Supporting Vancouver's Ipendent mu^c/jgfemunity ioicgS 25 years
Bas^Sfeall Art abject mm^^^i 3 Inlfies of Blppd. BevffcqMes £\ AlAii-AlMm.
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Table of Contents September 2009 www.discorder.ca
FEATURES Jcfpandroids by Gerald Deo
13—Bev Davies: Play It Loud Legendary Vancouver photographer Bev Davies showed a fraction of her huge collection of images that document our city's music scene. 14—Art Project: C/R/I/T/I/C/S/ A selection of images from a recent collaborative project by Andrea Lukic and Justin Gradin. 17—A Room-A Loom Deep in the heart of East Vancouver, there's a loom and anyone can sit down and become part of an art project and a community' 18—3 Inches of Blood Cam Pipes talks to Discorder about his band's reinvention as a serious metal band... that sings in falsetto about medieval fantasy 26—Basketball X&te^reback! Vancouver's favourite dance trio have returned from their year long journey of playing music in Europe and talk to us about how that's changed their sound. 30—Todd Fancey Is he a rock star? Is he a social worker? He's both! The New Pornographers' Todd Fancey talks about how he balances his selfless side with his musical side.
REGULARS. REVIEWS W^_%m0S0i0i&(iM!i' 10—Venews 32—Real Live Action The Rickshaw Theatre /The Cobalt The Clips / Go Ghetto Tiger / Grouper / Hard Drugs / Japandroids/ Makeout Videotape /Mika 11—Textually Active Miko / SSRIs Burlesque West: Showgirls, Sex and Sin in Postwar Vancouver by Becki L. Ross 37—Under Review Arctic Monkeys / Datarock / The Dustin Bentall 12—Riff Raff Outfit / Extra Happy Ghost!!! / Grand Archives Boats! / The B-Liries / Random Cuts / Devil Eyes, / Humans / John Wort Hannam / No Age / Sian Alice Group / Spiral Beach 20—Calendcrr 22—Program guide 25—Charts Could use your help.
Discorder is a non-profit magazine devoted to Donate online: covering local and independent music and culture. www.supporting.ubc.ca/ We rely on the help of hard working volunteers to onlinedonation provide quality content each month. Throughout our 26 year history, sustaining the magazine in Donate by mail: print form has always been a challenge, and even send in a cheque to #233-6138 more so as print publications across the board Student Union Blvd., Vancouver, are facing tough times and advertising dollars.are B.CV6T 1Z1 waning. Donate by phone: Show Discorder that you think we deserve to call (604) 822-1242 with your continue doing what we do by making a donation credit card on hand to support the magazine. All donations of $10 or more will receive a tax receipt. Thank you! EVENT LlVEMUSICVANCOUVER.COM's CALENDAR COMMUNITY music LISTINGS mACKDMMONDBAY BY THOUSANDS Sept. 19th Pit Pub ^mssJi^BM
FINAL FANTASY WITH TIMBER TIMBRE :'o§|p*1^ St. Andrew(s-We$ley United Church >'W. -•-- '*^" "''' &/** m ' 5 Editor JordieYow Editor's Note Dear Discorder: Art Director- We've been changing. We might be pubUshing ev Nicole Ondre city—recognition. ery other month starting in October at least for a In this issue check out the doings of local metal Uttle while. That's important, but what I feel is more Production Manager heroes 3 Inches of Blood (page 18) and an inter important has been a gradual shift in Discorder's view with ace Uve performers BasketbaU, fresh back Debby Reis mandate. from a year abroad (page 26). In TextuaUy Active With the start of a new school year, new website, this month MeUssa Smith provides us with a look Copy Editors new format and a new print schedule, it seems Uke at Burlesque West, a history of burlesque in our city Liz Brant, Debby Reis, Alex Smith, a good time to talk about the change. Over the past (page 10). New Pornographer Todd Fancey's profes MeUssa Smith year Discorder has moved to cover more and more sional Ufe as a social worker is explored by Dan Fu local, Vancouver-based music and art. In the future mano and Dan HoUoway (page 30). We look at Bev Ad Manager you wiH find less about bands and artists from out of Davies, whose photography has long documented Marie Benard town and more about our local heroes. our music scene and was.shown to the pubUc last This isn't because we have any particular dislike month (page 12). We check in on the struggles of Under Review Editor for music from the rest of the world. We love music the Cobalt and the Rickshaw Theatre with running Melissa Smith from aU over the place, but it's siUy for us to try and their venues in Venews (page 10), and our feature compete with establishments like Pitchfork and Ex on A Room-A Loom looks at how Goonies new . RLA Editor claim in trying to teU you who the hottest new band art project is working to build community in the Alex Smith from Sweden or Montreal is. Downtown Eastside (page 17). What we can do, and do weU, is report on what's On a final note, it is our art director Nicole On- Web Editor going on in our city Vancouver is a vibrant and tal dre's last issue. She's been making this magazine ReillyWood ented community, which deserves to be discussed look amazing since she started last year and we'U and reported on. We'U be doing our best to fiU our miss her. We wish her aU the best, and hope our new Calendar Listings pages with stories relevant to the local scene. We art director is up to the task of filling her shoes. Melanie Coles might not be musicians or artists here (weU not me anyways), but by putting out a magazine about Until next month, Promotions Director Vancouver's music and culture we can give some JordieYow Leanna Orr thing back to aU the talented artists out there in the Program Guide Bryce Dunn Corrections Distribution Peter MacDonald Adriane Lake's name was mispeUed in Under Review in the August issue. It is Adriane Lake, not Lak.
CiTR Station Manager Brenda Grunau September Contributors Publisher Articles Student Radio Society of UBC Andrew Candela, Jules Chladni, Gerald Deo, Bryce Dunn, Robert Fougere, Dan Fumano, Dan HoUoway, Alex Hudson, PhiUppa Lavery, Tamara Lee, Scott Lyon, Adam Mannegren, Sean Nelson, Quinn Omori, Cover Mark PaulHus, Nate Pike, Gavin Reid, Alanna Scott, Alex Smith, Saelan Twerdy Image from C/R/I/T/I/C/S/ by Justin Gradin. See more on page 14. jf|k||p| Photo & Illustration Merida Anderson, BasketbaU, Aisha Davidson, Gerald Deo, Justin Gradin, Robert Fougere, Tamara Lee, Andrea Lukic, Nathan Matthews, Nicole Ondre, Nathan Pike, Ryan Walter Wagner.
Proofreaders iiifer1 Anne Emberline, Robert Fougere
©DiSCORDER 2009 by the Student Radio Society of the University of British Columbia. Contribute. Subscribe. Advertise. Distribute. All rights reserved. Circulation 8,000. Discorder To submit written Send in a cheque for Ad space is available To distribute Discorder is published 11 times a year by CiTR, which content to Discorder, $20 to #233-6138 SUB for upcoming issues in your business, email can be heard at 101.9 FM, online at www.citr. please contact: Blvd, Vancouver, BC, and can be booked • distro.discorder@ ca, as well as through all major cable systems editor.discorder@ V6T 1Z1 with your by calling (604) 822- in the Lower Mainland, except Shaw in White gmafi.com. We are gmail.com. To submit address, and we wiU 3017 ex. 3 or emailing Rock. Call the CiTR DJ Une at (604) 822-2487, always looking for new photography or mail you a Discorder promotions.discorder@ CiTR's office at (604) 822-3017, email CiTR friends. iUustrations, please each month to your gmail.com. Rates are at [email protected], or pick up a pen and contact: doorstep. available upon request. write #233-6138 SUB Blvd., Vancouver, B.C., V6T 1Z1, Canada. artdirector.discorder@ gmaU.com. THE LIVE SESSIONS
TELUS STUDIO THEATRE AT THE CHAN CENTRE I UBC Be a part of a live studfflaudience with these intimate Thursday afternoon recording sessions for CBC Radio 2's Canada Live series. featuring
THURSDAY SEP 17 5:00PM THURSDAY OCT 1 5:00PM Aside from the skillful delivery of their unique fe^nd of Since recording her first album at the tender age of infectious pop music, what sets Vancouver-ba$||i> *• fourteen, Whistler-native AH Milner has wowed audiences Hey Ocean apart is the spirited character they i$|f»g to the nation-wide with her sweet, pure sound and amazing stage. Three mischievous personalities combine to form a vocal depth. For this concert, Ali accompanies herself on dynamic live presence that keeps concertgoer^^ptivated. piano and is backed by guitar, bass and drums.
THURSDAY OCT 8 5:00PM Since forming in 2003, JUNO nominated Victoria band, Jets Overhead, has mesmerized crowds at home and abroad with their atmospheric approach to harmony and melody.
ALL AGES! Student tickets only $10 Ticketmaster.ca | 604.280.3311 (service charges apply) or Chan Centre Ticket Office (in person only) WWW.CHANCENTRE.COM
radio£~ IbeCHAN= CENTR1E straight CBC 105.71 Available September 22 Photos of the Rickshaw by Robert Fougere. Clockwise from bottom: night manager, exterior and interior.
Venews: The Rickshaw/The CoJoalt by Jordie Yow
fter a montU of growing pains it seemed shaw staff wiU keep an eye on things. because owners claimed she was underusing her Uke an excellent time for us to get in Being situated in the DTES offers the theatre a bit Uquor Ucense, though the owners now say it's for Atouch and see how the new 1,000 person of an advantage, as it is conveniently located for the sound renovations. The buUding is owned by the Rickshaw Theatre was dealing with things. artists that Liveit wants to perform there. Sahota family who also run numerous other Down "We tried to do a very soft opening," MaUce "Most of the real art and music coming out of this town Eastside locations, including the Balmoral and Liveit said on the phone whUe he took a break from city is from the Downtown Eastside," Liveit said. "So the Astoria. installing a new Ughting system tha,t had been pur they're here already'' Wendy 13 has been running the Cobalt for chased from Richard's on Richards. Those local artists might have a bit of trouble three years and has been an employee since 2000. Although he had not originaUy wanted to open ruling the large venue to capacity, but Liveit plans She hopes that she wiU be aUowed to keep the bar the new venue until September, he thought it was on subsidizing local shows with more lucrative big and venue open until Dec. 1. December and Janu necessary to open to provide a space after venues name shows. He's excited that he's been ableto an ary are typicaUy slower months for the business so such as Richard's closed down and the Cobalt was nounce that Pink Mountaintops and Skinny Puppy she hopes to do the necessary renovations then and served with an eviction notice. have booked shows in the upcoming months. Liveit continue to run the Cobalt afterwards. Situated at 254 East Hastings, the venue is cur said that both the Japandroids' and Jaws' shows had "I would love to stay at the Cobalt," she said, "I rently hosting a few shows a week whue it contin approximately 600 people in attendance and he ex love the Cobalt so much." ues to undergo renovations. By September, Liveit pects to seU out at least one concert before October. Wendy 13 said that conversations with the city expects the outside of the theatre to be redone with Though he dreams of setting up a curtain that can had indicated that city staff did not require the a neon sign with the venue's name in both English drop down halfway through the room for smaUer building to be soundproofed this quickly and would and Chinese, thanks in part to funding from the city, shows, Liveit is taking things slowly. As far as Uquor not need work to begin as early as the date of her which is encouraging neon signs to return to certain sales go, the Rickshaw is stiU being run as a test case currently scheduled eviction, Sept. 30. areas of Vancouver. by the city with extra red tape for every event—but Lucia Cumerlato, who works at Licenses & In The Rickshaw is in the heart of the DTES, but Liveit hopefuUy that won't be for too much longer. spections for Vancouver city hah, spoke to Wendy 13 isn't worried that the location wiU be a problem. MeanwhUe, Wendy 13, manager of the Cobalt, regarding the Cobalt's soundproofing. Cumerlato "There are people who think it's going to be hard was given an eviction notice by her landlords on said that the city would like the work to be done er to seU the room," Liveit said. "But reaHy there's no July 31. The eviction is set for Sept. 30 and is report "as soon as possible" but would be willing to make problems in the neighbourhood." edly in order for the Cobalt—the venue she runs de aUowances depending on the situation. The city is Liveit pointed out that despite the neighbour voted to punk, hardcore and metal—to be renovated currently waiting to hear from the Cobalt's owners hood being a bif rough, worried parents can drive, for soundproofing. before making any decisions. right up to the entrance of the buUding and drop The eviction was given without notice in the their kids off for all-ages shows and then the Rick middle of a concert. Wendy 13 said it was originaUy 1Q Burlesque posters from the book, legs by Merida Anderson , vri. _ 1 mki 7(1
if
Textually Active: Burlesque West: Showgirls, Sex and Sin in Postwar Vancouver by Becki L. Ross—University of Toronto Press by Melissa Smith
ritten by Becki L. Ross, a sociology pro to Ucentiousness, women's economic UveUhood be the case of Harlem Nocturne, the only estabUsh- fessor at UBC, Burlesque West traces came less about talent and more about a willingness ment in town with a black owner, raids sometimes Wthe trajectory of the burlesque moment to completely expose themselves; veterans of the occurred two or three times daUy) for disobeying from the 1950s to its reemergence on the cultural cabaret scene left the business. liquor laws that they had repeatedly sought permis landscape today. Aside from tracing the downward spiral of sion to obey. UnbeUevably for an urban centre that has now disrobing as an art form, what makes this book a To compound this, the legalization of bottom earned the moniker No Fun City, in the 1950s Van particularly interesting read is the definitive role less dancing saw bars beginning to offer fuUy nude couver was regarded as the Las Vegas of Canada due that governmental regulations played and the ef shows. As bars and cabarets were granted different to its vibrant burlesque scene. The '50s represented fects their actions had on the once thriving cabaret Ucenses, they had a definite advantage over tradi the glory days of erotic entertainment in Vancou scene. In order to obtain a cabaret Ucense, a venue tional burlesque venues. WhUe cabarets were bound ver, marked by neon signage and a developed sense needed to provide a three-piece band and a vocal to reduced operating hours and the need to supply of community, with designers loaning costumes ist. City councUors granted cabaret Ucenses fairly Uve entertainment, bars were Ucensed to open much to dancers to secure employment. Offering Uve UberaUy, but Uquor Ucenses, which were a necessary earUer, stay open twice as long, and could use pre musical accompaniment and elaborate costumes, component in helping to pay the costs of operating recorded music. This development had devastating cabaret shows were viewed as an art form and were a cabaret, were granted separately by the Uquor con effects on cabarets, as then* profit loss meant they frequented by respectable couples for an evening's trol board and seemed to operate on an East/West could no longer afford to offer Vegas-style acts and entertainment. This trend continued throughout divide. were forced to close their doors, spelling unemploy the '60s with the advent of topless dancing, ushered The West End consisted of establishments pri ment for many of the city's musicians who earned In by way of Chinatown, which at the time was a marily owned by white men and frequented by their UveUhood at the cabarets, as weU as those booming and vibrant entertainment district. white, middle-class cUentele, whUe the East Side dancers who were more interested in putting on a The Industry changed drasticaUy as fuU nudity businesses were leased to men of colour and catered real show rather than a spread show. was decriminalized in 1972 and bottomless shows to a raciaUy diverse cUentele. The dancers in the Although the author does not draw this compar came into prominence. Lunch shows began to oper West End tended to be white A' list dancers whUe ison, it is impossible not to see a paraUel between ate in bars and this trend developed into the 1980s East Side cabarets presented both white dancers and post-warcabaret culture and the climate surround bar culture—which survives to this day—with beer women of colour and featured the first transsexual ing Vancouver city councU's current position on parlours playing prerecorded music and featuring performers. West End premises were granted Uquor Uve music venues. Just as the refusal to grant Uquor onstage showers and being pressured to do spread Ucenses (the Penthouse being an exception, presum Ucenses to cabarets based on a misguided stance shows, where performers exposed themselves in the ably due to the variety in its customer base) which of moral protectionism resulted in degradation to most graphic way possible, [ed. I asked Melissa what helped offset their operating costs whUe East Side both culture and community, one only has to visit a spread show was and she said it was "showing the venues were repeatedly denied Uquor Ucenses with the government-sanctioned cultural wasteland pink" which clarified it enough for me at least] Prior Uttle explanation. This situation resulted in East known as the GranvUle "entertainment" district to to this time, women in their 40s could command a .Side businesses turning a blind eye to BYOB prac see that history has repeated itself. And Uke the neo- higher salary than newcomers to the scene, due to tices and selling ice, mixers and sometimes even al burlesque revival that is gaining popularity in the their experience and abUity to put on a weU crafted cohol to keep their economic Uvelihoods afloat. East city, supporters of alternative venues wUl organize, show. However, as the climate changed from artistry Side premises were repeatedly raided and fined (in mobilize and form their own resurgence.
11 Now On Sale! Riff Gaff by Bryce Dunn
ard to beUeve summer is on . And whUe you're at ity score your the outs, dear readers, but self ex-Mutators Justin Gradiris new Hat least Boats! has the right combo Random Cuts on the afore idea in taking their summer vacation mentioned label. Not as noisy and dis while they have the time. They swung cordant as his prior project, Gradin's through Vancouver last month and I got a brand new bag of tricks that lay was quick to swipe up their debut 7" somewhere between the post-punk- Summer Vacation—aptly titled after isms of Wire and the new-school pro- their seasonal excursion and the sun to pop of their contemporaries Defek ny disposition left by their weU-craft- tors (particularly on "Rat Capacity," ed pop punk hooks. It wUl leave you but "Destroyed" also displays some (as it left me) yearning for long lost chops that fans of some of the current days at the beach. Tracks like "Heart crop of In The Red Records groups of Gold," "My Mother Was Right" Uke the Intelligence may agree with). and "Twenty One" give off an early Apparently two more singles are hot Queers/Scared of Chaka vibe whUst off the press and ready to go, so you'U guitarist Matt sings with a scratch in probably see more ink being spiUed his throat and his heart on his sleeve. on this group in future. MeanwhUe "Pool Party is the only With such a diverse array of influ cut that reaUy sums up a favourite ences as Devil Eyes lay claim to, from summer-past, but stUl bounces like Motorhead to Ministry to Muddy the inflatable tube you're floatin' on Waters and back again, it should be while soaking up some rays. Like our a no-brainer that these Montrealers' fleeting hot months of the year, soak difficult comparisons be a watermark this one up whUe it lasts. for the band's sound, rendering it Speaking of fast and fleeting, blink jaw-droppingly unclassifiable. After and you'U miss the B-Lines EP come aU the good tunes I've heard up until at you Uke a horde of pesky mosqui this point, unfortunately the only thing toes lookin for blood. Singer Ryan dropping on this release is my mood. I Dyck has been known to draw some found "Rip My Heart Out" and a cover of his own whUst the band plays its of Johnny Kidd & the Pirates rocka- KUled By Death Records-styled punk bUly rave-up "Please Don't Touch" just mess—and who better to satisfy the barely remarkable—and it's not for needs of the A.D.D. generation than their lack of trying, I assure you. May these fine gents. Barely two-minute be they just tried too hard. The first blasts of songs about faUed relation song could have benefited from vocals ships, corporate stiffs and death by that absolutely HOWL instead of just household appUance, I heard the scratching the surface. Instead this just Urinals, Dead Milkmen and early bombs, and when the cover song fares Rip Off Records in among brother better than the original, something's Bruce Dycks herky-jerky drumming missing. HopefuUy these guys and gal of "Leaving," "Busy Man" and "Crazy find it on their next outing. Glue," but somehow it sticks together Over and out folks! with Adam FothergiU's sturdy bass anchor and Scotty Colin's punchy and punctuated guitar bursts—Uke on "Social Reatard," a song that defi nitely won't make the request Ust at GET IT: the next PTA dance. PoUtical cor Boats! | May Cause Dizziness Records rectness be damned, the B-Lines are www.mcdrecords.com poised to take on aU comers with label honcho Sean Nominal sparing B-Lines & Random Cuts | Nominal no expense (and no trees apparently) Records as this release comes equipped with www.recordsnominal.com digital download coupons, as if your attention span is going to be better off Devil Eyes | Signed By Force Records downloading a megabyte the size of a www.signedbyforce.com speck of dust. Meh, who am I to stand on the way of progress? Just go get this record already! Bev Davies and Jim Cummins, a.k.a. I, Braineater, photographed by Robert Fougere
BEV DAVIES: PLAY IT LOUD by Gerald Deo
ev Davies displays a consistent and practiced other works. The photos taken at Maple Leaf Gar 2007. After leaving the Georgia Straight in the mid eye at capturing the performer freed of the dens in AprU 1965, are in colour, in that oddly satu '80s, Davies' output waned significantly .and the lack Bself-awareness that often plagues formal or rated way that only old film stocks seem to get aght. of feedback from processing constant shoots led posed photos. Her retrospective show Play It Loud, These two shots, taken from the Rolling Stones per her to stop shooting. The purchase of a digital cam which ran at Chapel Arts in July and August, is a se formances, were Davies' gateway into concert pho era and its instant feedback reignited her interest, lection of concert photos from the last 30 years and tography, and though they lack the verve or poUsh and a meeting with Anton Newcombe (The Brian is a fascinating sUce of local Uve music history in ad of her future work, her talent is akeady apparent. Jonestown Massacre) rekindled her old affair with dition to a coUection of stunning photography. The The works from the first half of Davies' career concert photography. Behind glass and bordered show features a selection of black-and-white photos float away from the waU, pairing the impact of by wood, her new works are printed in colour and shot on film in the late '70s to mid '80s and colour monochrome imagery with a unique mount evok framed more conventionaUy but are no less impact' prints of digital photographs that date from 2007. ing the d.i.y. ethos of the '80s punk scene. Each ful. Ranging from Jan. 2007, right up to Arrested The unexpected surprise of the show, though, is photo was scanned from the negative and printed Development at the Vancouver Folk Music Festival undoubtedly Davies herself. Her presence placed on plastic and mounted on adapted metal shelving. in July 2009, her shots in colour are saturated and the photos in a context of both local history and The shelves have their sides covered in coUages cre whUe they lack the historical authenticity of her personal art by reversing the distUlation of a concert ated from reproductions of punk show posters dat earUer work, her keen eye for expression remains from the sensory entanglement of sound, motion ing from the same era as the photos, and the whole in effect. and presence into the visual stimulus taken from construction is attached to the waUs by three-inch Play It Loud is an impressive distUlation of a a minuscule fraction of these. Davies didn't skimp bolts that terminate with wingnuts, regular nuts or historicaUy fascinating and visually potent body of on providing technical detaUs and freely discussed metal anchors. The complex mount doesn't distract work, and with a narrator as exciting as the work, it the rigours of shooting concerts on film as a pho from the photos themselves, and the posters around is an unforgettable art'show. tographer for the Georgia Straight in the 1980s. It the sides provide a subtle reminder of the era of the More of Bev Davies' work can be found at www. was with her guidance that I saw an otherwise unre photos. bevdavies.com or at flictor.com/photos/bevdavies. markable pair of shots, looking markedly unlike her The second half of the retrospective begins with
12 ART PROJECT: C/R/I/T/I/C/S/
C/R/I/T/I/C/S/ is a coUaborative "band" with Justin using mediums of music paraphernaUa to create Gradin and Andrea Lukic. It is tape loops, guitars, overly saturated conceptual entities of fandom coUages and drawings compUed in a 50-page book and novelty. Acting and producing material as a borrowing from themes of sectarianism, the occult, band without the constraints of any specific genre pornography and pop culture. or outside influence is whatd&ived the work. The book of coUages contains a 45 record of The work is realized through various production sound coUage recorded at the Emergency Room methods which adhere to the standards of other Strathcona. bands recorded on the Grotesque Modern label, C/R/I/T/I/C/S/ was formed in the faU of 2008 to but C/R/I/T/I/C/S/ is not a band in practice, only explore a mutual obsession with sound and coUage in performance and theory. L_ 14 S^RT PROJECT: C/R/I/T/I/C/S/ y///////A&w//////#y///////^^^^
15 muwMmmm&iM,
i_i Participants at Goonies. Merida Anderson photo. A ROOM-A LOOM Weaving Together a Sense of Fellowship by Gavin Reid
n the corner of Colombia and East Hast and extending invitations within her community, often be perceived as being self-serving, elitist and ings, where people who walk the streets Sherman encouraged artists and art enthusiasts to egocentric A Room-A Loom could not be less so. Oare often observed with accusing eyes gather the material of their choice and contribute in The two most important requirements are participa and where people who legitimately need help can the weaving of a collaborative textile. The loom itself tion and imagination. With each new addition to the be overlooked and ignored, Goonies Art Space has spanned the entire gaUery, giving those involved the loom, whether it be pom-poms, bubble wrap, com recently presented the area with an opportunity for sense that they are in the art piece as weU as part puter cables or dog fur, it is obvious that something feUowship—the chance to take part in a project'and of the project. Sherman's vision is currently being: beautiful and noteworthy is being created make something beautiful. Without a trace of dis adopted by artists in spaces and gaUeries across Out of such a simple and easy-to-learn project crimination, intolerance or ridicule, the people at North America and wiH culminate in a group show comes many rewards. "It is what it is. I just like that Goonies have taken a simple step toward strength of the finished pieces from the various participating people can come out and be involved and be a part ening a community and helping people to findhope , spaces. On her website, Sherman noted that her of something fun," Sherman said, explaing the feel self worth and meaning. Empowerment through work "must be understood as performance and is ing of accompUshment participants experience. acceptance is at the crux of this effort and it is as often translated through elaborate instaUations." "The response has been great. Even those people simple as weaving on a loom. fhe project incorporates and reflects these qualities who come in and are hesitant do eventuaUy reaUy "I thought it was a reaUy neat idea. I was reaUy of coUaborative and constructive exhibition. get into it. Ifs been the first time I have gotten peo into the fact that it was so coUaborative and non- The influence of A Room-A Loom and its benefit ple who Uve down here to come in and take part," threatening in the sense that anyone can participate to participants goes beyond art and creativity—a Anderson said. in the weaving," Merida Anderson, operator and di point that was not lost on Anderson. "I think I was Now completed, A Room-A Loom wUl provide rector of Goonies, explained. She immediately saw most attracted to the idea because of where Goonies Goonies with a unique piece of art to exibit. More the potential for this innovative and artistic concept is located. I don't want to be aUenating to the com importantly, this coUaborative project has shown to foster a community-buUding atmosphere when a munity here. I want Goonies to be a part of it So that there are beautiful rewards to be gained friend forwarded her the proposal to bring A Room- having something in here going on that is simple to when you treat your neighbours with decency and A Loom to Vancouver. teach and is so interactive and inviting, I think, is a openness. The project is the work of Julia Sherman. Currently reaUy great idea." residing in Los Angeles, Sherman is the director Anderson recognized the importance of having a Want more info? and founder of Workspace, an arts/performance communal activity like this to reach out to neighbours Goonies: www.goonies.ca space there. Sherman took her love of weaving that many business owners might be quick to shun. Julia Sherman: www.ftdiasherman.com and developed the idea. Taking appointments WhUe artists, exhibits and projects of this nature can
H art by Nathan Matthews
3 INCHES OF BLOOD Reinventors of the Fait by Scott Lyon \ With their latest release Here Waits Thy Doom, hearts. By the second track, "Rock in HeU," it's f there's one thing 3 Inch their search for credibUity and respect should come clear that 3IOB are further experimenting with es of Blood are used to by to an end. Displaying a maturity and breadth in earlier forays into '70s rock. mow, its a good fight From sound hinted at in previous releases, Doom, then* "EssentiaUy aU of the same people that wrote I debut for record label Century Media, is a fisti n the the last album [Fire Up the Blades] wrote this one. being accused of musical in face of detractors. It's a statement that's been four al Our heads were maybe in a different space, but the bums in the making—a statement that vocaUst Cam songs come from the same people and influences," sincerity in their early days, to Pipes was excited to discuss with Discorder. Pipes said. being treated like a red-headed "It's all stuff that we've tried in earlier albums, The progression in sound that Doom exemplifies like experimenting with keyboards. We've just ex can be attributed to a few factors. Pipes describes the stepchild by their former label, panded upon it a little," Pipes explained. Known creative process for the album as, "a lot more varied 3IOB have too often played the for their trademark New-Wave-of-British-Heavy- and organic, whereas before, we'd sit down as a unit. Metal style gallop, opening track "Battles and This album was more about people writing on their role of Sisyphus in their quest Brotherhood" showcases 3IOB's talent for captur own or in duos and bringing it back to everyone." for metal domination. ing the early '80$ feel so dear to many metalheads' And whUe having Joey Jordison (SUpknot) pro- 4IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII4- Ozzfest Tour, Hooper began experiencing vocal Denim, D&D and problems, and he has officiaUy caUed it quits with lciTRl01.9 J the band (guitarist Justin Hagberg now handles the whiskey... it doesn't get lower vocal duties). It's obvious in speaking with Pipes that Hooper's departure was dUficult. I FM presents i much more metal than "In the two years that Jamie's been out, his voice hasn't improved to the point where he can play that. shows with us consistently. He finaUy said that rath I its annual | er than us wait for him to maybe get better, it was ducing their last album is no discredit, Doom saw just best for us to move on without him and not be legendary producer Jack Endino (Nirvana, High on left in Umbo," Pipes said. I battle of I Fire) take the helm, a move that Pipes said helped FoUowing the release of Doom, 3IOB are heading the album's production to be "more about feel, about out on a faU tour with In Flames, Between the Bur the sOul of the songs, and less about laser-precision." ied and Me & the Faceless. Pipes is understandably I the bands, | And whUe Pipes said the writing of Blades was a enthusiastic about the tour. long, drawn-out process, he said the band was in "In Flames do pretty weU for themselves, so credibly focused during the writing of the new al it'U be great to put ourselves in front of a sizeable I Shindig, at | bum. "BasicaUy, we were just in writing mode. For crowd that maybe know nothing about us and get about, two, three months, we practiced every day. them stoked on our new material" Pipes explained. Songs just seemed to come a lot quicker and flow a But don't expect them to dig too far back into their I the Railway] lot better in our heads." catalogue. When asked about the gang vocals in Much Uke a woman scorned, heU hath no fury Uke "Preachers Daughter" off Doom, and if that poten- a band shunned by its label. Previously on Roadrun tiaUy signaled the return of gang-vocal 3IOB clas I Club! a ner Records, 3IOB found themselves relegated to the sic "BaUs of Ice" to the set list, Pipes balked. "Yeah, I cheap seats as their former label's office experienced don't see that one coming back anytime soon. That severe personnel changes and developed an obvious song is from a period where a lot of people consid indifference to furthering the band's career. ered us more of a joke band. There's just too much of I SEPTEMBER I "We pretty much only knew our A8cR guy at the a stigma attached to that song. Maybe in the future, | SEPTEMBER end of it," Pipes lamented. but not as of right now." Pipes remains civU, but he was clearly stung by WhUe Doom represents a leap forward for 3IOB, 1 SEPTEMBER: the experience. "I mean, I know it's a business, and longtime fans can be assured that Hooper's influ everyone is trying to seU records, but it became clear ences and motivation remain the same. Those ques 1 Sept. 15 | that they felt we weren't the kind of band that seUs tioning his metal integrity can find him at many | Aunts & Uncles, 1 records for them ... We were just kind of forgotten." local shows wearing his densely-patched denim When Roadrunner made it clear that they were jacket ("European festivals are wicked for finding | Humans, Modern 1 not going to exercise the option on their latest al the obscure patches," Pipes exclaimed.), and those bum, Pipes stated that he "couldn't have been hap debating the seriousness of 3IOB's lyrical content | Lakes pier. When Century Media found out that we had should know that the frontman stUl plays weekly been dropped—before a lot of people knew at aU— games of Dungeons & Dragons when he's in town. | SeeL22 1 they approached us with an enthusiasm and desire Pipes hasn't quite taken to "Wizard Sticks"* yet, but | Catamaran, Half 1 that we connected with and that we felt we deserved. he merely said that's because he's "more of a whis They've made it clear that we're a priority to them." key guy these days." Denim, D&D and whiskey... it | Chinese, No Time 1 Though 3IOB have gone through many Uneup doesn't get much more metal than that. changes throughout the years—Pipes remains Here Waits Thy Doom comes out Sept. 8 on 1 SeeL29 | the only constant throughout the bands' four fuU- Century Media, and 3 Inches Of Blood play the | MT-40, Thes length albums and two EPs—the biggest change to Commodore Ballroom Sept. 11 with Bison B.C. the current lineup is the departure of other long and the Golers. I AHs, the Living time standing member Jamie Hooper, who provided the death growls that achieved a vocal counterpart | Deadbeats < to Pipes' Rob Hafford-esque screams. On the 2007 1 Brought to you by: 1 *THE RULES OF WIZARD STICKS: | the Hive Creative Labs, | Wizard Sticks is a drinking game in which players or "wizards" create a wizard stick by duct taping | Backline Musician Services, | cans of beer together after they have been consumed. Wizards are considered to be of a level equal | Mint Records, AMS Events, | to the number of cans in their staff. The first wizard to achieve each level is allowed to create a rule | Music Waste 2009, North by | that must be followed by other players of the game such as "Instead of saying T am feeling drunk.' | Northeast, Thunderbird Radio | you must say 'I am feeling wise.'" There are many variations beyond these rules. A common variant | Hell, Scratch Records, Band | involves boss fights where upon reaching a level that is a multiple of five, you must do a shot before | Merch Canada, Vogville | being allowed to advance. ("It's time to fight Boss Captain Morgan.") Wizard Sticks can be incor | Studios, Fader Master Studios | porated into many other varieties of games with prizes of empty cans awarded to winners. Playing | and the good people at Wizard Sticks is not recommended as it will encourage you to imbibe more alcohol than is safe. | Discorder Magazine. ^iiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiif 19
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O M _&K li ®p ® "8 a ^ 1'iS Q ^ u O li &Q 1 SUNDAY WEDNESDAY FRIDAY i ICiT R Rebroadcast Pacific Pickm* (Roots) CiTR Rebroadcast CiTR Rebroadcast CiTR Rebroadcast sOmRebroadcas 7 J CiTR Rebroadcast Give'em The Boot • (Wortd) Suburban Jungle End Of Ihe World (Eclectic) News (Talk) 9 Tana Radio (World) Breakfast With Ihe Synchronicity (Talk) 9 Browns (Eclectic) The Saturday Edge Third Times Ihe %';~~tR«Ot$) Shoc4cshookta{Talk} Pop Drones Charm (Rock) I® * • (Eclectic) Sweet And Hot ( Ja») Ska-Ts Scenic Drive Japanese Musicquest (Ska) KolNodedi (World) ii (World) Morning After Show Anoize (Noise) Alt Radio (Eclectic) Duncan's Donuts these Are The Breaks -Gener&fcHi Angulation I2prn (Ta&) 5 Chips Saint Tro- Fillln Weners BBQ (Sports) The Leo Ramirez Show Arts Report (Talk) Care Radio (World) 5 (Pop) pez(Pop) Career Fast Track (Talk) (World) Audiotext(Talk) Stereoscopic Redoubt Hot Mess flash* Volna (World) 6 *| ofMonday Nfte Sam- Flex Your Head (Rock) (Eclectic) I Queer PM (Talk) (Eclectic) (Eclectic) squantch (Hardcore) Way (Ed) O '— (Ed) 7 Exquisite Corpse . 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REEL TO REAL sues and great music. best enjoyed when poked Sept. 21: Part 2 of the "Back (Talk) 2:30-3pm queerfmradio@gmail. com with a stick and held close to School" Feature: "What is Movie reviews and criticism. TANA RADIO to a fire. Jazz?" narrated by Leonard (World) 9-10am RHYTHMSINDIA Bernstein. NATIVE SOLIDARITY NEWS (World) 8-9pm LET'S GET BAKED Sept. 28: "Jazz Guitar," a quiet (Talk) 3-4pm SHOOKSHOOKTA Alternating Sundays (Talk) 3-4pm classic with Jim Hall, Carl A national radio service and (Talk) 10-llam Featuring a wide range of Vegan baking with "rock Perkins (piano) and Red part of an international net A program targeted to Ethi music from India, includ stars" like Laura Peek, the Mitchell (bass). work of information and ac opian people that encour ing popular music from the Food Jammers, Knock tion in support of indigenous ages education and personal 1930s to the present; Ghaz- Knock Ginger, the Superfan- peoples' survival and dignity. development. TUESDAY als and Bhajans, Qawwalis, tastics and more. pop and regional language PACIFIC PICKIN' RADIO FREETHINKER KOL NODEDI numbers. THE RIB (Roots) 6-8am (Talk) 4-4:30pm (World) llam-12pm (Eclectic) 4-5pm Bluegrass, old-time music, Promoting skepticism, criti Beautiful arresting beats ALL AWESOME IN YOUR EARS Explore the avant-garde and its derivatives with Ar- ' cal tliinking and science, we and voices emanating from (Eclectic) 8-9pm world of music with host thur and the lovely Andrea' examine popular extraor all continents, corners and Alternating Sundays * Robyn Jacob on the Rib. Berman. dinary claims and subject voids. Always rhythmic, From new electronic and pacificpickin® them to critical analysis. The always captivating. Always MONDO TRASHO experimental music to im real world is a beautiful and crossing borders. (Eclectic) 9-10pm provised jazz and new clas GIVE 'EM THE BOOT fascinating place and we want The one and the only Mondo sical! So weird it will blow (World) 8-9:30am people to see it through the THE ROCKERS SHOW Trasho with Maxwell Max your mind! Sample the various flavours lens of reality as opposed to (Reggae) 12-3pm well—don't miss it! of ItaUan folk music from superstition. Alternating Sundays CAREER FAST TRACK north to south, traditional Reggae inna all styles and TRANCENDANCE (Talk) 5:30-6pm to modern, on this bilingual WENER'S BARBEQUE fashion. (Dance) 10pm-12am Italian/English show. (Sports) 4:30-6pm Join us in practicing the SON OF NITE DREAMS Un programma bilingue che Daryl Wener talks about the BLOOD ON THE SADDLE ancient art of rising above (Eclectic) 6-7:30pm esplora il mondo della mu world of sports. 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When not playing (Ec/ecficj8-llam Alternating Mondays criminals! the PR shtick, you can hear Your favourite Brownsters, Fun and independent music . bortiin$ixtynine@hotmail. LIFE ON JUMPSTREET some faves you never knew James and Peter, offer a sa supported by a conversation (Dance) 8-9pm you liked. voury blend of the familiar al monologue of informa and exotic in a blend of aural tion, opinion and anecdotes MORNING AFTER SHOW CRIMES & TREASONS CHIPS WITH EVERYTHING delights. focusing on the here, the (Eclectic) ll:30am-lpm (Hip-hop) 9-llpm (Pop) 5-6pm breakfastwiththebrowns@ now.and the next week. An eclectic mix of Canadian crime$andtreasons@gmail. Alternating Sundays hotmail.com nail.com indie with rock, experimen British pop music from all tal, world, reggae, punk and decades. International pop JAPANESE MUSICQUEST RADIO FREE GAK ska from Canada, Latin CABARADIO (Japanese, French, Swedish, (World) llam-12pm (Eclectic) 7:30-9pm America and Europe. The (Talk) 11pm-12am British, US, etc.),'60s sound Syndicated from CJLY Koo- Morning After Show has lo For the world of Cabaret. tracks and lounge. tenay Co-op Radio in Nelson, THE JAZZ SHOW cal bands playing live on The Tune in for interviews, skits, B.C. Qazz) 9pm-12am Morning After Sessions. musical guests and more. It's SAINT TROPEZ Vancouver's longest run Radio with sass! (Pop) 5-6pm ALTERNATIVE RADIO ning prime-time jazz LAUGH TRACKS Alternating Sundays (Talk) 12-lpm program. Hosted by the (Talk) l-2pm Welcome to St. Tropez! Play Alternating Mondays ever suave, Gavin Walker. Laugh Tracks is a show about ing underrated music from WEDNESDAY Hosted by David Barsamian. Features at 1 lpm. comedy. Kliph Nesteroff, several decades! Sept. 7: In honour of Sonny from the 'zine Generation SUBURBAN JUNGLE st. tropezl 01. 9@gmail. com CANADIAN VOICES Rollins' Birthday (he's 79 Exploitation, hosts. (Eclectic) 8-10am (Talk) 12-lpm today), a milestone record generationexploit@yahoo. Live from the Jungle Room, QUEER FM Alternating Mondays ing, "Way Out West," with com, [email protected] join radio host Jack Velvet (Talk) 6-8pm Ray Brown (bass) and Shelly for an edectic mix of music, Dedicated to the gay, lesbian, PARTS UNKNOWN Manne (drums). WINGS sound bites, information and bisexual and transexual com (Pop) l-3pm Sept. 14: Our traditional (Talk) 2-2:30pm inanity. Not to be missed! munities of Vancouver. Lots An indie pop show since "Back to School" Feature: "A net of human interest features, 1999, it's like a marshmallow History of Jazz" narrated by 22 POP DRONES sexy-in-vancity-radio EXQUISITE CORPSE NARDWUAR POWER CHORD iMsctic) 10-ll:30am HANS KLOSS' MISERY HOUR (Experimental) 7:30-9pm (Nardwuar) 3:30-5pm (Metal) l-3pm (HansKloss) llpm-lam Experimental, radio-art, Join Nardwuar the Human Vancouver's longest running ANOIZE Pretty much the best thing on sound coUage, field record- Serviette for Clam Chowder metal show. 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STRICTLY THE DOPEST HTIZ OF AUGUST Album Label # Artist L Album _ __lccbeL The Wind Animals Are People Independent 26 Simple Minds Graffiti Soul Sanctuary Records Whistles* Too Various* MusicWorks #104 Music Works Magazine 27 Pony Up!* Stay Gold Independent The Rural Alberta Hometowns Independent 28 The Tranzmitors* Busy Singles Deranged Advantage* Beacons Last Gang 29 Sonic Youth The Eternal Matador Ohbijou* Infinite Light Jagjaguwar 30 Tortoise Beacons of Thrill Jockey Lightning Dust* Ancestorship Snow Blindness Is Flemish Eye 31 TySegall Lemons Goner Black Mold* Crystal Antz Live at the Mauch Outside 32 Sam & the Plants TheEff B-Music The Wailin' Jennys" Chunk Opera House Vancouver's Punk As VPAF 33 The Donnas Greatest Hits, Purple Feather Various* Fuck Vol. 2 Vol. 16 Extra Happy How The Beach Boys Saved By Radio 34 Phoenix Wolfgang Amadeus Glassnote Ghost !!!* Sound... Feelings Phoenix Sahalee Noyes 35 The Fresh 8c Onlys s/t Cattle Face Ihe Got To Get Got* Tambourine Paper Bag 36 Reverie Sound s/t Boompa Little Girls* Revue* Hoi PoUoi Hive Creative Labs 37 Church of the Very Pagoda Faults Independent Vincat* Bright Lights* Ape Shall Not Mammoth Cave 38 StiU Life StiU* Pastel EP Arts&Crafts Endangered Ape* Kill Ape Manoeuvres 3: A Col So CaUed 39 Jack-oft the The Disco Outlaw Goner41 Various* lection ... Electronica Tennessee Tear jerkers Songs of Shame Shrimper 40 Fruit Bats The Ruminant Band SubPop Woods Love Visions 1234 GO! 41 Animal CoUective Summertime Domino No Bunny Clothes Nice, Nice, File Under: Music 42 Gobble Gobble* Neon Graveyard Independent Dan Mangan* Very Nice 7 Inches Deep Little Red Sounds 43 Apostle of Hustle* Eats Darkness Arts&Crafts Pretty Vanilla* Worldwild Brah 44 Iggy Pop Preliminaries EMI Pterodactyl King of leans Sub Pop 45 The Church Untitled #23 Second Motion Pissed Jeans See Mystery Lights DFA 46 Zeus* Sounds Like Zeus Arts&Crafts YACHT Rock Paper Scissors Independent 47 Cryptacize Mythomania Asthmatic Kitty Noah23* Canucky Bluegrass Standin Up Independent 48 The Dead Weather Horehound Third Man Boys* Sunset Rubdown* Dragonslayer Jagjaguwar 49 Moby Wait For Me Mute Evaporators/Andrew A Wild Pear Mint 50 Pre Hope Freaks Skin Graft W.K.* CiTR's charts reflect what's been spun on the air last month. Rekkids with stars (*) come from this great land o' ours. Most of these phat platters can be found at fine independent music stores across Vancouver. If you can't find 'em, give the Muzak Coordinator a shout at 604-822-8733. His name is Luke Meat If you ask nicely he'U teU you how to git 'em. Check out other great campus/community radio charts at www.earshot-online.com. 25 art by Aisha Davidson »A BACK AND FORTH WT7HJP ^| BASKETBALL] 26 phptos from Basketball's time abroad courtesy of Basketball »Basketball has finally arrived home in Vancouver from a year long stint in Europe | and they bring with them a spirited collection of sounds and stories mapping their journey through at least 17 countries. Meeting with two | of the three members the day after their first jam, Discorder caught up with David Rogria \ and Tome Jozic to talk about how their music I has changed, their new influences and the | poetics of losing their English. I Discorder: How has your music has changed since travelling? Is [ there still a huge dance aspect? David Rogria: Yeah, definitely, it's changed a lot because we were do ing a tour, but we were travelling as weU, so we didn't bring our instru ments with us and had to improvise a lot. Some of the improvisation | created a whole new electronic backbone that is completely different j from when we left. fi Tome Jozic We weren't ever really that techno inspired. [ While travelling] we were only able to utilize dectronic equipment and make sketches on the go, so there is stiU that dance dement a lot, but it's more varied, defi nitely. We were able to illustrate our moods.... We were always in different situations and different venues and always plugging into sockets, different circuits—so that had an influence on us. Hi §. DR: There was no predetermination; it was aU just random, completely. We really never had to be anywhere, other than where we chose to go and when. D: How would you say audience participation affected your per formances with the constant change in venue? Were there certain | constants or was it also a different experience playing for people | every time? DR: There's something interesting about what I heard the singer of the Monotonix say, about the reciprocation of being a performer [for] the audience: you always have to be a Utde bit crazier, than the audience to get them to react in a crazy way. I don't necessarily beUeve that, but it's interesting. On the other hand, it was always very, very different, depending on the show, depending on the country, depending on who we were playing with. 27 BasketbaU cont. TJ: We were trying to be as provocative as possible, as involving as possible. Whether it be lending out instruments, always trying to have cooperation between the audience and us on stage—very important, there has to be this equilibrium, so to speak. That's what it is! That is the essence of what we try to make. It was always changing. It was a challenge. D: Are there any major new influences in terms of feme or style? Or any artists that you met while you were traveling that had a lug influence? DR: Ifs pretty hard to say. Between the three of us, Luka [Rogers] is not here,... but all three of us are pretty all over the map. A lot of the artists we like are from Iraq, Iran, Syria, Egypt, Mo rocco, that whole area. I'd say those countries especially have a big influence. Even places like Thailand or China. Its not one denned thing. I find a lot of that music has so much more heart and passion behind their songs than a lot of Western music. DR: And people we met... El Hijo de Cumbia ... His music is amazing! D: Are you anticipating any change in your performance? You've yet to play a show in Vancouver since you got back, and now that you have aU your old gear and your jam space, what do yon foresee happening here? DR: We developed completely differently. I feel so much stronger.... The sounds that we have are just limitless. And being back home is great because we have this cacophony of sounds and ifs just kind of overwhelming! TJ: It's reaUy exciting to come back and involve more people in the project. The best thing about rsr . 0 travelling was just meeting people and having people perform with us, or the idea that they t^JKN^^L IS would lend their music to us to sample if they := US couldn't come from North Africa or Bosnia. It's • that, on the first level, we have electronics and we 1 Pi Site have percussion and we have some minor effects that we can play with for a Uve show, but we were missing so many Uttle pieces. And this is where i#ii the idea came from, that "How are we going to decorate our songs with our ideas?" and so we decided that involving and sampling people that we met, wherever we go, Would be such a fantas After witnessing their show at the Rickshaw tic idea, that we could incorporate them into our Theatre on Aug. 21, their excitement shone through. While the high energy trio bounced back and forth through their collection of DR: Like their spirit was there. instruments, falling in and out of formation like playful migratory birds beating the air TJ: Yeah, and now that we're back home, levd two:: with their wings, the audience seemed to we can continue to use the samples that we've col respond to the wave of sound with similar lected, but incorporate more of the instruments fury. With no specific recording dates or that we want to use and have more people join us plans for track releases, we will have to on stage and play more Uve instruments. continue to light the torch for Basketball's live performances in Vancouver as they share their dreams of a worldly music D: That's really exdting, to think about having all project that we're all invited to. of those samples with you... how would you de scribe that? Collage? DR: Um, an ode. I fed that way. D: What do you think about recording? How do you negotiate putting together a really de fined track, as opposed to a live performance?: DR: At the moment, I don't know. And right now the newest section of what we've done is unrecorded—unrecordable—at the moment. TJ: It's a mystery, I'm not sure how we're even go ing to find room for aU the things we. want to do. There's so many sounds. DR: On some of our tracks we made flaws on purpose. Making imperfections, along with re cording analogue instruments, or at least micing everything rather than just plugging everything in, is something that we would reaUy like to get into. TJ: There is an art to [mics] ... I mean I could think of records that I would want it to sound Uke, but I don't know how to do that, I don't know who to ask. We have friends who record a lot of electronica, but in the next few months that's our next project, figuring out how we're going to do that. We've never recorded electronic aspects like that before. DR: So exdted about it! photos from Aug. 22 at the Rickshaw by Nicole Ondre Todd Fancey [right] and band mate Anastasia Siozos photographed in Reece Terris' Oughf Apartment by Robert Fougere odd Fancey has been performing in the Van couver music scene for over a decade, playing Tin different bands and working on his solo TODD FANCEY: project, releasing two albums (with a third on the way) with Anastasia Siozos under the name Fancey. He's most widely known for his work as a guitarist Balancing his time in one of Vancouver's favourite local rock bands, the New Pornographers. But we wanted to talk to him to find out more about his other gig as a residential care worker at a group home for troubled youth in between troubled Vancouver. The New Pornographers are one of the biggest rock bands to ever come out of Vancouver; critic's darlings with a string of exceptionaUy weU-received youth and the New albums, they've won Juno Awards and other acco lades, while touring aU over the world. We were sur prised that a band as popular and successful as the Pornographers New Pornographers has a member who also works a day job in Vancouver, between playing the Late by Dan Fumano 8c Dan HoUoway Show with David Letterman and appearing at the L HoUywood Bowl. And of aU the jobs that Fancey could be doing reaUysad." to supplement his work with the band, he's chosen Working at the group home for over a decade a job that a lot of people wouldn't want (or be able) has certainly had its share of sad, difficult and out to do: working with kids in some very tough situa right scary moments. "A typical day you're just there, tions, kids who have nowhere else to go. It's worth making breakfast, reading the newspaper, chatting noting that other members of Vancouver's music and watching the sun come in through the window. community have similarly worked in demanding But then, aU heU does break loose sometimes... I had private-pubUc social health jobs. Fancey pointed a syringe thrown at me that was full of blood. That to Black Mountain, another celebrated Vancouver was the closest caU ever," Fancey rdated calmly with band whose members have worked at the Insite Su out sensationalizing. "And she actually has Hepatitis pervised Injection Site. Other local musicians who C. Great kid, I love her, but that was the most dan do (or have done) social work in Vancouver, include gerous thing that ever happened to me." members of Japandroids, You Say Party! We Say Dealing with situations Uke this can't be easy, so Die! and the Choir Practice. why does a successful musician like Fancey—a tal Fancey, who walked over to meet me at a bar in ented, smart, likable guy who could certainly find Mount Pleasant straight from a rehearsal with the work somewhere else—work a job as emotionally New Pornographers, is friendly, funny and person draining and potentially dangerous as this one? He able right away. Over the course of the evening (and acknowledges that part of the appeal is how it fits some beers and Caesars), the conversation veers, around his schedule, aUowing him to go on the road from AustraUa's most dangerous creatures, to Sein- to tour or 'take time off to record. "But also it's just such a great job. I'm so lucky to get into that field. I used to work at the bank. "All hell does break loose I used to wash dishes. I used to be a security guard. Those are not run jobs, sometimes ... I had a syringe but working with the kids you do actu The first Wednesday of aUy feel like you are kind of helping." every month Discorder & thrown at me that was full of Asked if he finds the job rewarding, 7 he repUed that "It can be. It can be real CiTR 101.9FM host bands blood/ ly rewarding. I think the most reward- for your listening pleasure at < ing thing is when you're able to toss in feld, to Fancey's admiration for Lady Gaga's "Poker- a Uttle encouragement. It doesn't happen that often, the Astoria! face." When we began to talk about bis day job at and you don't want to push it, you don't want to be the group home, he obUgingly repUed, "Sure, I'U teU phoney with them. Fairly recently, I've actually met you whatever," before laughing and adding, "I just a few kids who are musically inclined, and I don't Good musky hope it's not too boring." know if they're Ustening to me or anything ... but Fancey works for a Vancouver-based children's that can be rewarding when you're able to provide cheap drinks, and family sodal services agency. The organization some encouragement." $5 cover, is a pubUc-private partnership, and its main focus is He is also keeping busy with his own musical the operation of fuUy-staffed group homes that are endeavours, including a stiU-untitled upcoming al friendly people. scattered throughout East Van. At any given time, bum with Siozos (the first single "AU My Friends" each home wiU have between three and five youths wiH be released Sept. 27) and a forthcoming New in residence, ranging in age from about 10 to 18. Pornographers album with a "pretty solid" rdease Fancey said his job is different each day. "It's just date of spring 2010. "Carl [Newman, front man for Upcoming. making sure everything goes weU in the house. It the New Pornographers] actuaUy Uves ... in upstate could involve so many things; it could be break New York now ... and I'm going to go record my Wednesday Sept. 2: ing up a fight, taking someone to a hockey game, guitar parts there. I'm really looking forward to it, calling a social worker, sitting around watching TV because I'm going to pretend we're Led Zeppelin, with the kids, playing basketbaU. It's kind of cool, Uke when Led Zeppelin used to record in the coun —Fanshaw cause you're just airdropped into their Uves for eight try... that's what this is going to be like; we're mov hours." Currently, Fancey works at the group home ing the gear to, basically, a cottage. So that record's —Kidnap Kids part-time. "I was fuU-time between 1999 and 2005, sounding reaUy good." —Shane Turner Overdrive but then, with the New Pornos, we just got really As exdted as Fancey gets discussing riffs and busy and started making a more legitimate living off records and concerts, he also obviously cares it, so I just took a leave of absence at one point, and about the kids he works with in the group homes. then came back and now I'm just on the casual list, It's refreshing to meet someone like Fancey, whose where I just do a few shifts." grounded, friendly manner and the altruistic nature See you there! On a more grim note, Fancey teUs how his work of his work (though he tries to downplay it as such) with the group home has occasionaUy run into his stand starkly at odds with many people's idea of the life outside it. "Kurt, the drummer from the New hedonistic, egocentric life of a "rock star." This may xo Pornographers—we used to .rehearse at his place, not last though—"As soon as we get some more play and he Uved on Cordova. When we would see them on American radio stations," Fancey joked. "Then its Discorder [the kids] on Cordova, a lot of them were heavily in Lamborghini time." volved in the sex trade and you see them and they're in reaUy rough shape. And a few have been known poster by Aisha Davidson to pass away, and you hear about it when they're 20 or so, and that's happened a few times as weU. Its 31 BMMW&, Japandroids photographed by Gerald Deo REAL LIVE ACTION Grouper | Empty Love | Diadem Cathedral, arguably the most beautiful venue in (a.k.a. Les Beyond) from Shearing Pinx, who con July 18 town, and sadly underused. Its grandiose columns tributed intricate guitar figures to Brad Lynham's St. Andrews-Wesley Cathedral and arches inspire a reverent awe even in the devout burbling ambient synths. FinaUy, Liz Harris, unas unbeUever, and its beU-clear acoustics are perfect for suming and hiding her face behind her dark hair, You've got to love Twee Death. Their taste is unim attending closely to quiet wonders. AU the same, St. took to the stage accompanied by a video projection peachable, their posters (and even tickets) are beau Andrews is usuaUy home to the likes of Final Fan of her own design, a Rorschach snowstorm of black tiful, and when these guys put on a show, you know tasy and Joanna Newsom, and Grouper's Liz Harris and white shadows that resembled drifting leaves it's because they want to see the artist in question simply doesn't command that level of popularity. at one point, flocking birds at another—a perfect even more than you do. If noise, drone, psych and The night of the show, the venue was weU-attended analogue of her cryptic brand of evocatively blurred the deep end of folk is your thing, you've probably by the usual Twee Death suspects, but the church shoegaze. Her themes are immersion, evaporation, been to a number of Twee Death shows already was stiU cavernously unoccupied, for the most part. disassociation and ephemeraUty, usuaUy couched (Tiny Vipers, Mount Eerie, and the double-biU of But aU the better—those, that turned out were re in terms of non-human elements and natural forces Psychic flls and Indian Jewelry being just a few re warded with a rare treat: a small, private audience (wind and water, especiaUy), and her self-effacing cent ones), but this Grouper show was undoubtedly with three exceUent abstract sound artists in a space stage presence is typical of her approach to lyrics their most ambitious undertaking. They'd brought that virtuaUy never hosts such things, with the add and sonics: she throws up an infinite series of gauzy her to town before to play a tiny stage at Hoko's, and ed bonus of a spectacular PA that Charlton turned curtains to hide behind, shrouds of mist, tsunamis no doubt she attracted a bit more attention when up LOUD. of oblivion, aU pointing towards a non-being, a dis she opened up for Animal CoUective at the Com Diadem, composed of Vancouver's number one appearance of the self that represents, if not eupho modore, but that show was also an inevitably poor drone couple, Gabriel Saloman (formerly of YeUow ria, a kind of peace and reUef. It's very sad music, but fib. her quiet, meditative dream-folk was almost Swans) and Aja Rose Bond, deUvered a candleUt set it was a very good night for it. I hope Twee Death entirely drowned out by crowd clamour. No doubt of smaU sounds (plucking, bowing, moaning) care didn't lose too much money. Twee Death's Kris Charlton was betting that enough fully processed, a slow-burning exercise in tension —Saelan Twerdy Grouper fans would pay to see her in a bigger venue and release, masterfuUy paced. FoUowing them, the by herself, so he boldly booked St. Andrews-Wesley normaUy-solo Empty Love was joined by Erin Ward 32 W/ZEMSL, The Audacity photogrpahed by Nate Pike' Mika Miko photogrpahed by Nate Pike Go Ghetto Tiger fects that can only be described as maximum Atari. pop. They played tight jams that got the crowd surf luly 18 Eighties revivalists are a dime a dozen, but Go ing and plastered a stupid grin on my face with their BUtmore Cabaret Ghetto Tiger stands out. Maybe it's the use of inter cute young boy antics. If I was a girl I'd be screaming esting space age musical effects. Perhaps it's because "Dreamy!" and calling it a night, but I was. there for My memories of the 1980s are foggy at best. Though they aren't just putting us on for fad's sake—they Mika Miko, who pretty much destroyed! I'm practically a senior citizen of the decade, aU of just have a good time being their unusual selves. The dense crowd was bubbling and popping eight years old in '85,1 stiU can't remember much Whatever the reason, GGT brings uniqueness to the everywhere and the band was on fire. Playing few more then big bangs, Michael J. Fox, crew-neck stage that at the very least scores off the charts on older songs and a host of tracks from their latest sweaters and my trusty Atari. In fact, I would go the weirdometer, the techometer and 100 per cent disc, We Be Xuxa, these CaU kids deUvered. Though so far as to describe the whole decade as "the Atari bona fide bleeps and dots. Seeing GGT at the BUt Pitchfork approval has painted a thin coat of rock years": a time of sights and sounds that were simple, more was something special—or maybe someone star pink on Mika Miko, and some lineup changes jagged, space age, radioactive and downright weird. sUpped a haUucinogenic substance into my drink. have shifted the energy level and overaU tightnesso f If pressed to summarize, the Atari years could be Let's hope it was the former! the band, it didn't stop them from rocking, sassing described as a time of bleeps and dots. —Tamara Lee and whipping the crowd into happy submission. I'd Now, why do I spiral into this strange fit of tech- say it was a job weU done! nostalgia? Because I find myself at the BUtmore —Nate Pike watching Vancouver's Go Ghetto Tiger, whose mu Mika Miko | The Audacity | White Lung | sic puts my brain to bleeps-and-dots mode. This Nu Sensae three-piece maxes out the weirdometer; from out luly 22 The Clips fit choice to instruments, they reaUy are a piece of BUtmore Cabaret luly 24 work. MarQuo B sings lead and plays bass, and is The Astoria backed by Jason Quirk on an electronic drum kit On July 22 at the mighty BUtmore, the nerd punks and Super J on the keyboard. The three appear on were out in fuU force, toting backpacks, art degrees Edo Van Breemen, ddest son of university professor stage in assorted miUtary coveraUs, a la Top Gun. and a fair bit of attitude. Nii Sensae, White Lung, the , Cornelius Van Breemen, is presently to Vancouver's And then there are the stage antics. WhUe Mar- Audacity and Mika Miko rip-roared their way into synth-rock garage scene what Calvin Johnson was to Quo and Super J show us their latest robotic dance a bunch of kids' hearts with their intelUgent brand Olympia's lo-fi scene of the late '80s. Van Breemen moves, Quirk dramaticaUy pauses between drum of yappy punk rock madness. The room was full, the has been very busy making things happen as of late, beats to hold a single drumstick to the sky. Between crowd was pumped and there was an element of sex what with running UnfamUiar Records with Greg songs MarQuo keeps the crowd occupied with in the air. Whether it was the cute, awkward girls Ipp, playing with his other band Brasstronaut and unconventional banter, telling them that he knew fronting intimidating bands or the attractive couple touring with high-profile UnfamUiar Records artist they were wondering if he "has sex like he plays in the corner dry humping their way through the Japandroids. Of aU Van Breemen's projects, though, bass." (How did he know?) He also teUs them that evening, this night was shit hot! the Clips are a definite fan favourite, and their Uve it's GGT's last show ever, only to reveal that this is I arrived just in time for White Lung's set, which performances have become a rare treat. The Clips' completely fictional a few songs later. was short, loud and punchy as heU. The fringe-haired sound is heavUy synth-riff driven, and the keyboard Nobody could accuse these guys of lacking in waif belting out lyrics appeared cooUy detached, melodies alone could entertain a dance party. Nicely personaUty. Their electric synth rhythms set a dance and her band was poised to set the place ablaze. I fiUing out the ensemble's sound are Mike Jones (gui party going that would mobilize even the stiffest of didn't understand a word, but it stiU got me sugary tar), James Steidle (keys) and Andrew Seeton (bass), butts. Wrapping nicely into spacey organ melodies, and ready for some headliner—but not before the with very danceable drum beats and violin provided the techie sounds march your mind through an Audacity from California took the stage with an in by Jeremy Gruman. inter-dimensional journey, seasoned with heavy ef teresting stew of garage rock, punk and jacked-up Friday's show went down in true summertime 32 The CUps photographed by Robert Fougere fashion: as bicycles pUed high outside the Astoria, couver's East and West may be long gone, nature's piece aU-star group, which included members of the CUps blasted proven tracks from their lone fuU- Ught and shadow play had me imagining there was Bend Sinister, Black Mountain and Blood Merid length release, Matterhorn. Fans bounced and sang stiU, deep differences between East and West. Walk ian. There were some serious cult overtones to along, jostling for space in front of the box fan on ing into the dimly Ut BUtmore basement where the the spectacle. AU the musicians were clad in white the dance floor. The CUps' next performance was PBRs were on spedal and greasy hair and fiannel was (save frontman Jeff Lee), and had confused shit- on Aug. 13 at the Red Room as part of OUo festival. the norm, the night felt Uke an East Van experience. eating-grins on their faces. Lee, despite his scruffy [ed. Sadly, the Olio performance was also their last, I saw Adelaide once years ago and felt indiffer and broody demeanor, was obviously pleased to be as Van Breemen announced that guitarist Mike Jones ent. Not so tonight. They've honed southern grunge there, and announced that this would be, the first, was leaving the band, and that they would be retiring rock to a science. Remember the time before Pearl and likely last time, the entire Hard Drugs self-titled the Clips'repertoire out of respect for the lineup. This Jam and Nickleback, when singing in a sustained album would be played live. What ensued was a puts an end to what has become a Vancouver institu drunken drawl had some charm, and the lyrics (al sweaty, finely-tuned alt-country musical landscape, tion. But they'll be back, in one form or another, and though barely discernible) were gloomy, thoughtful bringing the audience over an hour's worth of love, we're looking forward to it!] and interesting? How a generation of drunk driv addiction, tragedy, murder and gunfights. WhUe the —Robert Fougere ers and hicks hijacked and ruined a singing style is telling of Terminal City's junkie love story could a mystery to me, but Jesse Booi from Adelaide has have used a sUghtly more nuanced perspective (the found a way to sing with a southern slur and make it double LP has some questionable pictures of band Hard Drugs | Adelaide ?!i/>'1< sound shit hot (rather than just shit.) Assisted by the members posing Uke "real Ufe" junkies), the audi July 25 pool of incredible talent that plays alongside him, ence and members were so enthusiastic that it was BUtmore Cabaret bassist Ty McLeod and drummer Ben Frey kept the impossible to dweU on the politics of presentation. crowd luUed with a trance-inducing rhythm, whUe The backup vocals were executed and arranged with After the heavy blanket of thunder and rain dis their lead guitarist John Rogers crafted each of his razor sharp precision, the keys and guitars were dy sipated, releasing Vancouver from one of its most leads into a sweUing melodic narrative of grungy namic and subtle in their interplay, and everyone in spectacular storms in memory, the city was treated to lamentation, drawing from the most tasteful ele the band took a turn singing. . an even greater spectacle of nature. The sky held an ments of the late '60s and early '70s. The low point The whole night felt Uke a beer and pot soaked electric orange glow, a slow-burning Ught show that was when a string broke and the band couldn't get a homecoming party. Very East Van indeed. spread just to the western side of Quebec St., leaving new guitar fast enough.to keep the feeling going. A —Andrew Candela the east side of Mount Pleasant in a deep brown and difficult finale, for a great set. purple haze. Though any deep divide between Van Hard Drugs were quick to assemble their nine- 34 Hard Drugs photographed by Ryan Walter Wagner SSRIs | Ghost House | Hermetic Makeout Videotape | ApoUo Ghosts | Madonna VUMT 07's t>iscoR.i>ea. luly 30 ' Bangers | Bash Brothers BUtmore Cabaret luly 31 Hoko's A beer to the wind and already planning to head to the BUtmore in a few hours, I agreed without a sec There was a show even before this show started at ond thought when asked to review this show. Ghost Hoko's. The East Van fixturera n karaoke mostly fea House and Hermetic are a couple of my favourite turing performances from band members and a few MMUCWAJf MACHINE bands in Vancouver, and I was stoked to check out brave folks from the audience, induding a comi- H*GH ON JACKSON HILL the SSRIs. Armed with only an iPhone camera and a caUy mistranscribed rendition of "Eye of the Tiger" out new on CD / I J* / iTunes good friend,w e arrived part way through Hermetic's ("It's the eye. of the tiger / It's the never give up!"). set, to a respectable crowd who were enjoying them Synth-heavy karaoke warmed everyone up for the Saturday September 12 selves! Bart Newman and Eric Axen played some bass and drums duo of Nanaimo's Bash Brothers. The Biltmore Cabaret good tunes and praised the extra sweaty few who Wasting no time, the band launched into a loud and were dancing along. My love of minimalism extends fast set, rocking out hard to songs about guitar par to music—Hermetic's stripped down combination ties, partying babies and going to see Andrew W.K. of drums and baritone guitar leaves room for the (which is synonymous with partying). The group's ears to rest without leaving you wanting more. Their fierce tunes and playful tone even inspired, appro music makes me think of a handful of my aU-time priately, a Hawauan-shirted baby and his mom to faves, without trying to imitate them. It's a pretty dance outside the restaurant, setting a perfect mood great combination. for the rest of the show. After a quick break Ghost House took the stage. The foUow-up band, Madonna Bangers, got This band is made up of a soUd group of people right down to business, evangelizing like traveUing who both write and play great music, and I've al priests between songs to contradictorily explain ways been a huge fan of Katie Lapi's guitar play their chugging punk rock and psyched out bar jams. ing. Wielding my tiny camera, I took photos as I This playfulness wasn't lost on an audience fuUy ac Ustened. Everyone—including mysetf— was having cepting of the gospel. a good time! The BUtmore is a comfortable venue The stars of the night were Vancouver's Apollo (not too smaU) and has decent sound most nights. Ghosts. This band, as usual, played an amazing It's definitely a favourite at the moment. After Ghost set to an audience packed with foUowers, with House, the SSRIs played to a hot and sweaty crowd singer Adrian Teacher proving yet again that he is of loyal music fans. This was the first time I had seen a consummate showman. With call and response them play, but it won't be the last! choruses between the band and an audience that —Alanna Scott knew aU the lyrics, ApoUo Ghosts' songs abound ed with involvement—this band truly plays music "ST BMYEWA,, Japandroids photographed by Gerald Deo for the people; readers, if you haven't heard this nate illness, they spent the early part of the summer their applause until they've played a song or two, or band and its melodic indie rock, do yourself a fa hitting as many places as they could. So, after going at least a few notes. But when Japandroids hit the vour and check their LP, their EP and see them from coast to coast and as many places in between stage, I was surprised to find that the crowd, who play live. And Mint Records: sign this band! [ed. as possible, this was their big homecoming. now fiUedth e entire lower half of the rather cavern I know, right?] The night started off with Twin Crystals, who ous Rickshaw Theatre, roared to life like Pitchfork's Makeout Videotape was hard-pressed follow tore through a short but typicaUy intense set of next big thing was rolling through town. Noticeably ing up ApoUo Ghosts, if only because of the out noisy punk. Just six months ago, if they'd shared tighter since their last local show, the duo rewarded rageous heat that was filling the room (a third of a biU with these headliners, they'd be playing to a the hungry crowd with the longest set I've ever seen the audience had left, surely to avoid heatstroke). group made up mostly of their friends, but with Ja them play (and I've seen them more times than I The band soldiered on with their distinctive re pandroids attracting so many new fans, the bulk of can remember), running through almost aU of the verb soaked guitar riffs and Mo Tucker-style the crowd seemed unfamUiar with one of Vancou LP, as weU as a handful of songs from their two self- stand-up drum squaUs. Despite some unfortunate ver's best acts. StiU, whUe they weren't on stage for released EPs and a cover of Big Black's "Racer X" attempts at audience participation, Makeout Vid long, their performance was good enough to con that saw drummer Dave Prow*** take lead vocals for eotape proved a cool end to a sweltering evening vert more than a few new fans before they caUed it the second time in the evening (he's also the main of musical community. a night. crooner on "Rockers East Vancouver"). —Sean Nelson W%®$M Shawnigan Lake's Listening Party was up next. Old numbers like "Darkness on the Edge of Gas The band's inventive percussion and tight harmo town" rocked hard, but, in a testament to the band's nies lent a refreshing air to their summery pop. But, growth, it was the songs from their much lauded Japandroids | Listening Party | Twin Crystals as Party lead singer Lindy Gerard noted when he fuU-length that reaUy shone. "CraZy/Forever" (in August 7 jokingly quipped something about being the stuff troduced as a "slow jam" for "the ladies") built slowly Rickshaw Theatre ing in a "pussy sandwich," they sounded a bit awk to an extended, beautiful outro; a chorus of voices ward, being the calm both before and after a storm. joined King and Prowse on the gleeful "whoa-oh- After a handful of glowing reviews of their fuU- This is certainly not a criticism of crowds at lo ohsT on "The Boys Are Leaving Town"; and when length debut Post-Nothing unleashed a wave of hype, cal shows, but when you're famiUar with a band and they launched into the sublime "Young Hearts Spark Japandroids found their name on the Ups of critics they're famUiar with you, a lot of the theatre of rock Fire," any doubters that Were left in the room imme and music fans everywhere, which is why, after sing* 'n' roU gets thrown out the window. So usuaUy when diately found out what aU the fuss was about. er/guitarisf Brian King healed up from an unfortu a Vancouver act takesthe stage at home, people hold —Quinn Omori t M MYIEWL, UNDER REVIEW: Arctic Monkeys/Dcrtarock/The Dustin Bentall Outfit/Extra Happy Ghost!!!/Grand Archives/Humans/John Wort Hannam/No Age/Sian Alice Group/Spiral Beach Arctic Monkeys—Humbug aspects of the musical past whfle keeping gifted way of telling them through musicaUty. The talent is there, but be (Domino) the flavour its own with a spectrum of in song, BentaU has deUvered a gem of tween the sonic stomach punches, it's British rockers the Arctic Monkeys have fluences from the Smiths to the Talking an album that employs aU manner of hard to appreciate. returned with their third long player, Heads making an appearance over the 13 country tricks from the new and old —Adam Mannegren "*AjJ?2& Humbug. FoUowing from their previous tracks. school. Six Shooter travels beyond the albums, Humbug is also meUow and Datarock confronts the status quo borders, whUe perfectly capturing the sombre with lead singer Alex Turner's with a couple songs leaving the stan essence of country Ufe so thoroughly Grand Archives—Keep in Mind voice rarely changing pitch or volume. dard 4/4 time signatures behind It's a that even corny cowboy words sound Frankenstein Arctic Monkeys have received some challenge to a friendly non-Eudidian romantic. Now let's holster our guns (Sub Pop) rather harsh critidsm since their incep dance off, and everyone wins. The and git to ridin'! Fronted by Mat Brooke, formerly of tion back in 2002 with the band being sound is weU produced with prominent —Nate Pike Band Of Horses and Carissa's Weird, caUed over hyped and one dimensional. guitar riffs over a bed of synths arpeg- SeatUes Grand Archives is a dreamy, Perhaps they are worthy of this criti giating and pitch-bending in true '80s low-key project that is chock full of sur cism, as the band has never quite Uved fashion. "Fear of Death" is a short but prising but subtle twists and darkened up to the expectations placed on them. catchy synth-pop infused Morrissey- Extra Happy Ghost!!! turns. The music has a very West Coast There is no denyingthat the foursome channeling track with spoken word —How The Beach Boys Sound To folk feel, with its vocal harmonies and are talented musicians who put together narration candidly musing on feelings Those With No Feelings) guitar rich songs that sometimes buUd weU crafted songs such as "My Propd- about mortaUty. The closing track,"New (Saved By Radio) and gust Uke the wind off the ocean, yet lerr'Crying Lightning" and "Pretty Visi Days Dawn" is a slower lounge jam, fit Calgarians Extra Happy Ghost!!! bring never fed Uke they're too much to navi tors" but they unfortunately lack varia for an above ground jazz dub and is a decidedly lo-fi selection of tracks on gate through. tion. Maybe the reason why they have a nice doser to an otherwise high in their six-song EP. Their music is a bit Opener "Topsy's Revenge" is a sj^p(f$evoted fans is because they do tensity album. OveraU, a soUd deUvery Uke a Jackson PoUock painting trans hushed, bittersweet tribute to Topsy, not churn out typical mainstream songs from these groove happy Scandinavians mogrified into sound art: splotchy, a circus dephant gone loopy, whose like^countless other bands. Nonetheless wearing matching track suits in (what questionable and occasionaUy dis electrocution in 1903 is immortalized you can't help but feel a Utde cheated by else?) bright red. orienting. WhUe the sound is gritty in an old newsreel filmed by Thomas the Arctic Monkeys. Humbug no doubt —Adam Mannegren and abrasive, the songs themselves are Edison. The pace picks up a bit as the wUl be a hit with the band's long time simple, at times even adolescent, and album progresses, but the shady mood devotees who wiH appreciate their style the intended musical flourishes end remains, even in the more upbeat songs of music, but those who have never The Dustin Bentall Outfit up feeling misplaced and aUenr like"Witchy Park/Tomorrow WUl (Take quite gravitated towards the band wUl -»-S*» Shooter The EP aspires to the romantic Care Of Itself)" and the album doser, find it lacklustre and difficult to digest. (Independent) ideal of the lo-fi demo tape of an up- 'WiUoughbyT which are both superb This album appears to be lacking that There was a Uttle hesitation going into and-coming band, but instead comes and showcase the band's subtle stormy certain something that makes an album reviewing Six Shooter, the newest al off as self-important and ends up in edge and interesting song structures. A go from being just OK to out of this bum from the Dustin BentaU Outfit. the land of kitsch. Utde darker than their self-titled 2008 world. Humbug is a good effort, but it's Truth be told, country tunes aren't ex Recorded on bargain bin equipment debut, Keep In Mind Frankenstein is nothing to get overly exdted about. actly this writer's cup of El Paso WUd- with simple melodies and rhythms a nice sophomore effort that tends to —Philippa Lavery West salsa, but resistance soon shifted piped through plumbing-like reverb, grow on the Ustener and is absolutely to respect as this terrific album made the over-distorted and occasional worthy of the attention it wUl undoubt its' Way into my ears with its Ught gratuitous delay make for a mush of. edly receive. ////////////////////////^^^^ hearted, humorous and self-reflective sound that is not altogether unpleas —Nate Pike take on modern alt-country music. Datarock—Red ant. But the constant musical misfiring For example, the second track, "Take (Nettwerk) make it a hard pUl to swaUow. The Money And Run" features the Nerdy Norwegian'80s drenched electro, The highUght is the second track, Humans—Humans chorus, "AU I ever wanted to be was a rockers Datarock are back, with a huge "mash-up: neither being nor nothing (Independent) cowboy on the movie screen / Riding helping of undeniable dance-demanding ness," which is the most balanced and This five-song EP, the first release the range, firing my guns / Getting the music. The Beigen-based duo step it up clear of the six track selection/There from Humans, a new Vancouver duo girl, riding into the setting sun." As di with quality tunes to make you shake and is some energy and life to the track, made up of Robbie Slade (on gui eted and corny as this may sound, for groove whether at home or in concert and it deftly walks the tight rope of tar and vocals) and Peter Ricq (on some reason it works quite weU, and WhUe the sound is light-hearted, Data passable without any unwelcome, sequencer/synthesizer and backup lends an engaging quaUty where one rock obviously take their music seriously. wince-inducing surprises. There is vocals) is one to keep an eye on. This can fed the beauty in riding the plains The improvement over their 2005 self- potential here, but it remains unclear is a remarkably assured and surpris and kicking back a few beers as the titled debut is palpable. Clocking in at a whether the music is nascent or on ingly weU-recorded debut effort for sun settles into the horizon—even if rather short 40 minutes, the song writing life-support. Perhaps next time out such a new act. At the time of pubU- the lines are sung with tongue sUghtly and overall sound is more polished and they should turn down the preten cation, you could count on one hand planted in cheek. demonstrates the range Datarock is ca sion, put the songs through a proper the number of shows these guys have pable of. Red channels some of the better With real stories to teU and a mix and master and crank up the played together. 31 /_W////_W////A There's an undeniable pop sensibU- in music) storyteUing played a of "Genie" is shghtly rougher and the OccasionaUy the band lifts the ity to the EP and the duo have an ear huge role in the formation of this track less atmospheric, but the tempo mood shghtly, as on the four-on- for great hooks, with the beats bursting album. Opener "With the Grain" is and lack of drums, along with the sweet the-floor thump of "Low Lights," but out of Ricq's Roland MC-505 just beg a song about forging your own path jangle of the background riff, keep it singer Sian Ahern's waifish singing ging to be cranked up to 11. Based on in life, whUe "Worth a Damn," an quiet—especiaUy in comparison to the means that even these songs end up the instrumentation and pure dance- upbeat duet with Torontonian Jenny duo's rambunctious back catalogue. sounding Uke spectral creep-outs. It's abiUty of these songs, electro-pop Wrriteley.effectively utilizes metaphor "Aim at the Airport" is a meUow instru not your ideal party soundtrack, but seems Uke the most apparent styUstic to communicate need. But Uke aU mental interlude for the more arty type, it sure is pretty. touchstone on first Usten. But you can good storyteUers, Hannam realizes and whUe pleasant to Usten to, is UteraUy —Alex Hudson hear a lot more influences seeping in, that skUl Ues not just in the tale, but no more than background noise. Final such as the reggae rhythms provided in the teUing as weU. "Come Back to ly, on the last track "You're a Target," No by syncopated guitar on "Bike Home" Me" offers the poetic line "Where you Age explodes into form with a sound Spiral Beach—The Only Real Thing and by organ on "Dub Paris." WhUe stood the stars would shine just a little that is upbeat, fuU, noisy and fun. (Sparks Music) the slinky bass line and crooning fal bit brighter" but when he sings the Losing Feelingis a document of a ma InstrumentaUy, Spiral Beach is more setto on "Witness" provide a funky, poignant chorus "Come back, come turing band, proving that they can Uve or less Uke any other Canadian indie soulful feel reminiscent of Prince. It's back, Oh come back to me my dear," up to the expectations that come with rock band with gritty guitars and the impressive how Humans manage'to the moment is so exquisitely beautiful the critical acclaim they've garnered, occasional buzzy keyboard. On The combine these variegated influences in its simphcity that it almost breaks without losing their original vision. Only Really Thing, however, the To into a cohesive sound. your heart. —Mark PaulHus ronto four-piece draws on a much This d.i.y. disc is recorded, pro WhUe Hannam's music is classified stranger set of influences, sounding duced and distributed by the band as folk, it definitely has at least a few most often like a post-punk version of and there should be a new version toes tapping the country border. Sian Alice Group Beirut's Balkan gypsy folk. with additional tracks avaUable soon. AtmosphericaUy Queen's Hotel shares Troubled, Shaken, Etc. Lead single "Domino" is the most Humans is perfect party music and if that sense of heartfelt integrity and (The Social Registry) straight-forward tune of the bunch, this exceUent debut is a sign of things compeUingly immediate famiUarity The members of Sian AUce Group mixing fuzzy speed rock riffs with to come, the duo should have No Fun that has made Blue Rodeo a national are aU from the UK, but judging by sudden start-stops and a punk tinged, Qty up and dancing again soon. treasure. It's country music's timeless the sound of Troubled, Shaken Etc., radio-ready chorus. Things get bizarre —Dan Fumano heroism of the working class, but you might guess that they haUed from on "Orange," a gently harmonized coupled with enough folk inspired somewhere further north. The trio's acoustic baUad that threatens to ex idealism to dispel any notion of bar sophomore album is largely made up plode at any moment. It never does.. John Wort Hannam—Queen's Hotel room brawls from creeping in. of hypnotic dirges and haunting bal Instead it morphs into a ceUo-driven, (Black Hen Music) —Melissa Smith lads which evoke Sigur Ros or Bjork at Eastern-inflected waltz. "After Mid Recorded live off the floor whUe her meUowest. The album opens with nite" has a bombastic cabaret swag contributing musicians played in a "Love That Moves the Sun," over four ger, but in place of pianos and horns, communal circle, this cozy setup has No Age—Losing Feeling minutes of pattering jazz percussion it opts for a minimalist bass groove permeated the sound of Hannam's (Sub Pop) and chiming guitar arpeggios. Aside and an arena-sized chorus hook. Else fourth release—and you'U find yourself L.A. art punk staple No Age is set to from some indecipherable, angehc where, "May Go Round (in a Mania)" intuitively singing along to songs release a four-song teaser EP on Oct. vocals and the introduction of a torn is grounded by a robotic techno pulse you've never heard before. Although 6. Losing Feeling, like many of the duo's drum halfway through, nothing much and the breezy "Cerhetary" cops its Hannam resides in Fort MacLeod, releases, wiU only be avaUable online changes throughout the entire song. melody from Blondie's "CaU Me." Alberta (of which vintage photos (for lap top minimalists) and on 12" vi This sets the tone for a coUection What's most surprising about this grace both covers and the liner notes), nyl (for those purists who need to look, that favours atmosphere over song disorienting mish-mash of influences Queen's Hotel has quite a connection touch, file, pack and move). writing, scarcely ever offering some is how organic it all sounds. Inexpli to our predpitous city. In addition to Losing Feeling starts off quietiy as thing with a recognizable structure. cable title aside, The Only Really Thing being recorded here, his label, pubhcist, Randy Randall lulls you into the title "Airlock" is three minutes of pulsing, never seems affected or unnecessarily recording engineer and producer/ track with a simple, swirling guitar riff ambient tones; "Vanishing" is an elec quirky—it sounds Uke the product of contributing musician Steve Dawson that would make John Cale smile. Add tro-tropical jam that sounds a bit Uke an eclectic record coUection rather aU caU Vancouver home. gentle vocals and a soft yet Uvely drum (bear with me here) the soundtrack than a pretentious art project with As you might expect from a man beat from Dean Spunt and record it to the Crash Bandicoot videogames. envelope pushing aspirations. It is, at who was once a language arts teacher in a basement hallway and you have a For most artists, such tracks would be its core, a pop album—albeit a very (untU hearing Loudon Wainwright beautiful track that is oddly reminiscent experimental interludes; here, they're weird one. III inspired him to pursue a career of the Jesus & Mary Chain. The strum the main attraction. —Alex Hudson ARCHIVES THE DUSTIN BENTALL OUTFIT GRAND ARCHIVES EXTRA HAPPY GHOSTUI 38 Jim O'Rourke Six Organs Of Admittance The Visitor CD/LP Luminous Night CD/LP im O'Rourke s first JSgbfd since 2001! The I n answer to the question what's heavier, a pound JVisitor is a seriously all-O'ftourke affair: ail the i of rock or a pound of feathers, Six Organs of sounds you hear are Jim and Jim alone, reconlex- Admittance has devised this for Luminous Night: tualizing everything W%, done over the years and a pound of rock covered with a pound of feathers throwing out the crap. Speaking of sound, ail the — twice as heavy, but feathery light to the human classic 0'Rourke*4smsarrtwe,for you musicolo eye. For its blanketing sound, Luminous Night gist types: percolating bariiOS, ^nooth electric - draws inspiration from such cinematic sources as leads, organi&1|pking drum soun% the flickering of shakers to the left and rlgf*,. * Jodorowky s El Topo soundtrack and the scores of Kurosawa's samurai films, but is mellow but ojcpfcis woodwinds^ijiunds that indicate vintage" (before" turning-left at the same time music that could only have come from the singular sound worid of and riisritn^pl'the door), sonic jokes, sonic tear-jerkers sonic Jerkoffs, ali wrapped Six Organs of Admittance. in spacious ^subtle left to ft$l| placement ol everytlung k the ptcture The one thing you won't hear is Jfe «llldme of The Visitor is tracked so-deep, it |ook two* * CD 16.98 LP 16.98 hunired tacks to hold Italk It doesn't sound like it though—to Jim's credrtj the mix sounds-pry minimal, very straightforward. Thei e $re motuenfe of K^eofoedy next The Cave Singers t^higfeJrama and juicy melancholy w|b a seeming lack of regard for proximity Weioome Joy CD/LP CQ 16.98 LP 18.98 eattle's finest indie folk act and dear dear Sfriends of ours, The Cave Singers, return with this beautifully crafted sophomore release for Polvo Matador Records. Featuring hometown guests In Prism CD/2LP J§ Ashley and Amber Webber of Lightning Dust/Black Mountain, there is a sort of magical f\n\y at this point in life would Polvo bei"* p| uplifting vibe to Welcome Joy, as the songs them \J assured, so casually stormy and intensely Jlj selves pulse with the serenity associated with the back porch — which is exactly cal^^ffui and free with their power without , where one can envision these guys writing. Also, there is an old-time sort of feel, setting ailp$ighing that made them the roc^S without degenerating into flaky nostalgia folk-rock, which makes these 10 songs artists they wefllii#|^ieir first, unblemished more of their own idiom rather than a rehash of the classic folk aesthetic. One might run. There is not a tblft^ftl^lWsni that they even use the word epiphany! aren't doing better than beforenle'sidewinder gui tars and the mighty roar and the moody atmospheres and tie psychedelic explosive- CD 16.98 LP 16.98 ness; the writing, the singing, the words you carflwp^d, ft^ps^^ owiW-- Polvo spent 1990-98 giving voice to a chorus of d&£rel$i^i|ji9£ ideas teat ra|pk Destroyer hadn't been heard before. And while there was nothing wrf^^^^it's now so much more right — perhaps because after ten years none of the peripteral stuff mat Bay Of Pigs 12" ters anymore, in Prism is the best Polvo record yet even before you get to the majes il J887, "Bay Of Pigs" is the longest of j tic A Link in the Chain', serene and tempestuous like few other things you'll hear. ABesireyer songs, it is also Destroyer s first foi'a^^l^mbient disco market. The song was CD 16.98 2LP 24.98 recorded fllp^^ut the winter of 2009 with long time Destroy collaborators/members John Taken By Trees Collins and David Carswell at their JC/DC Studio in downtown VanGOU"f^"Bay Of Pip" is an East Of Eden CD/LP account of the 19^|I^Mi inVligion of Cuba, often referred to as The Bay Of Pigs. s you already know, Victoria Bergsman is the The music for the b^id%w|m?, was played entirely on analogue synthesizer, and I Agorgeous voice behind The Concretes and recorded in April 200S. tt-sxptofessom e of the more meditative realms of 20th Pater Bjorn ant John's defining moment, "Young Century classical o^mfbri^ft song itself is a casual rumination on parties, Folks." What you probably don't know is that she political parties, madness and nfering (for one's art). has a deep passion for music of ail sorts, and with that in mind she traveled the globe teaming up with 12'9.98 musicians steeped in the Pakistani and Sufi tradi tions. Weaving in a plethora of sources —• rhythms, flutes,drum s — into a extremely OTHER NEW RELEASES: rich and absorbing listen, Bergsman s East Of Eden as the name suggests is a trance Apples in Stereo-#1 Hits Explosion CO/IP Various-Wayfaring Strangers: Lonesome inducing journey into near spiritual realms. As a result, this is morelllfltefflsjsic, Reverend Horton Heat -LaugWrt, and Strangers CO/LP it is a testament to diversity, cultural difference, as well as the revolutionary pdw$f%^ Crying With Reverend Horton Heat CD Henry Joe-Blood from Stars CO music. Victoria, we take our hat off to youl Sumy Day Real Estate-Diary <C CO/LP Nick Drake-Five Leave Left LP Biitzen Trapper-Black River Killer CDEP CD 16.98 LP 16.98 Vivian Giris-Everything Goes Wrong CD/LP Grand Archives--teep hi MM OsMiitontes-HaittiOrAnMJrtecedorCD Frankenstein CB -ft -; The Clean-Mister Of Pop CD Joe Pernice-ft Feels So Good When I — Various-Tneme Time Radio Hour With Stop CO Zulu Ait News! Host Bob Dylan Season 2 CD The Andi»s~ Hospice COAP Various - lookout! We Cot Soul! CD Bear PRICES IN EFFECT UNTIL SEPTEMBER 30, i • * 'f n i Francesca Bennett Zulu Records STORE HOURS What You're Showing 1972-1976 W 4th Ave Vancouver, BC tel 604.738.3232 Is Very Ming I K£CdVbS\ September 1-30,2009 www.zulurecords.com 39 WHEN THE SUMMER COMES UNDONE __taim*mm. Jay Reatard Pissed Jeans Watch Me Fall CD/LP King of Jeans CD/LP ay Reatard is easily one #||e most f 2005's Shallow was Pissed Jeans coping Jhard-working people teteftff fS^.Who Iwith moving out of their parents, homes, and else would agree to do a free in-store tour 2007's Hope lot Man their initial reaction to the to promote Ifpew record!?! Maybe Jay mechanical lifestyle of a wage-earner, King of still has one foot in with his people add 1 Jeans is their formal and uneasy acceptance of knows what is like to really be a band — to . adulthood, by way of one hell of a rock record. travel around, load in, load