DOCSLIB.ORG

Opening up Community Music Venues in Vancouver

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Opening up Community Music Venues in Vancouver Opening Up Community Music Venues in Vancouver by Ryan McCormick B.A., University of British Columbia, 2005 Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Public Policy in the School of Public Policy Faculty of Arts and Social Sciences Ó Ryan McCormick 2017 SIMON FRASER UNIVERSITY Summer 2017 Approval Name: Ryan McCormick Degree: Master of Public Policy Title: Opening Up Community Music Venues in Vancouver Examining Committee: Chair: Doug McArthur Professor John Richards Senior Supervisor Professor Joshua Gordon Supervisor Assistant Professor Dominique M. Gross Internal Examiner Professor Date Defended/Approved: August 14, 2017 ii Ethics Statement iii Abstract There is not enough access to safe community music venues in Vancouver. Safety includes architectural, social, substance, and emergency-response dimensions. Access is limited by age restrictions, physical inaccessibility, secrecy, and venue closures (caused by commercial conditions and enforcement of regulations). This study considers eight regulatory and financial support policy options that would address these issues and increase access to safer spaces for non-professional live music performance in Vancouver. The eight options are evaluated using policy analytic and risk management frameworks, producing two initial recommendations for government: fund a discreet venue upgrading initiative and make policy accessible through strategic planning, regulatory clarity, and inclusive policymaking. The research is based on 29 expert interviews with policymakers, community leaders, police, teachers, venue operators, event organizers, musicians, fans, youth, and people with disabilities, as well as case studies of skateboarding policy in Vancouver and music venue policy in Seattle, Oakland, Toronto, and London. Keywords: music venues; safety; accessibility; public policy; DIY; Vancouver iv Epigraph Even if this was not a law, which it is, I'm afraid I would have a lot of difficulty endorsing an enterprise which is as fraught with genuine peril as I believe this one to be. Besides the liquor and the drugs, which always seem to accompany such an event, the thing that distresses me even more, Ren, is the spiritual corruption that can be involved. These dances and this kind of music can be destructive. –Rev. Shaw Moore, in the movie Footloose, 1984 From the oldest of times, people danced for a number of reasons. They danced in prayer, or so that their crops would be plentiful, or so their hunt would be good. And they danced to stay physically fit and show their community spirit. And they danced to celebrate. And that is the dancing we're talking about. –Ren McCormick, in the movie Footloose, 1984 v Acknowledgements I am extremely grateful to everyone who was willing to be interviewed as part of this research. Your passion and frankness made this project a pleasure to work on. Thank you! I would also like to extend my sincerest thanks to Dr. John Richards for his ongoing kindness, enthusiasm, support, and responsiveness. Thank you to Dr. Dominique M. Gross for her helpful advice. Thanks to Dr. Nancy Olewiler, Dr. Daniel Savas, Dr. Joshua Gordon, Dr. Judith Sixsmith, and Dr. Marina Adshade for helping me to develop my understanding of this topic through course assignments. Thank you to my classmates for being the most incredible and supportive cohort of policy wonks that I could have possibly hoped to learn with. You are a top-notch group of future world leaders, and you have my total respect and admiration. Thank you to my wife Naomi and son Oscar for your patience and support and for putting up with the highs and lows of my temperament as I worked towards completing this project. Thanks to my parents for raising me in an environment where discussions about policy, government, media, and music were the norm. Finally, thank you to the amazing community of grassroots Vancouver musicians who give us a reason to need safer and more accessible performance spaces. vi Table of Contents Approval ................................................................................................................ ii Ethics Statement ................................................................................................... iii Abstract ................................................................................................................ iv Epigraph ................................................................................................................ v Acknowledgements .............................................................................................. vi Table of Contents ................................................................................................. vii List of Figures ....................................................................................................... ix List of Tables ........................................................................................................ ix List of Acronyms .................................................................................................... x Executive Summary ............................................................................................. xi Chapter 1. Introduction ................................................................................... 1 Chapter 2. Survey of Literature ...................................................................... 5 Chapter 3. Methodology ................................................................................ 11 Chapter 4. Results ......................................................................................... 13 4.1. Benefits ....................................................................................................... 13 4.2. Access ........................................................................................................ 13 4.2.1. Age Restrictions ............................................................................ 14 4.2.2. Physical Accessibility .................................................................... 15 4.2.3. Venue Closures ............................................................................. 16 4.2.4. Secrecy ......................................................................................... 19 4.3. Safety ......................................................................................................... 20 4.3.1. Architectural Safety ....................................................................... 20 4.3.2. Social Safety ................................................................................. 21 4.3.3. Substance Safety .......................................................................... 21 4.3.4. Emergency Services ..................................................................... 22 4.4. Other Considerations .................................................................................. 23 4.4.1. Underage Drinking ........................................................................ 23 4.4.2. Impacts on Neighbours ................................................................. 23 4.4.3. Competitor Lobbying ..................................................................... 24 4.5. Solutions ..................................................................................................... 25 4.5.1. Regulatory Approaches ................................................................. 26 4.5.2. Financial Support .......................................................................... 28 4.6. Discussion of Case Studies ........................................................................ 30 4.6.1. Publicly Funded Venues (Seattle, Vancouver) .............................. 30 4.6.2. Inclusive Policymaking (London, Seattle, Toronto, Vancouver) .... 31 4.6.3. Strategic Planning (Vancouver, Oakland, Toronto) ....................... 32 4.6.4. Protecting Existing Venues (London, Vancouver, Toronto) .......... 33 vii Chapter 5. Options and Analysis .................................................................. 34 5.1. Regulatory Options ..................................................................................... 36 5.1.1. Reduce Standards ......................................................................... 36 5.1.2. Make Policy Accessible ................................................................. 39 5.1.3. Allow Youth in Event-Driven Establishments ................................ 41 5.1.4. Encourage Temporary Licensing .................................................. 44 5.1.5. Summary of Analysis of Regulatory Options ................................. 45 5.2. Financial Support Options .......................................................................... 46 5.2.1. Create an All-Ages Venue ............................................................. 47 5.2.2. Harness Existing Public Amenities ................................................ 48 5.2.3. Expand Eligibility for Grants .......................................................... 49 5.2.4. Fund a Discreet Venue Upgrading Initiative .................................. 50 5.2.5. Summary of Analysis of Financial Support Options ...................... 52 Chapter 6. Recommendations ...................................................................... 54 Chapter 7. Further Considerations ............................................................... 58 7.1. Limitations .................................................................................................. 58
Load more

Recommended publications
  • Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
    2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive
    [Show full text]
  • Live Venue Sound System Installation
    CASE STUDIES Live Venue Installations Unite Your Audience The Martin Audio Experience LIVE VENUE INSTALLATIONS Martin Audio At Martin Audio we believe that uniting audiences with modelling and software engineering, to deliver dynamic, exciting sound creates shared memories that sear into the full-frequency sound right across the audience. consciousness delivering more successful tours, events and repeatedly packed venues. With over forty years of live sound and installation expertise to our name, Martin Audio offers a wide range of premium We achieve this by an obsessive attention to detail on professional loudspeakers so customers can be assured the professional sound system’s acoustic performance, of selecting the right system for their chosen application, frequently challenging convention and involving a whether it’s a small scale installation or a festival for over sophisticated mix of design, research, mathematical 150,000 people. Live Venue Installations With our heritage in live production it’s no surprise that this has transferred into the realms of permanent audio installation within live venues. More often than not, live venues are combined with bar and club areas so our portfolio offering has frequently meant and integrated system design approach. As with many other applications, our solutions focus upon appropriate sound level performance, coverage, consistency and control to unite audiences night after night. 2 LIVE VENUE INSTALLATIONS Cabo Wabo Cantina Upgrades With Martin Audio WPC Cabo Wabo Cantina Cabo San Lucas, MX––Sammy
    [Show full text]
  • The 35 Best Folk Music Venues in the U.S
    The 35 Best Folk Music Venues in the U.S. Tweet Like 2.9K Share Save (https://www.reddit.com/submit) Click a state to view its venue(s) Although folk music may have hit its zenith in the 1960s, the genre still thrives today, along with a dedicated base of fans. It lives in music venues on each coast as well as hundreds of places in between. ARIZONA Folk music is still with us because it connects the listener, and the artist, to our cultural heritage. The tunes and lyrics CALIFORNIA describe who we are and where we came from. COLORADO Below is a list of the top 35 folk venues in the United States. We've listed the venues alphabetically by state. CONNECTICUT These 35 venues are not necessarily dedicated to folk music, but they are places where folk music indeed thrives. They ILLINOIS are also elite live music venues with superb acoustics, sightlines, and atmospheres, all qualities needed to make our list. MARYLAND The deciding factor, however, was enthusiasm. The following 35 venues exhibit a fervor for folk music that is almost MASSACHUSETTS palatable. MICHIGAN The people behind these venues love what they do and they love folk music. And, as you'll soon read, many of these NEW YORK venues are run by volunteers. NORTH CAROLINA OREGON PENNSYLVANIA RHODE ISLAND Arizona TEXAS VIRGINIA The Lost Leaf Bar & Gallery 914 North 5th Street Phoenix, AZ The Lost Leaf Bar & Gallery is an amazing venue for any type of show, especially folk music. For one, all their shows are free.
    [Show full text]
  • Asheville Sound | Music News
    asheville sound | music news Modern-day Asheville doesn’t identify with just one sound - it’s a diverse sonic melting pot, embracing musicians of all genres. From the nation’s longest-running folk festival and Moog Music to weekly drum circles and Grammy-winning musicians representing bluegrass to hip hop, music rings through the air in this Blue Ridge Mountain city. Music Scene News ► Vinyl Record Plant + Music Café: Opening in summer, Citizen Vinyl will offer an immersive music experience with a record plant, independent record store and music café and bar with food, coffee and craft cocktails. Hands-on Electronica: The Moogseum, now open in downtown, celebrates the life of Bob Moog, inventor of the Moog Synthesizer that revolutionized almost every genre of music. The Moogseum features bays of synthesizers, theremins and effect pedals that allow people to explore the science behind electronic music. ► Mega Collab: The Grammy Award-winning Steep Canyon Rangers reimagine their catalog with the Asheville Symphony and music scene giants. The new album, recorded at Asheville’s Echo Mountain Studios, includes arrangements by Jonathan Sacks, who has worked on many Disney films, and orchestra conductor Michael Bearden, who is currently the music director for Lady Gaga and has worked with Michael Jackson and Madonna. The first track off the album, “Be Still Moses,” a collaboration between the band, symphony and the music group Boyz II Men, was released in August. Not Your Average Concert Hall: Unique Venues, Mountain Backdrops & Iconic Stages ► Unique stages appear throughout Asheville, from Ben’s Tune-Up, a repurposed automotive repair shop; to the Salvage Station, a junkyard-turned-shipping-container-themed riverside venue; to The Odditorium, an intimate dive bar affectionately known for its collection of oddities and artifacts.
    [Show full text]
  • Nightlight: Tradition and Change in a Local Music Scene
    NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene.
    [Show full text]
  • Open Data Based Urban For-Profit Music Venues Spatial Layout
    sustainability Article Open Data Based Urban For-Profit Music Venues Spatial Layout Pattern Discovery Xueqi Wang and Zhichong Zou * Key Laboratory of Cold Region Urban and Rural Human Settlement Environment Science and Technology, Ministry of Industry and Information Technology, School of Architecture, Harbin Institute of Technology, Harbin 150001, China; [email protected] * Correspondence: [email protected]; Tel.: +86-451-8628-1137 Abstract: The spatial pattern of music venues is one of the key decision-making factors for urban planning and development strategies. Understanding the current configurations and future demands of music venues is fundamental to scholars, planners, and designers. There is an urgent need to discover the spatial pattern of music venues nationwide with high precision. This paper aims at an open data solution to discover the hidden hierarchical structure of the for-profit music venues and their dynamic relationship with urban economies. Data collected from the largest two public ticketing websites are used for clustering-based ranking modeling and spatial pattern discovery of music venues in 28 cities as recorded. The model is based on a multi-stage hierarchical clustering algorithm to level those cities into four groups according to the website records which can be used to describe the total music industry scale and activity vitality of cities. Data collected from the 2018 China City Statistical Year Book, including the GDP per capita, disposable income per capita, the permanent population, and the number of patent applications, are used as socio-economic indicators for the city-level potential capability of music industry development ranking. The Spearman’s rank correlation coefficient and the Kendall rank correlation coefficient are applied to test the consistency Citation: Wang, X.; Zou, Z.
    [Show full text]
  • Authenticity, Politics and Post-Punk in Thatcherite Britain
    ‘Better Decide Which Side You’re On’: Authenticity, Politics and Post-Punk in Thatcherite Britain Doctor of Philosophy (Music) 2014 Joseph O’Connell Joseph O’Connell Acknowledgements Acknowledgements I could not have completed this work without the support and encouragement of my supervisor: Dr Sarah Hill. Alongside your valuable insights and academic expertise, you were also supportive and understanding of a range of personal milestones which took place during the project. I would also like to extend my thanks to other members of the School of Music faculty who offered valuable insight during my research: Dr Kenneth Gloag; Dr Amanda Villepastour; and Prof. David Wyn Jones. My completion of this project would have been impossible without the support of my parents: Denise Arkell and John O’Connell. Without your understanding and backing it would have taken another five years to finish (and nobody wanted that). I would also like to thank my daughter Cecilia for her input during the final twelve months of the project. I look forward to making up for the periods of time we were apart while you allowed me to complete this work. Finally, I would like to thank my wife: Anne-Marie. You were with me every step of the way and remained understanding, supportive and caring throughout. We have been through a lot together during the time it took to complete this thesis, and I am looking forward to many years of looking back and laughing about it all. i Joseph O’Connell Contents Table of Contents Introduction 4 I. Theorizing Politics and Popular Music 1.
    [Show full text]
  • Analysing Live Music in the UK: Findings One Year Into a Three-Year Research Project
    Journal of the International Association for the Study of Popular Music Analysing Live Music in the UK: Findings One Year into a Three-Year Research Project Simon Frith [email protected] University of Edinburgh Abstract This is the first of four related articles in this journal presenting findings from an ongoing research project on the history of live music in the UK since 1950. This introductory article outlines the project’s starting assumption—that popular music culture in this period was organised around the constantly changing relationship of the recorded music and live music sectors—and suggests that this is to challenge the conventional academic assumption that the post-war history of popular music can be written as the history of the record industry. To approach popular music history from the perspective of live musical promotion means a) rethinking periodisation; b) examining a very wide range of musical activities; c) paying attention to the regulatory and the promotional roles of the state; d) understanding the importance of locality and place; e) reconceiving the power structure of musical institutions. Keywords: live music, promotion, the state. In his excellent book, Making Easy Listening. Material Culture and Postwar American Recording (University of Minnesota Press 2006), Tim J. Anderson suggests that “the period from after World War II to the rise of rock music as the dominant genre of the day” has been underresearched. This was the time, he suggests, when “the recording, in effect, replaced sheet music as the dominant material unit of exchange and musical distribution”, and the final effect of this transition was profound: Indeed, no single history or historian could do justice to this change, for its impact was so widespread and so fundamental that the record would overtake the importance of live performance in terms of its industrial, aesthetic, and, eventually, cultural influence (Anderson, 2006, pp.xviii-xix).
    [Show full text]
  • Voted Best Music Venue
    TECH PACK “One of the most incredible places on Earth,” - Rolling Stone Magazine - VOTED BEST MUSIC VENUE >>> 3 Years in a ow <<< - Las Vegas Weekly - “ MAILING ADDRESS : Brooklyn Bowl - Las Vegas 3545 Las Vegas Boulevard South, Suite 22 Las Vegas, NV 89109 “ PRODUCTION CONTACTS : You may reach us all by emailing [email protected] or individually: BRIAN THOMAS - PRODUCTION MANAGER Offce: (702) 694-4680 Cell: (615) 473-4860 [email protected] TONY LIZZIO - A/V MANAGER Offce: (702) 694-4681 Cell: (702) 906-6492 [email protected] JOCELYN REYES - PRODUCTION ADMINISTRATOR Offce: (702) 694-4681 Cell: (702) 979-0729 [email protected] JOANNE “JO” ALTAMIRA - PRODUCTION SUPERVISOR Offce: (702) 694-4681 Cell: (818) 231-7631 [email protected] TECHNICAL + PRODUCTION INFORMATION “ LOAD IN : The load in to Brooklyn Bowl Las Vegas is through The Linq loading docks, located behind The Flamingo Hotel & Casino. All load in schedules and vehicle traffc must be advanced to coordinate the dock availability. As our loading docks are shared with neighboring properties, it is strongly advised that vehicles contact Linq security desk upon approach: (702) 322-0550 Dock Brooklyn Bowl Las Vegas has priority over the slip closest to the ramp (furthest to the right). One vehicle may park in our slip for the day. The other 2 slips may be used for active loading only (driver present with vehicle). After loading, additional vehicles must be moved and parked in the Linq lot. Linq security may also assist with directions and/or vehicle escort. No shore power. May run generator. Parking The dock has two elevators.
    [Show full text]
  • MUSIC VENUE TRUST ANNOUNCES VENUES DAY UK's LIVE MUSIC CIRCUIT to GATHER in LONDON On
    PRESS RELEASE: MUSIC VENUE TRUST ANNOUNCES VENUES DAY UK's LIVE MUSIC CIRCUIT TO GATHER IN LONDON on TUESDAY 9 DECEMBER Venues Day 2014 will take place at the Southbank Centre, London on Tuesday 9 December. It is the first national event specifically designed to celebrate small and medium scale independent live music venues across the UK, bringing together professionals from the sector to network, share ideas and views and plan the way forward. Venues Day is an initiative led by the Music Venue Trust, which was formed early in 2014 to speak up for the live music circuit in the UK; the so-called 'toilet circuit' that is the grassroots of the UK music scene. In recent years a number of key closures have put a dent in this circuit, and changes to legislation, tough trading conditions and the overall music economy have placed many of the venues on a knife-edge. The Music Venue Trust has been looking for ways to address these issues, including campaigning very noticeably and successfully on noise and planning legislation with a campaign fronted by Frank Turner which has already attracted nearly 30,000 signatures from live music fans, provoking parliamentary questions and government responses. During that campaigning and discussions with politicians and key stakeholders, it became clear to the Trust that the sector was failing to be heard; key government initiatives were moving forward without a representative voice for small venues. Venues Day is an attempt to have a national conversation about what the cultural sector and the music industry can do together to ensure we continue to enjoy live music locally in the future.
    [Show full text]
  • ACRONYM 11 - Round 6
    ACRONYM 11 - Round 6 1. Sergey Stepanov, a man who enthusiastically plays one of these instruments, has twice ​ appeared for Moldova at the Eurovision Song Contest. Solos on these instruments appear at the end of M83's "Midnight City" and at the start of Carly Rae Jepsen's "Run Away With Me." Lady Gaga's (*) "The Edge of Glory" includes a solo on this instrument by ​ Clarence Clemons, who played it for Bruce Springsteen. The hooks of Flo Rida's "G.D.F.R." and Ariana Grande's "Problem" feature, for 10 points, what instrument played by John Coltrane? ANSWER: saxophone (or sax; accept alto saxophone or tenor saxophone) <Nelson> ​ ​ ​ ​ ​ ​ ​ ​ 2. In 2014 Jordin Sparks released a mixtape titled for this phrase, which also named a ​ former VH1 reality series about life coaches. The original target of this phrase, who was played by Angela Means, unsuccessfully tries to borrow a man's car. In December 2017, Good Morning America's Robin Roberts used this phrase to conclude a report on (*) ​ Omarosa Manigault's removal from the White House. A man played by Ice Cube in the stoner film Friday utters, for 10 points, what dismissive phrase that bids farewell to a certain woman? ​ ​ ANSWER: Bye, Felicia <Nelson> ​ ​ 3. In the board game Caylus, players may send workers to construct portions of one of ​ ​ ​ these things. Only one player can become the "master slayer" in a cooperative game titled for a "panic" in one of these places. One of these places in Ravenloft titles a Dungeons & ​ (*) Dragons board game. These places partially title a game set in Burgundy and in another ​ ​ game are commissioned by a man named Ludwig.
    [Show full text]
  • Gigs of My Steaming-Hot Member of Loving His Music, Mention in Your Letter
    CATFISH & THE BOTTLEMEN Van McCann: “i’ve written 14 MARCH14 2015 20 new songs” “i’m just about BJORK BACK FROM clinging on to THE BRINK the wreckage” ENTER SHIKARI “ukiP are tAKING Pete US BACKWARDs” LAURA Doherty MARLING THE VERDICT ON HER NEW ALBUM OUT OF REHAB, INTO THE FUTURE ►THE ONLY INTERVIEW CLIVE BARKER CLIVE + Palma Violets Jungle Florence + The Machine Joe Strummer The Jesus And Mary Chain “It takes a man with real heart make to beauty out of the stuff that makes us weep” BLACK YELLOW MAGENTA CYAN 93NME15011142.pgs 09.03.2015 11:27 EmagineTablet Page HAMILTON POOL Home to spring-fed pools and lush green spaces, the Live Music Capital of the World® can give your next performance a truly spectacular setting. Book now at ba.com or through the British Airways app. The British Airways app is free to download for iPhone, Android and Windows phones. Live. Music. AustinTexas.org BLACK YELLOW MAGENTA CYAN 93NME15010146.pgs 27.02.2015 14:37 BAND LIST NEW MUSICAL EXPRESS | 14 MARCH 2015 Action Bronson 6 Kid Kapichi 25 Alabama Shakes 13 Laura Marling 42 The Amorphous Left & Right 23 REGULARS Androgynous 43 The Libertines 12 FEATURES Antony And The Lieutenant 44 Johnsons 12 Lightning Bolt 44 4 SOUNDING OFF Arcade Fire 13 Loaded 24 Bad Guys 23 Lonelady 45 6 ON REPEAT 26 Peter Doherty Bully 23 M83 6 Barli 23 The Maccabees 52 19 ANATOMY From his Thai rehab centre, Bilo talks Baxter Dury 15 Maid Of Ace 24 to Libs biographer Anthony Thornton Beach Baby 23 Major Lazer 6 OF AN ALBUM about Amy Winehouse, sobriety and Björk 36 Modest Mouse 45 Elastica
    [Show full text]