Posts Tagged ‘British Columbia’

Dan Bejar started Destroyer as a solo home-recording project in the early to mid-nineties. Exploring and overturning genressuch as glam, MIDI, yacht rock, & even underground Spanish independent artists, Bejar was proclaimed “Rock’s Exiled King” 


Originally released August 28th, 2015

Dan Bejar: vocals, midi marimba on track 8
Ted Bois: piano, yamaha d-50 on track 3
Nicolas Bragg: electric guitar
David Carswell: electric guitar, acoustic guitar, midi tuba on track 4
JP Carter: trumpet, effects
John Collins: bass
Joseph Shabason: saxophones, flutes
Josh Wells: drums, congas, bongos and various percussion

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Vancouver’s Dumb make whimsical slack rock that’s anything but. The band’s cool, campy outlook is both anxious and chill, enveloped in jittery rhythms and bright, fervent riffs. When Dumb settle down a bit, like on the driving “Mint,” they are no less biting. The sprightly single has dual meaning, playfully referencing both money and the Dumb’s new label, Mint Records. “The song ‘Barnyard’ is about a character who is walking along a highway towards an event that they don’t want to attend, becoming delusional in the process. We also wanted to make this a danceable song”


Band Members
Frankie Rossino
Shavonne Ronnie
Hully Muctab
Pistol P

Releases June 22nd, 2018
written and played by DUMB 

Sub Pop Record’s latest introduction to the world, Jo Passed brings psych rock from a north-of-the-border region better known for more traditional indie. Pink Floyd and Sonic Youth are touchstones here, as this eclectic release establishes Jo Passed as the latest band to watch on a label that is known for bands to watch.

Jo Passed originally consisted of Jo and his friend and drummer Mac Lawrie. The two moved to Montreal together, and toured the far-right corner of North America. After Jo’s return to Vancouver, multi-instrumentalist Bella Bébé joined the band in January of 2016, and multimedia artist Megan-Magdalena Bourne joined on bass, after working on a video for the song “Rage” (from Jo Passed’s ‘Out’ EP). The nicest thing anyone has ever – ever – said to Jo Hirabayashi, frontman of Jo Passed, is that his band’s debut album sounds like “fucked-up Beatles”. ‘Their Prime’, the full-length follow-up to Jo Passed’s two EPs, ‘Up’ and ‘Out’, does sound like fucked-up Beatles. It sounds like Lennon and McCartney discovered Can and Neu!, and maybe a little Sonic Youth and XTC along the way. It demonstrates that timeless knack for dreamy melodies – chord progressions that sound like they were created in a land far, far away.


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The Orange Kyte is an experimental music project with a manifesto to release music in various shapes and forms varying in fidelity and approach but always drawing heavily from a love of ethereal tones, fuzz, reverberation and all things psychedelic. Introducing Stevie Moonboots and a revolving cast of collaborators and cohorts, musical and otherwise. Vancouver, British Columbia’s The Orange Kyte is an exercise in boundless sonic tomfoolery with an emphasis on mind expansion and continuous evolution.


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Vancouver all girl trio The Courtneys are exponents of a catchy harmonic new wave pop, whilst also being home to some very gnarly guitar textures. Their sound is fat and driving, and, on “Minnesota,” Courtney Garvin’s guitar manages to sound like an overdriven keyboard. Vocalist Jen Twynn Payne is also the band’s drummer and she keeps the rhythms lean and uncluttered. The highlight is the closing “Frankie,” where Twynn Payne’s sad autumnal vocal melody is kept in motion by a precise motorik groove.

There may be trace elements of Sonic Youth or Joy Zipper in their sound, but over the spread of this album, The Courtneys create their own distinct world. Sunshiney slacker pop with just a pinch of melancoly that could have featured on one of my cool older sister’s pre-grunge mix tapes from the early 90s. Both this and their debut album are absolute gems


released February 17, 2017
The Band
Crazy Courtney: Bass + backup vocals
Classic Courtney: Guitar + backup vocals
Cute Courtney: Drums + lead vocals

Flying Nun Records 

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The Courtneys II arrives as the band themselves are on something of an ascent. In the three years since their self-titled debut, The Courtneys have signed with their dream label renowned New Zealand giant Flying Nun and have netted slots opening for Tegan and Sara and mac DeMarco. In that context, II feels like a collage of moments, the band reviewing the highs and lows of their journey so far, with their eyes fixed firmly on the horizon.

A rarity in contemporary surf rock. Where their counterparts—and, for that matter, their forerunners—are chiefly concerned with both brevity and blown-out instrumentals, The Courtneys are deliberate and unabashedly heartfelt. Underneath all the fuzz and reverb on their second album, The Courtneys II, there are honest displays of emotion.


On the blissful “Tour,” the band is determined to remain optimistic, even during long periods of “slacking off and hitting the open road.” “If it’s in your heart, you’ll find a way,” they sing, “who you are and who you wanna be can take a long time.” Songs like “Virgo” and “25” use buoyant, punched-up slacker pop to explore feelings of isolation and the headaches of having a crush. And it’s not all growing pains and heartbreak; on “Lost Boys,” the trio schemes to find a vampire boyfriend with whom they can ride off into the sunset.


Crazy Courtney: Bass + backup vocals
Classic Courtney: Guitar + backup vocals
Cute Courtney: Drums + lead vocals

Flying Nun Records

The melodies are lush and there’s an even broader use of the synthesizer here than this multi-instrumentalist’s debut. Some might claim it’s excessive. I might say “relax!”. Excellent modern record. Unforgettable songs with smooth vocals, conveniently jammed in under a half hour for your commute. Full disclosure: Jay’s our friend, and he asked me to say “this rocks”. Fuller disclosure: He asked me about the Bee Gees not long ago, so I’m curious where that will lead.


Written and recorded by Jay Arner
Performed by Jay Arner and Jessica Delisle


Following the critically acclaimed 2014 LP Deep Fantasy, punks White Lung are back at it with their fourth studio album “Paradise”, out now via Domino Recordings.

Coming in at a succinct yet powerful 28 minutes, Paradise is simmering with desire and pain, love and beauty, and in typical White Lung fashion a journey that travels at a seething urgency, unrelenting until the album closer (and title track) ‘Paradise’.


Kenneth William: I always wanted this song to start off the record. That quick synth-sounding backwards guitar sample at the beginning reminds me of a video game console turning on or the beginning of some 80s horror movie theme playing behind the studio credits.

It’s also my favourite guitar performance on the record, it’s one part straight through without any prominent overdubs. It’s also the only song that doesn’t use any MIDI sampling so I don’t have to worry about tap dancing on pedals when we play it live.


KW: This was written near the end of making the record, Lars told me I should write a song with just bass for part of it so the record wouldn’t be wall to wall guitars. The arrangement for this was all done on my laptop so I didn’t realize it was a nightmare to play live until we started practicing live months later.

The creepy high notes in the verses aren’t keyboards it’s guitar through a Earthquaker organ emulator pedal and a bunch of delay. I think this is the weirdest song on the record and that only our band could’ve written it.


KW: For this song I just wrote two very simple guitar parts that loop through the verses and had the bass switch between major and minor keys so it would alternate between feeling hopeful and sad.

To get those high sustained notes we ran through my normal pedal chain backwards, so it went from the delay pedal into the chorus pedal then the distortion. That normally would sound like a mess but since we recorded every held note separately it has this almost comforting quality.


KW: I thought having a guitar solo during the break of this song would end up being super cheesy so we hacked it to pieces in Pro Tools, pitched it up and then bitcrushed it I think. Annie Clark told me it sounded like an angry mosquito.


KW: Justin Gradin does all our album art and he told me this song sounds like Slipknot. I guess I can imagine the guy in the mask with the pinocchio nose playing garbage can drums to this during that floor tom part.

I think my guitar part sounds like A Flock of Seagulls, so I guess this sounds like A Flock of Seagulls mixed with Slipknot. That sounds hideous but this song is good.


KW: This is probably my favorite song on the record to play live. I think it’s pretty funny how obnoxious the guitar part is in the chorus. I took the bridge part of this song from this terrible techno song I made on Fruity Loops years ago and moved it onto guitars and I think it’s strange how just the sequence of notes and the arrangement make it still sound like electronic music.


KW: My original recording of this was way cleaner and haunting it sounded like a mix between My Bloody Valentine and the Wipers or something. I had a hard time with this song in the studio because the drums changed the vibe of it so much but I got used to the added energy after a while. Finally got to use the tremolo bar on my guitar for a recording.


KW: The concept behind the music for this track was to write a song that sounds like a punk cover of a Smiths song that doesn’t exist. I kept the guitars pretty bright and in the same register as the vocals for most of the song so the choruses would feel darker when the power chords come in. I like this song because the guitar parts are pretty bubbly sounding by themselves but with the repetition and the bass part they end up sounding almost oppressive.


KW: This was also one of the last songs written, we needed something angrier to balance out all the softer stuff so I came up with this. I tried to move away from writing guitar parts like this because they all sound somewhat similar to each other and one of my fears is that I’ll find out once the album is released that an identical riff was on a Hatebreed album or something and I’ll get sued. But I think this is a cool diversion from the rest of the record and I really like the outro which is made from a bunch of layers of backwards guitars and drum hits.


KW: This song is kindof a throwback, it’s the fastest song on the record at 280 BPM which is what most of ‘Sorry’ was recorded at and I used the same Space Echo delay I used on that record. All our other records ended with a song that would kind of point the way to the direction we would go in next but since this one was so varied and all over the place for us it felt right to close it with something more familiar. Hope everyone likes it, bye