate the same audience with low-key pop gems
highlighted by dreamy vocals. YSPIWSD! is no one trick pony—easily one of
the best bands in town.
—Ben Lai
Japandroids are so huge that I went and got my hair cut and said "make it
awesome" and they totally cut it like Brian's.
It's really empowering to hear songs about your hometown. I'm still waiting
for the Vancouver version of "Oliver Square" but "Rockers East Van" comes very
close. It's pretty ironic that a song about feeling frustrated in a dead-end music
scene ultimately ends up finding a worldwide audience via Pitchfork.
All the attention has been well deserved—they have created something that
is unique and extremely listenable. While I wouldn't describe their music as
poppy, there are a lot of pop influences at work, everything from cheese ball
'80s rock to grunge. And despite no one else backing me up on this, I swear I
even hear a little Michael Jackson. They never go overboard (read: pop punk)
with it, there's always an element of withholding through their lo-fi approach
that leaves you wanting more.
It's a big success for all of Vancouver and the East Vancouver music community that this brings attention to. The average Vancouverite would be hard
pressed to name ten local acts. The attention Japandroids elicited has introduced
a lot of locals to their own music scene.
—Tristan Orchard
5. THE ORGAN
The Organ were able to capture melancholy and loneliness in a way that only
one other band ever could. Amid jangling guitars in the style ofjohnny Marr and
a taut, focused rhythm section, the sonorous voice of Katie Sketch connected
with listeners on both sides of the Atlantic. Lyrics were stark but evocative:
confessions of secret feelings everyone shares or depictions of moments in
time when emotional baggage is a lasting weight on the soul. The ladies never
succumbed to hype; despite mounting pressure to release a full-length album,
they scrapped an essentially finished version of 2004's Grab That Gun because
they were unhappy with the result, instead opting to rerecord the entire thing.
Continuing discomfort onstage was often misinterpreted as disaffection.
Perhaps sharing intimately personal compositions could never be completely
natural. The Organ was born in Vancouver, and while songs like "Memorize
The City" and "Love, Love, Love" were informed by our own rain-soaked streets
and the people who traverse them, they appealed just as easily to the alienation
of any other urban landscape, and to love and loss in any location. This city's
latter-day Smiths, theirs is music to cherish.
—Simon Foreman
Ladyhawk are a band that seethes with the Pacific Northwest vibe. They are
Vancouver: the most beautiful city when the sun is out and the gloomiest place
on earth when it rains for months. When their first self-titled album was released in 20061 was instantly drawn to the fantastical artwork: weird objects
set amidst a forest. It was a solid album with "The Dugout" being the standout
song. It was impressive. Then 2008 with Shots and upon hearing the opening
notes from the first song, "I Don't Always Know What You're Saying," Ladyhawk
was my new favourite band. Their songs, as a whole, have a grey-washed, dark
feel, like our winters. Their genius lies in balancing the dark with light. When
their light breaks the clouds, you feel June 21—the most glorious day of blazing
sunshine. The guitars can be sludgy, but jUst under the muddy surface you can
feel the clarity of bright notes straining to be heard. Just when you feel you've
pegged the band as being stoner rock or guitar-jam-errific, you hear an upbeat
blood pumper and you realize this band cannot fit any one description except
for breathtaking. That's how I feel when listening to them. Alive. Thank you
Ladyhawk for making me feel alive.
—Anita Bee
At times, Dan Bejar has seemed all too willing to embrace his Destroyer
moniker. Ever prepared to shuffle his backing band, change musical course
or unceremoniously abandon fan-favourite songs, the enigmatic songwriter
has managed to entrance and confound Usteners in equal measure. Despite the
persistent changes, there's been one constant to Bejar's craft. Whether set to the
bombastic squalls ofThis Night, spare synthesizers ofYour Blues or "accessible"
indie rock of Destroyer's Rubies, each new offering has solidified Bejar's status
as one of the finest wordsmiths currendy slinging a six-string.
Over the course of eight records, Bejar has developed a lyrical methodology
so idiosyncratic that it's actuaUy spawned an unofficial drinking game. For
instance, listeners are invited to drink twice "whenever a 'meta' lyric refers to
the song in progress or elements thereof." Stridendy self-referential and reflective, Destroyer's imagery-rich, labyrinthine compositions both demand and
reward repeat listens. Furthermore, Bejar also possesses a knack for disarming
candour, exemplified by such self-effacing (and utterly romantic) lines as: "I
was looking good on the day you fell for the way I looked."
Vancouver has produced an abundance of talented musicians in the past
decade, but none of them can equal Bejar for fearless reinvention and inspired
artistry.
—Curtis Woloschuk
2.BLACKM0UNTAIN
At Discorder, we normaUy tend to avoid rock cliches, but Steve McBean & co.
make us want to throw up the devU horns and headbang Uke it's 1975. Black
Mountain—or, as we prefer to caU them, "fuckin' Black Mountain!"—channel
the mountain-sized blues riffage of Led Zeppelin or Black Sabbath with an epic,
almost theatrical bent. These face-melting guitar workouts are set against the
chUling vocals of Amber Webber, whose shuddering vibrato ensures that the
group can never be pigeonholed as a nostalgia act
Black Mountain's self-tided debut was released in 2005, earning rave reviews
with its combination of grandiose psychedelic rock ("Don't Run Our Hearts
Around") and peppy, Velvet Underground-inspired pop ("No Satisfaction").
Three years later, In the Future upped the ante with crisper production and more
complex songwriting, including a four-part song suite clocking in at almost 17
minutes ("Bright Lights"). The album also featured more prominent keyboards
than its predecessor; with the spacy atmospherics on "Wucan" and "Angels"
earning the group the label of "stoner rock." With an explosive live show to
match these unforgettable albums (not to mention the band members' impressive work in the Downtown Eastside), Black Mountain is a local treasure, and
the-city's best source of'70s-style rock.
—Alex Hudson
13 BEST OF THE DECADE
■■
THE NEW
PORNOGRAPHERS
There was a time when it didn't seem like the New Pornographer's were the
biggest band in our scene; they were our scene. Hyperbole? A little bit, but
between Carl Newman, Dan Bejar, Todd Fancey, Neko Case, John Collins, Kurt
Dahl, kathryn Calder and Blaine Thurier you captured members of Destroyer,
Superconductor, Zumpano, Maow, the Evaporators, Age of Electric, Limblifter,
Immaculate Machine and Cub. This band is the final product of bands that
would probably have dominated a best of the decade list for the '90s. Mass
Romantic, Electric Version, Twin Cinema and even the less-fantastic Challengers are .
some of the greatest albums ever to come out of our city.
This supergroup was the perfect melting pot of complimenary talents.
Carl Newman, the red-headed band leader should be mentioned first.
Though he does the primary songwriting for the group, their songs always
seem strongest when it feels like everyone is participating.
Neko Case's spectacular voice perfectly accentuated Carl Newman's elegant
pop hooks. Lay this overtop of Dahl's fantastic drumming and occasionally
have a song written and sung by Vancouver's indie poet laureate Dan Bejar,
and there was a little bit of something for everyone, No member of the band
ever slacked and those that shone were—and those that haven't moved still
are—some of the brightest stars in Vancouver's music scene.
Their musical collective produced spectacular albums with amazing consistency and they've always been a bit ofa critic's darling. They always had
that magic formula that made them hit every song just right—their music is
a little bit weird, but not weird enough to put anyone off. If you take a look
you'll find them making appearances in many best of the year lists of music
fans across the world.
The New Pornographers, while amazing, may be reaching the end of their
Golden Era now though. Newman has moved to New York, Bejar has a second
home in Italy and Case has had a lot of time to settle into her Arizona home.
Their most recent album Challengers, is easily thek weakest. The previous energy
that made every song feel like it was an affirmation of this talented groups love
for one another was missing. The addition of new members has shaken the
roster and while vocalist/keyboardist Kathryn Calder is a very talented artist in
her own right, this band's strength was their abUity to create a sound of joyous
camraderie that was a product of their unique group dynamic. The members
aren't the same anymore and the feeling isn't there. The love just doesn't seem
to be there anymore.
This band wUl probably never reachieve the heights that they soared to,
but we cannot think of any band more deserving of being named Vancouver's
greatest band of the decade.
—JordieYow
14 ART PROJECT//BEN JACQUES
BEN JACQUES IS AN ARTIST/ANIMATOR WHO HAS LIVED IN VANCOUVER
SINCE 2005.
BORN IN CALGARY TO A FUNERAL HOME FAMILY, JACQUES STARTED
DRAWING AT AN EARLY AGE TO HELP ESCAPE THE BLINDING REALITY
OF LIFE. JACQUES PLAYS IN THE ELECTRONIC/NOISE/NEW AGE/PUNK
BAND HAUNTED BEARD AND REGULARLY MAKES MUSIC VIDEOS FOR
THE GROUP.
JACQUES HOPES TO ONE DAY LIVE IN THE FUTURE.
lag
mKVF^S&S*
'*■_  Ill ALL THE NEWS THAT'S FIT TO BLOG!
BY DAN FUMANO
ART BY TJ REYNOLDS
JMI-flP WORRYING AND LOVE THE BLOG
So the first decaWof the 21st centulf is coming to a close,1 ahdl^jferp<elling you
guys, I seriously think the Internet isreally going to catch on and be huge!
There are many different reasons to read local blogs: they have a distinct
local flavour, and they support the best of Vancouver's music, arts and cultural
community. Also, Pitchfork, Stereogum or Brooklyn Vegan aren't going to teU
you about a last-minute punk show at a house in East Van, a Halloween party at
a secret loft space in Chinatown or when they're serving free beer at the Royal
Unicorn, [ed. Thaf s Fortune Sound Club to you youna, 'uns.]
See what's going on in your neck of the woods at these sites: a half-dozen
of Vancouver's best music blogs and websites.
The mandate of Vancouver Is Awesome (VIA) is simple: to tell you about the
awesome people who are doing awesome things in Vancouver (which is awesome, by the way).
And now, VIA is actuaUy more than a blog—as of July, it's a fully registered, incorporated non-profit organization. Bob Kronbauer, who started it
as a blog in February 2008, works full time as both the executive director and
managing editor.
Music is a big part of VIA and they've done interviews with notable local
musicians such as Joey "Shithead^Keithley, Tegan Quinn and Grant Lawrence.
Kronbauer's favourite interview, however, was none other than CiTR's very
own Nardwuar the Human Serviette, whom the website describes as "Not
only a Vancouver, British Columbia, Canada institution but a shining beacon
of awesomeness for our entire nation."
■ftWM TlLM/w ZUmWf
Started in 2008, Winnie Cooper is a Vancouver-based music blog, coedited
by two DJs, Tristan Orchard and Christian Flores with support from others.
Orchard claims they "wanted to share our love for niusic with a high-school
crush kinda vibe to it. We skew towards pop but are into all sorts of music, not
just the newest stuff. We like to find old gems."
They're also about as active as anyone around town when it comes to making stuff happen outside of the interwebs: in addition to the DJ sets they've
performed and the live acts they've brought to town, they've been putting on
the fantastic weekly No More Strangers, where they've featured live music
from some great local talent, in between sets by the Winnie Cooper DJs. No
More Strangers has recently moved from Funky Wmkerbean's to Smiley's and
Orchard said they're also "looking to do a few shows at the reopening Balmoral
on Hastings, so get your band to give us a shout."
<M?P€P tf'f*
Chipped Hip is another one-man operation run by a Discorder writer. Alex
Hudson started the blog earlier this year and does all of the writing himself,
including album and concert reviews, alongside interviews and other writing
with a decidedly local slant. "Like most bloggers, I also wanted to shine a light
on some amazing, under-appreciated local artists," Hudson said.
In addition to running Chipped Hip and writing for Discorder, Hudson
is the Vancouver contributing editor for BeatRoute and has also contributed
news updates and show reviews for Exclaim!, music features for the lyee and
"various odds and ends" for Guttersnipe.
tumn^irE
Guttersnipe might be the first good thing to come from Nickelback. Let the
website's founder, Shawn Conner, explain: "Last November, I was angry
about^Nickelback; I'd heard a song with lyrics that were awful even by their
standards. I had nowhere to vent, so rather than take out a pedestrian with my
car I started Guttersnipe."
The site, which includes concert reviews and musician interviews alongside
writings about art, books and pop culture, is mostly Conner, but with the support of a number of ccntributors. "One of the motivations for starting the site
though was to get some of my favourite Vancouver writers in one place, which
I've been fortunate enough to be able to do," Conner said.
Conner is currently working on a site revamp for Guttersnipe and is thinking about a party in January for the relaunch. "Of course," Conner said, "that
depends on Nickelback's avaUability."
Longtime Discorder contributor Quinn Omori (whose writing has also appeared
in Chart and the Tyee) started From Blown Speakers back in February 2005. "I \ <* %j \ "J l!, f* U j j M l) */
guess the idea was always to keep it local, but mostly it was just another way
to procrastinate during my undergrad," he said.
. From Blown Speakers is one of the best ways to find concert announcements, both for touring acts coming to Vancouver and local bands playing
around town. You'll also find concert recaps and photos, Omori's news and
views about the local music scene and the odd contest.
The blog also features a listing updated at the start of each week of regular
weekly and monthly events, and once a month, Omori books the talent for
Damaged Goods at the Astoria, bringing bands like MT-40, Manta Ray-Gun
and Techromancer.
Schitz Popinov is distinctftornsome ofVancouverisotiier music blogs because
of its focus on dance and electronic music. The blog was started by Tyler
Hazelwood and RC Lair about three years ago, with Dustin McNulty and Dan
Hawkins coming on board shortly after.
In addition to DJ sets around town, the self-styled "schit headz" throw parties at their studio (www.schoolofrnix.com). "As for the future we have lots in
store," McNulty promised. "We are trying to get away from just being a blog
and more like an online magazine ... We are looking at booking some West
Coast mini tours as well as cross Canada shows, too."
18 B
ISii
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IYWRDIE YOW     g    |L
ART BY LEORA MORlNlS I1
COPYFIOlM
FEATURING: MARK HOSLER OF NEGATIVLAND
"OOWNLOADJNB CULTURE IS SQ_PREVALENT IN SOCIETY THAT
DEBATING WHETHER if IS RISHf OR WRONG IS MtiEVANT. 1!
For those who don't already know, Negativland is a group of sound collage
artists whose "music" (and I'm using the term "music" very loosely here)
is best known for containing elements of surrealism, blended with absurdist
humour and "copyleftist" politics. Mark Hosier, one of the group's founding
members, appeared as part of the "Copyright/Copyleft"-themed Vancouver
New Music Festival.
Hosier definitely has some interesting things to say about copyright, and
he's recently been sent to talk to Washington D.C. legislators to present another
side of the copyright issue.
Downloading music isn't going away, and that should be acknowledged.
"Is it good or evil? I don't care; it's gone really mainstream," he said, bringing
up a good point. Downloading culture is so prevalent in society that debating
whether it is right or wrong is irrelevant. Instead of constantly fighting people
who download music, maybe we should acknowledge that it's going to happen
anyway and try to find ways "we could actually make this work."
In his appearance at the festival, Hosier played the part of the storyteller
more than the lecturer, while sprinkling his performance with music videos
and a news broadcast from Negativland's catalogue. Hosier's talk was clearly
a well-practiced set of stories that documented Negativland's inception as a
young group fooling around with reel-to-reels, all the way to their transformation into copyright activists.
The best parts of the night were the stories Hosier told that bookended
the videos he showed. Hosier talked in great detaU of Negativland's duping
of the media after they issued a fanciful press release saying that they had
to cancel their" first tour due to an FBI investigation which connected their
song "Christianity is Stupid" with teenage axe murderer David Brom. (They'd
actually had to cancel their tour because they were broke and couldn't afford
to go.) Through a bit of dumb luck and some shoddy journalism this story
ended up in the evening news (a clip of which was shown during the talk) and
gradually ballooned throughout the media until they revealed to NPRthat the
whole thing was a hoax.
Negativland's second claim to notoriety came after sampling U2's "StiU
Haven't Found What I'm Looking For" and using it in a track laced with profanity from well-known radio DJ Casey Kasem that was leaked to Negativland by
a fan. U2 sued them, and after a four-year lawsuit they had succeeded, if not
in winning in the courts, at least in making U2 look like assholes and putting
together a conceptual art piece called Fair Use: The Story of the Letter U and
the Numeral 2, which compellingly argues that remix and coUage should be
considered fair use.
WhUe their actions may have been unethical or even illegal, Hosier said
that these things (and most of the things Negativland does) were motivated
by the principle of rebellion.
"It was something you weren't supposed to be doing, and that is precisely
why we did it," Hosier said.
Hosier was forthright about the group's wUlingness to break the law and
push boundaries, but also—and perhaps mostimportandy—how their personal
experiences transformed him into someone at the forefront of the copyfight
"We just keep doing this kind of work and by doing it, provoke change,"
he said.
For those of you interested in Negativland's work you can check out a lot of
it on their website (www.negativland.com) or you could just go download it.
19 TYLER FEDCHUK
WORDS BY TREY TAYLOR
ART BY JORDIE YOW
FEDCHUK HEAD BY SWASHBUCKLE FROM THE FUTURISTS
"HERE IS A BOX OF gECO§t}$t YOU'JtE GONNA PLAY THESE ANO III
play These ones'here "and wew gonna smMT 'wis partyJ'^
Chances are you've seen the carefully coiffed stache of Tyler Fedchuk
behind the turntables. This man started up from nothing, and is now
one of Vancouver's most popular DJs. Besides playing weekly nights such as
Night Shift! and Ice Cream Social, he is in charge of Radio Zero on CiTR every
Friday, and started the well-known DJ collective 1/2 Alive with friends Tony X
and Jason Sulyma (a.k.a. my!gay!husband!). I caught up with Fedchuk and we
jived to the vintage tunes at Ice Cream Social. We headed to a laundry room
tucked away in the back of Gastown's Honey Lounge, cold Stellas in hand, to
discuss his venture into the DJ lifestyle. Initially, his primary focus was saving
for photography school, but spinning vinyl proved more fascinating and quickly
won him over. His love evolved into a trip to New York where he met Nadine
Gelineau, founder of CBC Radio Two's Brave New Waves. "I talked to her and
she kind of lit a fire under my ass, and I came back to Vancouver, started a radio
program, got a record label going and then, one thing led to another."
"Yeah, I probably should have had some experience, somewhere, with
that," he joked in explaining how his record label, Gang of Youth, got started.
"I did everything from scratch. It was super d.i.y. Then I made this really good
mixtape to go along with that for the first 25 people who bought the record
from Juno Records in the U.K.; they got a copy of the CD. That was sort of the
first vinyl mixtape I ever made. It went over really well. The marketing director
from MTV Europe emailed jne saying how much he liked it, and I just thought
that was really cool that he took that time out of his schedule."
He learned the basics from Avi Shack, who is responsible for These Are
The Breakson CiTR, He tried to mimic what Shack was doing with funk and
hip-hop, but with New Wave, punk and disco records. "I ended up having this
really strange style of mixing where I was using the start and stop buttons on
20
the turntables instead of slip-cuing, and people thought that was strange," he
noted. "Nobody ever showed me how to do it so that was just what I thought
worked the best."
His passion for music matured into an idea that would revolutionize the
Vancouver party scene. "I was really not impressed with the calibre of parties
going on around town, so I just recruited my roommate, who was the only
other person I knew that had Fridays off. I was just like Tony, here is. a box
of records, you're gonna play these and I'll play these ones here and we're
gonna start this party." Thus, 1/2 Alive was born. The group was then joined
by my!gay!husband! two months after its formation. It has since dissolved, but
with the edits they turned out, they proved to be a powerhouse.
Fedchuk can be found at any local hotspot any given night of the week. He
plays Ice Cream Social at Honey Lounge on Mondays and Night Shift! at the
Astoria on Saturdays. Whatever he decides to bring to the swarming crowds
at the shows he plays, he always goes in with a certain mindset "I guess I
like to frame it up depending on what is happening that night," he quipped.
"Depending on what I'm doing, I'd like to be as professional as possible. So
depending on what kind of night it is, I approach it that way."
Of course, preparation goes hand in hand with the night's theme, but you
won't find Fedchuk at a loss when it comes to new music. "I do a lot of reading.
I get lots of records, albums, and plough through it. I mean, obviously I don't
DJ out'thrash metal or psych music ever, except once in a whUe. But I mean I
listen to a lot of oldies and disco and stuff like that as well at my house."
Our meeting concluded all too quickly in the dank laundry room at Honey. I •
only had one piece of unfinished business: to join in the sock hop at Ice Creata
Social and top off the night with a bowl of maple walnut P
Check out Fedchuk's show, Radio Zero, on u*u*u*.radiozero.ca //CiTR 101.9 FM PROGRAM GUIDE
DISCORDER SUGGESTS LISTENING TO CiTR ONLINE AT WWW.CiTR.CA, EVERYDAY.
SATURDAY
7
i
9
It
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SUNDAY               MONDAY
TUESDAY             WEDNESDAY
THURSDAY
FRIDAY
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mit
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I.    ■...:■;::
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7
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a -
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•
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SUNDAY
FM PROG
RHYTHMSINDIA
RAM GUII
experimental music to
DE
performs on a rare live
An eclectic mix of Canadian
(World) 8-9pm
improvised jazz and new
date with his quartet that in
indie with rock, experi
TANA RADIO
Alternating Sundays
classical! So weird it will
cludes guitarist Jim Hall.
mental, world, reggae,
(World) 9-ioam
Featuring a wide range of
blow your mind!
Jan.4: Jazz Portraits: Bassist/
punk and ska from Canada,
music from India, including
composer Charles Mingus
Latin America and Europe.
SHOOKSHOOKTA
popular music from the
NEWS 101
with the Jazz Workshop
The Morning After Show
(Talk) io-nam
1930s to the present; Ghaz-
(Talk) 5-5:30pm
recorded in concert in New
has local bands playing
A program targeted to
als and Bhajans, Qawwalis,
Vancouver's only live,
York with alto saxophonist
live on The Morning After
Ethiopian people that
pop and regional language
volunteer-produced,
John Handy making his re
Sessions.
encourages education and
numbers.
student and community
cording debut and firebrand
personal development.
newscast. Every week, we
tenorist Booker Ervin.
LAUGH TRACKS
ALL AWESOME IN YOUR EARS
take a look back at the
Happy New Years!
(Talk) i-2pm
KOLNODEDI
(Eclectic) 8-9pm
week's local, national and
Jan.n: The Centaur and The
Laugh Tracks is a show
(World) iiam-i2pm
Alternating Sundays
international news, as seen
Phoenix: Tenor saxophonist/
about comedy. Kliph
Beautiful arresting beats
from a fully independent
oboist/flutist/composer
Nesteroff, from the 'zine
and voices emanating from
MONDO TRASHO
media perspective.
Yusef Lateef on one of his
Generation Exploitation,
all continents, corners and
(Eclectic) 9-iopm
finest sessions. Trum
hosts.
voids. Always rhythmic,
The one and the only Mon
CAREER FAST TRACK
peter Clark Terry, pianist Joe
generationexploit@yahoo.
always captivating. Always
do Trasho with Maxwell
(Talk) 5:30-6pm
Zawinul are just two of the
com, musicalboot@
crossing borders.
Maxwell—don't miss it!
THIS SIDE OF MONDAY
stars here. Hot stuff!
Jan.18: A very rare Blue
yahoo.ca
THE ROCKERS SHOW
TRANCENDANCE
(Eclectic) 6-7:3opm
Note record date with tenor
WINGS
(Reggae) i2-3pm
(Dance) iopm-i2am
Fun and independent music
saxophonist Clifford Jordan
(Talk) 2-2:3opm
Alternating Sundays
Join us in practicing the
supported by a conver
leading, trumpeter Lee Mor
Reggae inna all styles and
ancient art of rising above
sational monologue of
gan, legendary altoist John
REELTOREAL
fashion.
common ideas as your host
information, opinion and
Jenkins, trombonist Curtis
(Talk) 2:30-3pm
DJ Smiley Mike lays down the
anecdotes focusing on the
Fuller and others. Simply
Movie reviews and
BLOOD ON THE SADDLE
latest trance cuts.
here, the now and the next
called ClijFjordan, it's never
criticism.
(Roots) 3-5pm
trancendance@hotmail.
week.
been issued on CD.
Alternatina Sundays
com
becktrex@gmail.com
Jan.25: Kelly Great: Pianist
NATIVE SOLIDARITY NEWS
Real cowshit-caught-in-yer-
Wynton Kelly leads an
(Talk) 3-4pm
boots country.
MONDAY
RADIO FREE GAK
(Eclectic) 7:3o-9pm
all-star quintet featuring
Lee Morgan and tenor
A national radio service
and part of an international
SHAMELESS
BREAKFAST WITH THE BROWNS
saxophonist Wayne Shorter
network of information and
(Eclectic) 3-5pm
(Eclectic) 8-nam
THE JAZZ SHOW
on one of his earliest dates.
action in support of indig
Alternatina Sundays
Your favourite Brownsters,
(Jazz) 9pm-i2am
Bassist Paul Chambers and
enous peoples' survival and
Dedicated to giving local
James and Peter, offer a
Vancouver's longest
the great drummer Philly
dignity.
music acts a crack at some
savoury blend of the famil
running prime-time jazz
Joe Jones sparks the band!
airplay. When not playing
iar and exotic in a blend of
program. Hosted by the
RADIO FREETHINKER
the PR shtick, you can hear
aural delights.
ever suave, Gavin Walker.
TUESDAY
(Talk) 4-4:3opm
some faves you never knew
breakfastwiththebrowns@
Features at iipm.
Promoting skepticism, criti
you liked.
hormail.com
Dec. 7: Mulligan Meets Monk:
The great baritone saxo
PACIFIC PICKIN'
(Roots) 6-8am
cal thinking and science, we
examine popular extraor
CHIPS WITH EVERYTHING
ALTERNATIVE RADIO
phonist, Gerry Mulligan
Bluegrass, old-time music,
dinary claims and subject
(Pop) 5-6pm
(Talk) 12-ipm
meets pianist/composer
and its derivatives with Ar
them to critical analysis.
Alternatina Sundays
Hosted by David Barsamian.
Monk on a very musical
thur and the lovely Andrea
The real world is a beautiful
British pop music from all
one-off date. They were
Berman.
and fascinating place and
decades. International pop
PARTS UNKNOWN
neighbours and friends
pacificpickin@yahoo.com
we want people to see it
(Japanese, French, Swed
(Pop) i-3pm
and the date is swinging
through the lens of reality
ish, British, US, etc.), '60s
An indie pop show since
and fun.
SOUNDS OF AFRICA
as opposed to superstition.
soundtracks and lounge.
1999, it's like a marshmal
Dec. 14: Drummer/compos
(World) 8-9:3oam
low sandwich: soft and
er/pianist Jack DeJohnette is
Showcasing music, current
WENER'S BARBEQUE
SAINT TROPEZ
sweet and best enjoyed
heard here with one of his
affairs & news from across
(Sports) 4:30-6pm
(Pop) 5-6pm
when poked with a stick
best bands. Special Edition
the African continent and
Daryl WCner talks about the
Alternating Sundays
and held close to afire.
has saxophonists David
the diaspora, you will learn
world of sports. Everything
Welcome to St. Tropez!
Murray and Arthur Blythe
all about beat and rhythm*
from the Canucks to the
Playing underrated music
LET'S GET BAKED
plus bassist Peter Warren.
and it will certainly kick-
World Rock Paper Scissors
from several decades!
(Talk) 3-4pm
Innovative and timeless.
start your day.
Championship.
st.tropez101.9@gmail.com
Now in its sixth season,
come bake along with Matt
Dec. 21: Christmas time
on The Jazz Show presents
THIRD TIME'S THE CHARM
ethanwener@hotmail. com
QUEER FM
& Dave and an always excit
that famous Christmas Eve
(Rock) 9:30-ii:3oam
FLEXYOURHEAD
(Talk) 6-8pm
ing array of Canadian musi
date with Miles Davis, Milt
Open your ears and prepare
(Hardcore) 6-8pm
Dedicated to the gay, lesbi
cal talent—vegan cooking
Jackson, Thelonious Monk,
for a shock! A harmless
Punk rock and hardcore
an, bisexual and transexual
never sounded this good!
Percy Heath and Kenny
note may make you a fan!
since 1989. Bands and
communities of Vancouver.
Clarke. The immortal
Deadlier than the most
guests from around the
Lots of human interest
THE RIB
Bag's Groove session. Merry
dangerous criminals!
world.
features, background on
(Eclectic) 4-5pm
Christmas to Jazz fans
borninsixtynine@hotmail.
current issues and great
Explore the avant-garde
everywhere.
com
LIFE ON JUMPSTREET
<S
music.
world of music with host
Dec.28: In Person: Clarinet
(Dance) 8-9pm
queerfrnradio@gmail.com
Robyn Jacob on the Rib.
ist/tenor saxophonist/
MORNING AFTER SHOW
From new electronic and
composer Jimmy Giuffre
(Eclectic) ii:3oam-ipm
97
__w,mm CRIMES & TREASONS
FOLK OASIS
artcorpse@yahoo. com
On temporary hiatus. Will
*/0
(Hip-hop) 9-npm
(Roots) 8-iopm
LIVE FROM THUNDERBIRD
be replaced with UBC
THE LEO RAMIREZ SHOW
crimesandtreasons@
Two hours of eclectic folk/
RADIO HELL
Sports.
(World) 5-6pm
gmail.com
roots music, with a big em
(Live Music) 9-iipm
The best of mix of Latin
phasis on our local scene.
Featuring live band(s) every
AFRICAN RHYTHMS
American music.
CABARADIO
C'mon in! A kumbaya-free
week performing in the
(Eclectic) 7:30-9pm
leoramirez@canada.com
(Talk) npm-i2am
zone since 1997.
CiTR Lounge. Most are
On temporary hiatus. Will
For the world of Cabaret.
folkoasis@gmail.com
from Vancouver, but some
be replaced with UBC
NASHAVOLNA
Tune in for interviews,
times bands from across
Sports.
(World) 6-7pm
skits, musical guests and
SEXY IN VAN CITY
the country and around the
News, arts, entertainment
more. It's Radio with sass!
(Talk) 10-11PM
Your weekly dose of educa
world.
RAINBOW GROOVE
(Dance) 9-io:3opm
and music for the Russian
community, local and
WEDNESDAY
tion and entertainment in
HYPNOTIC GROOVE
On temporary hiatus. Will
abroad.
the realm of relationships
(Techno) npm-i2am
be replaced with UBC
nashavolna.ca
SUBURBAN JUNGLE
and sexuality.
Sports.
(Eclectic) 8-ioam
sexyinvancity.com/category/
AURAL TENTACLES
SHADOW JUGGLERS
Live from the Jungle Room,
sexy-in-vancity-radio
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SHAKE A TAIL FEATHER
(Dance/Electronic) 7-9pm
join radio host Jack Velvet
It could be global, trance,
(Soul/R&B) io:30-i2am
Broaden your musical
for an eclectic mix of music,
HANS KLOSS' MISERY HOUR
spoken word, rock, the
The finest in classic soul
knowledge with DJs MP, So-
sound bites, information
(Hans Kloss) upm-iam
unusual and the weird, or it
and rhythm & blues
cool, Soo and their guests.
and inanity. Not to be
Pretty much the best thing
could be something differ
from the late '50s to the
Working across music
missed!
on radio.
ent. Hosted by DJ Pierre.
early '70s, including lesser
genres including electronic
dj@jackvelvet.net
THURSDAY
auraltentacles@hotmail.com
known artists, regional hits
and lost soul gems.
and club-based music.
shadow.jugglers@
POP DRONES
FRIDAY
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(Eclectic), io-n:3oam
END OF THE WORLD NEWS
THE VAMPIRE'S BALL
(Talk) 8-ioam
SYNCHRONICITY
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SYNAPTIC SANDWICH
ANOIZE
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Dark, sinister music to
(Dance/Electronic/Eclectic)
(Noise) n:3oam-ipm
SWEET AND HOT
Join host Marie B and
soothe and/or move the
9-npm
An hour and a half of avant-
(Jazz) ioam-i2pm
discuss spirituality, health
Dragon's soul. Industrial,
If you like everything from
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Sweet dance music and hot
and feeling good. Tune in
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electro/techno/trance/8-bit
psychedelic and outsider
jazz from the 1920s, '30s
and tap into good vibrations
too. Blog: thevampiresball.
music/retro '80s this is the
aspects of audio. An experi
and '40s.
that help you remember
blogspot.com.
show for you!
ence for those who want to
why you're here: to have
thevampiresball@gmail.com
www. synapticsandwich. net
be educated and EARitated.
DUNCAN'S DONUTS
fun! This is not your average
lukemeat@hotmail.com
(Eclectic) 12-ipm
Sweet treats from the pop
spirituality show.
SATURDAY
BEATS FROM THE BASEMENT
(Hip-hop) upm-iam
THE GREEN MAJORITY
underground. Hosted by
SKA-T'S SCENIC DRIVE
THE SATURDAY ED6E
Mr. Joi, being a cinemaphile
(Talk) i-2pm
Duncan, sponsored by
(Ska) ioam-i2pm
(Roots) 8am-i2pm
as well as a DJ, will surprise
Canada's only environmen
donuts.
Canada's longest running
A personal guide to world
you with the likes of:
tal news hour, syndicated by
duncansdonuts.wordpress.
Ska radio program.
and roots music—with
French NewWave, Golden
CIUT 89.5 FM Toronto or
com
djska_t@hotmail.com
African, Latin and European
Age, Noir, Action, Adven
u*u*u*.greenmajority.ca.
music in the first half, fol
ture, Comedy, Coming of
WE ALL FALL DOWN
THESE ARE THE BREAKS
lowed by Celtic, blues,
age Drama, Epic/Myth,
DEMOCRACY NOW
(Eclectic) i-2pm
•(Hip-hop) 12-ipm
songwriters, Cajun and
Fantasy, Gangster, Horror,
(Talk) 2-3pm
Punk rock, indie pop and
Top notch crate digger DJ
whatever else fits!
Romantic Comedy, Science
whatever else I deem wor
Avi Shack mixes under
steveedge3@mac.c0m
Fiction, Social Drama,
RUMBLETONE RADIO
thy. Hosted by a closet nerd.
ground hip-hop, old school
Thriller, The Art Film, The
A GO GO
www.weallfalldowncitr.
classics, and original
GENERATION ANNIHILATION
Black Comedy, The Musical
(Rock) 3-5pm
blogspotca
breaks.
(Punk) 12-ipm
and the Porno.
Primitive, fuzzed-out
beatstreet@telus.net
A fine mix of streetpunk
garage mayhem!
INKSTUDS
(Talk) 2-3pm
RADIO ZERO
and old-school hardcore
backed by band interviews,
ARTS REPORT
Underground and indie
(Dance) 2-3:3opm
guest speakers and social
(Talk) 5-6pm
comix. Each week, we interview a different creator to
An international mix of
super-freshyveekend party
commentary.
crashnbumradio@yahoo.ca
AUDIOTEXT
get their unique perspective
jams from New Wave to
(Talk) 6-6:3opm
on comix and discuss their
foreign electro, baile, Bol
POWER CHORD
• -^ •
The juiciest Canadian writ
upcoming works.
lywood and whatever else.
(Metal) i-3pm
ing: poetry readings, author
www.radiozero.com
Vancouver's longest run
interviews, short stories,
JAPANESE MUSICQUEST
ning metal show. If you're
spoken word, etc.
(World) 3-3:3opm
Syndicated from CJLY
NARDWUAR
(Nardwuar) 3:30-5pm
into music that's on the
heavier/darker side of the
SAMSQUANTCH'S
Kootenay Co-op Radio in
Join Nardwuar the Human
spectrum, then you'll like
HIDEAWAY
Nelson, B.C.
Serviette for Clam Chow
it. Sonic assault provided by
(Eclectic) 6:30-8pm
der flavoured entertain
Geoff the Metal Pimp.
Alternating Wednesdays
FRENCH CONNECTION
ment. Doot doola doot
All-Canadian music with a
(World) 3:30-5pm
doo...doot doo!
CODE BLUE
focus on indie-rock/pop.
French language and music.
nardwuar@nardwuar.com
(Roots) 3-5pm
anitabinder@hotmail.com
EXQUISITE CORPSE
NEWS 101
From backwoods delta
low-down slide to urban
THE CANADIAN WAY
(Experimental) 7:30-9pm
(Talk) 5-6pm
harp honks, blues and blues
.
(Eclectic) 6:30-8pm
Experimental, radio-art,
See Monday description.
roots with your hosts Jim,
Alternating Wednesdays
sound collage, field record
Andy and Paul.
ings, etc. Recommended for
HOT MESS
codeblue@
the insane.
(Eclectic) 6-7:3opm
buddy-system.org
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GIN& JUICE AND BHETTD0OCKTAILS $4.50
Maybe I'm giving away my age here, but when I think of retro hip-hop, I think
of Arrested Development, Maestro Fresh Wes and Dr. Dre—not Kelis' "Milkshake. " They played it at House Party though, leaving me a little confused. But
Cam Dales, organizer and DJ of the night points out that House Party is "just a
rap night" and an opportunity for friends to hang out and have some fun with
rap and hip-hop rather than a strict retro night.
House Party started in March 2009 with Andy Dixon, DJ Man Tears (Justin
Gradin of the Emergency Room), DJ NOREMIX, Ian Wyatt and Lil' Baby Peace
Sign (Andrea Lukic of Nii Sensae) and the intention was to exclusively play '90s
rap. "It's loosened up now," said Dales, who got involved in July, and the night
has broadened to include more modern tracks. The DJ-line up has also shifted
with only Dales, Tears and Peace Sign manning the tables.
jf
Despite the lack of Hammer pants, flat top hair cuts and people doing the
running man, House Party was a lot of fun. You certainly get the feeling that
you're at a friend ofa friend's house and that friend has an extensive collection
of hip-hop including Gang Starr, Jay-Z, Eric B. & Rakim, N.W.A and Salt 'N'
Pepa. Those who are normally shy to dance will find the Biltmore's expansive
dance floor a little intimidating, but there was still a substantial crowd that
grew throughout the night, and perhaps after downing a few ghetto cocktails
(a can of Extra Old Stock malt liquor topped with orange juice that was surprisingly palatable) or gin and juices (Snoop would approve), the floor will
seem a litde smaller.
—Debby Reis
v v/////./ vs//. <'/// "* */v/ // > s r/y
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//HONEY LOUNGE
7 GARAGE /PUNK/NOISE
HIDOWN SOUNDSYSTEM & GUESTS
//$4.50 SLEEMANS
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As so many live music venues in our dear city are thrown off the map and reworked into condos, Corey
Woolger, bartender at Honey Lounge, has brought upon us a new spot for Vancouver's band-ridden
but venue-starved music scene. This is Honey Lung. The night tends to feature garage, noise and nu
punk, but with bands like Congress (a conglomeration of Sports, Jaws and 3 Inches of Blood members)
Honey Lung doesn't discriminate.
Honey Lung could probably be the bastard child of Boosh Tuesday and Fake Jazz Wednesday, both of
which happened at the Cobalt before its unfortunate demise. Amongst many others, Modern Creatures,
Nii Sensae, Student Teacher and 99 Problems have made appearances here. It's reallyjustaplace for our
oh-so-many bands to play and hang out. And though it's like the Cobalt for the scene it'll bring in during
the week, the decor at Honey is a far cry from that of the Cobalt—chandeliers, clean bathrooms and
red velvet chaise lounge chairs. According to Bridgette Gottschalk, who works the door and promotes
Honey Lung, unlike at the Cobalt, here you don't need to wonder if that leak in the roof is coming from
the above neighbours' bathtub, or worse, their toilet.
Just as the bands vary at Honey Lung, so too does the DJ's record collection. From week to week, DJ
Rundown Soundsystem will play whatever genre he's into for the night. Think Quentin Tarrantino soul
to surf rock, and you'll get a feel for DJ Rundown's theme on Nov. 19—the night of Timecopz and Sex
Negatives. He's also been known to play hip-hop, noise or dance for a night.
The combination of DJ, bands and atmosphere makes Honey an excellent place to spend minimal
dollars and revel in local talent on Thursday nights.
^-_arah Charrouf,       - -,-•     ~    ,>•     v    s    ^     ^    4"   £^     -/■   jr   j_*   jp   _f~   _§w
FRIDAY
WT @@ & (SMLDT
11. GOLDIE'S PIZZA & BEER LOUNGE
/UKGARAGE/2-STEP/ DUBSTEP
'//Vs//*
IF EVIDENT
05/LADIEO
//$5.75 BEER OR HIGHBALLS
fc5/LADIES FREE BEFORE 10:30 P.M
Featuring members of Vancouver's dubstep/dancehall/grime crews, Lighta! sound and SUB OSC, Wot
Do U Call It replaces what used to be the closest thing to a weekly dubstep event in the city with a change
of format highlighting UK garage and 2-step.
Walking through the front door, you'll see no signs of the party (it's a pizza place), but you'll feel the
bass. Walk downstairs, and you'll be greeted by Self Evident spinning 2-step garage, a major influence
on the dubstep genre. The place reminded me of someone's parents' basement. At the edges of the
hardwood dance floor, there are couches to chill on while you have a drinkv, but not for long: the music
will get you dancing. Halfway through the night I attended, special guest Michael Red took the decks and
brought the familiar, dark, bassier sound, playing some of the newest tracks out of the UK, including
a Mala track from the new Hyperdub compilation. The music continued until well after the scheduled
end, as long as people were dancing.
The drinks are pricey, but this, isn't a bar. Come here for the music and a crowd that's into it. This is
a small space, and it does get packed, as some regulars testified.
Despite Red's set, don't expect a focus on dubstep. This will be "people that know dubstep back to
front trying to do something different. Less of the constant [wobble] that everyone's playing," said Self
Evident.
—Sancho McCann K %
'/.
POWER
SKA
APPEHRING LIVE AT:
DEC 5TH E009 - THE RHLNIYI1UB
XIB5»I5KIII11I»7
JIHZ91HB010-SHIRK HUB
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NNW.RUDEOTtHI0T.C0N THE MENTAL BEAST //
LAUGHING MUSIC TOGETHERNESS
BY DOROTHY NEUFELD
ILLUSTRATIONS BY MERIDA ANDERSON
Conner Holler and Cameron Reed, sat outside the CiTRstudio last month
for their latest project, The Mental Beast, a 12-episode holiday-themed
radio and video compilation, which is paired with The Eggnog Experience, a
compilation of holiday-themed music from local bands. Mental Beast follows a
fictional radio station on the brink of collapse featuring a smattering of bands
from across the city.
At first blush, the holiday-themed project seems like a feel-good gathering
of Vancouver artists. Unlike many Christmas albums that find their way onto
the shelves, from Bob Dylan's Christmas themed album, featuring kitschy
celeste in songs from "Do You Hear What I Hear?" to "Must Be Santa," this
compilation bears a cozier tradition: the fertile tangle of cultures, communities
and artistic ambitions from the local natives ofVancouver. A dozen specimens
are compiled on the album with tracks including a traditional middle-eastern
song and one with a Ramadan spiced theme.
The sprawling family ofVancouver artists featured on the album include
Lightning Dust, Apollo Ghosts, No Kids, Basketball, Dandi Wind, Vancou
gar, Hard Feelings, Rose Melberg, Machu Picchu and Nardwuar the Human
Serviette.
Helped along by Jay Arner, who recorded a number of the tracks for Eggnog
Experience, the project instantly garnered a lot of interest among Vancouver
artists. "It's a way for bands to get noticed, to draw attention to Vancouver's
music scene," said Cam Reed.
Holler is the producer, writer and actor in the radio and video collaboration
and is partnered with Reed, the executive producer." [The songs] are holiday-
themed, but not limited to traditional holiday songs," Holler said.
I met Holler and Reed at CiTR where they were still early in filming for
Mental Beast, and you could instantly see the studio was aglow with the romp
and raucous of some genuinely good times in the studio. They both care
about things like lighthearted cheer and promoting Vancouver artists. Holler
is also involved in a number of projects throughout the city including acting
as one half of comedic duo Bronx Cheer wkh Craig Anderson. Bronx Cheer
offer a wistful collection of sketches originating in 2008 that can be found at
28 withfriendslikethese.com. He is also a comedy curator for a number of independent festivals, such as Olio and Music Waste. Reed is also an integral part
of Vancouver's creative community as the festival director for Music Waste, a
five-day independent music festival in June. [ed. Ifs the best.]
The unique nature of the project instantly helped the duo get other people
involved. For example, the video companies Awkward Moments Productions
and The Shots have helped Holler and Reed with filming. "I think that any
project that goes outside of the normal music experience is a positive one. I
suppose I hope that more people will try to put on bigger, multimedia projects
in the future," said Reed.
"Each episode features the characters and the lives of the people working
on the show. The radio-drama features 12 episodes alternating between radio
and video," said Reed. The first episode will be aired Dec. 7 on CBC Radio 3.
You'll be able to find it via Radio 3 or the project's website mentalbeast.com.
Leading up to the first episode they plan to have a series of interviews with the
characters of Mental Beast and a prologue for the series was scheduled to have
aired already. A new holiday song will be aired at the end of each show.
The Eggnog Experience will have many of the bands involved in the project out
at the Biltmore to perform their holiday songs and originals with proceeds
going to The Greater Vancouver Food Bank on Dec. 18.
Ultimately, this is a chance for a handful of Vancouver's kindred spirits to
come together and share some stories from the heart A refreshing departure.
from the mainstream, it lets you get to know a litde bit more about some great
bands in a magical sandwich of video and radio. And what could bew better
than a collection of yuletide tunes to spread a litde Christmas cheer? Anyways,
in the weeks that lead up to Christmas, why not guide your Internet browser
(or satellite radio) to check out this project and get a taste of some beautiful
musical offerings, not to mention a hilarious mix of sketches.
29 //VENEWS
isha
.w
Discorder was granted a tour of die unfinished new venue, which will contain a basement bathroom ]
room, two lounges and three art galleries in addition to the main door which will have a good-sized si
dance floor and bar. It will have a capacity of 500 and the building's design will allow a multitude of event 1
to happen there, possibly simultaneously.
IWo of the galleries, accessible by elevator or stairs on the second floor, wUl be used solely for exhibil
and will give UBC's Morris and Helen Belkin Art Gallery and North Vancouver's Presentation Bouse Gall
downtown presentation space.
"I know they have trouble getting people out to UBC and North Van," said Vince Aivaro, who owns the si
Aivaro is offering than die space for displays free of charge.
Blanket Gallery will also be selling art from their space on tlie third floor of the building,   .
The current plan is to name the place A&B which pays homage to old A&S Sound store that
die space, but also stands for Art & Booze. Aivaro plans to use die space 10 host big events that wi.
building. He intends (he space to be used by ail types of artists, not just musicians.
'It's going to be like Ethe Vancouver Art Gallery's} Fuse... but every night," he say.
Tlie main floor will have a lounge open during the day also displaying art and functioning ai
a small kitchen. It will be attached ro the main performance room, as will a special VI? totmgi
down on the stage through glass walls.
Though the building will have an industrial aesthetic with cement floors and brick walls, th
glass between many of the rooms al[owingpeoplemvoyeumtK*aUy keep an eye on wharsgomg
- The basement party room will have three large square glass windows In the ceiling looking 13
floor of the main room. You may wantto avoid w^tring a sldrt when hanging out here, unless th*
The basement's ceilings are not the most unusual part of its design, though, as the toom willa
large unisex bathroom lounge, which will have artistically coloured stalls installed is tlie tauk
across from the bar. At this point in time it is hard to pass judgment cm this concept, but it'll b<
see how it turns out.
The plans for A&B have been in (he works for a bug tune. "We boughtRjchard's {four] years i
said Aivaro. "It took us two-and-a-half years to find a location."
Due ta permit and licensing delays from cay hall die building's opening has been delayed a
which point Aivaro plans a soft opening in order to work out the kinks during a number of 0
events in February, followed by a grand opening in early March.
sbruary 9
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'"'■■      11AMT07PM     Hi 32 ILY Fi        /
LILY'S SECRET STORY
INTERVIEW »NO PHOTOS OT ROBERT FOUGERE
DRAWING BY CHRIS DOW
ONCE UPON A TIME, DEEP IN THE FOREST, THERE WAS A SMALL
DEER GIRL NAMED LILY. WHEN SHE WAS A BABY, HER PARENTS
WERE TAKEN FROM HER AND SHE WAS LEFT IN THE FOREST ALL
ALONE. AS TIME PASSED, LILY SREW TO BE CLEVER AND STRONG.
ON WARM SUMMER NIGHTS, SHE WOULD SIT FOR HOURS BY THE
STREAM AND WONDER IF IT WOULD BE FUN TO LIVE IN THE WATER.
LILY HAD MADE A SMALL SHACK FOR HERSELF IN THE WOODS, AND CALLED IT KISSIN'
TELL SHE WAS NO LONGER AFRAID TO BE ALONE. SHE KNEW HER ENEMIES BY SIGHT,
AND BY SMELL, AND SHE KNEW HOW TO ENTER THE NEARBY VILLAGES UNSEEN. THERE
WERE MANY NIGHTS WHERE LILY WOULD SNEAK INTO A VILLAGE TO STEAL BABIES,
CLAIMING THAT THEY STILL SMELLED FRESH, SO SHE HAD BETTER BURY THEM IN THE
FOREST QUICKLY. ALTHOUGH SMALL, LILY HAD LEARNT TO DEFEND HERSELF AGAINST THE
TOWN'S PEOPLE. SHE WAS QUITE DANGEROUS...
(lyricsfrom "Lily's Secret Story")
Lily Fawn is a musician and performer from Victoria, B.C. She plays various
instruments, most notably the singing saw, with various bands including
Hank & Lily, MeatDraw and Deer Legs, and she has recently released a solo
album with Lily's Lullaby Band entitled Brightest Darkest. Lily does not play the
character of Lily Fawn; she is Lily Fawn. The antlers that adorn her head during
live performances sit as naturally as spots on a baby deer's back. Discorder
photographer Robert Fougere interviewed Lily via email as she prepares for a
European tour, kicking off with a io year anniversary party for Hank & Lily's
European record label (www.labelman.be) and a tour of Belgium with Black
Heart Procession.
DISCORDER: Can we tell people your real name?
LILY FAWN: Lily Fawn...
D: Is it normal for female deers to have antlers?
if; Both male and female reindeer [caribou] have
anders. The female retains her anders during the
winter and males do not This gives women a higher
status in the herd during winter so she can beat up
the male if he eats too much of the food. Which is
a good thing 'cause boys always drink all the juke
and eat all the cereal! Lady caribou historically lose
their anders after a special event like childbirth. I
have rejected this sexist stereotype, but still lose my
antlers periodically. It usually happens if I have been
crying. A few days later, my anders fall off. With the
help of yoga, magic and proper diet I think I can
learn to control my rutting. This way I can take my
anders on and off whenever I please.
D: Would you recommend playing your new album
for children? Some of the lyrics are really dark.
LF: Yup—I don't have any children of my own but
I already have some young kiddies and baby fens.
A friend of mine says that her kids roll around on
the floor and listen to my album all the time. "They
love it," she says. I have also played a few of the
songs at a kids' show for the Fringe Festival [in
Montreal] and it went over very well. I guess all the
balloons and the guy in the dancing bear costume
helped a little.
D: How long have you been playing the singing
saw? Would you care to describe your first musical
saw experience?
LF: About seven years ago I was walking through
the woods one day and I swung my saw at a tree. But
instead of cutting the tree it bounced off, making
this amazing, haunting, yet beautiful sound. The
most beautiful sound I've ever heard. I knew right
then and there that I had finally found my voice.
Than I started playing it when I was the drummer in
a band called Blue Pine (now called Frog Eyes).
0; How do you find living on the island influences
your musk?
LF: The locals call it Fantasy Island. Aptiy named,
the island is a place where I feel free to compose
according to my fantasies. Plus, the regular cowboy/
hippy jams are suited to my improvisatory nature.
When I am writing songs at home on Fantasy Island,
I am in another worid. Check out the Hank Pine &
Lily Fawn comic book!
D: Magic and fantasy, and now lullabies and dreams
seem to play a really big role in your work. What
sorts of things do you dream about?
if: Some dreams I just can't tell you about, I can't
tell anyone. But one that I can tell you happened
just last night I dreamt that someone ate my stash
of chocolate bars and Belgian beer. I woke up very
thirsty and a Utde miffed. Maybe I am excited for my
upcoming tour of Europe that starts Nov. 25.
ft Wow that's exciting. Who are you playing with
over there?
33 LILY FAWN //
LF: Hank Pine and I are planning to perform some
new songs, and some songs off our North America
album as a two-piece. This tour is fairly short, but
we hope to make the next one longer. It is so lovely
there. We will be playing in Holland and Belgium,
the land of chocolate and beer. The dates arid venues
are listed on our website main page: www.hank-
andlily.com.
D: So, I've heard Lily Fawn has a thing for babies.
What attracts you to the babies? Who or what are
you saving them from?
LF: The babies? Well, who wouldn't want one? I
mean, they are just so soft and cute and squishy!
Hank Pine says that I shouldn't talk to people about
my baby stealing. In fact, he says that I shouldn't
steal babies anymore, but I know ofa better place
for the babies and they want to come with me, too.
They tell me so, when they are sleeping.
D: Heavy. How did you and Hank meet?
if; We were both running from the same things,
in the same direction, for different reasons. We
were headed to New Orleans, and five years later,
are still trying to get there. Musically, I love playing
with Hank Pine. I am so lucky we found each other
when we did.
D: Why does Hank choose to keep his identity secret?
LF: Hank is a renegade assassin, on the run from
the Avatars of the Second Sun cult, as well at the
cops. Not only that, butany guy who carries his dead
girlfriend around in a garbage bag probably has
some other good reasons for keeping his identity
under wraps.
D: Are there any special bucks that like to hang
around your forest cabin, Kissin' Tell?
LF: No bucks, but I have my eye on a weasel.
D: "Pigeon is a Dirty Bird" is such a great title for
a beautiful song. What inspired it?
LF: Pigeons, like many other birds, fall in love and
mate for life. In this case, we can't help these birds.
Love is dirty, murderous and forever. That song was
written by Dave Wenger of Daddy's Hands.
D: Do you have a special connection with animals?
LF: Yes. Benjamin Bunny is the only one I can really talk to. I feel like he is the only one who really
understands me. However, just yesterday, I caught
Mr. Raccoon stealing cookies from my secret cookie
hiding spot even though he knew that those were
for the tea party.
D: Does your drummer, Benjamin Bunny, play with
some other bands?
IF; Yes! Benjamin Bunny gets around. He is so good
at thumping on those drums. He is also playing in
Frog Eyes and Chet. What a busy bunny.
D: The piano track on "Animals Grow Horns" is
amazing, who laid that down?
LF: Yes she is amazing—glad you asked. That is
Susan Farmer tinkling those ivories.
D: Do you have any other projects on the go? How
are the musical saw workshops going?
If; The workshops are going great, however, finding
serious students is harder than I thought it would be.
I am surprised that not everyone is as charmed by
the singing saw as I am. I guess it might be another
thing to add to a list of oddities under the heading
"Lily Fawn." Plus, on occasion, I do a Siamese twin
act with my friend Fibula (acoustic sea shanties
about going to Hell and wishing wells, etc.). While
attached at the hip, we are called Deer Legs. It is
rare to catch a performance, but if you do get the
chance I hope you wouldn't miss it.
D: Where can people buy your new album?
LF: Oh, thanks for asking. You can buy my albums
from CD Baby or on my website—
www.lilyfawnmusic.com.
D: Thanks a lot Lily! Have fun in Europe!
DEEP IN THE WOODS I 3LUL7 A HOUSE AND NO ME KNEW THE WAY. i CMPi WD THE
FLOOR WITH MOSS SO I COULD SIT FOR HOURS AND PLM Yf THE HOWLING OF MY SAW WILL
TS I THE STORY BEST7 AS IT SINGS TO WE BABIES SO THEY CAN REST/FEEL THE NIGH!
SINKING IN, CURL UPINBEDMS THE SAW SINGS /SLEEP MY (llUf UNFS, DON'T BREATHE
TOD DEEP/FOR I WILL SHOW YOU ALL THE HORRORS THAT COME FROM SLEEP
34 OCfMSfR
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CONNECT. CRERTE. COLLUBORRTE.
sss***
$A _"*_ days of interactive arts,
il"-cutting-edge music,
and popular culture from
February 4 to 21,2010.
MikeRelm.      ..
Hard
Rubber-
Drum and Light
Festival
V..-.  -kkk-
Kid Koala
with
Lederhosen Lucii
New forms Festival Presents:
The Golden Filter,
Junior Boys (Dj Set),
Humans and more..,
Modern Deep
Left puartet,
Jedi Electro, Mike
Shannon and more.,,
Jamming the Networks:
Cross-Country Performance
live with Montreal
Bell Orchestre
Presents:
Sound and Screen
with Brasstronaut
2562,
0eaffiaa4med
egjiiii
Chromeo
with n. ■ECTIVE/FAKE SHARK-REAL
ZOMBIE! /THE GOOD NEWS/
JUNIOR MAJOR
QUADRUPLE DARE
(StyMeasd)
Four local bands have embraced the
Vancouver indie scene by taking part
in a four-tiered collaborative experiment, and released it on warm, fuzzy
vinyl. Playing covers of each other's
songs, Fake Shark-Real Zombie'!, Adjective, Junior Major and the Good
News have re-invented the idea of the
mixtape and have transformed it into
a family-like affair. It's part thrash,
part garage and oh so very indie, with
a touch of shared affection mingled
with jealously—a bit Uke watching
sibling rivalry being played out.
Adjective is a post-punk trio fueled by alcohol and insomnia. Female
guitarist and singer Luna Tic has a
distinctive Karen O quality about her
that adds the right amount of female
ferocity to the collection, and coupled
with Ryan Riot's booming voice, it's
downright magical. Junior Major is a
litde softer, but not by much. Fronted
by Suzy Sabla, their epic, distortion-
heavy tunes sound like a better, more
anthematic version of Autolux. Their
song "Drunk Lip" gets covered by
Fake Shark, adding a grungy flavour
to the mix.
The Good News is a promising
indie pop group that sounds a bit like
the Decemberists in their heyday. The
song "Backstage Underage" sounds
like the soundtrack to early love—
awakening and inspiring at the same
time with the strong suggestion of
soon-to-be heartache.
Overall, Quadruple Dare is a force
to be reckoned with: an army of fearless indie musicians enjoyed best in
the flesh.
—Mine'Salkin
BLOCKHEAD
THE MUSIC SCENE
(Ninja Tune)
Blockhead scours the bargf^^^is of
Brooklyn's record stoj^p^ obscure
^•tiasufes, hauling them homa to his
turntables and sampler ta eraft his
jari^TJsilFe, he sifts through the music
hidden in the grooves and extracts
the phrases that speak to him—a
drum break here, some of that blues
guitar, maybe a bit of harpsichord
or flute arpeggio, breathy jazz vocal
verse and sitar.
If it fits the framework in his head,
it goes into the sonic stew, to be arranged and manipulated into these
otherworldly juxtapositions that follow an invisible logic.
In the past, Blockhead has worked
with Aesop Rock, whose crazed,
hyperactive flow demands relative
restraint of any backing beat. More
recently, Blockhead has focused on
building himself up as a solo artist.
His production is complete and would
stand alone without the need for an
MC. He stretches himself, and one
is reminded simultaneously ofa jigsaw puzzle—where a predetermined
picture is composed of many pieces—
and a collage, wherein a new picture
arises from the careful placement of
fragments of others.
And what pictures. For a self-
professed non-songwriter, Blockhead produces some great songs; one
standout track is "Four Walls." Its vibe
is intense and yet relaxed. Processed
vocals float atop a steady, bumping
6/8 beat, slowly swelling cello and
one-note xylophone. It all builds to
a climax of shredding blues guitar
blended with R&B vocals.
As a whole, The Music Scene is an
ear-pleasing blend of every land of
music you've ever heard (or, as likely,
not heard), with organic tone, colourful sound and compelling rhythm.
You'd never know it, but you mill like
hearing echoing, gently-plucked koto
with a hip-hop beat and bowed sitar,
not to mention strings and big bass.
—Doug Mackenzie
COLLAPSING OPPOSITES
IN TIME
(Self-Released)
eOTa^in%Op^posites is a Vancouver
original with an unforgettable band
name, and an even more unforgettable sound.
This local indie pop-rock group
started as a one-man band, but over
the years it has rotated through nearly
a dozen members, slowly becoming
something of an artist's collective.
Their newest record In Time has
a funky, nostalgic flashback feel, all
the while remaining current, fresh
and playful. The album artwork, also
a Collapsing Opposites original, is
a creative 2-D collage depicting life
in an artistic community. While they
may craft their art according to simple
aesthetics, their music is refreshingly
unpretentious and reminiscent of
childhood.
One standout tune is "Diamond
Mind," the record's opening track,
which promises quirky surprises to
follow. Overall, the album is fun and
certainly catchy. After listening to it a few
times, their unique pop sound and intelligent lyrics will stick in your brain.
—Claire Dickson
D.OA
KINGS OF PUNK, HOCKEY AND BEER
(Sudden Death)
Joey ^Shithead" Keithley just might be
the hardest working man in punkrock.
For 30 years he has tfralmly fronted
the legendary Vancouver punk group
D.O.A., pumping out brain-splitting
albums and delivering unstoppable.
Uve shows. A tribute to Canada's three
most beloved pastimes, Kin^s of Punk,
Hockey and Beer marks the 24th album
from the hardcore originators. It's a
compilation of 13 punk rock tracks
spanning their long and memorable
history. The song credits in the liner
notes are made to read Uke hockey commentary, as you scroll through
the band's ever changing roster, with
Shithead always present.
Kinas tracks weave through the
history of the Vancouver street punk
scene with anthems like "Donny-
brook," "Beer Liberation Army" and
hardcore classics like "DeadmenTell
No Tales." There are a few previously
unreleased goodies here too, including an appropriate cover of Stompin'
Tom Connor's "The Hockey Song"
and a rewrite of professional wrestling
legend "Classy" Freddie Blassie's
"Pencil Neck Geek." Finally, the album rounds off with another D.O.A.
classic, their 1987 cover of BTO's
"Taking Care of Business."
In the end, this compilation (along
with D.O.A's feats on stage and on
the ice as the D.O.A. Murder Squad)
proves the thesis contained in the tide,
and it does it well. In the end, the album is essentially a well-packaged
mix tape, saving you the work from
making a punk party tape yourself.
—MarkPaulHus
THE HYPNOPHONICS
THE UST BAND ON EARTH
(Stomp)
Paper 3-D glasses bespectacled and
genre-bending band the Hypno-
phonics debutfull-Iength, The Last
Band On Earth, offers some high intensity cuts. With irreverent musicality
and caustic vocals, it grabs hold of the
listener, shakes them up and doesn't
Jet go until the end. The staple distorted guitars layered with the straight
forward rock drums and upright bass
give ample opportunity for head nodding and banging.
With a song inspired by the 1950s
CIA mind control experiments and
chemical interrogation research ("MK-
Ultra"), the intended evoked emotions
come through loud and clear: chaotic,
confused and wholly mind-smashing.
The lyrics tell the story ofa fortunate
research participant who, thanks to
some surreptitious governmental
chemical ingestion, transcends the
CIA's spooky motives. Feel free to sing
along with the three-letter acronym
chorus ("CIA, LSD, CIA, LSD")
The track "Tea Time" barely allows
time to catch your breath, especially
if chanting the chorus with the punk-
hooligan backup choir. Surf-guitar
interludes delightfully.
Twelve tracks deep, The Last Band
on Earth is well done, and retains a
lot of the energy from their pumped
up shows, managing to maintain the
appropriately rough-edged exteriority.
The Hypnophonics have been rocking eastern Canada and the U.S. since
their Uve show debut in 2007, and
finally made it out west this faU. They
already passed through Vancouver on
their current cross-country tour, but
fans of conspiracy-ridden, raw, neo-
rockabilly can check out their website
and MySpace for more distorted conspiratorial goodness.
—Adam Mannegren
KINGS OF CONVENIENfci
DECLARATION OF DEPENDENCE
.i0^works)
D^c'iuidisers of Ambien [ed. Insomnia
medication.] could go out of business if
artists like Kings of Convenience were
further popularized. But really, fans
couldn't hope for more from the long
awaited third album by the Norwegian
folk duo. With just two guitars and
two comely voices, Erlend Oye and
Eirik Glambek guide their listeners
through an acoustic soundscape. Declaration of Dependence is devoid of any
percussion and would be weU suited
between Belle & Sebastien's The Boy
urith the Arab Strap and Bon Iver's For
Emma, Forever Ago.
The album opens up with a single
classical guitar melody and two kind
voices that will make you stop what
you're doing and remind you of your
favourite lover. Pretty like an autumn
leaf, this song is made of nothing
more than finger picking and gende
lyrics of escape. Unfortunately, this
alluring and peaceful track is stomped
on by the next, which is much more
upbeat in a place where upbeat just
doesn't belong. Lyrics like "Hey Baby
/ Mrs. Cold / Acting so tough / Didn't
know you had it in you to be hurt at
all" are not soothing, but rather distracting alongside the poppy finger
plucking jazzy beats that you get
tired of well before the three-minute
song expires. If you don't turn off the
tape, you'll be greeted by "My Ship
Isn'tPretty," the sad sixth song that's
remarkably hard to turn your attention away from. It's slow, melodic,
deserted and hungry. The song, featuring the perfect harmony between
0ye and Glambek's Voices, leaves you
feeling heart-wrenched and empty, yet
not unhappy to be so.
Just as it started, and just as
throughout, the album ends on a
delicate note with "Scars on Land."
How much can two people reaUy do
with two guitars and folk fingers?
The album isn't dynamic enough to
leave you wanting more, but there's
enough content to hold the attention
of anyone looking to feed their heartbreak—enough to keep you content
while drinking wine and bantering
with an old friend.
—Sarah Charrouf
POINTED STICKS
THREE LEFTS WMKE A RIGHT
(Northern Electric)
Betterlatethan never. After 29 long
y^&i^sfaice the release of the classic
Perjetf: Ybuth; Vancouver pop-punk
pioneers Pointed Sticks have finally
released a second full length album.
Three Lefts Make A Right is a collection of
brand new tones written and recorded
by the band, dating from their very
successful reunion in 2006. Released
in early November on Northern Electric Records, the album doesn't have
a rusty feel as you'd expect. Rather
than trying to relive the glory of their
youth, the album sounds as vibrant
and energetic as anything they released in their heyday. It showcases
the same bratty, melodic pop-rock
that had them riding on the top of
the Vancouver punk tsunami of the
late '70s and early '80s—the same
sound that scored them a record deal
with legendary EngUsh punk label,
Stiff Records (original home of the
Dammed and Elvis Costello), before
the label went beUy up. Three Lefts
is a Uving document of what could
have been, despite their massive hiatus, but these guys haven't missed a
beat. Aside from disappearing into
some sort of Love & Rockets trance
on "Leave Me Alone," they cling to
their classic sound formula. Full of
fun, lovesick boppers, rockers and
baUads, the tunes are aU deUvered
in unmistakable, lovable punk style.
The album is sure to satisfy fans that
have been patiendy waiting aU these
years, and could possibly charm a new
generation of punk devotees.
—Mark PaulHus
SOLARISTS
COAST SPIRIT
(Darting Records}
Coast Spirit, tjbe latest release feom
Vancouver band Solarists, is ap&y
tmlcheven arusmore energetic moments, the band's sophomore album
has a sedative effect, uniquely suited
to the torpor of the band's native city
in winter. The project of Cameron
McClelland, former member of
Vancouver shoegaze outfit Hinterland, Solarists forgo the usual lush,
sparkling sound for a more subdued
breed of pop. Gende, restrained guitar riffs throw a glamour over the
landscape of the album, lending it a
muted surreality. McCleUan himself
constandy sounds as if he's just been
dosed with 200 mg of codeine, inspiring an almost fetal sense of calm that
calls to mind Hayden or the Magnetic
Fields at their most gende.
At its best, this atmosphere is
soothing and muscular for all of its
sparsity. At its worst, it slows the pace
of the album to a grinding halt, inspiring lethargy rather than reflection.
At these points, the songs creak and
groan along, and the lyrics, which
should be soaring, sink into obscurity.
StiU, it's worth being patient for
the moments when the band manages
to throw off this inertia. On standout
track "New Sound for a New Town,"
pulsing guitar and drums propel
McClelland forward as he drones,
"There's no need to feel the fire, because the buildings will alter but not
you and me." There are enough of
jhese cathartic moments to give hope
that Solarists will wake up and start
feeling the fire on their next album.
—Miranda Martini
0% ^sy mtm
MlE
2012 COMMERCIAL DRIVE
WW.B0HERATTLE.COM
ff0HERATTLEMUSlC@H0TMAIL.COM
WWW.MYSPACE.COM/BONERATTLEMUSIC
STATE RADIO
LET IT 60
No qnetan accuse Boston Massachu-
mt^hm0dStmtsmfMighzy
after Ustening to their third album
titiea^'tet It Go. The band cdntihues
its caUs to action by pricking the
ears of the listener with its proactive,
politically-conscious music. Indeed,
State Radio operates on the agenda
of making this planet healthier, more
aware and well-fed through world-
wise lyricism coupled with their tireless efforts in social action. Combining public service within their touring
schedules, whether it be working soup
kitchens during their off time or riding bikes to their gigs in the name of
environmental sustainability, State
Radio walk what they talk. The music
they play has the keen ability to shake
you tip and falls somewhere between
fuzzy rock and reggae/ska, whether it«
be in dance beats or in crashing waves
of social change that will make you
think, and get you moving. Some
personal favorites are the reggae-
infused tune "Calling All Crows," a
simple call out to the people to take
initiative action whUe "Doctor Ron
the Actor" and "Knights of Bostonia"
are super energized and anthemic as
ever. State Radio is a band that is as
dynamic as it is diverse and no doubt
have a live show worth its weight in
gold. Keep your eyes peeled for this
musical revolution.
—Nathaniel Bryce
SUFJAN STEVENS *0SS0
RUN RABBIT RUN "
(Asthmatic KfttuJ
This is hot really a Sufjan Stevens album. And it's not really new„ either.
Bun Rabbit Run is a sometimes-epic
classical reworking of Stevens? aoot
release Year of the Rabbit, composed
and performed by Osso: a New York-
based string quartet. Like the original,
Osso's interpretation offers an entirely instrumental take on each year
of the Chinese zodiac calendar.
It's not the atmospheric indie rock
fans might expect, but all the nuanced
characteristics ofa Sufjan record remain present. Cinematic swells are
punctuated by arty irreverent hooks,
and followed up by long bouts of rotund chaos. Instead of ethereal digital
sounds, ears are met with sweeping
chromatic scales and other flares
of virtuosity. Soaring violin squeals
replace shrUl electro-glitches, and
ceUo-taps stand in for sequenced
back-beats.
One might recognize Osso's modernist symphonic tendencies from
Stevens' critically acclaimed 2006 album Illinois. The foursome have also
collaborated and performed with the
likes of Antony & the Johnsons, the
New Pornographers and the National. While both interesting and skillful, Run Rabbit Run feels more like a
translation of an old text, rather than a
fresh work of staggering genius.
—Sarah Berman
TV HEART ATTACK
LOST IN THE SWAT
(Thorny Bleeder)
The press release that comes with
TV Heart Attack's new EP Lost in the
Sumy reads:
"Part ballad, part bitch-slap,
TVHA's new single is an explosive,
danceable temper-tantrum draped
in a toga of epiphany. An anthem for
recovering masochists."
If that sounds intriguing and appealing to you, then you may very well
be the intended target market for this
band. Heaven knows, there is certainly a market out there for this kind of
music; this is the kind of CanCon that
one might find on modern rock radio
and MuchMusic.
But unfortunately, my impressions
upon reading the press release were
very similar to my impressions upon
listening to the music: overwrought,
needlessly dramatic, kind of dumb.
So you can't blame TV Heart Attack for misrepresenting themselves.
But if your reactions to reading the
above press clipping are similar to
mine, then you may want to avoid
this disc.
Of course, it wouldn't be fair to
write off a band because of their media
material (which in TVHA's case outlines their 12-point "Sales/Marketing
Highlights") but, while Lost in the Sumy
isn't abjectly terrible, there isn't really
any reason to recommend it either. Its
six songs are slickly produced, but
pretty much forgettable. The music
itself is synth-tinged, goth-lite rock,
like a poor man's Killers (who TVHA
have actually shared the stage with).
StiU, if the Vancouver quintet's
songs, do end up finding a home on
the radio and TV, I wouldn't begrudge
the local boys their success. At least
they're markedly better than Nick-
leback.
—Dan Fumano
VARIOUS ARTISTS
COOL SOUND DEATH
{Vtdktd}
Cool Soiina* Death stands out as a compelling argument for getting to know
Vancouver's bizarro digi-noise scene.
With healthy doses of'80s nostalgia
and kindergarten humour, the mix-
tape is best listened to in over sized
headphones, or perhaps out of a
Fisher Price cassette player.
You could probably listen to these
songs while watching muted YouTube
videos of Sesame Street and still feel
like you've walked into a slighdy-
awkward dance party in space. Released by Vidkid on analog tape only,
the compilation features a number
of clever ways to recycle synthesizer
demo beats.
That's not to say this album is juvenile. It would be presumptuous to
assume the "Nutmeg Pancake Pea-
pod" remix of Treasure Mammal's
"Unicorn" is just a bunch of random
samples and inside jokes. There's
actually some dramatic bits of precision piano hooks, punctuated with
bitter swells of complex dissonance.
Deep, right?
Bands like MT-40, DJ Gin 'n'
Braggs and Haunted Beard offer a
mash of spooky sounds, evoking images of computers beeping in caves or
science experiments recorded under
water and played in reverse. In ten
short minutes, Stamina Mantis reig-
nites a heated argument from everybody's childhood: namely "Gremlins 2
vs. Home Alone 2."
—Sarah Berman
38 amseventsubc.com
Stuff White People Like
JAN. 25™, NORM THEATRE
Christian
Lander 1
sK
CHAD VANGAALEN / CASTLE MUSIC
October 15 / Rio Theatre
It was clear from the moment I walked down the aisle of the Rio Theatre in
search ofa seat that this night would hold some magic. Toronto's Jennifer
Castle (Casde Music) was onstage, just her and a ukulele, playing hushed
p:M|g!? songs about wayfaring lovers, knowing each cloud by its first name and
bottled ships lost at sea. Her songs brought imaginings of standing on deck
of^nall boat with the cool breeze of her voice gendy caressing the skin and
hair as an old wise ocean nymph cradles you and tells of her storied travels
through life. It was all so romantically contemplative, it made me want to share
every moment with the people I love.
After a short break between se% Chad VanGaalen and his band made their
way to stage, VanGaalen in a long black wig and his drummer in a sdver party
hat. The band, clearly comfortable with each other and the music they play,
gave a performance that felt less like a popular band holding court and more
like four really talented people you know who decided to flay a show in some
movie theatre. VanGaalen played a captH^gig set, consisting mostly of new
material and the odd older favourite, the gems being a goofy cover of Techno-
tronic's "Pump Up The Jam" as a birthday request song, and the^prgeously
sad "Willow Tree," played during the encore. The oe_i&^U^Mi^0t.t all the
difference, too. Not having to vie for a position just to see the band was really nice—it felt like we were all equally sharing this beautiful performance.:
It was comfortable, unpretentious and definitely one of the best shows I've
been to in a while.
—Nathaniel Bruce
SHfNOIG #6
WEATHERED PINES
MANTA RAY-GUN
WITCH WATER
October 20 / Railway Club
Night six of That Annual Local Music Competition from (^_WtTT^u[3$^
saw Weathered Pines, Manta Ray-Gun and Witch Water face off in an epic
showdown to end all showdowns! Well, not really, but it was a fair fight with
•jlUprising—but not undeserved—result. The room wasn't packed. But for a,
rainy Tuesday in mid-October, it was respectable, peaking during the second
set at a comfortable level of standing room only. I never sensed that special
spark that makes a memorable show but; unlike night five, I left the Railway
sans beer on my shirt.
Weathered Pines started off the night, playing their modern version of
early Cash and Cline country: plaintive, but with a strong heart and a sense
of humour. They were the tightest act musically but, as this short paragraph
shows, I was left unenthused.    /
Next up was Manta Ray-Gun, who share my love for oddly placed hyphens
and feisty female lead singers. Looking like they'd need a fake ID to sec other
Shindig shows, the duo and their drum track had post-punk ambitions that
fell short, but not for lack of trying or talent. Axing the She Wants Revenge
backup vocals—and a little growing up—will see these guys through. It saw
them through to winning the night, and that's a pretty good start
FinaUy, Witch Water—my failed prediction for winner—were a more
sophisticated pair, with a drummer that drove the duo and a piano running
the bass line. The pianist's vocals were haunting and the drummer was totally
ruthless, if imperfect. Style-wise, they were the most intriguing by far, but song
to song, they need to mix it up.
Having experienced the radical differences of night five, I was a litde disappointed with night six. Each band was good, but not inspiring. I like a blaze
of glory—going up or down—but this night just simmered.
-—Jfiaqpin Thomas
ISLANDS / PLUS PERFECT
October 20 j Kickshaw Theatre
The crowd arrived early iMfce Rickshaw Theatre, and the anticipation was
tangible by the time openers Plus Perfect took the stage. Filling in after a last
minu te cancellation by Be Your Own Pet's Jemina Pearl, the Vancouver four-piece
had big shoes to fill, but they powered through their set with crowd-pleasing
indie rock. Vocal harmonies by guitarist Andrew Candela and bassist Jesse
Gander made each chorus stand out, and they were backed up by an energetic
performance by U^if SmaU on drums. Mike Gittens played along on keyboard,
adding another layer of depth to their sound.
?^RKt up were Islands, one of fllHKggest acts to emerge from the Montreal
mdie music scene. Frontman Nick "Diamonds" Thorburn stole the show as soon
40 as he walked onstage wearing a rhinestone-studded cape with "DIAMONDS"
written across the back. He lost the cape a few songs later, but never lost the
crowd's attention, $?faorburn was joined onstage by Jamie Thompson as well
- as newest members, Evan and Geord ie Gordon. Thompson, a collaborator of
Thorburn's since the Unicorns, rccendy returned to play with Islands after a
three-year hiatus.
Islands opened their s#f$£h "Switched On," the first track from their September release Vapours. They showcased their new electronic-inspired sound by
playing most of their latest album* with Thorburn reaching out to touch hands
with fans during the title track. The energy in the room rose substantially for
.oidet fan favourites such as "Where There's a WiU, There's a Whalebone,"
'■*Doo*t Call Me, Whitney, Bobby** and "Creeper.ijpands took a short break
after their set before returning to the stage to play "Rough Gem0 and the nine-
minute epic "Swans." They may have changed their lineup and style, but on
- this night they showed why their motto is "Islands are forever." .
;^^^tBartlett '
COPYRISHT/COPYLEFT FESTIVAL NIGHT 3
DAVID SHEA
SCANNER
HOLZKOPF
SONARCHY
October 23./ Scotiabank Dance Theater
Minus a lacklustre set by local trio S onarchy, this third evening of performances
from Vancouver New Music's Copyright/Copyleft Festival was a remarkable
gallery demonstrating the deconstruction and reconstruction of contemporary
' music.
Vancouver's Holzkopf (a.k.a. Jake Hardy) lit things up with a majestic set
of sample-twisting beat alchemy. Hardy hovered over his arsenal of broken
tape players, mixers and microphones with an air of divine madness, pullfjag
out blended shards of sudden noise, obliterated vocals and found loops to
thrill the austere crowd.
With the momentum set in place, famed UK electronics experimentalist
Robin Rimbaud (a.k.a. Scanner) took the stage for a sprawling set. Layering
his beats with sheets of pulsating static, Rimbaud invited radio transmissions -
from the past, discarded cell phone messages and morbid, droning synths in,
amassing a boundless cloud of sound. Framed by candy-stripe mutational* n
the screen above the stage, his music had an ethereal, meditative qualit^Hat
left the audience rapt.
American/Australian composer David Shea closed the evening wit&wo
stunning audio-visual compositions. An "all out mixathon," according,to -
Shea, the first was an electronic revival of early 20th century consciousness.
Images of western industrial adolescence cycled through in film above, fc|f|e
Shea brought the past to life with a ghostly assemblage of forgotten filnl lid
television soundtracks. H^second piece, an enchanting remixed Javanese
version of the Hindu tale Ramaya^ nearly lulled the audience into a tranee.
These were visionary multi-media works, but the most interesting portiosjof
Shea's performance, and perhaps the evening, came in the form of his tribute
to forgotten Canadian experimental film director Arthur Lipsett.
A filmmaker in the employ of the National Film Board in the 1960s, Lipsett
was responsible for developing seminal sound and film collages that i§|§*e
influential to avant-garde and remix culture all over the world. Shea trumpeted
Lipsett's great legacy to experimental film and music, lamenting die fact that
Lipsett is often left unrecognized for his achievements in the history of su$ppr-
sive art. And with that, Shea departed the stage, leaving the crowd to   ' ,■ the blaring juxtapositional truths of Lipsett's landmark 1961 short film Very
Nice, Very Nice, without which the innovations of the evening may not have been
possible in the first place, [ed. You can check out Very Nice, Very Nice and other Arthur
Lipsettjilms on the NFB website. http://u*u*u*.nfb.ca/film/Very_Nice_VeryJNice/]
—-Justin Langille
SHONEN KNIFE / STRANGE MAGIC / APOLLO GHOSTS
October 25 / Biltmore Cabaret
What an amazing show. Vancouver's finest opened for Japan's finest as our own
Apollo Ghosts started the show off. Fresh from the release of their Forgotten
Triangle EP on vinyl (only 25 copies!), the band played a vibrant set to a crowd
that was not quite ready to move their bodies. Though the Ghosts' rock-solid
songs and singer Adrian Teacher's charisma definitely won applause, though.
Teacher apdy dedicated audience favourite "Little Yokohama" to Shonen
Knife, and also introduced some new material. As usual, call-and-response
choruses were in effect with the Ghosts, guaranteeing that a good time was
had by early arrivals.
Next were the good-feeling rhythms of the Strange Magic, with a sound
that was quintessentially Vancouver. The band's Mint Records-ready rock was
joyfully playful, especially on the raucous "May You Live in Interesting Times."
The sextet would be well advised to place Kayoko Takahashi's vocals at the
. forefront, as this is where the band truly shines. The Strange Magic seem to
have a knack for opening for legendary bands (Os Mutantes already and the
Pointed Sticks in December), and this night was no exception.
Finally came everyone's favourite "Super-Cult Punk-Pop Band," Shonen
Knife. Knife collectors young and old erupted when the curtains were drawn,
and they were treated to a stunningly energetic set spanning an hour. The
band's current line up (original guitarist Naoko Yamano, drummer Etsuko
Nakanishi and new bassist Ritsuko Taneda) proved more than capable of
Islands / photo by Michelle Mayne
handling material from the group's near 30 year history. Newer songs like
"Super Group" (off of the new album of the same name) and "Giant Kitty"
felt right in place alongside classics like "Banana Chips" and "Twist Barbie."
Shonen Knife brought a powerful rock sensibility to such impossibly cute and
fun songs, ensuring every single body in the buUding was moving. Kurt Cobain
once said that seeing Shonen Knife live transformed him into a hysterical
nine-year old girl at a Beades concert, and that's exacdy what happened to
the crowd this night. After the show, the band signed autographs at the merch
stand, including a copy of their new CD for this writer; he was most definitely
grateful for the experience.
—Sean Nelson
PROPAGANDHI
October 27 / Rickshaw Theatre
Vancouver is enveloped in multiple shit-storms of moderate social unrest right
now with Olympic controversies, vicious H1N1 hysteria and general economic
disarray surrounding us. What better time for Winnipeg's favourite radical sons
to swoop in, sell out the Rickshaw and fan the flames a little? Even with a legion
of anxious/drunk/ravenous punks hovering at the edge of the stage, hungry for
Propagandhi's trademark anti-authoritarian anthems, the Prairie punk legends
insisted on a quick tutorial on the terrors of the forest industry before playing,
courtesy ofa mouthy hippie named Josh from the Rain Forest Action Network.
He quickly lectured the crowd on the rape and pillage of Canada's old growth
forests, persuaded everyone in attendance to record a unison "fuck no" message to premier Gordon Campbell, and then, finally, it was on.
Under a massive banner displaying the cover art for their new album
Supporting Caste, the band gave the raucous Tuesday night crowd every penny
of their money's worth. Playing songs from the majority of their albums, but
drawing heavily on the new album and the classic Less Talk, More Rock, Propagandhi performed with the total political devotion, boundless energy and
humour that they're known for the world over. The Beave (bearded guitarist
Dave GuilliOs), vocalist/guitarist Chris Hannah, bassist Todd Kowalski and
drummer Jordan Samoleski issued attack after attack of heavily distorted
melodies, propelling the crowd into a seething mess of well executed stage
diving and shouting along.
Between songs, members of the band took the opportunity to riff on current affairs and encourage participation in local politics. Particularly poignant
was Samoleski's overt praise of local civU rights advocates like the Pivot Legal
Society. Belligerent howls of "who cares" sometimes ensued from these bits
of moral oratory, but for the most part, they got cheers of unhinged approval
from the centre of the mosh pit to the back of the balcony. "I like your spirit,"
said a sweat-drenched Hannah midway through the set. "You're way better
than Regina." [ed. For more on Propaghandi check out the interuieu* Jordan Samoleski
did with us at discorder. caj
—Justin Langille
BROADCAST/ATLAS SOUND
October 3 0 / Biltmore Cabaret
This was one of those shows where you know it will be good, but you're not
sure what to expect. Apparendy, Broadcast often plays Vancouver around
this time of year, and attending their shows has become a tradition for their
Vancouver fans.
Atlas Sound is Bradford Cox. And he's usuaUy accompanied by a touring
band. Butwhen the lights dimmed, sharing the stage with Coxwas Broadcast's
James CargUl where his band should have been. "This is a litde awkward since
the band didn't show up," the sound guy told me. Turns out the band's van
broke down 50 miles outside of Seattle, en route to Vancouver. Luckily, Cox
1 decided to make the trip himself.
Maybe he was grumpy that he had to go it alone, or perhaps Cox is, well, a
cock. Either way, he became increasingly upset as his set progressed. Despite his
tantrums about people talking, the small "g" musical genius that he is, managed
to mix feedback with pop as effortlessly as he came up with complaints to rail
at the audience with. He was infectious and ridiculous at the same time.
Coming off the well-received Logos album, Atlas Sound was actually the
bigger draw here. Regardless, Broadcast, who are now a two-piece, were a
great example ofa group wanting to progress and not coast on their past
achievements. James Cargill set the tone with loops of sound and belches
from his Korg whUe Trish Keenan accompanied with her numerous electronic devices and '6os-inspired vocals. Like their recent releases, this was
the collage-of-sound Broadcast rather than the studied-pop-songs version of
the group that gained them notoriety. Broadcast were a lot noisier and more
musically challenging than expected, whUe Adas Sound wasn't as sonically
noisy as his demeanour was.
—Robert Robot   "'
SHINDIG #9
BLANK CINEMA
HIDDEN TOWER
MACHU PICCHU
November 10 / Railway Club
Hecklers, jokes for beer, a batde of the bands: yep, it's Shindig. The night started
off strong with the finely-honed indie rock of Blank Cinema. The band played
to a packed house ready to party on the holiday and didn't disappoint. With a
set of songs so polished you could see (and hear) their sheen, Blank Cinema's
music was undeniably fun, feel-good, accessible and audience-pleasing. This
is one Radio 3 recognized band to watch out for.
Next came the metal stylings of Hidden Tower. The group played some
epically lengthy instrumental tracks that displayed their technical prowess. It
was this prowess that won over the night's judges, but it didn't quite win over
a thinning audience, who, on a Tuesday night before a hoUday, were more
ready to party to straightforward pop. StiU, the band managed to gain some
audience applause when they announced that their track "Great Conjunction"
was inspired by the Jim Henson favourite The Dark Crystal. A sign of success for
the set was spotted as devil horns confidently adorned the air.
After an interminable sound check, Machu Picchu finally took to the stage
with one very impressive set The band delivered a noisy slab of rock punctuated by solid melodies and a perfectly pop core. With a hefty dose of reverb
and poignant use of buzzsaw guitars, the group played to everything that's
right in independent pop music today. Though not the winners of this night's
competition, Machu Picchu'undeniably won over members of the audience.
After their set, a member of the band asked, "Ain't it nice to be wasted on a
Tuesday night?" With the talent seen this Tuesday, the answer was assuredly
yes. [ed. Machu Picchu twill be playing at Discorder's night at the Astoria on Dec. 2
opening jbr Makeout Videotape.]
—Sean Nelson
DINOSAUR JR. / PINK MOUNTAINTOPS / LOU BARLOW
November 10 / Commodore Ballroom
Currendy, ifs easier than ever to dust off an old act with somenew, half-inspired
material and mUk the old nostalgia for some ticket sales. On their latest tour
stop in Vancouver, former underground legends Dinosaur Jr. managed to do
just that. The tired prestige of the Commodore's high ceilings and an impressive weekday crowd turnout couldn't dress up the fact that Dino is only a faint
ghost of their former rock glory.
Disheveled and playing like he was doing some deskwork, Dino bassist and
all around indie rock god Lou Barlow opened the evening with a cursory set of
old standards and a few new tunes. It was impressive to be in the presence ofa
voice that has spawned the style ofa whole generation of d.i.y. rock, but the set
was mosdy forgettable, save for his rendition of "SpoUed," an undenippreciated
. jgem from the soundtrack to Larry Clark's 1995 film Kids.
Black Mountain front man/Vancouver rock mainstay Stephen McBean
and his cleverly tided Pink Mountaintops took the stage next and proceeded
to stultify the crowd with their tight yet painfully blase' jangle-pop songs. It
might have seemed like a good idea at the time, but there is a multitude of
Vancouver bands that would have fit this biU better... like Dino's label mates
Ladyhawk, for instance.
When Dino lead guitarist J. Mascis and his mass of long white hair finally
took the stage with Barlow and drummer Murph in tow, they did little to save
the evening from the sedate atmosphere that had been established. There
were a few raucous shouts of approval and everyone seemed to get a kick out
of classics like "Feel the Pain," "Freakscene" and "Little Fury Things," but it
wasn't enough to rekindle even a bit of the flame. Mascis worked the whammy
bar with litde enthusiasm and the crowd returned the favour, showing their
devotion with mild applause.
I'm not naive enough to think that a band Uke Dinosaur Jr. is going to sound
as good as they did on record 20 years ago. However, I did see them on their
initial reunion tour in 2006 at the Phoenix Theater in Toronto and was privy to
a show of virtuosity that made this outing seem like a rehearsal night instead
of the real deal. Unfortunately, it seems that growing up and watching your
favourite bands ape the spectacle for a pay cheque might be exacdy what the
Eagles and your parents made it out to be.
—Justin Langille
BUILT TO SPILL / DISCO DOOM / FINN RIGGINS
November 18 / Commodore Ballroom
Seventeen years and seven studio albums into their career, Built To Spill have
become Uke good old buddies you used to kick it with back in the day, just hanging out, smoking weed, playing video games and listening to tunes. Nothing
ever too wild or memorable happened but somehow it was alway s j us t perfect.
Their show on another miserably rainy night in Vancouver was like reuniting
with your old best dudes: an effortlessly good time.
Before they hit the stage, however, the packed house at the Commodore
was treated to a couple of admirable opening acts. First up were fellow
Idahoans Finn Riggins. They were clearly excited to be playing the big room,
and that energy translated well into playfully heavy, ramshackle power pop
with a reliance on ecstatically shouted "Oh-ooh-Whoa-ooh" choruses. Next
up were Switzerland's Disco Doom, which were neither disco nor doom.
Though more technically adept than Finn Riggins, they were also more boring. Ultimately, their straightforward shoe-gazer rock left me feeUng Uke
Switzerland: neutral.
After a short break, the five travelling members of BuUt To SpUl ambled
onto the stage, sporting slept-in t-shirts and varying degrees of paunch. There
was nothing showy here, just some of the best indie rock of the past 20 years.
With a meek "hello," Doug Martsch and the boys launched into their set, which
leaned heavUy on their impressive back catalogue, featuring crowd favourites
like "Dystopian Dream Girl" and "Car." Much of the packed house unabashedly sang along as if the songs were written just for them. After a thoroughly
satisfying n-song set and the warm gravy ofa three-song encore, it was clear
that Built To Spill are playing themselves into the pantheon of rock.
J—David Stansjield «HcnTnnsH HitHii Kmgrnffrt
ioulariy on the 2nd & 4th Saturday of every month I
2 ROOMS OF DJS & DANCING
AT EACH AND EVERY PARTY
——_rrr\ A sultry smorgasbord of retro & 80% rock,
MAIN ROOM j industrial, electro & dance tunes galore!
„ _ — ■      "i Bumn and grind to the best
RO0m 2 j DEBASEMENT | dil% Wronica all night!
DUNGEON] Indulge the exhibitionist or voyeur in you! j
Saturday Dec 12
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girls and ^ys go to the
Thursday
ttm
NEW YEAR'S
Club 23 West
P"^H out sogrt tickets early        J
Tickets available at:     m*-
All Sin City & Sanctuary jartjes
(Saturdays at Club 2Jwesu T0g|
1 New World Designs •Zulu    ^jl
\     fi Don't miss the first Sin City parties
Hi    dFf  '     / v of 2010 at Club 23 Westl
"'f'k^i  OJANUARY IOj
All parties hosted by   I
Mr. Dark & those dirty DJs
\w     :^i^W       Pandemonium, R-Lex, Pyxis,
I   Catherinna, Abasi, Ceebas
& regular guests
STRICT FETISH DRESS CODfr
AT AU PARTIES. NO EFFORT = NO ENTRY*-
Full dress code info, online ticket purchasing,
outfit suggestions, photo galleries and
outrageous videos from previous parties at :
WWW.IINCITYFETIIHNI0HT.COM
80'S I NEW WAVE | ELECTRO
INDUSTRIAL ! SYNTH I ROCK
WTH DJS PANDEMONIUM, R-
1ST 3RD & 51H SATURDAY Of EVERY MONTH
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THE LAST
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OF 2009
TRIBUTE TO i^iiJUMfl
NEW^^
ORDER g*
w
WITH
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iVardensphere
j^e^mim "we-"
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DJs 9-11
band 11-12
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CLUB 23 WEST / 23 WEST CORDOVA
WWW.SilNCrUARYSATURDAYS.COM
44  //
CiTR 10
I.9FMCH
ARTS STRICTLY THE DOPEST HITZ OF 2009
#
ARTIST
ALBUM
LABEL
#
ARTIST
ALBUM
LABEL
1
Pink Mountaintops**
Outside Love
Jagjagwuar
51
Nadja*
The Bungled & the Botched
Blocks
2
Bell Orchestra*
As Seen Through Windows
Arts & Crafts
52
Jenn Grant*
Echoes
Six Shooter
3
Tranzmitors**
Busy Singles
Deranged
53
Animal CoUective
Summertime Clothes
Domino
4
Apollo Ghosts*+
Hastings Sunrise
Indie
54
Jeremy Jay
Love Everlasting
K
5
WindWhistles*+
Animals Are People Too
Indie
55
Jay Reatard
Watch Me Fall
Matador          Oy
6
King Khan & The Shrines
Whatls?!
Vice
56
Twin Crystals**
s/t
Needs More Ram
7
Nii Sensae*+
One Sided EP                     ; O.'i ,,'
Isolated Now Waves
57
Chain & the Gang
Down With Liberty...
K
8
Evaporators/Andrew WK*+   .
A Fine Pear
Mint
58
Destroyer**
Bay of Pigs EP
Merge       ' 0*
9
Various**
Vancouver's Punk as Fuck Vol. 2
Indie
59
C. Mark/N.Q. Arbuckle**
Lets Just Stay Here
Mint
10
You Say Party! We Say Die!*+
XXXX
Paper Bag
60
Nasty On**
Squid          ■'*•'•
LaTiDa
11
Dan Mangan*+
Nice, Nice, Very Nice
File Under Music
61
Kidnap Kids**
You Would Run ...Grave
Geographing
12
' Ohbijou*
Beacons
Last Gang
62
Maynards**
Date & Destroy
Indie
13
Clues*
sit
Constellation
63
Pretty Vanilla**
Seven Inches Deep
Indie
14
Easy Star All Stars
Easy Star's Lonely Hearts Dub Band
Easy Star
64
Do Make Say Think*
Other Truths
Constellation
15
Neko Case
Middle Cyclone
Anti-
65
TySegall
Lemons
Goner
16
Julie Doiron*
ICanWonder...Day
Endearing
66
Falcao & Monashee*
s/t
Indie
17
Peaches*
I Feel Cream
XL
67
Nu Sensae**
Three Dreams
Critiscum
18
Plus Perfect/Hermetic*+
Split EP
Plans To Make Plans
68
Apollo Ghosts**
Forgotten Triangle
Catbird
19
Malajube*
Labyrinthes
Dare To Care
69
SSRIs**
Teems EP
Indie
20
TheHylozoists*
L'lleDeSeptVilles
Outside
70
Hidden Cameras*
Origin: Orphan
Arts & Crafts
21
Black Mold*
Snow Blindness Is Crystal Antz
Flemish Eye
71
Shout Out Out Out Out*
Reintegration Time
NRMLSWLCM
22
Safety Show*+
Blackwater
Indie
72
B.A. Johnston*
Stairway To Hamilton
Just Friends
23
Rich Hope*+
Is Gonna Whip ItOnYa
Sandbag
73
Green Go
Borders
Pheromone
24
TVees*+
s/t
Trendsetter
74
Lightning Dust**
Infinite Light
Jagjagwuar
25
Adjective**
I Am Sorry For Your Loss
Indie
75
Various*
Le Son 666 Audio
Canada Council
26
B Lines*+
s/t r
Nominal
76
Wintermitts*
Heirloom
Indie
27
Japandroids**
Post Nothing
Unfamiliar
77
Timber Timbre*
s/t
Out of This Spark
28
Shearing Pinx*+
Ultra Snake
Isolated Now Waves
78
Electroluminescent*
Measures
Black Mountain
29
Torngat*
La Petite Nicole
Alien8
79
Various*
Nothing on...CJSW 90.9
CJSW
30
Various*
Friends In Bellwoods 2
Out of This Spark
80
Various
Store! 20 Years... The Covers
Merge
31
Charles Spearin*
The Happiness Project
Arts&Crafts
81
Bonnie "Prince" BiUy
Beware
Drag City
32
Little Girls*
Concepts
PaperBag
82
Extra Happy Ghost!!!*
How the Beach... Feelings
Saved By Radio
33
Pissed Jeans
King o/Jeans
Sub Pop
83
No Age
Losing Feeling EP
SubPop
34
No Bunny
Love Visions
1234 Go!
84
We Are Wolves*
Invisible Violence
Dare To Care
35
Black Lips
200 Million Thousand
Vice
85
Role Mach**
Orjfesques & Fuges
Indie
36
Dirty Projectors
Bitte Orca
Domino
86
Various*
Cult Figures:... Canada
CMC
37
Black Dice
Repo
Paw Tracks
87
Islands*
Vapours
Anti-
38
Obits
I Blame You
Sub Pop
88
Fortunately Everything Dies*
Censored
Indie
39
Sonic Youth
The Eternal
Matador
89
Various
Copyright/Copyleft
Vancouver New Music
40
Various
Musicworks Vol. 104
Musicworks
90
Mirah
(a)spera
K
41
Swan Lake**
Enemy Mine
Jagjaguwar
91
Great Lake Swimmers
Lost Channels
Nettwerk
42
Bran flakes
I Have Hands
Illegal Art
92
Micachu & the Shapes
Jewellery
Rough Trade
43
Pony Up*
Stay Gold
Indie
93
„ Flipper
Sex Bomb Baby! (reissue)
Water
44
Throbbing Gristle
The Third Mind Movements
Industrial
94
Gruesomes*
Gruesomania (reissue)
Ricochet Sound
45
The Woolly Bandits
Women of Mass Destruction
Citation
95
Land of Talk*
Some Are Lakes
Indie
46
Animal Collective
Merriweather Post Pavillion
Domino
96
Los Straitjackets
The Futher Adventures of...
Yep Roc
47
Tortoise
Beacons ofAncestorship
Thrill Jockey
97
Pre
Hope Freaks
Skin Graft
48
Kronos Quartet
Floodplan
Nonesuch
98
Love Is AU
Play 5 Covers
What's You Rupture?
49
Acid Mothers
Temple Lord of the Underground
Alien8
99
Jandek
Not Hunting For Meaning
Corwood Industries
50
Rural Alberta Advantage*
Hometowns
Saddle Creek
100
Neil Young
Fork In The Road
Reprise
4.
1r€
CiTR's charts reflect what'
excellent albums can be fo
4 822-8733. His name is Luk
J online.com.
»been played on the air by CiTR's
und at fine independent music st
e Meat. If you ask nicely he'll tell
lovely DJs last month
ores across Vancouve
you how to find them
• Re
r.If
.Ch
:ords with *s are Canadian a
you can't find them, give Ci
sck out other great campus/c
nd those with +s are local
TR's music coordinator a
ommunity radio charts at
Most of these
shout at (604)
www.earshot- Baby, You're The Best
ZULU STAFF TUP TENS UF 2U09
In no particular order here is
All
what rocked our year!
tens are now on sale 10% off until Jan. 31s12010.
ERM
Yoko Ono and Plastic Ono Band - Between
My Head and the Sky
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Nick Cave & Warren Ellis - White Lunar
Bat for Lashes - Two Suns
Bill Callahan - Sometimes I Wish We Were an Eagle
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Rodriguez-Coming from Reality
JOSH
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Liberty...Up with Chains!
Cold Cave-Cremations
Jacques Dutronc - et moi et moi et moi
1966-1969
Hecker-Acid in the style of David Tudor
Knelt Rote-From Without LP
Zulu Art News!
X lif' ?
Lee #«
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Improvised Distractions
November 431,2000
Opening reception 3-5 pm - Sunday December B, 200
Mayyors- The Deeds" 12"
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The Rita - Shark Knifing" 7"w/book
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TheXX-XX
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Nick Cave & Warren Ellis-White
Lunar
Tim Hecker - An Imaginary Country
Richard Hawley - Truelove's Gutter
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Fuck Buttons - Tarot Sport
OST - Where the Wild Things Are
Bill Callahan-Sometimes I Wish We Were an E
The Horrors - Primary Colours
MELANIE
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The Fresh & Oniys- Grey Eyed Girls
Pink Moutaintops - Outside love
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The Oh Sees-help
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1972-1976 W 4th Ave
Vancouver. BC
tel 604738.3232
www.zulurecords.com
STORE HOURS
MontoWed 10:30-7:P" I
Thurs and Fri 10:30-9:1
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Sun 12:00-6=001 Baby, You're The Best
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In ii particular erter tore is what rocked our year!
All regular priced staff top tens are
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DAN
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Up with Chains
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OPEN LATE'TIL 9:00 PM
THURS DEC 24"
10:30 AM-6:00PM
FRI DEC 25"1 CLOSED
SAT DEC 26!"
BOXING DAY
9:00 AM-6:30 PM
SUN DEC 27*
12:00PM-6:00 PM
FUP THE PAGE!

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