Experience a line-up you can believe in, this coming Friday, May 18, at the British Ex-Servicemen’s Association in Vancouver (1143 Kingsway) — as part of Indie Pop Vancouver Series Vol XXXI.

Payday Millionaire get to share the stage with MIGHTY colleagues  The Rain & The Sidewalk and the Red Hot Icicles Burning On Fire!! Your $5 cover will get you a lifetime’s worth of inspirational memories and delightfully shameful incidents. Give our new album (and oldies) a listen and demand to hear your favorite tracks live.

Payday Millionaire make new music with unflappable do-it-yourself chutzpah. Curious combo creates cheque-to-cheque excitement (from unceded Coast Salish territory, Vancouver, BC, Canada) Rob (drums & voice) and Jeremy (voice & guitar) can’t help it. They’ve formed an ideal creative partnership after decades in larger set-ups, and they’ve been wanting to play just about anywhere, anytime, since 2009. Put on a concert with Payday Millionaire.

The Vancouver band has two full length albums for your enjoyment:

CHEQUE-TO-CHEQUE” All songs (words & music) have been written and performed by Rob Brady & Jeremy Todd, 2009.Tracks 1, 2, 3, 4 & 6 were engineered and produced by Felix Fung at Little Red Sounds in Vancouver, British Columbia, Canada. Tracks 5, 7 & 8 were recorded and mixed with Paul Narciso at his home in Mission, BC, Canada. All tracks have been mastered by Stuntman.

This Has Always Been Your Life. All songs have been written & performed by Jeremy Todd (voice & guitar) & Rob Brady (drums & voice), in Vancouver, BC, Canada, 2012. Recording, live effects, additional instrumentation & mastering by Lee Hutzulak.

Here is a video:

May 27th at  The Media Club (695 Cambie)
BBQ & Preshow starts at 6pm. Show: 8 til late!
Seven Tyrants Theatre Society is thrilled to be holding our annual Night of Music  fundraising party Sunday May 27, 2012 at The Media Club. We’ll be celebrating the  achievements of the last six years with a roaring fit of musical and theatrical shenanigans,  culminating in the announcement of our 2012/2013 season!
PLUS: Prizes, surprise guests, BBQ-&-Beer specials and MORE!
Tickets for this night of unforgettable entertainment are just $10 AT THE DOOR.
All proceeds will go toward funding our next season of world class Canadian theatre!

By Lila Dudot

Photography by Daniel Robbins.

Tho, maybe the imagery of ocean and water conflicts with the lovely, earthy stage all adorned with greenery and plants that night. Which entwined the mikes and hung from the rafters and created quite an impression when the curtains first opened for opening band, The River and The Road’s splashy set! Ok, well maybe the metaphors relate to nature, whether oceanic or forest like. And that I have no doubt comparing last night’s highly anticipated show to. I mean I had just watched the video for Headwater’s new song ‘Your Love’, and nature seems to be the dominant visual element in that. Not babes in swimsuits or teeny bikinis, but guys on bikes happily trolling the forest. While happily singing along about awaiting love. Tho, my impression is that these guys are probably pretty emotionally self reliant and basically content with life. They’ve got their music, their comraderie, a lifestyle enhanced by nature communion and travelling and adventure…. That they embrace struggle is evident to me in the choice of their new album title. ‘Push’! To tell you the truth, having been a fan of this band for years and quite aquainted with their home grown, feel good, but subtle and rootsy music, I was quite surprised to read about this new album title. It struck me as fairly bold, strong, energetic and of course, very forceful! I was immediately curious what the title might mean to the band members, themselves. Maybe because of the novel I was reading at the time (a delightful one, too!) which very much focused on family issues and a lead character who finds herself pregnant….my first response or association with the word and album title, ‘Push’, was of giving birth. Predominantly, the struggle just before the birth. Whether it’s creatively or of another human or creature.

I had this question on my mind when going to the Biltmore on Friday night. I knew it was a sold out show but for some reason was still very surprised at how packed the venue was even quite early in the night. There was still quite some time before the live music started and yet, perusing the bar, I could barely find even a seat. The place was packed to the gills and buzzing with excitement. Luckily for me, some of the Headwater band members were by the merch table speaking to fans, helping with the merch set up and already signing autographs. Before I had a chance to ask my ‘big’ question (related to the new album, whose release this event was celebrating) I overheard Jonas Shandel, Headwater’s lead singer and guitarist, speaking with some fans and saying something like “Well….it’s better that there’s still some struggle….. We don’t wanna get bored or boring. This way we’ll do better.” I’m not sure if he was referring to his wish to not get too successful too fast, or another matter. Either way, I smiled as this comment verified my hunch about the significance and attitude reflected in the album and title. A few minutes later I did get to ask Matt Bryant, singer, guitarist and mandolin player, who also smiled and told me that it was basically to confirm and express the idea of a new direction and next step for the band and that the title just “felt right”! So I don’t think there was a lot of premeditation about it. Anyways, it’s not your average, pretty, slightly flowery alt-country album title. It pretty much belies what I experienced later in their surprisingly dynamic set of music.

Local openers, The River and The Road, who also play a pretty organic style of rootsy rock and pop music, I had heard about for several months. The band name and style of their music led me to be curious about them. It wasn’t until a few weeks ago, when I heard one of their songs on Oswaldo Perez’s ‘Morning After’ radio show on CiTR (Tuesday mornings) that I was immediately smitten! I loved the song and the lyrics really spoke to me! I even asked the song to be dedicated to someone close to me after the song had been played. I thought that the song might lend some comfort to someone greatly needing that at a difficult time. Last week I saw The River and The Road play at the British Ex Servicemen Association as part of the Indie Pop Vancouver Series , and became an insta-fan! Their music made me happy and I had to dance! So, I was pretty eager to see them play at the Biltmore on Friday night. Sure enough, they started their set clearly happy to be playing this show and with big smiles on their faces. Instead of starting out all delicate and building up their charm,  talents and hold on the audience, they came out full strength with a lively song! It was clear that the band already has a very avid, ardent and loyal fan base. Which the band even acknowledged at some point, calling out the names of their most devoted fans – who beamed back with glowing admiration and appreciations, it seemed to me. (I gotta say, on a personal note. When I looked around at the people just drinking in the songs, talents, and good vibes of the band, I thought to myself “what lovely people!” and that there wasn’t really a face or person I wouldn’t wanna invite to a potluck or house party if I ever had one. Nice folks, I mean!) The fans were encouraged to come closer to the stage and to dance, too.  “Don’t hesitate! If you’ve been second guessing yourself, about dancing! Just dance!” beckoned lead singer and guitarist, Andrew Phelan. By the time they played their song, ‘Straw, Brick and Wood’, there was no pleading or encouraging necessary. I love this song so much, not only the melody of it, but the uplifting, comforting lyrics are easy to sing along to, too. “All you need is all you have inside…….!” Contentment! That’s how I hear that heartwarming song.

Well, I better tell you about the band! This will be a bit more difficult as I didn’t write notes…it was too crowded, I thought…and I’m not very technically savvy in describing music. My impression is that they’re all very talented musicians. I liked the contrast of the more rough and ragged lookin, down to earth lead musicians – banjo player/ lead singer, Keenan Lawlor;  Andrew Phelan; bass player, John Hayes; and the drummer, Cameron Strachan , who was dressed more formally in a nice shirt and tie. There was a tidy strength in his drum playing that seemed to hold the other sounds and instruments and vocals all together well. Both Keenan and Andrew took turns leading songs and I found their harmonies quite pretty and copacetic. I think the band is surprisingly tight for such a new, young band! Great chemistry amongst them all! I don’t know if I’ve often seen a banjo player who holds down that ‘fort’ throughout an entire set of music. Not in a more roots rock type of band. It seemed to me that Keenan’s style was a little unique. It didn’t overpower the songs and music, but seemed to hold back a bit, and exuded a subtlety that fit nicely with what seemed like well crafted songs. He definitely plays banjo whole heartedly and with finesse! Plus, there’s an unmistakeable stage charm that he exudes. You definitely wanna sing along to their music! The lyrics are relatable and easy to distinguish!

I was quite surprised by the lead guitarist and singer, Andrew, who is from Australia. When I’d seen the band play last I’d assumed he was one of your ‘typical’ (I apologise for this assumption) and classic bearded, local indie rockers – introverted, thoughtful, but maybe not too expressive. Wrong! I don’t know what his background is, but I tend to think he probably has had a fair amount of experience living rurally, as that’s what I thought he exuded. Earthy, vital intensity. The band stomped their feet in perfect unison, and even yarled, yelped and whooped some of their lyrics. There was a feeling or quality to me that bordered on tribal. (In fact, I briefly flashed on the very unique experience of seeing Peter Garett of Midnight Oil once perform at the Commodore Ballroom. I’d been entranced watching his oh so earthy and almost shamanic and sometimes even a bit animal-like movements and way of conveying a song.  Subtley, Andrew sometimes reminded me a wee bit of this. Moments or hints of that.) The River and The Road’s music and set was immediate and visceral. There was no doubt of the connection between audience and band. In fact when an encore was loudly and enthusiastically requested by many, the band obliged “but only if Headwater comes up here and plays with us!” Which of course, they all too happily did, at least Matt and Jonas. The set’s last song (before the encore) was also one of my favourites. Again, the theme of the song really spoke to me, about “a diamond in the rough” which is a metaphor I love to use or think of often, myself.

The River and The Road’s music seems to embrace many qualities: easy going, introspective, philosophical, happy go lucky, joy of simple things, spirited; but one thing it’s not is overly intellectual. It asks you to be real, physical, now! In the moment. Feel alive, feel the joy, feel connection to others…something like that. And if they can herald in that experience with their banjo, guitars, drum playing and singing…they’re all too happy to assist. Tho, I didn’t really consider a gospel aspect at the time of the show, in hindsight I’d say there’s almost a slight gospel experience for the listener of their music. Tribal roots gospel? I don’t know. It’s prob best to stop tryin to ‘splain what ‘it’s’ all about!

At some point I got to ask a joking question once again to Jonas. And I gotta admit it was premeditated! He happened to be at the bar getting a drink and I razzed/teased him “So, did you do yoga today?” hoping he hadn’t. He quickly replied “no!” and clarified to me that he actually never does yoga. Ah, relief! As the last time I’d seen Headwater play, a few months ago at one of the lovely For The Sake of The Sunday events at River Vintage Store, he’d cracked a joke about yoga not being good for playing live music shows after. (I guess in truth, they had just gotten home from one of their very intensive, thorough tours of Europe and must’ve been dang tired!) I had found the comment very funny at the time! Especially, because the members of this band are just the antipathy (to me) of yoga-clad, self-absorbed, and slightly self-righteous new ager types.  Like the opening band, the guys in Headwater strike me as enormously down to earth, slightly humourous and completely unpretentious. Salt of the earth types. Just doin what they do. Not a lot of ego and peacock posturing in their stances. They wanna play good music and are happy to do so!

I was so looking forward to Headwater’s set. I became a fan years ago when a friend would play their music regularly and consistently on his local radio show. I’ve only seen Headwater play live twice, tho. Years ago at the Vancouver Jazz Fest and recently at the Vintage Store event that I mentioned previously. The Headwater band that took the stage was not the band I expected. Feet planted firmly, with poses of conviction and strength, it was obvious that they were ready to rock! I especially saw this in Matt’s facial expression that conveyed fierceness and determination to me. All through the set wove strands of almost hard rock energy, not the more mellow pop I’d been more or less expecting. “We are not here to monkey around!” I more or less felt from them. “Let’s get this thing going!” Tho none of this was verbalised, I mean they didn’t yell out the usual hard rocker “Are you ready to rock?! Are you ready to party?!” but there was nothing faint hearted in what they had to deliver that night. Tho, the roots elements were still in evidence in their music, particularly with the stunning talents of the steel guitar player, Tim, who always mesmerises and awes me.

I couldn’t also help chuckle slightly to myself about their perhaps ‘North Van’ influences. Before the show, I’d prepared a few questions in case I was able to ask them. One of them had been referring to this. I had wondered if the fact that they resided there kept them grounded and not leaning too far towards slightly over-self conscious  hipstery pride. All through this blistering set seemed to be moments of that North Van rock comin thru. Don’t hit me if I mention Bryan Adams, Collin James (more towards the end when rhythm and blues rock seemed to dominate) and even dareIsay moments of ACDC? Not so much in the actual music or songs, but more in the delivery. Most of the set consisted of Headwaters’ new songs from the album, ‘Push’. The crowd responded with rowsing enthusiasm, especially to the song, ‘Fuel the Fire’ which seemed to cause the biggest buzz amongst the fans. There was even maybe some amusement when they broke out a cover from “Peter Gabriel – whom we love! ‘Solsbury Hill!’ When reflecting on the recent album release concert, I’d say that the lyrics to this song, tho not penned by the actual band Headwater, pretty much ‘says it all’ in terms of where their heads and hearts seem to be, these days. “I was feeling part of the scenery/ I walked right out of the machinery/ My heart going boom boom/ “Hey,” he said, “grab your things, I’ve come to take you home.””

Amusement would be an understatement when near the end of their set, another cover song was busted loose. This time it was some popular radio song, I think, tho myself I wasn’t familiar with it. It could’ve been a Britney Spears song or who knows who. [Turns out it was Teenage Dream by Katy Perry. Not sure how I missed that.] But, anyways, most of the crowd recognized the song and went pretty ape to Headwater’s fun, rootsy version of it. Suddenly, some very good looking, music immersed ‘Fabio’ type appeared next to me. Dancing away, I had my first experience of having a lively dancer’s sweat flung against me. It made me chuckle more. Audience participation is never something I’ll complain about! When introducing that song, they had referred to their recent weekly shows at lively Gastown Irish bar, The Blarney Stone, and I couldn’t but help wonder if that experience had influenced at least in part their new musical direction reflected in the new album. Less generic and specific to a certain audience, and undoubtedly with an edgier, rawer, semi-power tone.

Mid set, one of the members of Headwater acknowledged their dear (and there were plenty of them! All ages, too!) fans and almost slightly apologized for the fact that they’ve been abroad so often. Headwater, like many other of Canada’s best roots and alt-country bands and musicians, have an incredibly strong following in Europe. And for some reason Holland seems to stand out in this manner. (Which had also been a question on my list of four….) Again, before the show, Jonas had confirmed this fact with the huge compliment also of how informed many of those European and especially Dutch fans are – of the whole ‘scene’ and its participants over here, musically. It’s quite flabberghasting, really – to me, to Headwater, to many Canadian musicians and bands that play and tour over there. These musicians are often so well received, for some reason! So, it’s no wonder that many of our (Canadian) musicians will spend great amounts of time playing shows and concerts over there. During the show, there was also the joke made by the band “Sorry! Maybe we’ve become a little Dutch!” I got the feeling that there was some intention to reward local devotion and loyalty, tho. And that by no way, shape or form were the local, home fans overlooked or forgotten. Band music love was in the room and house, and quite overflowing, as well!

One of the highlights of the night and show for me was watching Tim Tweedale on his steel guitar. As Headwater’s set progressed, he began to move his body rhythmically while playing, standing and upright. He writhed, he wiggled, he almost danced. How he managed to do this while playing an instrument that’s usually played while sitting down is beyond me! All’s I know is, I was dang glad I’d made the effort early in their set to move to the right side of the stage and crowd. It was well worth it! Not only did I end up meeting one of the band member’s older family members, but the view of the band from that angle was pretty spectacular! I could still feel and perceive the earnestness of Jonas and his singing, the grittiness of Matt on his guitar and with vocals, too. But, watching this steel guitar man make the most beautiful musical sounds, while brimming ear to ear and seemingly coming ‘out of his shell’ (I only say that as I’ve assumed that he tends to be rather reserved. However, I could be incorrect about this.) was well worth it. By the end of their set, Tim was going quite wild, leaning into the audience sometimes, also projecting forward his beloved instrument that he was clearly a master of! Maybe he wasn’t as wild as old timer fiddle player, Rusty Kershaw, as described in the Neil Young book, ‘Shakey’ while recording the stupendous Revolution Blues song, long ago in some hotel room, ‘baked’ on infamous honey slides. Tim’s movements became more and more snake-like, however. The band was clearly ‘taking off’ as the set came to a close. It’s that moment and experience you tend to hope for when paying a few bucks to see a fave band in concert. They actually take you ‘somewhere’.

By the end of Headwater’s dynamo set,  I was feeling more reminisces of a long ago Winter Brothers’ show – tight ass rhythm and blues, cranked all the way to dial ‘Let’s Go!’ If this is the direction that this band is taking, hold onto your hats!

____________________________________________

Well, seeing as both of the bands playing at the Biltmore that night had just debuted exciting new albums, I was somewhat surprised to hear some history relevant to this. Headwater mentioned, mid-set, that they host a weekly Open Mike night at Café Deux Soleil and encouraged people to come and check it out. What I didn’t know tho, was that both bands apparently got their starts playing at that restaurant and club. Talk about home grown! I mean, I myself have walked by the café and locale many a time over the years, somewhat dismissing it as a bit on the hippie side. But, in the last year or so, I’ve really come to enjoy the friendly, casual, cosy, anything goes almost atmosphere that fosters local artistic talent and lends itself to good, enjoyable, respectful listening with a decidedly bohemian overtone.

I gotta admit. It’s probably somewhat regrettable but I was pretty happy and ‘quenched’ after two great sets of live music and did not stay for CR Avery’s promising set. Apparently, it was pretty stupendous. Not only did he play with a full band, but burlesque dancers were part of his ‘revue’ as well.

I gotta give The River and The Road another shoutout for the sake of paying it forward….or something. I’m a pretty huge fan of Sasquatch Music Festival in central Washington state at the magnificent Gorge. Not only for all the music, most breathtaking vistas and music stage I’ve probably ever seen, but the social atmosphere at these gatherings is pretty unusual and ‘once in a lifetimish’, too. Myself, it’s looking doubtful that I can attend this year and May. But, I just noticed that Keenan and Andrew are appealing to their fans with this same wish and desire. Apparently, Keenan’s parents have vowed that if the band gets 3,000 likes, they will sponsor them to attend this exciting festival. Well, 2 weeks or so to go, and it looks like they could use some support. They only need over 2,000 more likes to go. On their FaceBook page, I mean. If it was me, I’d probably be ‘shouting’ cyberly daily to remind and encourage people.

Por Paola Quirós

45 years of a history full of colours, rhythms and Bolivarian dreams weaving and connecting us with the threads that are necessary for the cultural Latin resistance. This is what Inti Illimani music is about. Inti Illimani is one of the most influential bands in Latin America and a must see and heard for all the musicians that want to connect to the roots of our culture.   Inti-Illimani  started its path in 1968, during the development of the musical and political movement The New Chilean Song or la nueva canción Chilena. “The new Chilean song is a deepening of wanting to do something” says Marcelo Coulon.

During the development and participation of Inti-Illimani in the new song movement, some things have changed and some have stayed the same “There are three things that we have kept, the first one is very important for us; the honesty which we approach the rhythms. Then we work on the poetry, with the gentleness of the words, we know that it has much more impact than a brochure. Maybe we have lost the innocence, but not the curiosity, that characteristic that made us explore and take one step ahead with humbleness, now we learn from the youth that are part of the band”. told me Marcelo. He is convinced that this pillars are transmitted in the notes and concerts of Inti-Illimani.

The speed and diversity of the musical information in our era have opened new paths to explore “Every era has its flair, but we know the best tense is the future. We don’t want to sleep on the hits that made us successful” clarifies Marcelo.

This is shown in their music. When the lights of the stage of the Chan Centre started to lit up the members of the band one by one, it seemed that each of the musicians were birds entering a forest of Latin-America creating plural harmonies while weaving the instruments as a group. They were performing the song Huajra; an instrumental song by Atahualpa Yupanqui.

Even though in a two hour concert the band can’t play the 400 songs that have left a print in their career, Inti-Illimani tried to make a chronological concert, the first songs were written by their close collaborator and friend Victor Jara, who was one of the victims of the military Junta of Chile who killed him. The band also performed Violeta Parra’s work, another icon of Latin American music. Their musical arrangements traveled through Cuecas (traditional Chilean music), carnival music, Candombes, Cumbias, Afro Peruvian music and Andean landscapes. Among all the things that move me from Inti-Illimani is its multi instrumentalist members; wind instruments, strings, percussion, vocals along with their compromise to caress each of the instruments they play. It seemed that from all the instruments, the Charango was leading the steps, the footprints of all those who have come closer to the ancient knowledge of the Earth, those footprints cannot be deleted.

The mayor of the city of Vancouver, Gregor Robertson has recognized the artistic trajectory and their musical influence in our continent with an official proclamation stating that April 24th is the Day of the Latin American roots music in Vancouver “We have always looked for the Latin American identity. We believe in the Bolivarian dream of a united continent” commented Marcelo full of joy. He was referring to the Proclamation adding that even though its evident than musicians have the responsibility to rescue the roots, every human can do it from their trenches “We are little drops of water that solidify the cultural expression” He said.

When they opened the concert, Jorge Coulon spoke in Spanish to then continue his speech in English. You could feel that Inti-Illimani is compromised with social justice and the constant fight for our rights and the dream of a continent without borders. The compromise of Inti-Illimani to reach those who don’t know where our music comes from and to recognize themselves constantly in the “outside sounds” is immense, like the loyalty of those who have followed them through their career and who have discovered them through their parents or grandparents.

“We are always shedding light of why we do what we do, we are fortunate to have a plural public and that many young people have been approaching us. Its a shame that the mainstream media only promotes fame, stereotypes, useless things, however we believe that what lasts is the essence that comes from the roots” added Marcelo. They finished with a popular song that injected to the public hope of a
real revolution, not only social and cultural, but a revolution of hands and dreams interwoven. “el pueblo unido jamás será vencido”.

Who’s the victorious, who’s being combined, or what? don’t know, it just came out that way. it might be a rational plea to learn from the past, hold onto the good ideas and come out ahead. It might mean we should leave a few more of the old patterns behind, the ones that keep us from truly progressing. or it might not. just a few strange words to combine. of course this page is not dedicated to semantics, but rather a little indie band from Vancouver.

Combine the Victorious is an indie duo from Vancouver, Canada, fronted by Mark R. Henning and Isabelle Dunlop. Their second release, a seven song ep titled Disagreements has been released on Vancouver indie label Boutique Empire.

Born in the spring of 2005, after just over a year of writing they recorded their first album The World Over. Four songs off that album have been featured on the television series Whistler and their song Blue Kitchen was chosen as the theme song to the Showcase/Channel N series About A Girl. They have completed their follow up collection, Disagreements, which shall be released in on the Boutique Empire label.

Mark Henning, a record producer, engineer and multi-instrumentalist, began his career as a founding member/keyboardist in the band Pure back in the nineties. After departing that group on new year’s day 1995 he formed the power pop band Blisterene. This group was short lived but managed to establish a solid following in hometown Vancouver. Running an independent label with all its inherent costs eventually forced him into the studio where he worked diligently for seven years straight, recording demos, records and albums for various local bands as well as attaining work in the UK where he engineered several records alongside producer Paul Schroeder. After 2005 his focus shifted almost exclusively to Combine the Victorious.

Isabelle Dunlop is a well known and successful fashion designer. Scottish born and educated, she emigrated to Canada in 1990. Even though Isabelle is a highly sought after designer and prior co-owner of successful boutique clothing store The Block, fashion wasn’t proving enough. Her love of music and desire for new adventures made here suggest to Mark that they create something of their own. So in the course of a little over a year she went from complete novice to something of a prodigy: her vocals have proven a surprise to both of them!

By the spring of 2006 a complete album had been written and demoed and the two booked Mark’s favorite recording studio, Mushroom Studios, to record the bedtracks and piano overdubs for their debut album The World Over. Leaving Mushroom behind Mark and Isabelle returned home to complete the album. After a lengthy recording and mixing period the album was released independently in 2007. The World Over features drums by Jonas Fairly (Black Betty) and Jesse Smith (Birds of Wales) as well as guest starring Ryan Dahle (Limblifter) on two tracks.

In addition to licensing five songs from their debut, Combine the Victorious was singled out by the Vancouver Province as one of the city’s best local bands by music critic Tom Harrison in his year end music wrap up. In 2008 CtV has joined with the Boutique Empire label, an artist’s collective that also consists of Guilty About Girls, Sex With Strangers and graphic artist Robert Edmonds.

Their second release, a seven song ep titled Disagreements is now completed and scheduled for release November 11th, 2008. Jordy Birch and Todd Simko, both former Pure bandmates, assist on guitar and Kevin Jones (The February March)provides his expertise behind the kit. The song Please also features UK artists Ingrid Schroeder and Barry Flynn on vocals. Videos are being conceived for at least two songs from the new ep, and arrangements to perform outside of Vancouver are being made for the new year. Look for their music on iTunes as well as all other popular online streaming and download sites.
Check them out on MySpace here.

Acclaimed Vancouver band The Washboard Union is releasing their self-titled debut album on June 26th, 2012 and in advance of the release date they are offering up 2 songs from the album for FREE on their website. Starting today, the tracks “Midnight Train” and Lost And Found” are available for free download in exchange for an email address on thewashboardunion.com and through The Washboard Union Facebook page.

Buy, sell, trade – new and used vinyl. Discover gems and stock up on cheap classics!

Bigger and better than ever! Thousands and thousands and thousands of vinyl records!
… Now with vintage turntables on sale!

Date : Sunday, May 27th, 2012
Time : 11 AM – 4 PM
Place : The Cambrian Hall (215 East 17th Ave, Vancouver, BC)
Entry : $2 at the door (All Ages)

Plus! Free with Admission – Get the Vancouver Vinyl Discount Card!

10% Off All Vinyl Purchases in Record Stores Across Vancouver!
That’s great deals at Neptoon Records, Higlife Records, Redcat Records, Vinyl Records, Dandelion Records, Zoo Zhop and Lotus Land
Electronics!!!

Featuring great music by the Knights of the Turntable!

And check out the Georgia Straight online for the Diamond Stylus Contest.
Enter to win a Shure M97xE Audiophile Phono Cartridge from Lotus Land Music (2660 Alma St). Give her the presision-crafted, finely polished, diamond stylus she deserves.

The Main Street Record Fair is brought to you by Badbird Media, The Georgia Straight and CiTR 101.9 FM

This is hard. Music to each of us is singular in it’s ability to not only change our lives, but also in it’s ability to create a history, and a legacy, and when those who contributed to that history pass it becomes an emotional moment. It’s with great sadness that I think back onto the legacy of not only Adam Yauch, but the Beastie Boys in General.

Their contribution to the music scene in general of the late 80s and early 90s cannot be denied.  Their sound represented something that had a deep influence in the late 70s punk rock that rejected over produced music, and the hip-hop sound that informed a generation of urban youth.  It introduced a new audience of mostly white youth to the mainly black hip hop scene that was happening on the East Coast of the United States.

This cross racial, and cross generational style helped to levitate the Beastie Boys to a near mythical status during this time that was only paralleled by the likes of the Elvis, the Beatles, and the Rolling Stones, and helped to make the band one of the most influential and important of all time.

Their significance cannot be denied.  Hip-hop up till the Beastie Boys had remained marginalized, it had only existed as part of the underground and the Beastie Boys played an important roll in bringing the genre into the mainstream, partly because of their roots in punk rock, and because of their place in an urban environment in New York City.  Quintessentially they were the Elvis of the Hip-Hop generation.

Reflecting now on their impact, their influence on each of us, like many artists gone, will take on a personal story.  For me I remember sitting in a park off Whyte Avenue in Edmonton Alberta, while friends of mine, Joachim, and Will bounced off their own version of Shadrach, a song that because of that moment has become the most important of all the Beastie Boys songs to me.

So here is to Adam Yauch.  You have contributed to the music of my generation in a way that only the likes of John Lennon, Jimi  Hendrix and Howlin Wolf have previously.  Your presence will never be forgotten and you will be deeply missed. You passed far before your time.

May you Rest In Peace.

Thank You.

Godfathers of Love is an artistic collaboration fusing together many great lineages of musical influence. “GoL are Gorillaz meets Steely Dan!” Based out of Hollywood North, Vancouver, BC, Canada, Godfathers of Love has been writing, jamming till fingers bleed, and recording dozens of fresh tracks over the last 10 years and are now starting to release a tremendous outpouring of simply great music.
Beginning with the debut album “In Love We Trust” which features the single “UR Peace” (Produced by DJ Khalil) for which Michael Haldane of filmgroup.tv (Cannes Gold Lion Winner) and elevater.tv has produced and directed a “short film-style” music video.

Primarily a studio recording project, Founder Danny Dworkis has been writing and recording feverishly with Ziggy Sigmund (Lead Guitarist from Econoline Crush) and Producer Stephan “Flash” Sigerson to create a sound that is unique yet familiar, subtle yet edgy, thoughtful yet bumpin’.
John Baxter is the artist and concept creator behind the GoL artwork and identity as well as being a guitarist of the group. He has been co-writing on a number of songs for upcoming albums.— Danny and Ziggy are both Bikram Yoga teachers. Danny co-owns 2 major Bikram Yoga studios in Vancouver and Ziggy teaches at Bikram HQ in LA.— Danny is also an actor who has shared scenes with stars such as Jessica Alba and Elijah Wood. — Franklin Vanderbilt (Drummer for Lenny Kravitz).

VanMusic and CiTR presents The Godfathers of Love and  Audiologue, plus two singer songwriters, Rowan Tichenor and from Australia speial guest Pamela White. Music starts at 9PM Doors 8PM 1143 Kingsway. 5 dollar cover charge. 2.25 Beers. TACOS! FREE pool and parking. May the 4th be with you. Come celebrate 5 de Mayo this Friday!

The Cultch announced the details of its 2012/2013 season, celebrating the 39th anniversary of the organization. Programmed by Executive Director Heather Redfern, the season boasts a dynamic group of contemporary performers, playwrights, directors, choreographers, musicians, and theatre collectives from Vancouver, across the country, and around the world.  

PRESENTATION SERIES

Audiologue played Friday May 4th at the British Ex Servicemen Association 1143 Kingsway with The Godfathers of Love, Rowan Tichenor and Pamela White from Australia. This night is presented by VanMusic in conjunction with Valentine Records and CiTR 101.9 FM.

Audiologue is an indie rock/new wave Vancouver based band with a euphonic sound that’s enriched by jazz. The band currently consists of vocalist/ rhythm guitarist Erzsi; vocalist/bassist/keyboardist Ryan; lead guitarist Justin and drummer Tim. The band formed in February 2010 with the founding members beginning to write together in May of 2009. The band’s magic potion for music embodies full tone melodies and hooks that connect to engage.
The band is made up of four key members including: vocal/rhythm/keys Erzsi, vocals/bass/keys Ryan, guitar/keys Justin, and drummer Tim.
Recently Audiologue wrote the music for a short film by UNESCO’s BC Youth Advisory Group entitled “Do you see what I think” released in July of 2011. They are planing to release their  first EP summer 2012.

Their influences include bands like Metric, the Black Keys, the Killers, Radiohead, RHCP, Led Zepplin and the Beatles.

Listen to them here

Here you go. The May line up for Trees Music Nights. May marks our 6th anniversary of bringing you acoustic music every week. BTW, I’ll be away for the next three weeks so. Ryan Fletcher (the only poet I know who has his own radio show) will be hosting in my place, as well as manning the fort, as usual, on Thursdays.

Music Line-Up at Trees Organic Coffee House. 450 Granville St. Vancouver. Live music every Thursday and Friday at 8PM. Best Cheesecake in town and always good friends around, come down you will enjoy yourself!

Thursday, May 3rd
Martha Reich
EV
Sometime After Sundown

Friday, May 4th
Chelsea Laing
Trevor Caswell
Lindsay May

Thursday, May 10th
Joe Turner
This Is The Shoes
Devil In The Woodshack

Friday, May 11th
Monika Schwartzman
Jeff Laing
7 Layer Smile Band

Thursday, May 17th
John Ellis
Brad Darrid
Dana Marie Battaglia

Friday May 18th
Ms. Maxine
Doug Koyama
KokoSoul

Thursday, May 24th
Michael Simpsonelli
Amanda Jacober
Simon Vine

Friday May 25th
Christopher Ford
Cassandra Bangle
Angela Healy Trio

Thursday May 31st
Patsy Thompson
John Pippus
Kyla Coopman

You should know…

VanMusic.ca is sponsoring the line-up on May 10th. And John Ellis put together the line up for May 17th. This is part of our occasional Producer Night Series. Brad and Dana are acts John  has worked with in the studio.

Another music venue to tell you about. Vancouver City Limits is going to have a second home at THE FRINGE CAFE, 3124 West Broadway. The kickoff on May 22nd features CORY HAWTHORNE, MARK HILDERBRAND and THE PERNELL REICHERT BAND. 8:30 PM start, no cover, beer specials.

And Karen Larson is hosting  new OPEN MIC at the BEST WESTERN ABERCORN INN starting Thursday, MAY 3RD 8pm-midnight 9260 Bridgeport Road, Richmond, right across the road from the Costco Wholesale.

Don’t forget the Trees location in Gastown — right by the steam clock — will be having music every Saturday in the summer. Marq DeSouza is the host of this series.

Visit the Trees Music page at the Trees Coffee website and link to their Facebook page.

See you around,

John

It is no secret that The Dudes represent Calgary proudly. The band’s love for their hometown is peppered in song lyrics and proclaimed in interviews. And in the spirit of where the buffalo roam, Perryscope Pancake Syrup has brushed off their cowboy duds to host The Dudes Rootin’ Tootin’ Pancake Dinner at The Morrissey Pub on Saturday May 12.

Before The Dudes take the stage at The Vogue Theatre on May 12, they’re going to be feasting on pancakes and enjoy tasty brews from the good folks at PBR. And everyone’s invited. Doors open at 5pm, free pancakes will be served up hot at 5:30pm and while all this is going on everyone can enjoy the brand new tunes from The Dudes’ Barbers, Thieves & Bartenders.

When the griddle cools, everyone will mosey northbound to The Vogue Theatre where the party will continue with Portage & Main, Poor Young Things and of course, headliners and proud Calgarians, The Dudes.

Tickets available at Northern Tickets www.northerntickets.com

Saturday May 12

The Morrissey Pub

1227 Granville St, Vancouver BC

Doors at 5pm

Pancakes at 5:30pm

No Cover 19+

Born out of Vancouver’s coffee scene, Mercy Years is a collaboration from parts of British Columbia, the Canadian Prairies and London, England. Euphoric melodies and driving rhythms reflect their expansive origins; hints of the UK post-punk scene are melded with Cascadian indie-rock textures resulting in a stirring wall of sound.

The initial spark was an answer to a Craigslist ad for musicians in autumn 2009. Then came a failed attempt at formation, leaving guitarists Nick Russell and Adam Sharp to assemble a collection of songs over the next ten months, strong on their own but begging for additional instrumentation. Benjamin Mott found employment at the same café as Adam and, with the help of a shared love of Bloc Party and Broken Social Scene, secured a spot as third guitarist. Building on the momentum of a new member, as well as a rough basement demo of their first song “I Blew Overboard”, the trio recruited Jamison Gladysz on drums and Matt Gostelow on bass, both veterans of the Vancouver coffee scene themselves. Knowing that their songs were written with a female vocalist in mind, Hannah Walker, yet another local barista, was added to the mix.

Mercy Years has spent the last eight months developing their local reputation and playing venues including the Biltmore Cabaret, the Railway Club, the Yale Hotel and the Cobalt. Enlisting the help of old friend/new producer Cam Tatham, they have recently finished recording their debut EP at Tugboat Place, the personal studio of one time indie pioneer Steve Bays (Hot Hot Heat). Set to be released on their own label at the end of April and with a tour of western Canada taking place in May, the band has enlisted the help of Laura Genschorek on keyboards and vocals to help them realize the in-studio additions to their songs. The ball is well and truly rolling.

Check out their music here and get a free download!

By Corina Pilay

With a rich history in Vancouver and Kung-Fu cinematic history, the Rickshaw Theatre welcomes a double bill tour fostering legendary Vancouver bands Grapes of Wrath and The Odds.

A great addition to the local jam, indie pop pushers The Salteens have been in formation for a decade, supplying music lovers with fun and upbeat gigs with positive and humorous themes. The band has enjoyed successful feats such as being in rotation on CBC Radio, attaining an extensive fan base on an international level, a commercial spot and even TV appearances.
Kicking off the night, in an upbeat fashion, The Salteens open with their “Let Go of Your Bad Days,” a lively tune that sets off a positive vibe for the night despite the hesitant crowd scattered all over the place. To no surprise, that soon changes as each song progresses into a melodic splendour with songs like “Crash the Market” claiming that they are ‘on the scene’ and continue with an even mix of old and new songs throughout the set. However, as vibrant as they are, the band manages to be less energetic than previous shows, coming off slightly timid in comparison, but still very fun, and as always, tight. This tone is possibly intentional since the headliners are alternative pop bands that sometimes appear gloomy rather than spritely as in the majority of Salteens ditties. The choice to cast these musicians is a good one indeed that eases the spectators into the next round.

The Salteens

The ‘Good Luck’ double bill officially begins with the Grapes of Wrath. Brothers Tom (vocals, bass) and Chris Hooper (drums) met Kevin Kane (vocals, guitar) in 1977 during their teens in Kelowna, British Columbia. In 1987, the trio broke through to Canadian mainstream radio with their dazzling, jangly folk-pop sound, achieving a renowned reputation nationwide. The Grapes of Wrath commence with “O Lucky Man,” from their Tree House release in 1987. With a fairly large congregation, it is interesting to notice an eclectic milieu of older, and a few younger, fans enjoying the signature alternative folk sound. Being their first single, it is a classic to loyal fans and a good opener because the tunes keep getting more familiar as the show goes on.
The legendary band lives up to their fame with songs that dwell on melancholic notes of confrontation and themes depicting various stages of assorted types of relationships. Calm, passionate and still intriguing as ever, they bring a particular energy that is positive, yet chilled which is not a common denominator with concerts at the Rickshaw. The beauty of it lies in the fact that the group packs as many songs as possible in their set, whereas most bands rely on theatrics or banter in order to keep the audience engaged. But, when you have as many hits as this one does, it is easy to please fans by simply delivering the music.

In the middle of their show, Tom Cooper (bass and vocals), takes a moment to gracefully thank the crowd, reminisce on their heydays at the Smilin’ Buddha Cabaret (which was situated nearby), and to compliment the venue for reviving the theatre. Further highlights include unforgettable singles from their second and third albums Now & Again and These Days such as “I Am Here,” “Do You Want to Tell Me,” and “What Was going Through My Head” (and several more), conducting a sea of enthusiasm throughout the floor. Currently, they are in Toronto recording songs for their new album set to be released in February of 2013 under Aporia Records.
Now, when dealing with a double bill, certain debates may arise concerning which band technically headlines the tour. Is it the band that has had more commercial success to continuously remain on the radar? Or, is it the band that has also earned the legendary title but has taken even more time off to remain mysteriously timeless? It is a tough call with this show, but The Odds end up winning the honour. Formed in 1987, consisting of vocalist-guitarist Craig Northey, bassist Doug Elliott, drummer Paul Brennan and guitarist Murray Atkinson replacing Steven Drake, the quartet released their debut self-produced album Neopolitan in 1991.

The Odds open the set with one of their most famous songs “Make You Mad” which claims a tag on the Canadian alternative craze of the 90s. The rest of the set entertains in a conversational, funny manner where their showmanship rests on a bit of storytelling, some shameless plugs and goofy interactions between members. As the set proceeds, hit after hit rolls off with a majority of their signature pop rock/alternative songs that are funny, endearing and completely radio-friendly for multiple markets. “Falls Apart,” “I’m Satisfied,” and “Someone Who Is Cool” are easy to connect with due to common situations of misfortune and complacency. “Eat My Brain” and “Heterosexual Man” are always crowd pleasers due to their comical natures. It is also good to hear their early songs such as “King of the Heap” which is fairly mature in comparison to their radio repertoire, more folk-ridden and a slightly bluesy at times providing a refreshing, deeper shift in atmosphere.
The night satisfies with a laidback mix of local music. Although this publication aims to support local artists, the purpose of this review is to adamantly remind local artists how accomplished local musicians can be and to never stop making music despite the obstacles.