There were moments of giddy transcendence a few weeks back when this very magazine held its official Launch Party featuring a host of Vancouver talent, among them a long-standing (but largely overlooked punk band) named Aging Youth Gang, wh...
Crop Circle may have taken their name from the controversial 70’s phenomenon, but they have also managed to contribute to a more recent enigma: the earworm. Traditionally, this little beastie takes the form of a trite pop song (think Ms. ...
Fans of guitar tone have a lot to learn about Bill Johnson. His fourth album, Cold Outside should be the one that has this Vancouver Island native flying high above the radar, finally. Ripe with an abundance of select tracks, Johnson proves...
How MISSA afforded an opportunity for a local artist to exhibit her work in New York and the events that flowed from it. Metchosin International Summer School of the Arts (MISSA), local artist MaryLou Wakefield, Master Printmaker Dan Welden, Southampton
The Railway Club, May 15th, 2009
The signature choo choo train circled the ceiling of the Railway Club as Sun Wizard took the stage on May 15th. The first of four Vancouver bands, Sun Wizard warmed up the crowd in their third performanc...
Gord Downie wasn’t interested in ever becoming a hologram musician.
I’ve heard from numerous sources that the dance floor at the Commodore is supported by a layer of tennis balls, but I’ve never had cause to believe it until TV on the Radio unknowingly put this hearsay to the test. During a visceral tak...
Kobo Town, Status Non Status and Kington's Sadaf Amini among artists to perform for festival's 19th year.
Nearly Famous Music Festival
Friday, November 14 @ Railway Club
This night had a definite New Wave feel to it. A draft choice of late 70's and early 80's influences was bandied about. Streetlight, a four piece of bass, drums, keyboard...
Produced by Hawksley Workman, Wind Up/Let Go is a tasty, ten-track synth-pop treat.
“You shouldn’t start telling a story if you don’t have a story to tell.” From his seat in the lunch room of Vancouver’s Orpheum Theatre, Tuomas Holopainen leans forward and speaks into the digital audio recorder resting on the coffee table in fr