Sunday, December 13, 2009

Japandroids, Basketball @ Biltmore Caberet, Dec 4th




Every Basketball show I've attended been seances, the band dredging up primordial spirits with a power beyond reason, beyond words. In a city that where we keep our distance, their shows dissolve these barriers, the band and audience merging into a single, throbbing organism, all slaves to the pulse.

This was the first show I've seen them open; people nodded attentively to the beat and there an older lady who hopped up on stage to get her rave on, but the overall experience was more subdued than the celebratory release I've come to expect. This was the first time I've noticed that they've sterilized their sound since their from Spain. What initially drew me to Basketball was they felt like an evil version of Animal Collective, with an organic warmth to their largely electronic sound and their ability to appropriate middle eastern influences in a way that felt natural and sincere. But instead of AC's 3 part harmonies and tribal chants, Basketball painted in the colors with a hybrid of HEALTH's sputtering robo-thrash and Gang Gang Dance's weirdo-world music. Now, their sound is more straight up club; they're playing most of the same songs as when they left but I think they used to pump their backing tracks through amps, rather than straight through the PA,and mixed in more live instrumentation. I hope that shift back to that set up in the future, because the set I saw felt like the pod-people version of Basketball, all the pieces I've always loved were there, but something was off.


The crowd lost their shit when Japandroids took the stage; this is the first band to really break out of the East Van scene since pretty much forever, but the sound dampened what was otherwise an all out celebration. The guitar initially started off too clean and dull, each hit ending with a muted click on the strings and while the tone and volume improved as the set went on, it felt leaden in comparison to the earth-flattening distortion that's been a staple on all their releases. The band put on a spirited performance, but like the sound, it felt ragged and worn-out. They were rocking out hard, but I could feel the tiredness in their bones from the endless promotion and touring over the last year in support of their new record. But the audience...from crowd surfing to a rousing sing-a-long to Young Hearts Spark Fire, I was feeling the love. Both during and after the show, I heard lots of "oh my god!", "YESSS!!" and "this is amazing!", as if Japandroids was causing spontaneous orgasms throughout the crowd through the sheer force of their rocknroll power. So, maybe the night was really everything I'd hoped it to be, but it was just too late and I was too tired for me to appreciate it. Just maybe. Oh, they also didn't play Wet Hair, I love that song. Bummer.

Saturday, December 5, 2009

Hunx and his Punx - The Gay Singles



This started out for me as a silly unpretentious meandering of garage rock, but quickly grew trite and gimmicky. Honestly, I thought the gay-ness of it started to get to be a bit much. As in, "Can't he write a song about anything else?" But I now think that that attitude shows a bit of my homophobia seeping out (we all have some, I'm just trying to fix mine). It's sort of close to the same mentality as, "Be as gay as you want, I just don't want to have to look at it." Well FUCK that. How many albums of pure hetero-love/lust songs are out there? Too many. Let's get down to the homo sounds. Welcome, Hunx.

Tuesday, December 1, 2009

A.H. Kraken

I've been searching long and hard for some Kraken.

The title song is about a pornographic starlet. They are French. What's more self-hateful, depriving and frustrating, but also obvious as lust for a porn star? It sounds impending and where punk and hardcore should be headed: an abstract assault rooted in immediacy and thoughtfulness.

Friday, November 20, 2009

Le Face - Isolation


I haven't come across anything Vancouver that I've wanted to post in some time. I'm still on the lookout, so more will surely come soon. In the meantime I found this album which I quite like. They've combined a garage reverb twang with post-punk and hardcore speed and flat vocals. I guess it makes sense that following my recent punk appreciation would come a post-punk appreciation. Don't expect dance beats or anything like that, I think punk is such a loose term that post-punk can't be too defined itself. These are short and punchy tunes, but Le Face (of L.A.) have taken the punk feeling and atmosphere and developed it into something a bit barer and more dynamic.

At some moments, however, this record falls a bit too much into the flatness and frankly I get bored. This band is best when they follow that almost New-Wave dynamism.

High points: Salvador Dali, Christian Cunt.

Monday, November 16, 2009

X-Ray Spex- Germfree Adolescents



Oh X-Ray Spex, how do I love thee? Let me count the ways:

1. A post-apocalyptic critique of commercial modernity.
2. Poly Styrene. A nerdy screechy visionary.
3. You sound like a good time.
4. Your aesthetic for me is an angry filthy pet rat tearing through a neon sanitary shopping mall.

X Ray Spex introduced me to a whole new way music and anger in music could be expressed. I had known punk to be fast, aggressive and loud. They showed me it didn't necessarily have to be so. It could be insightful and critical and silly. For me that doesn't discount their anger, it supports it. Alas, they released only one real album, disbanded, then re-banded recently (which was pathetic and ordinary). Perhaps a flash in the pan, but for me at least, an important one.

Saturday, November 14, 2009

Victory Square



Whenever I hear about the Dreadnoughts, they’re immediately slapped with the celtic-punk label and compared to the Pogues, Flogging Molly and Home for a Rest-style drinking anthems. It’s such a niche genre, that I felt like I’d experienced everything it’s had to offer after hearing a handful of songs. It can be fun to party to, but it’s just not my thing. So, I avoided them for a while in spite of many enthusiastic recommendations, my eyes glazing over as soon as anyone exclaimed, “Yeah, the Dreadnoughts! Celtic-punks! They rock!”.

So, it surprised me when their sophomore release, Victory Square, quickly became my favourite local release this year, as well as held up to my more college-radio approved picks of 2009 like Merriweather Post Pavilion and Hospice. For all the celtic-punk staples about drinking and the oompa-oompa bass, there’s something darker and more profound that runs through this album’s veins. Their world influences create a sense myth and romance, rather than background muzak for coffee shops . In their own way, the Dreadnoughts exist in the same realm as Tom Waits and Beirut, their songs painting fever visions of a re-imagined past, equal parts danger and intrigue. Even the reference to Victory Square and the cover photo feel more Old World than East Van.

But the album is stronger than just this aesthetic; the songwriting is above and beyond their peers`. They embrace virtuosity over the intentional amateurism of most punk, without losing the reckless enthusiasm that’s helped forge the genre. The dueling mandolin and violin leads burn with the same intensity as the most fist pumping metal solos but without the cheese and self-indulgent wankery, while the rhythm section stomps through every track with a demonic thunder . For all the bombast, all these elements work together to bring out the songs’ core hooks and melodies, which buried themselves deep within my brain by the third spin.

So, check ‘em out, this album is what I wish Gogol Bordello sounded like, and the production stands up to many higher profile releases.


I’ve included the gypsy-thrasher Samovar, ancient lament From the West, and the scathing mandolin/violin duel of the Skrigjaargen Polka for your listening pleasure:

Dreadnoughts

You can check out more on their myspace:

http://www.myspace.com/vancitydreadnoughts


Buy the album here




Thursday, October 29, 2009

The Worst- play Tunes from the Tomb





I don't know anything about this band, other than they play (here, at least) Hallowe'en style punk rock. Is that a style?
I found this E.P. digging through a record store's collection. They were moving, and dumping a lot of inexpensive stuff. It's almost the best way of finding music. The risk is so minimal! A buck for 2 e.p.'s? I bought this along with a single called "Male Stripper" by Man 2 Man vs. Manparrish (more on that gem later) and I was thrilled to have a a local disc in hands of unpretentious Hallowe'en rock. The sleeve tells me it was recorded in Van, and produced (or at least pressed) in Koln, Germany. Enjoy it, play it at your H party, and think of me.