As time passed, angst set in among eager crowd members when the show, which had an 11 p.m. curfew and supposedly three bands, did not start until 9:30 p.m. Luckily, tension was eased by the hazy-yet-danceable soundscapes of locals Gal Gracen, who soaked the slowly filling Biltmore in reverb with their dreamy indie pop. Gal Gracen turned in a solid and enthusiastic performance, but as the curfew grew closer, fans began to wonder if Jimmie’s set would be compromised by those of the opening bands. Luckily this was not the case.

  Shortly after Gal Gracen left the stage, Shotgun Jimmie unceremoniously set up and ripped into “Standing in a Line,” a fast and trashy opener from his acclaimed new album, Everything Everything. Still relying on the one man band approach that Jim Kilpatrick has developed over the past couple of years, Jimmie had no trouble executing songs from throughout his repertoire by playing both the snare and kick drums with his feet, while playing guitar (but sometimes shaker and even a ride cymbal) with his hands.

  Though that approach may seem like a novelty on paper, the focus was on Jimmie’s impossibly clever lyrics, his raw and ravaging guitar tone, and his overall charm as a performer. His personable songs dictated the show’s mood as a small but dedicated group gathered at the front of the stage, dancing and singing along with Jimmie’s upbeat musical anecdotes of love, partying, and life in general.

  Understandably, the set list focused mainly on his “hot new album” (as Jimmie half-jokingly referred to it), but fans were also treated to scorching versions of would-be classics like “Used Parts,” “Late Last Year,” “Waist Deep in the Water,” and a particularly ragged version of the anthem “Swamp Magic” from 2011′s Transistor Sister.

  On one hand, it’s a damn shame that Shotgun Jimmie seems to fly just under the radar of many Canadian music listeners. On the other hand, the intimacy of small shows like this one make Jimmie’s sets seem like drunken, 45-minute-long high fives. That feeling could not have been better exemplified than in “Swamp Magic,” as the crowd and Jimmie joyfully ended the set by hollering repeatedly that, “There’s enough people here to stay up all night / There’s enough people here to start a band, all right!” An inspiring way to end an inspiring set.

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That magazine from CiTR 101.9 turned 30 this year, so let’s party! Come boogie at the Biltmore with us to celebrate.

4 bands! $10 at the door! Fun folks! Fun times!

Hot Panda | Fun-lovin’ indie rock quartet and cover artists from July/August, 2012.

Dirty Spells | Psych rock trio from the pages of April 2012, blazing a trail with their recent debut full length.

Phoenix Thunderbird | The high-kickingest hard rockingest dudes about town, about to set sail on summer tour.

Hooves | A bunch of girls playing a bunch of lo-fi party pop. Giddyup.

Proceeds go to Discorder magazine to keep publication and support for Vancouver’s independent music scene motoring for another excellent 30 years.

Get more info on Facebook.

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Remember the burble and murk of Internet music streams back in the RealPlayer days? Remember cramming into tiny rooms to see folks play cramped, grotty music? Sightlines do.

  To wit, Sightlines recently put out a cover of the New Fever’s “Our Demands” as a digital single – on floppy disk. The New Fever was a short lived project of then-d.b.s. frontman and future Hive Creative Labs founder Jesse Gander. Beyond that pedigree, it had a personal resonance for Sightlines guitarist and vocalist Eric Axen, who chose “Our Demands” as Sightlines’ contribution to a compilation album of local band covers.

  “I chose this song because The New Fever were one of the first bands I saw upon moving to Vancouver. They played a great show with Hot Hot Heat, the Red Light Sting, and Reserve 34 in the fall of 2000,” he writes in the single’s liner notes.

  That project was not to be, but at least Sightlines have gotten a nice little track out of it. And it is little. At a cool minute and a half, it’s just the right size to fit on a floppy given a low enough bit rate. The song itself moves from an unruly, claustrophobic opening to something a little more melodic and spacious, even as the cymbals’ clangourous sibilance threaten to overwhelm it.

  Will the floppy disk single be anything more than a novelty? Despite some precedent, such as releases in the format by New Jersey pop-punkers the Ergs! and local synth wizard Tom Whalen (as GR8-2000), probably not. But still, there’s always a niche for tracks like this latest Sightlines release; tracks that embrace the trash, physical release or no physical release.

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If Vancouver group Brasstronaut had a control panel, one switch would be for ambient synth, a knob for rhythmic acoustic guitars and a dial for pulsating bass. On Brasstronaut guitarist Tariq Hussain’s solo EP, Moonwalker, he employs that same control panel, but cranks down the keyboards and echo, and tunes-in a more stripped down folky arrangement. The result is a crafty blend of spaced-out synthesizers hovering in the background with some knee slapping beats, acoustic picking guitars and vocals hanging on the folk-pop side of things.

  Opening track, “Annalee” is a classic ode about a girl with country storytelling lyrics with a twist of synths fluttering around. A nice moment in the track is the little call-in-response outro between Hussain’s wooing, and the responding keyboard mimicking his vocals. In second track, “Leaving Song” there’s another touch of Hussain’s clever songwriting as he sings, “Howling at the moon” while the tender howls of the backup vocals, provided by Leah Abramson and Jody Glenham, respond. On the track Hussain’s voice enters the atmosphere like it’s calling down to ground control before breaking down to a moody hitchhiker’s anthem.

  The last three tracks on Moonwalker gradually move away from the otherworldly atmosphere and are straight acoustic folk-pop. Though a slight disjoint from the instrumentation of the first two tracks, they still feature enjoyable arrangements within the perimeters of their genre tradition. “Cold Lake Waters” features a lovely galloping clarinet as the song reaches a thumping finish. “Front Row Seat” is most out of place by not carrying out the rest of the EP’s themes of departure and goodbyes, but it stands alone as a sweet old-time country love song with gushing and witty lyrics like, “I’m not giving up this front row seat/ I’m calling shotgun on your heart.” How cute is that.

  Closing track, “Moonwalker” is the same track on Brasstronaut’s Mean Sun, but given the stripped down country-folk treatment. Hussain’s voice on the EP sounds thin, especially compared to the lush and ethereal echoes of its previous version. However, it is an appropriate ending that perfectly captures the EP’s intriguing mix of genres, leaving this listener with the distinct image of a beat down, cowboy hat-clad traveler, hitchhiking his way from the hot empty deserts of earth to the cold and barren surface of the moon.

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No less than sixty faces stare back at you from the cover of tireless local mainstay OK Vancouver OK’s Food. Shelter. Water., a lo-fi hymn of social change and sleepy introspection that, stripped of its instrumental embellishments, reads like an urban Gary Snyder for our times. His charming renditions of escaping to the wilderness, blended with overtones of anti-capitalism shine through in the outspoken yet optimistic conviction of his songwriting. But don’t expect the usual one man and a 4-track affair you’ve come to love Jeff Johnson for on his tenth release.

  Drummer Laura House and bassist Liza Moser were enlisted to help Johnson record the album with K Records’ Eli Moore on Whidbey Island. It’s an evolution that results in ten songs riddled with emancipated moral convictions that, as the title alludes to, focus on the essentials: fresh healthy food, a place to call home, and unrestricted access to clean water. An outspoken collection of ideas your parents would have blown off as childish fantasies before telling you “It’s time to grow up,” Food. Shelter. Water. is a reminder of what’s truly important.

  Thematically, Johnson hasn’t wavered from a stripped-bare no-wave aesthetic that easily jumps from the eco-friendly refrains of “I Want Children to Swim in A River They Can Drink From” to the playful sing-along “Snowman in The Sun.” Words are used sparingly throughout the album and are rarely eloquent when they come to the forefront. Instead their power comes from the negative lyrical space that highlights their poignancy. Lines like, “In my mind I’m going mad / Still get black out even though I’m happier now / What else to do but keep the planet clean / Food growing all around,” from the reflective “At Home in The Garden,” are sung with such ease that the album’s wide selection of topics become digestible. Johnson’s determination to live by his beliefs give his songwriting integrity and authenticity, which along with Food. Shelter. Water.’s increased production quality, has resulted in his most accessible effort to date.

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Malcolm Jack’s ‘70s-inspired folk-pop first solo effort is by no means a debut for the songwriter. Jack has been a major part of the Vancouver indie music scene over the past few years, playing in Capitol 6, Twin River, and Sun Wizard (all on Light Organ Records). But his solo effort, I’m My Own Bewitchment, might just be his finest 31-and-a-half minutes to date. Even if the record is shrouded in mystery.

  Released independently, I’m My Own Bewitchment comes with an illustrated book of sketches and lyrics – a limited edition ‘zine – though trying to find one online has proven unsuccessful (and likely intentional). Be that as it may, the journey to obtain this gem is well worth the investment. Almost immediately after ultra psychedelic dream-like opener “Violet Tiger” peaks the senses, the album becomes familiar and comfortable, sort of like an old pair of jeans.


 
  Jack’s unpretentious jangle and super sticky melodies are cemented in the humming centre of the brain, while the introspective lyrics touch the heart with twist of sadness. There is a certain communal campfire sentiment echoed with the loose hand drums and tambourines guiding the instantly memorable chorus of “Can’t Be Prayed To.” “Going Nowhere” continues the ‘70s analogue revival aided by the interplay of acoustic elements and a monophonic, organic electric guitar drenched in minor tones, accompanied by revered vocals.

  The highlight of the record, though there are many, is the catchy “Moon Sees the Night.” Right from the opening riff and the quickened pace of the rhythm, it is clear this track is destined to be an indie classic. As with Jack’s other projects, there is nothing fancy here, which is part of its overall allure. I’m My Own Bewitchment is straight ahead goodness steeped in an honest ‘70s folk vibe that is extremely accessible. It is yet another testament to the already accomplished catalogue of Malcolm Jack.

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Cascadia’s sound is a beautiful paradox of noisy, chaotic sludge rock counterbalanced by wistful if melancholic dream pop. Their latest release Level Trust plays with these contradictions throughout its four tracks, showcasing the strengths of the band’s multi-faceted sound.

  “Josie” showcases their tight grip on dynamics as a charging punky intro gives way to light, understated verses complemented by Sasha Langford’s airy vocals. A seesawing outro concludes this track, highlighting aggressive buzzsaw guitar work. Track two, “Yours,” speeds along with throbbing, thick-as-a-brick bass lines and rapid fire high-hat rattling on an up tempo verse. Langford’s vocals soar over the instrumental ruckus, deftly contrasting melody with madness.

  The fury of the first half of the EP gives way to a pair of slower, more atmospheric tracks that emphasize the group’s shoegaze influences à la My Bloody Valentine. “Deny” features echoey guitar work, which plays well off of the pulsating, low-end heavy bass, as they meet together to create the most anthemic and memorable chorus on the release. The concluding number “Ever” shrouds the listener in a cloud of despair as the bass anchors the doom and gloom melody throughout the verse while Langford’s vocals produce a sense of desperation in the refrain “You said.”

  Level Trust is a picture of a band working well with every aspect of their sound. If you’re willing to wade through the mire, Cascadia have plenty to offer the discerning alternative rock fan.

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It’s unfortunately easy to write stuff off as: “You’d like it, if you’re into that.” The bad news is that A Long Way to Fall is exactly that. The good news is that you might still like it. It’s a change in direction from other works that Schnauss has released under his own name (the last was an EP entitled Stars in 2008), but the German artist has been busy in the meantime with his litany of remixes, collaborations, and things produced. So Schnauss’ work is constantly changing anyway, and the number of genres he’s been assigned to is astounding: synth-pop ambient, and shoegaze, to name a few.

  A Long Way to Fall is a less fuzzy release than Schnauss’ previous solo work. His beats are punchy and strong beautifully pieced together. Instead of droning from one to another, songs echo each other throughout the album, taking on a narrative structure. I don’t think it paid off the way Schnauss intended, though. There’s a long build from the almost serene “Her and the Sea” through the next three tracks. The moody melancholy tone seeps through the rest of the album.

  The height of the album arguably comes in “I Take Comfort in Your Ignorance.” It’s darker, grungier, and breaks the album out of its shell. Unfortunately, it feels like the songs are building towards something, but kind of fade out instead. None of the tracks particularly flop though; Schnauss is a keyboard master and excellent composer.

  A Long Way To Fall is a step out for Schnauss conceptually, an effort to try to do something grander that he hasn’t quite perfected yet. The album is fairly experimental, a little too cerebral maybe, but fans of his work and genre will appreciate it. Interested parties that are maybe not looking for such a commitment are advised to search up Schnauss’ remixes online.

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If you missed the release of the third volume of Mint Records/CiTR’s Pop Alliance and the Fundrive finale at Chapel Arts on March 8, you missed out on one good night. Masterfully compiled by Duncan McHugh and Shena Yoshida, the album has 14 fresh Vancouver- and Victoria-based bands, featuring a colourful array of nuovo disco, stoner rock, gypsy pop, and garage fuzz.

  A precious “1-2-3-4 Get Fucked” by Movieland kickstarts the solid track list. The surf-y girl group mimics a less intricate Bleached, with calm vocals and driving fuzz. And during Peace’s “Your Hand In Mine,” it’s easy to imagine a heartbroken teenage boy, styling a Bowie lightning bolt across his moonlit face.

  Jay Arner’s “Bad Friend 2” follows, similar to Peace, with a Sean Nicholas Savage twist, and quiet POND-like vocals. The fourth track, from Gal Gracen, blends dreamy guitar riffs with a Jesus and Mary Chain-esque vibe. Next, the soft doo-wop tune of Pup’s “Cement” suddenly and unexpectedly transforms into a racing, surf punk tune.

  After the alluring glam-wave melody of Fanshaw, the album dives into several stoner rock tunes hammered out by Aaron Read, Korean Gut, and Needles//Pins, thrusting the listener in and out of a noisy whirlwind which ends with “90210” by the lovely Courtneys.

  A molding of ‘90s angst and apathetic ‘70s savviness trails out of the speakers throughout Babysitter’s “Be Cool,” followed by a catchy and fluid, “JD” from Bankrobber, a personal favourite. Its buttery orchestral sound lures the listener through tribal drum beats, drippy guitar riffs, and spastic, gypsy-like wails.

  Finally, Weed bangs out “Even Black” with fuzz similar to Aaron Read, but with darker undertones and heavy effects, before the album concludes with “Apocalypse, Please Sign the Release Form First” by Sleuth, mixing nuovo disco with ‘60s inspired guitar, unimpressed vocals, and synths similar to Molly Nilsson.

  It’s clear the summer months will be flooded with good, solid music played by Vancouver’s and Victoria’s best.

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The bedroom recording project medium has been around long enough that it deserves its own genre, one often typified by hushed vocals, digital reverbs, electro flourishes, drum machines, and pensive lyrics. It could be yet another example of form influencing content. The process of composing, arranging, and performing in near solitude at a computer is conducive to these brooding and textural sounds.

  Enter the Vancouver-based Rec Center, featuring Alex Hudson at the helm. Rec Center’s full-length debut, Times A Billion, is easily categorized as bedroom-pop (all the songs are worked around electronic drum samples from a Roland TR-707). However, at every other turn, it fights against this and aims towards anthemic pop. Times A Billion is a fitting title for the resulting expansive and ambitious tone of these songs.

  “Let’s Get Divorced!” demonstrates how Rec Center uses bedroom-pop tropes in big ways. Hudson’s roommate/ producer, Jay Arner, offers streaks of electronic texture to the propulsive drum machine beat, which stays basically the same throughout — but you wouldn’t even notice. It’s Hudson’s keen sense of melody that guides the song around a couple of jangly guitar lines in and out of an ascending chorus. Textures and melodies slowly morph above steady rhythms, which give a trancelike sense of fluidity to the song’s pacing.

  All the songs on Times A Billion are concise, catchy pop songs with distinct sonic fingerprints (see the nu-gaze krautrock of “Look Alive” or the muted synth-reggae of “It Won’t Mean Anything”). Despite Times A Billion’s relatively humble origins, it achieves a sense of grandeur (maybe because Hudson’s voice sounds eerily similar to that of Phoenix’s Thomas Mars). But it’s this understated expansiveness that makes Rec Centre’s full length debut such a charm. It’s like those films about the vastness of space projected on the ceiling of the planetarium. There’s that impression of being dwarfed by something huge and mystifying, even if the reality is solely a well-executed spectacle.

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