MAY 2012 • THAT MAGAZINE FROM CiTR 101.9 FM • FREE! , SUPPORTING VANCOUVER'S INOEPEIf ENT MUSIC COMMUNITY «FOR OVER 25 YEARS I

PEACE BRASSTRONAUT FOR THE SAKE OF SONG SUNDAYS MARK OELONG

**pf , EDITOR'S NOTE

I'll start with a disclaimer: I just graduated from school, so I'm about to get all Apparently it's not going to slow down, so I am often reminded by many reflective and introspective and stuff. No doubt many of you are in the same older family members. Maybe time is flying because I just joined the ranks boat, so perhaps you'll relate. of adulthood (on paper, at least). Then I bought some pumps, I got a hair I think it's natural for people to regularly have "On This Day in History" cut and I got a real job. Graduation hasn't sunk in yet though; I'm still trying moments in their lives. I'm no different, and there are a few that stand out to wrap my head around having all this space in my life that homework and every year. On June 29s, I recall launching into a month-long cross-Canada class and public transit occupied. road trip with my mom in 2010, camping our way from Vancouver to the east Interwoven with these date-induced flashbacks is the music that narrated coast On April 16s, I reflect on two years ago when I went to Coachella, peed it. Driving to Indio, I got my co-pilot hooked on Brasstronaut, one of our my pants a bit seeing LCD Soundsystem for the first time, and sweated and feature artists this month. One song that could always get me out of bed on grinned madly for three days with 75,000 of my best friends. I was just invited those dark mornings before rowing was Matthew Good Band's "Everything to the Facebook group for my 10 year high school reunion, and am hashing is Automatic" (back off, I was 15). And I clearly remember that "Jump" by Van up memories of 6 a.m. rowing practices, my first real boyfriend and student Halen was the number one song on the day I was born. government-hosted chocolate milk drinking contests, which tended to end And it's odd to think that five years from now, I'll reflect on May 2012 in projectile vomiting. On March 16s, I take a moment to remember that one remembering how Peace, Weed, Nii Sensae and a buttload of electro got me time I came out of my mom's womb. through another issue of Discorder. Fancy that. Whenever I'm struck with a "On This Day in History" moment, I'm more Speaking of this months issue, I'm happy to share articles on Centre A in aware of how quickly time passes, prompting me to say to myself, "Self, was recognition of Asian Heritage Month, five great features on five very differ­ that really [x] years ago? Geeze!" The majority of posts in the aforemenrined ent musical subjects, and our usual assortment of reviews and news on all FB group begin with, "I can't believe it's already been..." Although I'm not things listen-worthy. typing it, I am thinking the same thing. It's cliche\ but I almost cannot believe So bring on May! It's time to make some more memories. how fast the last 10 years have gone, especially the last two in college. School weeks as a teenager dragged on, but now it's the opposite. Not just Monday Read on and stay rad, to Friday, but month after month. It's already May, for crap sakes. Didn't we laurel Borrowman just publish April?

EDITOR WRITERS ©Discorder 2012 by the Student Radio Society ofthe Uni­ Laurel Borrowman Jordan Ardanaz / Robert Catherall / Rowan Coupland versity of British Columbia. All rights reserved. Circulation ART DIRECTOR / Alex de Boer / Fraser Dobbs / Ariel Fournier / Jacey 8,000. Discorder is published almost monthly by CiTR, Jaz Halloran Gibb / Brenda Grunau / Sam Hawkins / Coleman which can be heard atioi.9 FM, online at www.citr.ca, as well COPY EDITORS Ingram / Tristan Koster / Chirag Mahajan / Brent as through all major cable systems in the Lower Mainland, Jordan Ardanaz, Steve Louie Mattson / Joni McKervey / Grace McRae-Okine / James except Shaw in White Rock. Call the CiTRDJ line at (604) AD COORDINATOR Olson / Nathan Pike / Shane Scott-Travis / Jeremy 822-2487, CiTR's office at (604) 822-3017, email CiTR at Maegan Thomas Stothers/ Angela Yen [email protected], or pick up a pen and write #233-6138 UNDER REVIEW EDITOR PHOTOGRAPHERS & ILLUSTRATORS SUB Blvd., Vancouver, B.C., V6T1Z1, Canada. Jordan Ardanaz Amanda Cooper / Melanie Coles / Gerald Deo / RU EDITOR Jonathan Dy / Victoria Johnson / Dana Kearley / Bren­ Steve Louie nan Kelly / Kari Kleinmann / Choo-Kien Kua / Michael WEB EDITOR Lee /AshleeLuk/Chirag Mahajan/Aaron Read /Flip CHECK DISCORDER.CA REGULARLY Sandy / Weed / Daniel Thomas Williams / Katayoon FOR NEW ARTICLES, PHOTOS AND ALL CALENDAR LISTINGS Yousefbigloo / Priscilla Yu PROOFREADERS THINGS MUSIC RELATED! ACCOUNTS MANAGER Jordan Ardanaz / Tristan Koster / Chris Yee Corey Ratch OFFICIAL TWEETER CONTRIBUTE. SUBSCRIBE. ADVERTISE. DISTRIBUTE. DONATE. Dorothy Neufeld To submit words Send in a cheque Ad space for To distribute We are part of CiTR STATION MANAGER to Discorder, for $20 to #233- upcoming issues Discorder in CiTR a regis­ Brenda Grunau please contact: 6138 SUB Blvd., can be booked your business, tered non-profit PUBLISHER editor.dis- Vancouver, B.C., by calling (778) email distro. and accept dona­ Student Radio Society of UBC corder@citr. V6T1Z1 with 866-9952 or discorder@citr. tions so we can STUDENT LIASONS ca. To submit your address, emailing adver- ca We are always provide you with Zarah Cheng, Dorothy Neufeld images, please and we will mail [email protected]. looking for new the content you COVER contact: Discorder right Rates available friends. love. To donate Katayoon Yousefbigloo artdirector.dis- to your doorstep. upon request visit www.citr.ca/ [email protected] donate. \

FEATURES REGULARS

08 / Nii Sensae nental venture to capture the perfect vibe. What's 04 / Venews a few thousand kilometres on the road between Maybe the firstthin g you associate with thrash friends, anyway? punk music isn't necessarily sponsorship from 07 / Filmstripped BP Oil or a beer company. Fair enough, but that 16 j Brasstronaut doesn't mean trio Nii Sensae wouldn't be down If there's one thing we Discordians encourage, for a litde extra cash fromeither . After all, with it's support for the music community. How to 201 Calendar / choo-KienKua a new album on the horizon and a tour schedule support that community is becoming a hot topic that won't quit the money's got to come from of conversation. By now you've likely caught somewhere. wind of Michael Mann's article (and its explosive 22 / Program Guide backlash), calling Brasstronaut out for its use of 11 / Peace croud-sourced funding. How have the members Get ready to take a magical, mysterious journey ofthe band responded? 25 / Alt PrOJeCt / MarkDeLonfl into the bowels of oddball America with Vancou­ ver punk rockers Peace. The quartet that parties 18 / For the Sake ofthe Song with the likes of moshing dogs, blue collar dads, What happens when you fill a room with Van­ 28/ Under Review and vertically challenged individuals at Olympia's couver's best songwriters and performers? Elliot legendary Black Houses have got a thing or two Way and Bob Sumner, hosts ofthe River Vintage's 32 /Real Live Action say about touring. And old wise men. And they monthly celebration ofthe soul-defining art ofthe have a new album on the horizon, so that's good. song, could tell you it sure as hell isn't an open mic. We find out why, and what's sacred about 38 / On The Air / Funk My m 14 / Weed good song writing. Mysterious all-ages venues, crushing existential dillemas and the value ofa good name: we dis­ $g j Charts cover some ofthe many prevailing themes in the life ofWeed, as we track the band's trans-conti- May is Asian Heritage Month, a nation-wide rec­ ognition of Asian cultural contributions to Canada CENTRE A and a celebration of Asian culture as a whole. One would be hard pressed to find an institution that celebrates that culture as enthusiastically as Cen- by COLEMAN ; tre A (a.k.a. the Vancouver International Center for Contemporary Asian Art). Coincidentally, May also INGRAM marks the centre's 13th anniversary. Discorder paid a visit to Executive Director Haema Sivanesan to illustration by PRISCILLAYU reflect on the milestone. Founded in 1999 by multimedia artist and arts administrator Hank Bull, Centre A's mandate is to provide a platform for contemporary Asian art in the form of not only exhibitions, but also public forums, artists-in-residence, screenings, publica­ tions and web projects. Since its beginnings it has presented work from over 300 artists fromCanad a and beyond, produced over 80 original projects i and continues to thrive. With Bull having stepped down as Executive Director lastyear, his succes­ sor Sivanesan said the centre is going through a transitional period, but that it is an exciting one of growth and new opportunities. After all, part of cel­ ebrating heritage is encouraging growth and pros­ SK perity for the future. ™ DDOJS'S HEATH POOL - J)ntTY Sl'KULS SlIIMMiatlXG STARS

RICKSHAW THEATRE

ADV / $12 DOOR • WWW. Coming from a position at the South Asian Visual Arts Centre in Toronto, Sivanesan says that she is looking to develop Centre A's reputation as "a nationally recognized contemporary art commu­ nity [who] wants to show leadership." She and the other staff, including curator Makiko Hara, intend to do this through the traditional means of showing new and engaging exhibitions and by utilizing the rapidly changing way that artists communicate and exchange ideas via the Internet. Their current exhibit is Yellow Signal: New Media in China, which uses sound and video to explore contemporary Chinese life. It will be followed by the reissue of David Khang's acclaimed photo and essay catalogue for his exhibi­ tion How to Feed a Piano. On May 5th the centre will host its 13 th Anniversary Fundraising Dinner and Art Auction, with works by a variety of young, local and upcoming artists, including Ken Lum, creator of Monument/or East Vancouver (the 19.5m LED cross at Clark Drive and 6th Avenue). These are the diverse mediums that keep Centre A refreshing and inviting for both artists and the public. Sivanesan added that, it isn't just diversity between mediums that keeps Centre A current, but diversity of Asian culture itself, With artists from a number of backgrounds re-examining traditional Asian art, such as a recent collaboration in prog­ ress between a non-Asian artist and an Iranian art­ ist reconceptualising 18th century Japanese prints. Sivanesan sees Centre A and those who work there as as broadening the paradigm of art history to include ideas that wouldn't typically fitan d being seen through the lens of contemporary art, they create something new in the process. Pointing out that National Volunteer Apprecia­ tion Week is also soon upon us, Sivanesan says it isn't just the artists and staff that make Centre A what it is, but the help and support ofthe commu­ nity as well. As a non-profit organization, it takes in 40 to 50 volunteers annually that help with the day- to-day functions ofthe space as well as additional people for special events. She discussed one of Cen­ tre A's goals is to engage the community more deeply and generate awareness of Asian art and artists; vol­ unteers are a very crucial part of this goal, calling them "ambassadors for the centre." Center A is open Tuesday to Saturday, from n a.m. to 6 p.m., freeo f charge to the public. To donate, become a member or volunteer, visit their website at www.centrea.org. FOR A MEASLYm 15 BmU J Sfor, free for statkHinHjfflbers] 212 Productions The Bike Kitchen Flaming Angels The Kiss Store Rufus' Guitar Shop 454 W Cordova St. 6138 SUB Blvd. Boutique 319CambieSt. 2621 Alma St. 604-685-2426 604-822-BIKE 4307 Main St. 604-675-9972 604-222-1717 604-689-3224 Antisocial Blim Lucky's Comics Scratch Records Skateboard Shop 115 East Pender St. Fresh is Best Salsa 3972 Main St. 1 East Hastings 2337 Main St. 604-872-8180 2972 W Broadway 604-875-9858 604-687-6355 604-708-5678 778-737-2442 Bonerattle Music Pacific Temple of the Australian Boot 2012 Commercial Dr. Gargoyles Tap and Cinematheque Modem Girl Company 604-251-BONE Grill 1131 Howe St. 2695 Main St. 1968 West 4th Ave 3357 West Broadway 604-688-8202 778-737-8953 604-738-2668 Devil May Wear 604-733-1159 3957 Main St. People's Co-op Vinyl Records Audiopile 604-216-2515 Gumdrops Bookstore 319 W Hastings St. 2016 Commercial Dr. 2029 W 4th Ave. 1391 Commercial Dr. 604-488-1234 604-253-7453 Dr. Sun Yat-Sen 604-733-1037 604-253-6422 Chinese Garden The Wallflower Band Merch Canada 578 Carrall St. Hart and Sole Prussin Music Modern Diner www.bandmerch.ca 604-662-3207 Clothing Inc 3607 W Broadway 2420 Main St. 843 Granville St. 604-736-3036 604-568-7554 Banyen Books Dream Apparel 604-630-9151 3608 W 4th Ave. 311 W Cordova St. Red Cat Records UBC Bookstore 604-732-7912 604-683-7326 Highlife Records 4332 Main St. 6200 University Blvd 1317 Commrecial Dr. 604-708-9422 604-822-2665 Baru Cafe The Eatery 604-251-6964 2535 Alma St. 3431 W Broadway The Regional Woo Vintage 604-222-9171 604-738-5298 Hitz Boutique Assembly of Text Clothing 316 W Cordova St. 3934 Main St. 4366 Main St. Beatstreet Records The Fall Tattooing 604-662-3334 604-877-2247 604-687-8200 439 W Hastings St. 644 Seymour St. 604-683-3344 604-676-3066 R/X Comics Zoo Zhop 2418 Main St. 223 Main St. 604-454-5099 604-875-9958 A Friends of CiTR Card scores you sweet deals at Vancouver's finest small merchants and supports CiTR Radio 101.9 FM. Show it when you shopl 8ASLAN*

Gasland directed by JOSH FOX (2010) illustration by MICHAEL LEE

Josh Fox does not want his drinking by ARIEL water poisoned. Fair enough. Schooled in the documentary tradition of Michael FOURNIER Moore and Morgan Spurlock, Fox con­ stantly inserts himself into scenes in his film. The outcome is awkward, but effectively demonstrates that this movie is a personal plea. Slightly self-indulgent, the film brings attention to the much-needed conversation around natural ing Responsibility and gas extraction. Hydraulic fracturing, or fracking, Awareness of Chemicals to recap, is the process used to extract under­ (FRAC) Act that ground natural gas deposits (the film focuses Fox discusses in the on shale gas). Companies drill into the ground, film is a bill to have chemicals and water go in, a small earthquake fracking included in the occurs and gas comes out. The film is especially Safe Water Drinking Act, relevant here, given that Northeast British Colum­ but it has been blocked in bia has the biggest source of shale deposits in congress several times. Canada and natural gas production is already well In B.C., companies have under way in the Peace River region. to disclose their methods; The filmi s a journey into the "heartland of fracfocus.ca provides a list of America" in which the protagonist, our good all well sites and the chemicals buddy Fox, discovers more and more about the used during fracking. Still, com­ insidious effects of natural gas drilling. After a panies do not have to list the chemicals until gas company offers to lease his land in Milanville, 30 days after drilling has begun, so the approval Pennsylvania for $100,000, Fox goes on a nau­ process for companies is unaffected by this infor­ seating road trip filledwit h dead animals, brain mation. On top of this, there are still many other lesions and contaminated water to findth e effect issues with fracking,includin g water use, carbon of fracking on residents living near well sites. emissions and the fact that despite monitoring, The film's central concern is specific to the contamination from drilling and above-ground regulations put in place in the United States in spills still happens in Canada and the U.S. 2005. An exemption in the Safe Water Drinking Ironically, Fox would actually benefit from Act means that companies can claim the chemi­ fracking in a way most Canadians would not. He cals they use as trade secrets rather than being would actually get paid to lease his land, whereas forced to disclose the "secret sauce" that they in Canada the mineral rights for land beneath the pump into the ground. So if a water source is poi­ topsoil mostly belong to the government Here, soned, it is extremely difficult to trace the exact you could have a drilling site right next door and source of what is making people sick and even not see a penny. Fox would at least get $100,000 at more difficult to regulate practices. The Fractur­ the risk of being poisoned. Gasland is a visual jour­ ney through the American natural gas industry. The road movie format is effective, but it might be time to turn the car around and head north. NU SENSAE by COLEMAN INGRAM "Ok, so we wanna be sponsored by what so far? Beer, Chicago, was dealing with know-it-all soundmen a gas station; BP, cause I think it would be easy." who McKnight says, "don't take into account that Daniel Pitout is sitting on a bench in Tea you're trying to get something across by being Swamp Park: a small corner of trees and play­ loud. They're just like *you guys are supposed to ground equipment in Mount Pleasant, and the sound like this' and they don't really get it But namesake of Nii Sensae's most recent EP. He we're stubborn." and his two bandmates facetiously run a tally on The tour also helped the already long-time their wish list of band/life financerswhil e we sip friends establish some archetypes within the band. drinks and soak up the sun. Among other things, "Brody's like the dad, Andrea's the aunt and I'm the new axe-shredder Brody McKnight has suggested sexy younger sister, with no rules!" laughs Pitout sponsorship from an apartment building, trance- "Pm like the daughter from Married mith Children. inducing-bassist/spine-tingling-screamer Andrea Brody is like Wilson from Home Improvement He^s Lukic is hoping for one from Toyota, and Animal- mysterious." on-speed drummer Pitout has his fingers crossed They jokingly refer to the supporting dates as for an endorsement from the town of Whistler a "band vacation," that although fun, were almost "...so I can go to gay week every year for free!" uncomfortably easy compared to the d.i.y. shows It is a scene that seems unusually light and relaxed they played for their headlining dates and have considering the intensely dark and sometimes been playing since their early days as stalwarts of frightening music the group plays and the pace the Emergency Room scene. of their recent schedule. Since McKnight joined, "We're used to playing in basements, hoping we they have recorded their second full length record, get ten dollars per show," says Pitout It comes as toured extensively across the United States and no surprise that a harder, more work-intensive tour Canada, both as headliners and openers, and had is what the group finds familiar. Aside from Nii hardly sunk their toes into Vancouver soil before Sensae's schedule, Pitout and McKnight also play gearing up for another tour in June. in a project called Eating Out and, just last month, The new album, titled Sun Downing, will be released their debut cassette on Burger Records. released on July 24 via Seattle's Suicide Squeeze Lukic and McKnight also play in Heavy Chains Records. The recording took place in February and they all collaborate on a Nii Sensae Fan dub and the vocals were barely finished before the band newsletter, with artwork and games created by the hit the open road, not only for the first time as a band and mailed at their own expense to members photos by three piece but also as support for Denver's EMA, all over the world, raising the question: Where do KATAYOON playing some ofthe largest venues of their gig­ these guys findth e time for all this? YOUSEFBIGLOO ging careers. "It's true," admits Pitout "The past year for "Maybe we should have been more mtimidated," me has been crazy. I was touring last year with lettering by muses Lukic. Apparently, the most challenging part Hunx and his Punx for a while; Eating Out hasn't AARON READ ofplayin g larger venues, such as the Lincoln Hall in been super busy. We try to play shows where we can; Nii Sensae's been busy. I think it's better that way though. I get really depressed if I'm not super busy." By the looks of things, they should be staving off depression for a while to come. Aside from a few isolated shows over the next month supporting indie-buzz acts including Japanther, Ty Segall and Best Coast June will see the group make a solo venture along the west coast playing with Black Bananas and King Tuff among others. "Then after the record comes out we're going to go on another big tour fox all of August and some of September," says McKnight with Pitout adding, "Yeah, so that will be across North America again and then we have a few festivals we're playing in the summer: Sled Island in Calgary and then two bigger festivals in Seattle in the fall. And then we have a tentative tour in December that will go into Florida and through the South." "When?" Lukic cuts in. "December [laughing]. It's news to her." Understandably, it appears difficult to keep up with the hectic agenda, but despite this, it doesn't sound like any burn-out is imminent "I think you have to find a balance," says Pitout describing the magical novelty of early tours having calmed enough that they can look forward to returning home and seeing friends and family. "[On tour] you just sit and think for so long, like eight hour drives, sitting, thinking about your life," laughs Lukic, saying that the daily routine of drive-play-sleep-repeat isn't very conducive to easy-going sightseeing. "People are like 'you get to see all these cities.' You get to see the highway!" Sightseeing aside and having toured a number of times now, what seems to make it all worthwhile for them is meeting people, whether it's 10 kids in rural Canada or a sold out show in one ofthe many metropolises ofthe States. Calculating their projected travel for the upcom­ ing year, Pitout figuresthe y will be on the road for five or six months, and says with a grin, "It's kind of crazy! We like it though." McKnight agrees, "Yeah, I like it a lot" slowly sips a beer in the afternoon sun, and says with a smile, "I don't want to work." Ironically, he is playing in one ofthe hardest working and most dedicated bands in Vancouver. With a much antici­ pated record on the way and a slew of shows to come, Nu Sensae is poised for their biggest year yet Sponsorship, here they come! Catch Nu Sensae supporting Ty Segall on May 5 at the Waldorf and ivith Best Coast on May 23 at the Commodore. To sign up for the Fanclub, check out their Faceboolcpage. photos by PEACE byJACEY AMANDA COOPER

GIBB illustration by BRENNAN KELLY Brennan Kelly, "Peace", ink on paper, 9" x 6", 2012

I'm unsure how many bands have their names When asked to explain the reasons behind weird." During their trek to Montreal, theyplayed bestowed upon them by mysterious strangers the change in landscape, each member had their in a blue-collar dad's garage for a bunch of punk at Vancouver's Funky Winker Bean's, but I can own. "Edmonton's sweet but I don't want to live kids and even did a show in the basement ofthe assume that Peace is one of the few. "It was my whole life in the same city," says Mayer, while Department ofForeig n Affairs in Ottawa. But the bequeathed to us by a wise native man," explains Willock is more driven: "I actually moved here to really weird venues were south ofthe border, with Dan Geddes (vocals/guitar) over a mess of half- try and find a band and, you know, get rich and a show in Olympia being the peak in surrealism. empty pints at The Whip, just off of Main Street famous." "We don't know how much of this to believe," Geddes and Peace's drummer, Geoff Dembicki, "I think I actually fled," Geddes adds. Geddes begins the tale, "but there are these things were talking to a gentleman at the bar and when Since Peace's formation, the punk-rock group called Black Houses in Olympia and they're painted they went to leave, the man's friend, who had released an EP back in 2009, Slow Children, and a completely black. According to [the guy who was remained silent throughout the entire exchange, full-length album, My Face, last April. Both works putting on the show] there's this satanic dentist told them that their unnamed band now had a were recorded with Jordan Koop, and the latter that owns like twenty properties around Olympia name: Peace. was completed over fiveday s in a music hall in and they're all painted black." The band's formation, however, wasn't nearly Ladysmith, B.C. Geddes recalls the experience with "It's either a grand nihilistic statement or some­ as mystical as their name's origin. Geddes and mixed emotions: "It sounds really idealistic when thing about affordable housing. He'll buy these Dembicki met when they were four, over a friendly you talk about it but it's actually just us having houses and paint them black and then just let game of Candyland. "I told him that he would a big teenage sleepover. Itwas sort of disgusting them turn to shit and rent them out to sketchy look better with glasses and the friendship blos­ actually. But it's a lot of fun." kids for no money." Mayer adds. But in order to somed [as a result of Candyland] and aesthetic After My Face was unleashed, the band took rent the houses out there are requirements—one criticisms." to the road with a tour across Canada ending in of which is that the tenants have to put on shows. While Dembicki was unable to make the inter­ Montreal, and then another tour throughout part At the Black House Peace played at which Geddes view, Peace's two other members, bassist Connor of Washington. Peace has developed a reputation , describes as "a place you wouldn't go to willingly," Mayer and guitarist Michael Willock, were also for being a lightning rod for antics, but when they found a teepee in the front yard and noticed with us on the warm spring night ready to share discussing highlights from their tours, it sounds that a tree had fallen over onto the house. Appar­ the band's inner workings with the world. more like a clip show from a David Lynch film. ently it had been dead before, but then came back What started as a high school group in Edmon­ "Itwas mostly based around more idiosyncratic to life after falling over. ton, composed of Geddes, Mayer, and Dembicki, venues, not too many straight up bar shows. And "Itwas like a lucid nightmare," Willock sums up eventually flourishedafte r all the members made we like that Or at least I do," says Geddes, in an blundy. In attendance at the show were a midget their separate pilgrimages to Vancouver over a attempt to justify their unusual gigs. "As long as dressed as a skeleton, a guy that lived in a tree, span of several years. there's people there that care, then I'd rather it be a man who collected human hair, and a golden ^^^H

, retriever who would watch the show and knew and hopefully doing some more touring, the road when to start moshing. ahead is unclear. "We don'treallyknowwhatwe're When they're not on the road, playing former doing," Geddes admits, "but we hope it's good. mental institutions and satanic manors, Peace That's always been the goal." likes to get in at least one show a month around the Peace perform at The Anza Club on Lower Mainland, preferably at one of the under­ May 12 with Eating Out, The Gay '90s, ground venues that have mostly been shut down and The Fight. now. They're currently looking forward to their next show on May 12 at The Anza Club with Eating 6ut, who drummer Dembicki also plays for. "We just finished recording a new album actu­ ally," Willock recalls, seemingly out ofthe blue. When asked to describe what the new LP sounds like, everyone struggles to form a fair representa­ tion of what to expect. Mayer is the firstt o admit defeat, "It's kind of funny trying to describe an album in words." But what fans can look forward to is tighter songwriting, more ofa standout per­ sona throughout the tracks, as well as an overall "simpler" feel. The current titlei s The World is Too Much With Us, a conscious shout-out to English Romantic poet William Wordsworth. When the future of Peace is brought up at the end ofthe interview, an air of uncertainty takes over. Aside from finding a label to adopt their new album, playing a few festivals this summer, r photo by KARIKLEINMANN photo by FLIP SANDY

lettering by WEED

A year ago, interviewing Weed would have meant a one-on- one with Will Anderson and his tape deck, when the name was applied to his d.i.y. solo cassettes. Today, he's flanked by Kevin Doherty (second guitar), Hugo Noriega (bass) and Bobby Siadat (drums), who have melded Weed into an epic WDlo-fi, guitar-sludge quartet Anderson couldn't be happier about the change. I'm catching them at Budgie's Burritos as they prepare to release their new EP, Gun Control, next month. The excitement of going on tour to support it is bursting fromthei r collective seams, and the conversation is a reminder that underneath the grabby moniker is a band with serious ethos.

by FRASER DOBBS

photo by MELANIE COLES Discorder: This will be the second record you've and I asked "why don't they ask me to be in any pressed to vinyl as opposed to releasing on tape. bands?" and so, fuck it I'll do my own tape. What WILL ANDERSON: Yeah,With Drug/Eighty was I really wanted was to have a band to go on tour the first. We self-released it I came up with this with, and now we have that. There'll be a day dumb phrase, "Cruising USA" and I decided that's where I want to do more stuff by myself, but not a record label. CUS-02 is With Drug/Eighty, Gun for a long time. Control will be CUS-03. Despite keeping the same name, do these new You toured for With Drug/Eighty through die west releases feel like they're by the same band? coast and die mid-west, and you are touring for WA: No. I would have changed the name ifl didn't this release all the way to the east coast Not many thinkitwas the most brilliant name of all time. It's bands here do that Why are you doing it where totally different now. others aren't? WA: I have to ask why other bands don't tour. You've got to be the least-Googleable band in HUGO NORIEGA: Ifs scary playing outside of your history. Why "Weed?" town. Locally, all bands have connections. WA: Well, ifs easy to remember. It attracts a lot of attention,'for sure. The word weed, when you What was your connection to die cities you've say it out loud you think of one thing. But it can . toured to, like Portland or Seattle? mean to weed something out of your life. Ifs also WA: We didn't have any. Our first show in Seattle something that won't die, thafs resilient. was a disaster. The first show in a new city is never KD: I think we like the sensationalist aspect of it good. There were three people there, but we met too. It gets attention. them and talked to them and they helped us get our next show there. Weed records are incredibly lo-fi. Why? BOBBY SIADAT: We met a girl from Baltimore. KD? Ifs more ofa means thing. The last record We're going through there but we didn't have sounded great but we recorded it in Seattle. anything scheduled. She knew all these people WA: We knew this one was going to be a little and places to play. harrier. We could have recorded in a studio again, WA: A big point for us is traveling. That's what but there was something important in having us it's all about do almost everything. BS: Being on the road is super sweet It's the best HN: It was a completely conscious decision. We way to travel. I couldn't see a more fun time, being wanted to do it ourselves. together and traveling around. More bands need KD: Chris Gilling [a friend of the band] recorded to get down with that everything and did a lot ofthe mixing too, along KEVIN DOHERTY: Ifs an excuse to go places, and with me. If my part was anything, itwas to muck it's an inherendy social environment up the.recordings a little. Chris got everything HN: We've got rules for interactions, though. like, sounding crispy. don't talk to Will after shows sometimes. Just leave him alone. The list of venues you've played at is eclectic: WA; Especially when we play with bands that I cramped house shows, even more cramped art really respect, I just feel unworthy. And I just like spaces, and the like. Is there a reason for that? to go into the van and sit by myself for a bit WA: We'll only play shows open to minors. It HN; One time, in Olympia, after a show in an old forces us to be creative aboutwhere we play. There youth insane asylum, Will didn't talk to anyone are a very limited amount of all-ages venues in for three hours. town. I think that music is foreveryone : it wasn't that long ago that I couldn't go to shows unless I There's a significantly different sound in your had a fake ID. Like there's a magic age where you older tapes than on the two new records you've can drink alcohol, so now you can enjoy music? released on vinyl. Why is that? I'm not trying to say our band is inspiring to kids WA: Before those, it was just solo experimentation. or anything, but a lot of kids can be inspired by It was about me getting something on tape, I didn't bands when they're 15,16 years old. Ifs really know what I was doing. Still don't really. convenient to just play bars—to tour the bars of America. We won't do that How does it feel playing with a band after those Weed lack ojf their tour at The Lion's Den, May 3. releases? WA: Way more satisfying. Ifs what I really wanted in the first place. All my friends were in bands BRASSTRONAUT

byJONi MCKERVEY

the Coast. Rather than fueling the fires of recrimination, Hussain left the show feeling positive. "You touch a nerve when you talk about arts funding," he says. "This particular article [in the Georgia Straight] is a little bit acerbic, but if you look beyond that there are probably a lot of people who have the same questions, so ifs good to have a discussion about it." The "it" in general is the growing practice Of bands raising money by asking for direct contribu­ Late on a Thursday evening, hunkered down in a tions from their fans, which has become increas­ basement jam space crammed end-to-end with ingly common since the launch of websites like sparkly drum kits and vintage synthesizers and Kickstarter. Specifically, the "if that got them covered floor to ceiling in cheap but lush-look­ entangled in the debate is the Indiegogo cam­ ing Persian carpeting, Brasstronaut embody the paign that the band set up early in April. Having calm in the eye of the storm. The big storm is the been turned down for a FACTOR recording grant impending May 15 release of their second full- twice, and without the backing ofa record label to length album, Mean Sun, which heralds a cross- pay for Mean Sun , Brasstronaut went ahead and Canada tour and revving up their promotional recorded it anyway. The album has been recorded, media machine. mixed and mastered, and is ready to see the light photos by But there is also a storm within a storm, a of day, so the band has set out to raise $15,000 by VICTORIA JOHNSON whirlwind of online debate and acrimony sparked May 3 to fund the production and promotion of by a contentious op-ed piece printed in the Georgia Mean Sun, as well as the aforementioned Canadian illustration by Straight that week. The article attacked bands who tour. Admitting to some initial reservations about BRENNAN KELLY pursue crowdsourced funding for albums and asking the public for money—"we did it kind of tours through sites like Kickstarter and Indiegogo, as a last resort," comments Edo Van Breeman and author Michael Mann, uses Brasstronaut as (keyboards, vocals)—the band, however, is feeling an offensive example of what he refers to as "pan­ good despite the negative press. "Since we started, handling online." The band is not shying away ifs been amazing," reflects John Walsh (double from the discussion. bass, electric bass, guitar). "We reached almost Earlier in the day before meeting, Tariq Hus- half our goal in the first ten days. People really like sain (lap steel, guitar) met with Mann in the CBC it. They can be part ofthe process, and they are studios for a live discussion on the radio show On actually helping out a band that they like." Brennan Kelly, "Brasstronaut11, ink on paper, 9" x 6", 2012

"The campaign's been such a positive experi­ a little bit tripped out and saturated with melan­ that defy categorization. "Like Grimes," he says. ence in a lot ofways," agrees Samuel Davidson choly. The tide track on Mean Sun, exemplary if not "Whaf s Grimes?" (According to Pitchfork she's "airy (EWI, clarinet). "Ifs an innovative way of fund- a little more down-tempo than most songs on the post-Internet cyber-pop." Obviously.) raising. Ifs not total charity. We're offering lim­ album, is the sound ofa break-up in outer space, Unconcerned with the "this band meets this ited edition, autographed copies of albums. You of Le Petite Prince wandering his barren asteroid band meets this band" comparisons on the hori­ know, we're making it special. People are really after his rose has lied to him. The rest ofthe album zon, Brasstronaut are in rolled-up sleeves work- encouraging and really happy to help out and it takes that sound and applies it to varying degrees, mode, preparing for a busy year oftourin g and fig­ seems like we're building an identity with our fans dialing up the pulse of optimism here, like on uring out how to get the attention of as many fans more through it" opener "Bounce," and blanketing you with stars and potential fans as possible. The band recendy Fans and finances aside, writing and record­ there; cue the heavily filtered horns and distorted launched a new website with a blog designed to ing their sophomore album precipitated some synths on "The Grove." Overall, the greater cohe­ keep listeners informed of their activities and new experiences for the band internally as well. sion ofthe band shines through on this effort and whereabouts, and they are making forays into the The process they underwent making 2010's Mt fosters its rather polished sound. usual social media suspects. Chimaera, their first full-length album, was pro­ In the past Brasstronaut has been somewhat "We've been, uh, 'twitting'," admits Van Bree­ tracted and fragmented; new band members— at odds with the labels the press has given it At man. " [We realized] that if people really love the Hussain and Davidson, whom the rest ofthe band least a handful of articles from the last couple of music, how do you reach them?" he says of their met during their residency at the Banff Centre in years quote Van Breeman's protest that "we're not commitment to connecting to and communicat­ 2009—joined partway through the initial record­ a jazz band," a term easily reached for perhaps ing with their audience. "How do you keep reach­ ings, which were later torn apart and reworked due to their employment of Davidson's clarinet ing them?" back in Vancouver over several months. Mean Sun, and Bryan Davies (not present at the interview) To a man, the band seems preoccupied with on the other hand, was birched rather seamlessly. trumpet When asked how they are resolving the finding a way forward, a way to keep going despite "It was written within a month, basically," recounts gap between the music they think they're making the hurdles facing independent bands these days, Van Breeman, "and then we went into the studio and the way it is communicated by journalists and such as a lack of label support, dwindling public weeks later." critics, the band is almost blase*. funds, and all that free mp3 downloading peo­ "In a way, it feels like our first record," Walsh "Ifs resolving itself by us not caring anymore," ple do. says. Everyone present nods in agreement asserts Davidson. "People call it whatever they call "We have fun playing. Thank God," says "I think this is the first truly collective work the it and we just make whatever music we make." Davidson. band has put out" adds Brennan Saul (percussion). Noting some groups that spring to mind, Besides $15,000, what more could you "If 8 our firstfull-blow n collective sound." Van Breeman discusses the ever more common ask for? That sound is a spacious, soft, whooshing kind reality of bands having a myriad of contrasting ofpo p music, a sound that is inviting and intimate, influences, resulting in genre-blending sounds lot, jthu MJ& O$ 3tL

photo by JONATHAN DY

photo by DANIEL THOMAS WILLIAMS

Standing inside River Vintage during the seventh songs into Hope's set As the audience scattered, it event to take. Sumner explains, "There's nowhere edition ofthe singer/songwriter event For the Sake seemed like this interruption was significant like in town that we know of, where people can sing ofthe Song Sundays (FSSS), I whisper to my friend there was suddenly a danger in this safe place. The songs, like just good songs with just an acoustic . until the crowd's stirring settles and heavy silence dreamy living room awoke, once again a venue. guitar and 50 to 80 people sit cross-legged and stares me down. In the upper right-hand corner of A week later, I meet Bob Sumner and Elliot listen." the room, above the little stage, a picture of wild Way, the duo that started FSSS, at Roundel Cafe. "There is no escaping the power of these songs," horses resembling those on Bob Segerfs "Against Sumner, a musician fromWhit e Rock, contributes and Sumner points out that for the performers, the Wind" is stuck to the wall. With a plastic sheen both his last name and musical talents (guitar/ "it'll be the best night on their tour," Way says. and uneven wooden frame,th e image hangs like vocals) to country/folk band The Sumner Brothers, But not just anyone is awarded the opportunity an enlarged postage stamp. And, as Rich Hope while Way is a local musician, music organizer and to play at FSSS. The selection process aligns with sits humbly on stage, he sincerely delivers blues owner of The River Vintage Clothing and Musical FSSS's need for what Sumner describes as, "a tunes to the audience. Prior to Hope, local talent Instruments on Commercial Drive. Aware of their strong vision," ensuring that only the strongest Katelyn Molgard addressed the audience; her head individual endeavours, I am about to be inspired folk performers, both local and out-of-town, play. occassionally falling forward, catching on hanging by their collaboration. This selectivity extends even to celebrity appeal. cords, her voice wonderfully riveted and chipped. Born out ofTh e Classic, a similar event held by "We wouldn'tlet Jack Johnson play," says Sumner. Molgard's sharp blues were then followed by a Way in Langley, FSSS first began in August 2011. He and Way also immediately reject John Mayer, sunnier second act as Vancouver musicians, Shawn From the beginning the shows were designed to although when asked hypothetically if they would Hall and Matthew Rogers ofthe Harpoonist& The be heartbreaking, held on what Way describes as accept $10,000 in exchange for a performance, Axe Murderer effectively coordinate harmonica the dreary "decline ofthe weekend." Named after they are undecided. If they did let him play though, and guitar notes into dynamic and dance-worthy the Townes Van Zandt song, FSSS is a reminder Way promises he would change the name ofthe roots beats. Both performances are appropriately ofthe honest reverence owed to music. And this store for a day. punctuated by friendly chatter. reverence is a monthly ritual, as local and visiting The heartfelt musicians who do perform at Indeed, the evening was a mixture of vibrancy roots inspired singers/songwriters perform for FSSS, step on stage to inspire and step offstage and silent respect; a night of cheap beer, dancing, attentive fans at The River Vintage. to be inspired. Sumner and Way carefully align singing and strumming In a room caught ramblin', It might be ambitious to describe FSSS as Van­ musicians with complementary sounds, so that Jack Elliott style. And it continued ramblin' until couver's version of the Jester of the Cafe Wha? but when the lineup is arranged, excitement builds, a noise complaint forced a folk fan exodus two thafs the shape Sumner and Way would like the "thinking about each one of them hearing each by ALEX DE BOER 5£> other. And when this leads to friendship and col­ FIVESIXTY laboration, we call that community." Sumner emphasizes the significance of this by 560 Seymour Street drawing on his own experience. After performing as a band for seven years alongside many other Friday May 4th CIRQUE w/ Radio Javan Launch bands, some they liked, some they didn't, Sumner Saturday May 5th PONI w/ Bearacuda • Vancouver's premiere gay night admits that the band "always felt like an island." Wednesday May 9th BIG EZAY i n Taste Lounge, Killer APP He continues, explaining how Way came along Collective & Michael Kushnir and "almost overnight it feels like we're part ofa free before 11, $5 after community that all care about each other and are Thursday May 10th Too High Crew, Tre Nyce, Lanse Base & Jay Worthy all working towards a goal together, which is the only way a music scene can really be successful." Friday May 11th MSH PRESENTS Sub Antix Way casually receives the praise by suggesting, "I Saturday May 12th PONI w/ Jerica Jem just want to listen to good music and be around good people," but Sumner quickly adds, "ifs not Wednesday May 16th BIG EZAY i n Taste Lounge w/ Junita Werk, like Elliot has ever made a single penny from any Pony boy and Michael Kushnir free before 11, $5 after show he's ever promoted." And this comment puts us back on track. Thursday May 17th Vancouver 80's Rock Reunion Entrance to FSSS is freean d beers are served for a. three dollar donation, which prompts me Friday May 18th CIRQUE w/Longwalkshortdock + SHAHdjs & Vincent Parker to ask if this cheapness articulates to the audi­ ence that FSSS is wholeheartedly about the music. Saturday May 19th PONI w/ Peter Rauhofer. Sumner and Way nod that this is the case. Way Sunday May 20th HARD PARTY, XTRA PRESENTS elaborates, "music fans and musicians aren't rich people so why make it about capital?" The two are Wednesday May 23rd BIG EZAY in TASTE Lounge • determined to keep the night free, reminding me w/ Kevin Quinian + Surprise Guest free before 11, $5 after that they've always made enough in beer sales and entrance donations to pay the musicians well. The Thursday May 24th Breast Cancer Fundraiserw/ Villa Kulla, space is, however, financiallysustaine d by its day Supercassette, Young Liars, Mercy Years, The Magician & The Gates of Love job as a vintage clothing store, prompting Sumner to explain the ugly reality that "if we wanted to Friday May 25th CIRQUE w/ TIGER AND THE WOODS charge people fivebuck s then we would probably + Luke Mckeehan, Woodhead, have a third ofthe turn out" It is the grim tru± that' Joel Armstrong & PK

living in the most expensive city in North America, Saturday May 26th PONI w/ ADAM DREADDY where clubs on Granville Street thrive and Don- , nelly pubs are always full, "five bucks stops people Wednesday May 30th BIG EZAY doors at 9pm, free before 11, $5 after from coming to see amazing music."

Nevertheless, FSSS exists, carried on the backs Thursday May 31st Tough Lovers, Kithkin, Oh Noi, Yoko, EEEK! of two fans who are breaking down the barriers & Beastie between audience, performer, and venue, creat­ ing a community grounded in good music. And Thursday June 7th TOPLESS GAY LOVE TEKNO PARTY despite the darkness cast by financial burdens in a Presented by the Georgia Straight city where music venues struggle to maintain their www.fivesixty.ca integrity, Way reminds me that it all comes down to wfaceboofccbm^lVESIXTY - www.twltter.com/FIVESIXTYtjdk - www.youtube.com/FIVESIXTYtalk the honesty ofa song. "Thafs what if s all about" And before departing the cafe we open our fortune cookies. Way's fortunereads , "Your kindness will I* Y D L** lead you to success." A welcome thought, though MISBEHAVE 'TASTE GALLERY LIVE PLAY his passion is what I would bet on. m ii dk Y j$m

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Classical Chaos (Eclectic) (Talk) Breakfast With The Browns Alternative Radio (Classical) Queer FM Arts Xtra 9 (Eclectic) The Saturday Edge 9 (Talk) Sounds of the City (Roots) '- PopDro^f/-:4j Student Fill-in slot 10 Stoob&ooNta (Talk) - Sup World? (Eclectic) to (Eclectic) (Eclectic) Stereo Blues Ska-T's Scenic Drive Relentlessly Awesome 11 (Blues/Eclectic) 11 Morning After Shnuu Student Special Hour , Generation 'Sjric&rontcity (TallQ 1y-''IPeft§f • (Eclectic) ,. ,, ^;;flBb $ Donuts It Ain't Easy Being Green (Eclectic) (Eclectic) Annihilate (Psnk) " 12 12 1 The Rockers Show

(Reggae) Inner Journey Terry Project Democracy We All Fall Down Hugo Student 1 (Folk/Experimerrtal)' Podcast (Talk) Now (Talk) (Punk) (Eclectic) Fill-in 1 Parts Unknown (Pop) Power Chord (Metal) Give'Em the Boot (World) ^.iftraeiivtefflwiaaaltst \ talk SUKIS (Talk) jj§ Radio Zero (Dance) H Shake A Prof Talk Programming Training Student Fill-in slot Blood On Tail Feather Student Fiil-in slot 3 Thunderbird Eye 3 Radio Freethinker (Talk) Code Blue (Rootsj,., The Saddle (Soul/R&B) Nardwuar Pfesests TWffegahinet (Eclectic) Mantra (Roflfs) Cj-Afdwoar) The RIB (Eclectic) (Eclectic) 4 B Programming Training Chips Student Butta on the Bread The Leo Ramirez Show News 101 (Talk) The City Arts Report (Talk) News 101 (Talk) 5 (Pop) Fill-in Slot (Eclectic) (World) 5

R.T.R. | Discorder Are You peanut But­ e §m%m$&, Clapping Nasha Vbina (World) Aware ter W Jams Stranded Hands (Rogue Folk, 6 Flex'Your Head (Eclectic) (Eclectic) (Eclectic) Queer fMTlaltf "'' Indie S/S) " squantch ?"**» (Hardcore) Norwegian Wood (Eel) (Eclect,c) Exploding Head Movies African Rhythms (Work) Eclectic) 7 # Stereoscopic Redoubt - Rhythms Techno (Cinematic) (World) inside Out (Experimental) More Than Human Progressivo ^••tt 0 (Dance) (Electronic/Experimental) ^'I^Htsis (Roots) H Bootlegs & B-Sides The Bassment 9 (Dance/Electronic) Synaptic Sandwich 9 Live From Thunderbird (Dance/Electronic) Crimes And Treasons (Dance/Electronic/ RsdioRBllftive) . The Jazz Show (Jazz) Sexy in Van City (Talk) Eclectic) 10 ^^^p^emiance ' 10

(Dance) Radio Nezate Funk My Life 11 (Eritrian) Randophonic (Eclectic) 11 CabaRadio (Talk) Hans Kloss Misery Hour (Soul/Dance) Canada Post-Rock (Rock) " . (HansHtess) 12 12 ' (Efectra/Hijfitop)

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I 22 good Classic Trance Anthem, espe­ EXPLODING HEAD MOVIES PROF TALK EXTRAENVIRONMENTALIST cially if it's remixed. Current influ­ (Cinematic) 7:30-9pm (Talk) 3-3-.30pm \ (Talk) 2-3pm CLASSICAL CHAOS ences include Sander van Doom, Join gak as he explores music from \ Bringing UBC's professors on airto \ Exploring the mindset of an out- (Classical) 9-10am Gareth Emery, Nick Sentience, the movies, tunes from television ; talk about current/past events at sider looking in on Earth. Featuring From the Ancient World to the 21st Ovnimoon, Ace Ventura, Save the and any other cinematic source, j the local and international level, i interviews with leading thinkers in century, join host Marguerite in Robot, Liquid Soul and Astrix. 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Hosted by Gavin (7aW3:30-4:30pm j REEL TO REAL (Electro/Hip Hop) 12am-130am Walker. Features at 11pm. May 7: i Promoting skepticism, critical • (7a//rJ 6-6:30pm M ROCKERS SHOW Skadz and Sprocket Doyle bring you "In Orbit": Trumpeter/composer thinking and science, we examine Alternating Wednesdays }) 12-3pm Electro Swing, Alternative Hip Hop, Clark Terry with Thelonious Monk popular extraordinary claims and ' Movie reviews and criticism. inna all styles and in a rare appearance as a sideman. Dubstep, Acid Jazz, Trip Hop, Local subject them to critical analysis. D|SC0RDER RADIO fashion. and Canadian Content-good and May 14: "Bags Meets Wes" a clas- dirty beats. sic meeting of Milt Jackson (vibes) THE CITY (7a//o>6-6:30pm BLOOD ON THE SADDLE (Talk)5-6pm ! Alternating Wednesdays (Roots) 3-5pm and Wes Montgomery (guitar). An alternative and critical look j Discorder Magazine now has its Alternating Sundays May 21: "Kenton atTheTropicana" at our changing urban spaces, own radio show! 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Bands and guests from around the on indie-rock/pop. anitabinder® to the early 70s, including lesser Formerly on CKXU, Canada Post- ; com world. ; hotmail.com known artists, regional hits and Rock now resides on the west coast lost soul gems. ^fsSCEWGDRivE but it's still committed to the best | INSIDE Wit j SHAMELESS fS/ra;ilam-12pm in post-rock, drone, ambient, clHIPiwMEVERnHING (Dance) 8-9pm j (Eclectic) 6:30-8pm SYN C H RO NIC ITTY experimental, noise and basically riistfsTSriwiirc ' Alternating Wednesdays (Pop) 5-6pm anything your host Pbone can put ! (TaflU12-l:00pm /w n Ln. Q i ;" I W'cated to giving local music Alternating Sundays the word "post" in front of. British pop music from all decades. Join host Marie B and discuss spiri­ rri^«Snn«flanMiii mm acts a crackat some airplay. When International pop (Japanese, tuality, health and feeling good. c^^™™s?*™^™.. j notplayingthePRshtick,J,ucan French, Swedish, British, US, etc.), Tune in and tap into good vibrations CABARADIO ! hear some faves you never knew '60s soundtracks and lounge. that help you remember why you're C7aWllpm-12:30am | you liked. here: to have fun! PACIFIC PICKIN' QUEER FM ARTS XTRA (Roots) 6-8am For the world of Cabaret. Tune in for FOLK OASIS (TaW6-8pm PARTS UNKNOWN Bluegrass, old-time music, ; interviews, skits, musical guests • «h). 1fl (Pop) l-3pm and its derivatives with Arthur I Dedicated to the gay, lesbian, and —•«. Radio with sass! , <™s of eclectic folk/ bisexual and transexual commu­ An indie pop show since 1999, it's and the lovely Andrea Berman. ! WEDNESDAY roots music, with a big nities of Vancouver. Lots of human like a marshmallow sandwich: soft [email protected] emphasis on our local scene. 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From new electronic and' from India, including popular couver bands. ffc*c«W10-ll:30am sexyinvancrry.com/category/sexy- music from the 1930s to the pres­ experimental music to improvised ..... ! in-vancity-radio ent; Ghazals and Bhajans, Qaw- jazz and new classical! So weird it MORNING AFTER SHOW walis, pop and regional language will blow your mind! (Eclectic) U-Mam-lpm Various members of the CiTR's (Hm Kloss) llpm-hm numbers. An eclectic mix of Canadian indie I ?T much the thm on NEWS 101 with rock, experimental, world, reg- student executive sit in and host i f* ^ « (7aW5-6pm gae, punk and ska from Canada, \ this blend of music and banter ' (Dance) Worn Vancouver's only live, volunteer- about campus and community Latin America and Europe. Hosted THURSDAY Alternating Sundays produced, student and community by Oswaldo Perez Cabrera. news, arts and pop culture. Drop A mix of the latest house music, newscast. 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We also love a DUNCAN'S DONUTS BUTTA ON THE BREAD rhythm and blues to the golden age beginner's show It Ain't Easy Being GENERATION ANNIHILATION Eclectic) 12-lpm (Eclectic) 5-6 pm of motown, to contemporary dance Green! With the support of expe­ (Punk) 12-lpm Sweet treats from the pop under­ It's like mixing unicorn blood with remixes of classic soul hits. rienced programmers, this show On the air since 2002, ground. Hosted by Duncan, spon­ Christopher Walken's tears, and offers fully-trained CiTR members, playing old and new punk on the AURAL TENTACLES sored by donuts. http://duncans then pouring it into your ears. especially students, the opportunity non commercial side of the spec­ (Eclectic) 12-6am donuts.wordpress.com to get their feet wet on the air. trum. Hosts:-Aaron Brown, Jeff It Gould be global, trance, spoken AREYOUAWARE "The Foat" Kraft. Website: www. 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Most STEREO BLUES ; (Eclectic) 6-7:30pm music, [email protected] show is about personal and global are from Vancouver, but sometimes | (Blues/Eclectic) llam-12pm Join your host Matthew for a weekly transformation through chanting bands from across the country and j Every Friday host Dorothy Neufeld NASHAVbLNA mix of exciting sounds, past and and utilizing sound vibration for the around the world. sinks into blues, garage and rock (World) S-Tpm present, from his Australian home­ development of higher conscious­ n' roll goodies! News, arts, entertainment and FUNK MY LIFE land. And journey with him as he ness. Hosted by Raghunath with music for the Russian community, (Soul/Dance) llpm-12am rTAMTEAWBEM^ features fresh tunes and explores special guests. local and abroad, nashavolna.ca Grooving out tunes with a bit of soul (Eclectic)12-lpm the alternative musical heritage and a lot of funk, from the birth of CiTR has revived it's long-dormant of Canada. 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Discorder Magazine #233-6138 SUB Bl^jjljj* '^nJM&f^t B.C. Canada, V6T ffi '' ART PROJECT MARK DELONG

Colored Egg Paint and resin on ceramic 19" x 12" 2011

Mark DeLong, born 1978 in New Brunswick, is a self taught Untitled artist working in a variety of mediums including drawing, Ceramic, plaster, paint, glaze, and resin 25" x 25" x 25" painting, sculpture and video. His work has been displayed at 2011 Colette, Paris; Bee Studios, Tokyo; Spencer-Brownstone Gallery, New York; Museum Of Contemporary Canadian Art, Toronto and LES Gallery, Vancouver. Delong has collaborated with artists Paul Butler, Jason McLean, Jacob Gleeson, and Geoffrey Farmer. DeLong currently lives and works in Vancouver. Jf,r Uki mm

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MARK DELONG IS?

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In the Country Untitled Acrylic on canvas Ceramic and glaze 54"x42" 19" x 16" x 16" 2012 2012

STUDIO Untitled Acrylic on canvas 40" x 36"-42.5" x 55" (diptych) 2012

Thanksgiving Oil on canvas 14" x 12" 2012 UNDER REVIEW MAY 2012

Surprisingly, Smail also bran­ want is blood," paint an image ofa Ewan and Andy Bishop have chem­ dishes his darker side on the omi­ backwards and disintegrating world. istry that they've developed playing in ; nous lyrics of "Inside My Head," Sebastian Fleet lends his soft vocals a few local bands that seem to prefer sjnging: "The reaper knows your but avoids a generic indie-folk tone nature-themed names, like Red Cedar name / And he knows your situation by delivering interesting phrasing and and White Ash Falls. / Don't you cry / He knows just where The first two songs on Rough j you're living / And what cigarettes Gold, "Can't Keep This Alive" ; you're smoking," before closing with and "Feather," have beautifully j "Graveyards," which shows that this intertwining melodies, while the \ band can turn up the volume (and closing track, "Family Tree," is fuzz) when they want While the dis­ lyrically deep and vivid. These tinctions are nuanced, Good Morning are fairly mature songwrit­ TOUGH LOVERS manages to adapt a variety of genres ers, and the sound Twin River to that of their traditional rock origins is going for is nostalgic, as if (Independent) to form an endearing album that will looking back to the golden age In an effort to distinguish themselves leave you surprisingly satisfied in the of psych-folk. Yet somehow it from the overcrowded marketplace time it takes you to enjoy your morn­ still sounds totally modern. of west coast rock'n'roll, the second ing coffee. The EP's downfall is the release fromVancouver' s Tough Lov­ —Robert Catherall memorable lyrics. The haunting outro sound levels. Bishop's endlessly ers is a rustic blend of ethereal with the chanting lyrics, "You've been noodling guitar is too far in the fore­ harmonies and powerful solos. infected now," is creepily catchy and, ground. It would be listenable, even Though Good Morning was inde­ indeed, infectious. enjoyable, if it wasn't all you heard. pendently produced, you'd never The B-side, "Fishing" is less The sound levels, and to a lesser guess it by the youthful energy experimental and opens with an extent the arrangements, make the replicated in the fivene w songs intricate and jazzy acoustic riff that's ideas here seem like they're not fully from these Vancouverites that close to something in the likes ofjose' realized. both celebrate and deprecate. Gonzalez. Again, the lyrics are bleak Hopefully Ewan and Bishop's next Through the confusion ofheart ­ and abstract but help create the song's work will have their lovely lyrics and ache and frustration, Tough Lov­ haunting and calming quality. There melodies presented in the best way ers have evolved beyond their is another dose ofthe experimental possible. There is serious potential earlier self to produce a suc- with the use of an echo-y stomp that here. • cinct EP whose forlorn verses sounds like a door slamming. —Jeremy Stothers seamlessly transform into dignified SEBASTIAN FLEET + The psych-folk tendencies on proclamations of empowerment. COUNT OAK Sebastian Fleet + Count Oak's first Juxtaposing these common themes, 7" display the band's already unique Jamie Smail leads the energetic quar­ (Kingfisher Bluez) and distinctive sound, something tet through another concise collection Toronto artists Sebastian Fleet and difficult to claim in a day and age of of captivating choruses and rhythm Count Oak team up for a 7" release pastiche and revivals. A full-length sections that should make any young on Vancouver label, Kingfisher Bluez. album is slated for release later this upstarts envious. The two singer/songwriters tout a year and it will be interesting to see For having five songs that run just similar bleak and mournful- vibe if Sebastian Fleet + Count Oak can under twenty minutes, Good Morning with their respective solo projects. retain their much-acclaimed original­ draws from a remarkable number of Together the sound is no different, ity. With the official album title, 0 Sun influences. The disco beat of "Sur­ as they create an ambitious melange of Muddled Mind and Distant Space, it rounded" elaborates on the catchier of folk and ambient music. seems-like they will. synth-driven "Jennifer" from 2011's "Drowning" instantly grabs the —Angela Yen WHITE LUNG Exits, while the harmless daydreaming listener with its blunt juxtaposition of "Before the Sun Sets" catches the of folky acoustic guitars against TWIN RIVER (Deranged) band in their most straightforward weirdo sci-fi filters and effects. The In a recent interview with Exclaim, pop moment, proving that Tough odd mixture feels both surreal and (Light Organ) White Lung frontwoman Mish Way Lovers find inspiration in a variety earthy which caters to the song's Folk. Indie. Pop. Psych. Those four says their new record Sorry is a more of genres and should be treated as sometimes dystopic lyrics. Lines like, words pretty much sum up Twin melodic venture for the Vancouver more than just a simple rock'n'roll "Chocolate drops and rainbow can-' River, a band formed in the summer weird-punk foursome, and that outfit dies are falling fromth e sky/ All you of 2009. Core members Courtney there are distinct possibilities of fan and former d.b.s. member Jesse Gan­ Can't Go Home Again" and "Sun­ performances. der would agree: expectations are for day Best" All the while, Newman's This two-man group's powers are the old. White Lung is back. Get into busy, yet still toe-tapping, beats fully on display on "Expatriate Act" it Vancouver! perfectly complement the angular the album's strongest track, which —Coleman Ingram guitar parts. rides a gently bouncy melody to a Civilized City's all liberal arts lyr­ quietly anthemic conclusion, feeling HERMETIC ics are sweetly sung in an upper reg­ simultaneously personal and global, ister, gliding over jagged melodies on proving big statements can come in (Independent) Axen's baritone guitar on tracks like small packages. Vancouver's Eric Axen and Bart New­ "Nixon Song" and "Revenge Com­ —Brent Mattson man keep their racket on post-punk- edy." Axen and Newman's voices pop sealed tightly on Hermetic's blend seamlessly, often sounding like alienation. Having wowed audiences latest release Civilized City. A guitar/ two Morrisseys sans the caterwauling across the country and beyond with drums duo, Hermetic is less inspired and posturing. their 2010 full length debut, Ifs The by the blues-rock of the White Stripes The award for best patriotic shout- Evil, there has certainly been some and Black Keys, and are more influ­ out on the album goes to "Preventa­ anticipation building for the next enced by sweet-tooth post-hardcore tive Arrest," forth e line "I shared my chapter. That said, if there are any groups like Jawbreaker and Mission lunch with the Canada goose today/ self-professed White Lung fans out to Burma. So tame that it never thought once there that can't get behind this latest Axen and Newman squeeze every­ about trying to fly away." That song, output, they may need their hearing thing they can out of their instru­ along with the title track and "Cur­ and/or attitudes checked. ments to fill in the negative space mudgeons Club," may be familiar Sorry definitely has a few more around their songs, adding a touch to those who are lucky enough to melodic parts and the band's cre­ of harmonica or strings here and own Hermetic's split EP with Plus RODNEY DECROO ative growth can be heard, but on there for flavour. Perfect. These well-worn tunes the whole it is still a freight train Axen flashes between fuzzed-out make a triumphant return on this (Barge) of an album, blistering through ten melodic riffing and distorted strum­ full-length, featuring tweaked pro­ "And when he looks down, a spar­ tracks in less than twenty minutes. ming best demonstrated on "You duction and tighter, more confident row is nesting as if in the crook of The heart-rate scarcely has time to drop for the duration ofthe record SIZZLE TEEN RECORDS 8 LINDSAY'S DIET PRESENT: as one ripper blends into the next, from the opening charge of "I Take the Mirror," to the heavy dead stop of HB closer, "Dead Beat" START A BAND! The aforementioned melody doesn't seem at all out of place within ladies rock camp the chaps around it, and is easily heard PASTfcHi E A KUAL™a» HUW6$M.E in the almost Bif Naked harmonies on mn ^Msms-i.... II "Bag," and Kenny McCorkell's shim­ ALL-AGES ART 8 MUSIC EVENT GUITAR mering, creepy breakdown on "St MAY BASS Dad." Aside from these slight ven­ SATURDAYJUNE9 25-27 tures outside their normal repertoire, 7:30PM -10:30PM KEYS it is business as usual for White Lung. LITTLE MOUNTAIN GALLERY Way yells and wails over McCorkell's DRUMS AT THE 195 EAST 26TH AVE. frantically strummed chords and the VOCALS WALDORF rock solid rhythm section of Grady FEATURING ORIGINAL GIG POSTERS BY: Mackintosh on bass and Anne-Marie ZACHBULICK ROBERT MEARNS NO EXPERIENCE NECESSARY COME SEE THE SHOWCASE! Vassilou on drums. LINDSAY CHETEK JACKIE MUStAL SEAR AND FOOD PROVIDED MAY 27,7PM $10 NICHOLAS GOEBEL CHRIS-P Perhaps contributing to the over­ ARIEL HITCHCOCK Kit RIDGEWELL APPLY 0NLIN& all speed and intensity ofthe record JACOB KOWNACKI DANIEL SIC0L0 WWW.LADIESR0CKCAMP.TUM8LR.COM was the triple-session process by CARMEN LEAH LAURE STR0MB0L! which it was recorded. But even if OFFICIAL AFTER PARTY HOSTED BY ALL PROCEEDS HELP LOW-INCOME KIDS ATTEND GLORY DAYS AT THE BILTMORE the songs were rushed in studio, girts tocft cmap they don't sound rushed; rather, they sound focused. There is not an ounce If SIZZLETEEN of fat on this record. And if there is ~4m* • • • * THE WALDORF »I#<#*IS* BEATROUTE any alienation caused by the melodic UNDSAYS0IET.COM//SIZZLETEEN.COM MUSICPASTE.COM ^@MUSICPASTE inclusions, Pm sure Sony's producer a tree...Its high, sweet trilling goes mayonnaise jar filled with fireflieso n backup vocals that stand nose out among the sleeping passengers, "The Lightning Catcher," simultane­ to nose with any young ham- drawing each breath into its praise. ously releasing much ofthe Steadily and-egger fromtoday' s genera­ My father knows he is as much this building tension. tion. Drummer Terry Russell is song as anything else in his life." So The even, nasal timbre of an impressive timekeeperan d begins Rodney DeCroo's dreamlike DeCroo's voice complements the pulls out some nasty tricks journey into the spoken word genre, moods ofthe album beautifully, and behind the kit without being surely one ofthe more challenging the instruments twist around his mum mum a showboat while bassist Ed styles of music for a wide audience gnarled landscapes as he presents Hurrell keeps it greasy and to appreciate. DeCroo however, a a bleak vision of his past that serves smooth. prolific Vancouver-based musician as "an uneasy reminder ofthe river's •J "Give the Devil His Due" and and writer, foregoes any doubt and phlegmy, dark green clutch." "A Day Late and a Dollar Short," throws himself into the abyss, note­ Allegheny is a gorgeously lush tent to a cheesy and obvious cover. are wild tunes, vaguely reminiscent book in hand. and intensely captivating piece of So if Blood Diamond leaves your res­ of Danzig, that got me stomping Allegheny, his sixth album, and work. ervoir of baseball trivia dry, there's while "Kicking the Shit Outta Love" first foray into the realm of spoken —Jordan Ardanaz always the older material. And as for brought a smile to my face. word, recounts a deeply existential the band, there's always next season ioo Proof is a rowdy blues- and personal path through DeCroo's ISOTOPES for chapter five which will hopefully infused rock and roll record that will grey and green-toned youth, which see them play a few extra innings. make you want to throw down your he spent, growing up in rural Penn­ (Independent) Good game Isotopes. fists and get your skank on. Even if sylvania along the apparently putrid For those that aren't aware, the Iso­ —Coleman Ingram Liquor Kings were to remain a bar cavity ofthe Allegheny River. topes really love baseball. It is a love band for the long haul, they'd be the that is most likely on par with their LIQUOR KINGS baddest damned bar band this side admiration for Ramones-sounding 100 PROOF ROCK AND ROLI ofthe border. bubblegum-punk. On their fourth (Wax Records) —Nathan Pike and latest EP, Blood Diamond, the Here is solid proof that you're never Vancouver/Louisville-based group too old to rock. All it takes is guts, BUCKMANCOE bring out another few slices of base­ passion and unwillingness to give BY THE MOUNTAIN'S FEET ball-laden punk-rock just in time up on the good life. Mix that with (Buckmon Coe Music) for summer. some well-utilized dirty chords and It is important to note, when intro­ EP opener "Rule 21" is a fast- a beat and you have yourself a heck ducing Vancouver-based yogi and paced chanter about a disgraced ofa rock album. 100 Proof Rock and folk artist Buckman Coe, that the player subjected to the major league Roll sounds like a true labour of love, term "yogi" should take first posi­ misconduct rule, while "Operation: and the Liquor Kings aren't ones to tion. The singer-songwriter's latest Vamos" is a mid-tempo tune regard­ hold back. From start to finish it's release, By the Mountain's Feet, is one Blended with deeply brooding ing the kidnapping of Washington a whisky-soaked romp with no day- ofthe most optimistic albums I've music produced by Robert Malow- Nationals player Wilson Ramos. after regrets. heard in some time, laden with the any, the album is somehow sparse They wrap up the under-five-min­ personifying, loving, at-one- and bleak, yet rich and warm. ute long EP with a camp rendition with-the-earth type of language DeCroo's eloquent but stark prose is of "Take Me Out to the Ballgame," that one would come across in lyrical, and serves as the linchpin that causing one to wonder how it took any yoga studio. But this isn't holds the whole escapade together, them so damn long to get around to suggest that Coe is some flowing in angular but lucid pas­ to covering it. sort of contrived act or inca­ sages and backed by the constant Whether or not you actually pable artist. In fact, his mes­ ominous pounding of synths, gui­ know anything about baseball, all sage of unity and simplicity is tars and distorted horns. you need is a set of ears to get your delivered quite naturally, and Allegheny's drama unfolds in feet tapping along (just don't let the simple associations with the scenes set under overcast skies and band know; you're likely to get called likes of Ben Harper won't do within the murky flow ofthe river a "rookie wimp" and doused in chew him justice. itself, as DeCroo manipulates the spit). And though the songs are all Nevertheless, the album mood with his haunting narrative, catchy, Blood Diamond barely leaves Eddy Dutchman leads this pack isn't devoid of aggravated under­ expounding events occurring either the listener with enough content to of seasoned toughs with a voice that tones. On tracks such as "The in the past or as imagined outcomes. sink their teeth into. Previous EPs comes on like a blues-and-booze- Apocalypse is Not Guaranteed" The sentiments are frequently dark, like Cuban Missile and Heatseeker fueled fireball. He's enabled on and "Paranoia," Coe's frustration but quickly become touching near have twice the material on them and either side by guitars that sound with the mishandling ofthe world the end ofthe album, at the drop ofa don't dedicate one-third of the con- like revved up hot rod engines and is evident. On "Paranoia" he sings, "Oil spills are the price of their greed/ ditional no frills punk record, and tor." This heartbreaking theatrical i that combined with a near perfect They are selling arms to watch both a huge achievement for a group so piece sets a high bar for the listener's I production, set the Geese apart from sides bleed." There is a mood of young. Raw, raging and in-touch, expectations, which are consistently j many of their contemporaries. lamentation in the album's second Childsplay guns their motors and satisfied by the first half of the record. ; So, whatever the heck "West Coast half, apparent in tracks such as One ofthe album's many high- ! Danger Folk" is, ifs creative, compel­ "Brother" and "Leaving Samsara." lights is "Omnibot" a playful [ ling and unique. But his soothing vocals maintained tune in which singer Zoe Fitch j —James Olson throughout can only be imagined as plays the role ofa robot sent to ' sung with a smile on his face. observe the decay of Earth. The I Diverse musical arrangements song details how Omnibot 563 and intricacies complete the album; flees its overbearing superiors Coe's skills on guitar are on display, in order to live in the woods .It's along with an impressive backing simultaneously humorous and band complete with a range of per­ inventive. cussion, keyboards, mandolin, banjo, Throughout the album, the violin, cello and even a mandotar. Geese keep their sound varied Coe's album is steeped in nature, and engaging, while still work- , lamenting today's sorrows while has a whole lifetime ahead to hone ing within many ofthe parameters of. hoping for tomorrow. It's put best their craft. the folk genre. "Cola Cans" features a on "Promise," when he sings: "Truly Vocalist Jaden Faber's voice is ±e melancholic disco swing beat while great humanity/ If we look inside perfect combination of snot-nosed "Lille Gard" sees the band repris­ we will find it." Coe should have a brat and viciousness that can only get ing the moving strings of "The future in North America's folk scene more gruffan d compelling with age. Generator" in the chorus for a dra­ if this album is any indication of his The guitar/drum/bass combo is per­ matic effect These are among many potential. For now, it's a good dose fectly loud, clean and well executed, inspired deviations from folk formula of optimism for those rainy Vancou­ . but has plenty of room to grow. With ver days. none ofRighteous Rampage's break­ —Andy Resto neck tunes clocking in at much more Black Hen Music r, 2jj - , two and a half minutes, Childsplay at the Electric Owl effectively get the job done. The rapid w pace of "Hey!" grabs your attention, ^Presented with: |Q CAPILANO ^SsrJ^SSSZSSZ. Wgmg u N 1 vustrr Centre forth e Performing Art: "It's All Lies" is a perfect grimey romp, and the band's ferocious cover of "Iron Man" is anything but filler. Smart-assed and wise beyond STEPHEN FEARING "Fearina's music crackles with ideas and collaborative energy.^ masterful guitar work nam acoustic rock rhythm to elegant fingersfyie. their years, Childsplay sounds like -Acoustic Guitar Magazine a band that is refusing to do what they're told or how to do it This fresh blood is exactly what the punk scene seems to need rightnow . —Nathan Pike Sunday, May 27 CHILDSPLAY Doors - 6PMI Show - 8PM THE GEESE (Independent) Old farts that don't believe the kids (Independent) have what it takes to make good punk The Geese's debut album is an engag­ music can officially choke on their ing and diverse effort that sounds like Tickets $23 (advance), $25 (door) words. The average age of Vancou­ the collaborative work ofa tightly Available at 604.9trO.78lO ver's Childsplay couldn't be much functioning unit The shifting roles of and capilanou.ca/nscucentre more than legal drinking age, yet each ofthe band members throughout they're rocking harder and making the album are evident as every track A different artist each month playing with L_ more accessible punk music than bares its own unique character. Steve DaWSOn and the Black Hen House Band. some punkers who have been at it Heralding what the Geese have for years. coined "West Coast Danger Folk," Righteous Rampage, the band's the record begins with a stunning 3 Main St. | Vancouver, BC second release, is a straight-up tra­ string instrumental, "The Genera­ J TRUST/MYTHS crowd interaction to suck up time I • April 14 • The Electric Owl between tracks. Composed of lead I •This past Saturday presented both singer Robert Alfons on vocals, Maya I la gift and a curse to the patrons of Postepski (also of Austra) on drums, I I Main Street's Electric Owl—the early and a "friend" on synths, their vibe I •show. There seems nothing more is gothic yet danceable, Joy Division I • daunting to a young Vancouverite meets Hot Chip. I than arriving at any venue before n "Bulbform" set the stage for eerie I I p.m., so itwas surprising that there beats to infect your system before big­ I was a crowd milling about by 9 p.m. ger hits like "Candy Walls" got the I •The double bill of local electronic crowd bopping, and "F.T.F."' closed! I opera pioneers Myths and Toronto's the show to a veritable dance party. I depressing yet danceable three-piece Why or how doom and gloom I •Trust seemed like a sure bet With electro, this goth-rave music, is on I •enough '80s synth riffsan d fat bass the rise is anyone's guess. What is I I beats, we would be just drunk enough known is that these Canadian purvey­ I to dance by the n p.m. curfew, so ors ofthe sound are delivering it in I •help us. quantity and quality, and the Electric I "This is supposed to be a sea Owl has come into its own, turning I landscape set" was one ofthe first the dreaded early show into a Satur­ things Myths said to the crowd, and day night success. these strange words were some of —Grace McRae-Okine the last intelligible ones heard for the remainder of their set The duo shim­ DAMIEN JURADO / mered in sequins, cooed, screeched, PETER WOLF CRIER and looped riffs with aplomb, but April 18-The Biltmore few seemed ready for such a aural Itwas a day of blue sky, budding MYTHS onslaught The only people visibly leaves and bright sun soon to but­ photo by into the Myths set were Myths them­ ton down with bleeding hearts at the ASHLEELUK selves. Biltmore Cabaret As Townes Van The draw ofthe night was Trust Zandt's "Waiting Around to Die" and their delivery ofthe short and played dirge-like over the speak­ tight set was flawless, with little ers, the curtains pulled back from the stylish stage to reveal Peter Wolf PORCELAIN RAFT/ up the set with the ludicrously catchy bars, up and down Granville Street Crier, a go-getting two-piece from IN MEDIAS RES "Unless You Speak From Your Heart" in particular, for a brief time, but Minneapolis. April vj • The Electric Owl which took on a slightly faster pace they've amassed quite the following Hyping their recent sophomore It was an unfortunately rainy and and heavier thump in the live setting. with their twangy folk rock and good Jagjaguar release, Garden of Arms, miserable night when Brooklyn's The pair exited the stage briefly before old boy charms. Peter Pisano (guitar, vocals) and Porcelain Raft rolled into town for a returning for a two song encore and They've made some good friends Brian Moen (drums) caused quite a spot at the Electric Owl. Perhaps that then said goodnight. It was a solid along the way too. Opening were ruckus for two rather unassuming was the reason the club was slightly performance and I have a distinct feel­ Dogwood and Dahlia who took a dudes. With flair and brio abound­ lacking in attendees. Or perhaps it's ing that if or when he returns, it will moment out of their set to reflect ing, the boys quickly won over the that Porcelain Raft's ambient, synth - be to more pairs of eagerly awaiting on times playing basement shows crowd, their pluck and performance driven full-length debut hasn't hit the ears and not likely in such an intimate with Phelan and Lawlor to make rent quite infectious. masses—yet Mauro Remiddi, the setting. money. They made a great impres­ As Moen playfully pounded out his sole musician and songwriter ofthe —Coleman Ingram sion with their melancholy trumpet affections on the drums and Pisano, "group," assembled Strange Weekend and moody songs that evoked all the like his namesake suggests, cried out over a few months in his basement THE RIVER AND THE ROAD / emotion of prairie thunderstorms and his predilection, there was a wistful, and has since been touring with the BEHIND SAPPHIRE/ whiskey-filled hearts. earnest and totally cathartic batch of likes of M83 and Youth Lagoon to DOGWOOD AND DAHLIA Following up were the wonderfully tunes. Fans of John Vanderslice and support it Now embarking on his April 14 • The Media Club loud and fun Behind Sapphire, who Pedro the Lion take note; these lads first headlining spot, he brought The River and The Road played a strike a kind of shoegaze-screamo have a similar indie aesthetic that's along Vancouver locals In Medias packed show at the Media Club to balance in their music with layers as perceptive as it is wry, rockin' and Res to brighten ±e dreary eve. celebrate the release of their debut of sounds and extended riffs that fast paced. In Medias Res, which usually per­ self-titled album. The Vancouver encourage heartfelt wild abandon. There was a quick turnover before form as a quartet was down to a one- transplants, consisting of the bearded Their excitement and enthusiasm the headliners took the stage, where man show, of Andrew Lee (vocals/gui­ Australian wonder Andrew Phelan on were contagious and reciprocated it was hard not to notice the excited tar) . He played a mellow, expectantly guitar and north Vancouver Island in kind by the enthralled crowd, and rabble sporting a wealth of beards \ stripped-down set starting by wailing banjo-master Keenan Lawlor, have they struck an incredibly poignant and plaid. Fitting, as Seattle-based out heavily reverberated vocals over been busting their asses in Vancouver moment with their cover of 19th Damien Jurado and his first-rate an equally echoing pedal steel guitar. band stormed the stage. His five- Switching over to an electric guitar, piece assembled, the beard/no-beard i he played a number of bass pedals ratio on the stage was four to one. with his feet on top of pulsing beats, But whisker worries soon fell by the , managing to handle things more than wayside as Jurado's intense brand of • reasonably as a solo act. urban folk mesmerized the room on Porcelain Raft was up next and a dime. fired right into Strange Weekend opener Visiting tracks across his "Drifting In And Out". Remiddi took impressive catalogue ofa dozen or care of most instruments including so releases, with a particular focus I guitar, effects pedals and keyboards, on his excellent new Maraqopa LP, I and to the crowd's good fortune Jurado surrendered his gentle gifts brought along a live drummer, giv­ with balance and dedication. "Every­ ing the atmospheric dream pop of his one a Star" reached pastoral peaks, album a formidable punch. The venue summoning a Paul Simon sparkle, ; filled up considerably at this point and followed by "Working Titles" where even though it was still nowhere close choral arrangements and haunting j to capacity, the eyes of all attending harmonies played with religious ; were glued to the stage. The captivat- severity. I ing duo ran through a large chunk of At one point, during a trembling Strange Weekend with tracks like the rendition of "Sheets," Jurado twisted acoustic, Brit-poppy "Shapeless & on the floor, howling with ecclesias­ Gone," the moody and melancholic tical, revival-like intensity that was "Is It Too Deep For You?" and also like some land of sorcery. Jurado dipped into older tracks like "Talk to gave a great show, one that both his Me" from their Gone Blind EP. bearded brethren and fledgling fans They did, however encounter some could completely cherish. technical difficulties, which Remiddi —Shane Scott-Travis attributed to "using gear from the '70s." Thankfully sorted it out towra p century Christian hymn "Nearer, My folky twang of Lawlor's banjo per­ challenged than bored. Plays:four formed next as Connecticut — a God, To Thee" towards the end of sisting. It's no wonder that they've was a surprise local opener. Jona­ similarly drone-centric noise project. their set. been embraced by Vancouver folk than Scherk Of 8o(sun), Sam Beatch While all the openers were expertly Both of the opening acts set a fans. The River and The Road aren't of Beamss and Ellis Sam of Flash selected for a Oneohtrix Point Never high bar for The River and The Road, going to remain a hidden gem for Palace hovered around an island of gig, this third session felt repetitive who did not disappoint The already long; they're basically to folk what laptops, samplers and effects gad- and caricatured, like a live-action ani­ dense crowd pushed in as close as the Black Keys were to blues, and it getry plunked in the middle ofthe mated gif. Anticipating the satisfying they could as Phelan and Lawlor took couldn't have happened to two nicer W2 floor. Skittering psychedelia familiarity of Oneohtrix PointNever's the stage. Everyone loves a banjo, but guys, I was totallyunfamilia r with any floated up over ambient, sometimes Replica and Returnal, I found it difficult to incorporate it so beautifully into an ofthe acts going into that night, but shiver-inducing bass drones. Ix>ops to tuck in and contemplate Macklin's acoustic folk and rock sound is really I was a lifelong fan as I left. veered from erratic to expansive, but artistry. .;^^ some±ing to behold. —Tristan Kdstjer' * remained accessibly stimulating. The Closer to midnight, the much- Phelan and Lawlor forego any trio's youthful chemistry was impres­ awaited laptop wizard Lopatin took theatrics with their music in favour ONEOHTRIX POINT NEVER, sive, but understated. the mic and matter-of-factly told of sincere melancholic music about CONNECTICUT/POP DJ Pop Drones, a.k.a. Mark Rich­ someone in the crowd to fuck off. loss of love on songs like "Elisabeth." IDRONES / PLAYS:FOUR ardson, filledth e segues between sets Maybe it was his mood, or maybe The soul and honesty evident in their April 11 • Wi Media Cafe with a schizophrenic assortment of it was just a safe assumption that music and their performance makes Trippiness is a strange musical cur­ electronica and found vinyl. Video a majority of attendees were noise you feel instantly better about every rency; value is so often predicated on artist Merlyn Chipman built an analog j heads—either way, Lopatin launched loss and bitter memory thatyou have, the mind-altering substances con­ feedback loop at the back ofthe room, into the more ragged bits of his early even when they're singing about sumed by its listeners. Having arrived where hand-waves across a toaster- ' work, relying on frequent bursts of cocaine addiction. The tempo and stone sober at W2 to see Oneohtrix sized television screen would produce | noise and feedback. excitement steadily built Point Never (Brooklyn-based Daniel kaleidoscopic blooms on four or five Looking at my notes, I saw phrases They made a blues song dance Lopatin), this reviewer admits she gigantic screens. Singeing fluores- \ like "crash-landed chopper" and like a swing tune and escalated to a was only adequately captivated by cents writhed at the edges, destabiliz- | "caustic drudgery (in a good way?)." triumphant pounding rock 'n' roll the synaptic soundscapes on offer ing the few recognizable samples in ; During the lighter bits I thought ofthe finale that had them playing with Wednesday night. But as someone's the music mix. year Justice was popular (remember the crowd onstage—always with the grandma might say: better to be UK ex-pat Samuel Macklin per- i 2003?) or when videogames were still

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ricepaper in two dimensions and emitted cutesy ANDREW BIRD/ and stand-up bass. haps trying to drink in the presence gun sounds. More organic moments LAURA MARLING These stripped down soulful of one greatest alternative singers of approached an uncalculated Black April 10-TheVbflue tunes, and a cover ofthe Handsome the 1970s. Dice jam, while other chunks com­ Shows at the Vogue always include Family's "Drunk By Noon," were Some of the most interesting manded patience. As some strange extensive preamble; the pre-show the highlights ofthe show. Show­ moments from the band came when Russian-looking hieroglyphs rotated drinks, the line-up, the seat grab, casing songs off recent and past the guitarists began manipulating on the screens behind him, Lopatin the hour wait the random opener albums, Bird delighted his fans with synthesizers and electronics, applying shook his head while diving further and excessive line check, all with an his incredible violin chops and mad dissonance and off-rhythmic phrases into acidic territory. encore finishing at the clock strike whistling skills. that complemented Suzuki's sing­ Lopatin's album tracks already of eleven when the union hands go —Brenda Grunau ing style. invoke a certain element of anxiety home. However, there is no venue However, the backing was usu­ and alienation, but in a live setting more enjoyable for seeing a great art­ DAMO SUZUKI /3-D FEST ally fairly restrained in its workings, this is a constant top-of-mind affront ist with a great view and great sound April i- The Waldorf always leaving space for Suzuki to take I didn't feel that magnetic sense of in a plush chair until the fans rush the Damo Suzuki entered the Waldorf at centre stage. Even when the music nostalgia until he knowingly dropped stage and obstruct the perfect view. an amble, an unassuming middle- could be a weird approximation of nu- the track "Sleep Dealer" much later Laura Marling, songstress from aged Japanese man clad in sensible metal, with Suzuki's bark emulating in the set the UK, opened, filling the single clothes and a backpack. His entry rap, there was a measure of control While there was a certain raw­ spotlight with her low contralto voice. bore no relation to his performance; to the proceedings. ness to seeing Lopatin do his thing This slight blond in shapeless black the ex-singer of acclaimed krautrock Although this probably wouldn't in person, the minimal setup nearly showed remarkable dexterity on the band Can whipped through a free- rank up there with some of his most thieved the mystery of his signature guitar, channeling folk singers of form set backed by Vancouver band glittering collaborations, there was spacey transmissions. At least for old hke Joan Baez and Joni Mitch­ Von Bingen. probably enough intrigue to do the this reviewer, Oneohtrix Point Never ell. The crowd was silent, listening Standing centre stage, Suzuki man justice. And at the very least you is better experienced through head­ to the songs of varying styles and gripped the microphone with both would be hard pressed to predict just phones. I left feeling excited for what­ temperaments and the slight hint hands and then shunt into it for each what would be the next bark, holler, or ever Playsrfour is up to next. ofa British vowel at the end ofthe lyric, and phrase, a strange snap and croon to come out of his mouth. —Sarah Berman phrase. Her rich, clear storytelling relax that carried through the whole —Rowan Coupland voice sang song after song in minor set Lights flickered and ebbed from key with audience enthralled. green to blue to red, Brightly lit, the stage featured punctuating the per­ a scattering of instruments with formance which had DNA-esque swirl sculptures NvATRON few breaks between Browse hanging from the rafters and a "songs." SATURDAY JUNE 2ND, 2012-8PM AT double-horned gramophone at 3,000 Since Suzuki left the back. Andrew Bird appeared LITTLE MOUNTAIN GALLERY Can in 1973, his perfor­ 195EAST26TH AVENUE, VANCOUVER B.C. lonesome, a toqued troubadour Local & mances have all fallen with his violin. Creating layer under the banner of Independent upon layer and manipulating Damo Suzuki's Net­ each with shoe taps on ped­ work, where "sound Bands in the als, Bird filledth e theatre with LEM0UNTAINGALLERY.COM carriers" improvise sound all on his own. a set with him. Von CiTR His backup band acted Bingen followed in the footsteps of sponsored as a rhythm section, playing Broken Social Scene, Acid Mothers around the edges and draw­ Temple, and Omar Rodriguez Lopez, ing on calypso rhythms. These among others. Vancouver jazz influences lent the tone of Their backing was at times rhyth­ steel drums to the plucking of mic and driving, the beginning ofthe Band the violin. Swaying like a pixie concert highly structured with only with half-closed eyes, Bird was some electronic manipulation that Directory captivated by ±e music, his full pushed the music away fromstraigh t concentration on his mastery of rock. Later it drifted more, allowing Find it at: layers. Although his banter was Suzuki's space to break into snippets slight the intimate bluegrass of old blues songs and sometimes set mid-show created a needed allowing the audience space to whoop change of pace, with bandmates and clap. For the most part, though, crowded around an old school much ofthe audience stood stock microphone on acoustic guitar still regardless ofthe tempo, per­ MAY 3RD-MAY 5TH

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What has been your most memorable on-air mo­ ment? I once had a show on drum and bass remixes of soul tracks. D&B is a genre few people associate with soul, but it actually comes from the U.K., where their music history was strongly influenced by the intra, interview coming fromth e heart. The sounds seem like they upbeat style of Northern soul. When Motown and and photo by are being squeezed and extracted as genuine and soul started dying out in the U.S. in favor of disco, CHIRAG MAHAJAN sometimes uncomfortable emotion. What I love the U.K. was still into that old style. The beat and illustration by about music is when producers can integrate that style in songs, like "Hit The Road Jack" by Ray MICHAEL LEE emotion into something danceable, because it feels Charles, were precursors to D&B. And when DJs authentic and meaningful. You can tell how the mix in their D&B bass-lines, melodic synths and If you could talk to Oker Chen long enough, he sound flows with who you are. But the biggest way I break-beats, both these styles flow together very would gladly walk you through the entire history can recognize soul is through the track's optimism; naturally. That's how this sub-genre was slowly able of dance music. Starting with some of his favor­ on trying to look at the brighter side of life. to incorporate those soulful vintage vocals. ites, hke soulful house and funky hip-hop, you might be surprised to hear about the interesting When did your interest in soul and funk begin? If you could play only one track to destroy the and unexpected connections that modern genres Honestly, I did not have much ofa music back­ dance-floor, which track would you pick? have with soul, funk, swing, motown, doo-wop, ground until I came to Vancouver. One ofthe first I'd pick the Jade remix of "Misirlou" by Dick Dale. disco and hip-hop. He'd even explain how these parties I went to here was Mod Night Fridays at This is a D&B remix of Dale's cover, which was styles originated and adapted fromth e blues, jazz, Lotus, before it became Retro Vinyl. That was really used as a soundtrack in the movie Pulp Fiction. For and gospel music. His DJ training classes at CiTR fun to go to in those days. I didn't realize how a house crowd, I'd play Wicked Lester's remix "Gay must be quite a learning experience. upbeat soul could be. From there I started checking With an E," which is a funk remix ofMarvin Gaye's His show, Funk My Life, has been on CiTR's out all these older compilations of Aretha Franklin, "Ain't No Mountain High Enough." airwaves since 2010, and has since aired countless Diana Ross & the Supremes, the Commodores, and soul and funk originals and boodegs, mash-ups and all those golden era chart-topping soul classics. What is your favorite CiTR radio show, apart from re-rubs, dubs and remixes (and only a DJ could tell And things just went from there. your own? you what the difference between each one was). But Trancendance. The show's mixed really well. despite the possibly infinite differences between What is the format of Funk Mu Life? these rhythms and styles, Chen tells me there is The show is all about remixed funk and remixed What does the future hold for Funk My Life? always one quality that connects every track: each soul. I mix together different funk and soul remixes I would love to have an event that showcases the one has a bit of'soul'. Thatword can mean awhole made by often-times unknown producers, espe­ talents of bedroom DJs who do incredible remixes lot of things, so I had to ask him what he meant cially bedroom DJs with a web audience. They take of soul tracks but rarely get publicity. And remixing samples from older tracks and usually mix them is still in its infancy; there are a lot of possibilities Discorder: What does "soul" mean to you? within a funky dance beat On the show, I also talk for all those untouched tracks out there. My show Oker Chen: These days, recorded music is mostly about music history and how certain tracks relate to is all about taking funk and soul to higher, unex­ manipulated, highly controlled and non-spontane­ vintage music. People can hardly believe the tracks I pected places, so I'll always try to make sure that ous, so it's hard to say that it comes fromth e heart play were originally soul tracks that have now been my tracks have that certain funkiness to them. And Soul is a quality of vocality where you feel the sounds adapted to the modern music scene. soul, of course. //CiTR 101.9 FM CHARTS STRICTLY THE DOPEST HITZ OF APRIL

.___# ARTIST ALBUM LABEL •''-'•'# % ARTIST ALBUM LABEL 1 Grimes* Visions Arbutus 26 Bleating Hearts** Bleating Hearts Self-Released

2 Black Mountain** Year Zero Jagjaguwar 27 Bend Sinister** On My Mind File Under: Music (FU:M) 3 Various** Busy Doing Nothing! Mint 28 Watermelon / Watermelon / Student Loan My Friend Wallis** My Friend Wallis 7" Split 4 Real Boys** Real Boys Self-Released 29 Maqlu** Black. Blood. Haze Self-Released

5 Chromatics Kill For Love Italians Do It Better 30 Trampled By Turtles Stars and Satellites Six Shooter

5 Chris-A-Riffic*+ Bible Beats Self-Released 31 Babysitter/Korean Babysitter/Korean Self-Released Gut** Gut Split 7 Trust* TRST Arts & Crafts 32 Bear In Heaven 1 Love You, Its Cool Dead Oceans

8 Great Lake New Wild Everywhere Nettwerk 33 Art Kenyon** Cocoon Self-Released Swimmers* 9 TOPS* Tender Opposites Arbutus 34 Nite Jewel One Second Of Love Secretly Canadian

10 Various** Team Mint 20 Mint 35 Octoberman* Waiting In The Well Saved By Vinyl

11 Yukon Blonde** Tiger Talk Dine Alone 36 Chi Sun** Year of the Disco Tiger Self-Released

12 Chains of Love** Strange Grey Days Dine Alone 37 Les Momies Oe Brulez ce coeur Constellation Palerme* 13 The Ketamines* Spaced Out Mammoth Cave 38 Howler America Wake Up Rough Trade

14 Phedre* Phedre Daps 39 VCMG Ssss Mute

15 Weed** Gun Control Cruising USA 40 B.A. Johnston* Hi Dudes Mammoth Cave

16 Hunx Hairdresser Blues Hardly Art 41 Tanlines Mixed Emotions True Panther

17 Grass Widow Internal Logic HLR 42 Zeus* Busting Visions Arts & Crafts

18 Cousins* The Palm At The End Saved By Vinyl 43 Cuff The Duke* In Our Time Paper Bag Of The Mind

19 Tennis Young and Old Fat Possum 44 Leonard Cohen* Old ideas Sony

1 20 The Ramblin Ramble On Mint 45 THEESatisfaction awE naturalE Sub Pop Ambassadors*

21 La Sera Sees The Light Hardly Art 46 Vulgar, you* Fais-moi cuire Self-Released fais-moijouir 22 Cold Warps* Cold Warps/ Noyes 47 The Shins Port Of Morrow Columbia Endless Bummer

23 Mad Bomber Butchers, Stompers & Self-Released 48 Eamon McGrath* Young Canadians White Whale Society* Cheats

24 Wintermitts** Oceans Self-Released 49 Wax Idols No Future HoZac

25 The Mallard Yes In Blood Castleface 50 The Albertans** The Hunter Ernest Jenning

CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those marked (+) are local. Most of these excellent albums can be found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music coordinator a shout at (604) 822-8733. Her name is Sarah Cordingley. If you ask nicely she'll tell you how to find them. Check out other great campus/community radio charts at www.earshot-online.com. VINTAGE SOUND AT ZULU Ditch your hard drive, ear buds, and wizard playlists and start a real listening experience at Zulu! ¥e carry an amazing selection of VINTAGE turntables, amps, and speakers! *AH brands... Sansui, Dual, Technics, Sony, Pioneer, Marantz, Kenwood, Wharfdale, Boston Acoustics... warm sound and super cool! Plus all the records you ever dreamed of!! These titles Just in... CHECK WWW.ZULURECORDS.COM for a constant update of new arrivals!

THE ROLLING STONES RUSTY WARREN THE BEATLES PRINCE AND THE REVOLUTION THE CLASH OUT OF OUR HEADS IN ORBIT HEYJUDE GIRLS & BOYS LONDON CALLING ORIGINAL UK MONO PRESSING. 60'S PRESSING, ON JUBILEE. 1970 FIRST PRESSING. 'AGAIN'. DIE CUT PICTURE DISC! WAY COOL! CANADIAN PRESSING. 2LP W/ INNER SLEEVES & INSERT. JEFFERSON AIRPLANE WALTER CARLOS THE BEATLES THE CULT ' gJSS rrs POINTED LITTLE HEAD SONIC SEASONINGS REVOLVER SWEET SOUL SISTER THE POGUES ORIGINAL CANADIAN PRESSING. 70'S US PRESSING. 2LP GATEFOLD ORIGINAL UK PRESSING. SOME PICTURE DISC 12" IF I SHOULD FALL FROM GRACE GREAT SHAPE. COVER W/POSTER. MARKS. MONO. WITH GOD THE BEATLES ORIGINAL UK PRESSING. STOMPIN'TOM CONNORS THE BEATLES GET BACK JOURNALS W/ INNER SLEEVE. GREAT SHAPE. ORIGINAL CANADIAN PRESSING. LET IT BE 11 DISC BOX SET. BOOTLEG BEATLES 1967 CANADIAN PRESSING. US PRESSING ON RED APPLE LABEL. COMPILATION ON MULTI COLOURED ALKOOPER GATEFOLD COVER. WAX! NAKED SONGS THE LORDS 70'S PRESSING. GATEFOLD COVER. LIKE A VIRGIN SOUNDTRACK PETER FRAMPTON 1985 UK PRESSING. SON OF DRACULA FRAMPTON COMES ALIVE MARKKNOPFLER HARRY NILSSON / RINGO STARR! LIMITED EDITION NUMBERED THE INTERVIEW ALBUM LEON RUSSELL & MARC BENN0 DIE-GUT FOLD OUT COVER. PICTURE DISC#44684. WATCH PETE PROMO ONLY INTERVIEW ALBUM. ASYLUM CHOIR SPIN! ORIGINAL 1972 PRESSING. BYRON LEE AND THE DRAGONAIRES LEONARD COHEN CHET BAKER GATEFOLD COVER. WINE MISS TINY BEE GEES SONGS FROM A ROOM ONCE UPON A SUMMERTIME 1985 JAMAICAN PRESSING. ODESSA ORIGINAL CANADIAN PRESSING. 1980 US PRESSING. GREAT SHAPE. BOB DYLAN ORIGINAL UK PRESSING W RED DESIRE JIMMY SMITH VELVET & GOLD EMBOSSED LENNY BRUCE 70'S SPANISH PRESSING. THE CAT GATEFOLD COVER. SEXY! IM NOT A NUT, ELECT ME! W INNER SLEEVE & INSERT. ON VERVE. GATEFOLD COVER. US PRESSING. GREAT SHAPE. GREAT SHAPE! BRAINSTORM PINK FLOYD SMILE A WHILE JAMES BROWN THE WALL JAMES BROWN GERMAN PRESSING. GATEFOLD I GOT YOU (I FEEL GOOD) GERMAN PRESSING. W/ INNER GRITS & SOUL COVER. ORIGINAL CANADIAN PRESSING. SLEEVES & GATEFOLD COVER. ORIGINAL US PRESSING. GREAT SHAPE! ON SMASH RECORDS. KAI WINDING RAY CHARLES THE INCREDIBLE TROMBONES THE GENIUS HITS THE ROAD PINK FLOYD JAMES BROWN US PRESSING. ON IMPULSE. EMERSON LAKE & PALMER ORIGINAL CANADIAN PRESSING. DARK SIDE OF THE MOON BODYHEAT GATEFOLD COVER. GREAT SHAPE! ^REAT SHAPE. 70S SPANISH PRESSING. 1977 MEXICAN PRESSING. NICE BRAIN SALAD SUGERY W/GATEFOLD COVER POSTERS & SHAPE. PERTH COUNTY CONSPIRACY 70'S PRESSING W/DIE CUT FOLD VARIOUS-ARTISTS STICKER. KANADA OUT COVER & POSTER. VANCOUVER COMPLICATION JAMES BROWN 70'S GERMAN PRESSING. . 1979 VANCOUVER RELEASE. THE KINKS SAY IT LOUD ERIC BURDON & THE ANIMALS COMPILATION OF CLASSIC LOLA VS POWERMAN AND THE I'M BLACK AND PROUD KISS LOVE IS VANCOUVER PUNK! MONEYGOROUND ORIGINAL CANADIAN PRESSING. FIRST KISS LAST LICKS ORIGINAL PRESSING. 2LP 70S US PRESSING. GATEFOLD SOME MARKS. LIMITED EDITION COMPILATION. W/GATEFOLD COVER. GREAT SOUNDTRACK / HANK WILLIAMS COVER. SLIGHT WARP ON RECORD. PROMOTIONAL COPY. SHAPE. YOUR CHEATIN HEART OLDER CANADIAN PRESSING. THE REPLACEMENTS THE BEATLES PLEASED TO MEET ME A HARD DAYS NIGHT CONNIE FRANCIS 1987 CANADIAN PRESSING. 1983 PRE CONCRETE BLONDE OLDER UK PRESSING. NICE SHAPE. . COUNTRY WESTERN & GOLDEN HITS RELEASE ON HAPPY HERMIT. ORIGINAL PRESSING. GREAT SHAPE. BILLY BRAGG W/INNER SLEEVE. VARIOUS ARTISTS GREETINGS TO THE NEW BRUNETTE PEBBLES VOLUME 5 JAMES BROWN 1986 CANADIAN PRESSING. JOHN COUGAR 1980 PRESSING. GREAT SHAPE. PLAYS NEW BREED LIMITED EDITION / PROMOTION CANADIAN PRESSING. ON SMASH SILVERHEAD LEONARD COHEN SPECIAL 16 AND SAVAGED RECORDS. GOOD SHAPE. SONGS OF 2X12" PROMO RELEASE. CANADIAN PRESSING. W/ LYRICS FRANK SINATRA 1973 US PRESSING. GREAT SHAPE. MILLIE JACKSON INSERT. A SWINGIN'AFFAIR ENOCH LIGHT LA ROCK. FOR MEN ONLY 60*S PRESSING. NICE SHAPE. SPACED OUT 1980 US PRESSING. TALKING HEADS BACH, BEATLES & BACHARACH THE BEATLES THIS MUST BE THE PLACE GOLDEN SLUMBERS RUSTY WARREN 1983 UK 12" FIVE HAND REEL 12 DISC BOX SET. BOOTLEG SIN-SATIONAL 1977 UK PRESSING. W/INNER FIVE HAND REEL BEATLES COMPILATION. SEALED. SLEEVE. ORIGINAL UK PRESSING

twltter.com/zulurecords Zulu Records STORE HOURS t h Lr facebook.com/peopIe/ 1972-1976 W 4th Ave Mon to Wed 10:30-7:00 raceoooK zuluRecords-Store/680210042 Vancouver, BC Thurs and Fri 10:30-9:00 Sat 9:30-6:30 tel60A.738.3232 K£Ca7?33\ Sun 12:00-6:00 tumblr. zulurecords.tumblr.com www.zulurecords.com