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Nominal Records



Last Updated: 12/3/2009

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State: British Columbia
Country: CA
Signup Date: 8/7/2007

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Thursday, December 03, 2009 
Really? An introductory crack at Nickelback? They've provided me much more entertainment with three hilariously stupid songs than a solid 40 of these bands ever will.

http://discorder.ca/discorder-magazine/index.php/2009/11/30/best-of-the-decade-50-to-31/

32. B-Lines
Bus punk. They’ve been written up in the Buzzer. Who else can make that claim?

8. Mutators
In the annals of No Wave-revivalist noise music, the Mutators exploits are writ large. Coming into their terrifying own with the addition of singer Lief Hall, the trio’s 2008 full length Secret Life is perhaps the most fully-realized statement of the scene that emerged from the East Side’s fly-by-night Emergency Room. They called it quits in 2009, much to the chagrin of the rest of us; during their run, they were the best band in Vancouver. There, I said it. The Mutators were without comparison in their ferocious energy, combining ear-shattering blasts of noise with remarkable songwriting, and Hall’s Lydia Lunch-on-steroids bellowing was both genuinely frightening and kind of mind-blowing, given her small stature. With several North American tours under their belts, the Mutators were like noise-punk evangelists, preaching from ratty basement pulpits across the continent. Drummer Justin Gradin’s new project, Random Cuts, is definitely worth keeping an eye on.
—Al Smith

3. Destroyer
At times, Dan Bejar has seemed all too willing to embrace his Destroyer moniker. Ever prepared to shuffle his backing band, change musical course or unceremoniously abandon fan-favourite songs, the enigmatic songwriter has managed to entrance and confound listeners in equal measure. Despite the persistent changes, there’s been one constant to Bejar’s craft. Whether set to the bombastic squalls of This Night, spare synthesizers of Your Blues or “accessible” indie rock of Destroyer’s Rubies, each new offering has solidified Bejar’s status as one of the finest wordsmiths currently slinging a six-string.
Over the course of eight records, Bejar has developed a lyrical methodology so idiosyncratic that it’s actually spawned an unofficial drinking game. For instance, listeners are invited to drink twice “whenever a ‘meta’ lyric refers to the song in progress or elements thereof.” Stridently self-referential and reflective, Destroyer’s imagery-rich, labyrinthine compositions both demand and reward repeat listens. Furthermore, Bejar also possesses a knack for disarming candour, exemplified by such self-effacing (and utterly romantic) lines as: “I was looking good on the day you fell for the way I looked.”
Vancouver has produced an abundance of talented musicians in the past decade, but none of them can equal Bejar for fearless reinvention and inspired artistry.
—Curtis Woloschuk

Currently watching:
Rudolph the Red-Nosed Reindeer
Release date: 2009-10-26
1:12 AM 
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Tuesday, December 01, 2009 
November 25, 2009

Destroyer – “Bay of Pigs” b/w “Ravers” 12” (Merge) / City of Daughters/Thief 2xLP (Nominal)


Destroyer 12Destroyer 2xLP

Far be it from me to make comparisons between records at the opposite ends of one artist’s career, but it’s important to note – especially through records as different as these three – the similarities, to locate the commonalities that make someone who’s put forth as much material as Dan Bejar, née Destroyer, the sort of songwriter who can sustain such a long period of development and change. 2000’s Thief is my favorite Destroyer effort, one of the finest works of the past decade, and those who may have passed on his later works seriously need to come back to this one and its follow-up (Streethawk: A Seduction). They’re some of the best glam-comfort-panoramic pop of their kind, every bit as relevant to recent times as Stranded or Nadir’s Big Chance or The Psychomodo were to the early-to-mid ‘70s, Bejar’s wispy voice, obtuse yet learned lyrics (somewhere between Franklin Bruno and Al Stewart in verbiage and tone) and sure-footed studio musicianship – something rather unheard of in its time and place for a budget, three-way-split recording – was revelatory. This is one of the Big Modern Records I come back to, not the Arcade Fire or Neutral Milk Hotel, not Radiohead or Dirty Projectors, but this one. That it’s packaged with its lesser predecessor City of Daughters is no great shakes, considering the sums both were fetching online not long before the repackaging of these two. Think of it as a bonus disc to the real prize. And thank Nominal, an already great punk label out of Vancouver, for seeing these releases through to a quality end product, properly mastered and presented. Limited to 1026 copies, and ‘Mericans can get them cheaper through Merge.

I saw Destroyer play soon after Thief’s release, in the basement of the old Knitting Factory on Leonard St. – and to tie this together, I think Mr. Bruno was even opening, in some manner of duet with Jenny Toomey. Two songs in and it was just Bejar alone, and after the second Dylan cover I headed out the door and into the subway. I simply couldn’t take it – what must have been a way to challenge himself, in whatever fathomable manner that might be, turned my excitement into disappointment and boredom. Fans of this unpredictable side of Disco Danny Destroyer will welcome his latest release, a two-song 12” that, even at 20 minutes is unbelievably bloated for an EP. Eschewing the guitar for synths and some light, non-committal dance beats, Bejar seems lost, allowing “Bay of Pigs” to ebb into a stalled end, even after some promising, if incredibly fey, synth-pop, and “Ravers” to never get off the ground at all. For an electronic record by a singer-songwriter, Bejar could’ve had this one both ways, and his decision to choose neither – the big hit and the experimental B-side choose not to sleep in the same bed, but one on the couch – is perplexing as the arc of various points in his career. And yet, we still listen; nothing like a surprise to reaffirm why. It’s just not here, but it’s in the reissue, willfully obscured for far too long.
2:32 AM 
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Tuesday, December 01, 2009 
and maybe to B-LINES.

RANDOM CUTS:
Rat Capacity, Sleep, Make Damage : 7"'s

Postpunk meets no wave somewhere in the middle and the results are pretty good. Not some mere retro act, Random Cuts use the past as a foundation and build something of their own on the ruins. Catchy rhythms, despite being minimal, set everything in motion, with guitars that are discordant without being obnoxious or forced. The first single, “Rat Capacity,” is the most subdued of the three. The second single, with the A-side, “Sleep,” is the dance party hit. More sonic, and the vocals are more direct and in your face, so to speak. However, the most interesting song of this whole set is the B-side of “Make Damage,” which is “........Pigeon ....Park,” where Mildred Smith takes the vocal duties. The pace is lurking, the vocals have a withdrawn quality, and the repeating of “There’s a weirdo on the corner” puts things in a very different light. I recommend getting all three singles at once. Doing so, you can listen to the progression of music on each one. The first is more bare bones, and the other two start to fill in the open spaces without losing any of the edge. Seriously good stuff.
–Matt Average

http://www.razorcake.org/site/modules.php?name=News&file=categories&op=newindex&catid=6&alpha=r

2:15 AM 
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Wednesday, October 21, 2009 
http://obsessivesalt.blogspot.com/2009/10/random-cuts-three-summer-2009-7s.html

SATURDAY, OCTOBER 17, 2009

RANDOM CUTS - three summer 2009 7"s (Nominal)

RANDOM CUTS -
“Rat Capacity b/w Destroyed” 7” (Nominal).
“Sleep / Jail Stripes” 7” (Nominal).
“Make Damage / Pigeon Park” 7” (Nominal).

I have had countless conversations with people from all over the world about how insanely impressed I am with the quality and productivity of Vancouver's scene (specifically revolving around bands: like Shearing Pinx, Twin Crystals, Mutators, Channels 3x4, Nu Sensae (amongst many many more), labels: like Isolated Now Waves, Deer + Bird Lathe Cuts, Grotesque Modern, and their spots to let it happen and be documented: The Emergency Room and the regular “Fake Jazz Wednesdays” at the Cobalt. Vancouver is the unspoken capital of modern no-wave, weirdo punk, gothy scuzzy soul music and the tons and tons (and tons) of solo projects and side bands that spawn from ever single “group”.

Some of these are people that I have come to know and love over the years, some are just casual friends who's work I adore, but seeing and playing with these bands in various places and frequently over the past few years, I have come to the conclusion that few places are as blessed have have such a plethora of specific energy. I'm not saying I think everything within the confines of their community is perfect. I'm sure (okay, I know) that there are “people problems” getting in the way up there too. However, I can not put enough emphasis on how important I believe the output from this huge group of people is. DIY feels most alive and well right there, and the participants scramble and support each other and crossover and bleed through each others bands and labels in a beautiful and noisy display of natural intersection. The pie graph would have too many layers and be entirely to dense to attempt to consume, and a linear connection scheme would ultimately end up looking like the cover to RANDOM CUTS' “Rat Capacity”.

All of that being said: this is the new solo project of Justin Gradin, who I met as the drummer from Mutators, which came through Phoenix a few times, unfortunately scoring under-attended shows, though playing with as much intensity (and volume) as if it was the most exciting living room full of people they had ever performed in front of. Mutators were very much part of that Vancouver crew, their music was grungy and noisy and they all had their own things going on outside of that project too. (In fact, Justin does the label Grotesque Modern). However, with Random Cuts, Justin has truly veered off the path a bit, in both sound and approach, and these three singles (as well as playing with / seeing him do this live at a show with Nu Sensae over the summer) have really made for something special.

These six songs are amongst the most “normal” and “accessible” from this community, and they speak a familiar language that is so heavily intertwined with all of the bizarre music that people like, it begins to become hard to point back to what it is that correlates. Is it pointing to the first few Wipers LPs? The earliest of the Murder City Devils material? (if you are in you're mid to late 20's, you'll understand how that would be a good thing). Nirvana? Sure, sure. Gritty, driving, somewhat dirty punk / rock, with riffs that make the songs just as memorable and solid as the vocals do, with the perfect aesthetics of all three really just driving it all home, just in time for sleep. (Honestly, these three singles all look incredible. I don't know how anyone could not want to buy these or at least be drawn in and way interested / temped by the artwork alone).

In the live setting, rather than just play along to pre-record tracks, Justin actually takes the time and space to drag along his band-mates, Mildred Smith and Elanor van Houten, who indeed are mannequins,... and not only do they adorn their own bass and guitar, but on the track that Elanor does the lead vocals on, he moves the mic over to where she is. Justin has been quoted as saying “I have learned that it is sometimes better to deal with plastic humans than real ones”, but there is so much going on here than just that. I think that Justin is in love, and I bet the three of these people had an extremely good time making these unbelievably perfect 7” layouts.

All three of these come highly recommended, as does virtually all of the Nominal catalog. Check them out here: NOMINAL RECORDS.

POSTED BY JAMESFELLA AT 11:22 AM
8:47 AM 
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Friday, October 16, 2009 
http://still-single.tumblr.com/post/212571942/random-cuts-sleep-b-w-jail-stripes-7-rat

October 14, 2009

Random Cuts – “Sleep” b/w “Jail Stripes” 7” / “Rat Capacity” b/w “Destroyed” 7” / “Make Damage” b/w “Pigeon Park” 7” (Nominal)

Random Cuts - Rat Capacity 7Random Cuts - Sleep 7Random Cuts - Make Damage 7
Regional scenes have withered the last few years as record stores falter, and the Internet becomes the de facto, decentralized point of musical contact. Specific sounds are obsessed over and replicated. We’ve got dozens of Black Lips, Crystal Stilts, and Lebenden Totens (and even more of actual popular music), but the spatial disconnect means kids have been slow to make much of it besides reproduce these sonic markers and take pictures of themselves. Hope is not lost though, for something exciting is going on in Vancouver, and hometown labels Nominal Records and Grotesque Modern have done a bang up job documenting a thriving scene that effectively ties together several of the strongest elements of the past decade. Grotesque Modern label head’s one-man/two-mannequin project Random Cuts offer a triumphant triumvirate of 7”s, drawing many influences from their Seattle neighbors but incorporating elements of modern noisy post punk like his previous band, Mutators. Try as I might to avoid the comparison, there is a strong Nirvana element in Justin’s groaned howl and bass driven fuzz, though it’s the aspect of Nirvana that was trying to channel the Wipers, and none of the histrionic tantrums, or the self inflicted bass injuries. All three records have spot-on production, raw but huge. The guitars sound fantastic and varied, thick smooth fuzz, chiming rhythm riffs, and layered dissonant harmonized leads that remind me of the early Sonic Youth LPs. Hollow, thunking bass lines propel it all along. All three records are worth your time, but I’d start with “Sleep” 7”, one of the best singles I’ve heard this year; a sing along anthem opening with a wall of fuzz riff and tweaky noisy guitar bursts. “Make Damage” is second best, a further evolution of the concept, and its flipside, “Pigeon Park,” works a Bull in the Heather vibe. Three 7”s in three months and I want more. Approx. 540 copies of each on colored vinyl, with download codes. (http://www.recordsnominal.com)
(Killedbyjeff)

8:07 AM 
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Thursday, October 01, 2009 
http://beatroute.ca/view_article.php?sectionID=15&articleID=2415

B-Lines
wanna fight about it?
By Josiah Hughes

Playing a rowdy, raucous style of classic punk that borders on hardcore, B-Lines have dug deep into their record collections to develop a very specific sound. The band's members come from a varied background of genre-bending projects, but ultimately B-Lines can be traced back to two bands: brothers Ryan and Bruce Dyck, who handle vocals and drums, respectively, were in the synth-punk party-starters Fun 100, while original guitarist Norm Drouillard and bassist Scotty Colin (who now plays guitar) were in the DIY punk band Fuck Me Dead.

Drouillard since quit the band, and Colin moved to guitar, bringing Fun 100 alumni Adam Fothergill in on bass. "This line-up might work because we did a spirit quest this summer," explains Bruce, tongue eternally lodged in cheek.

The "spirit quest" Bruce is referencing is their second West Coast tour, a trip through California comprising mostly of house shows. While it was better than their first time down, which saw them sleeping in forests and playing in empty bars, this trip did come with its share of trouble, particularly at an Oakland house party.

"A black man told us all white people had 15 seconds to get off the fuckin' block, and threw an empty bottle at us," Bruce recalls.

"People were smoking crack in the house," Ryan adds, "and during the party they were passing around a hat, which usually means you'll get a handful of change and some crumpled up ones, but at the end of the night we didn't get anything. Maybe it was just the crack fund..." his voice trails off.

Following a sold-out cassette, their just-released debut seven-inch sees the band spin the monotony of daily routines into face-melting, minute-long blasts that are over frustratingly fast. But the ADD format of a 45 rpm seven-inch is precisely how B-Lines thrives. After all, as Ryan succinctly puts it, "LPs are for prog-psych-jammers."

B-Lines will be performing at Broken City (Calgary) October 23, Baby Seal Club (Edmonton) October 24, and at the GCBC Lounge (Lethbridge) October 25.

-------------------------------------

MAXIMUMROCKNROLL #317

B-LINES-"Burnt CDs" EP

I've been keeping my eye on Nominal Records as everything I've heard from them has been great, and this new disc is no exception. Spazzed-out brat punk like early Angry Samoans or even first-EP-era Descendents. It's fast, snappy, and fun as shit...love it!!!"
-Tim Brooks

-------------------------------------






9:52 PM 
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Thursday, October 01, 2009 
http://www.stnt.org/chronique.php?i=2137
VAPID
Do The Earthquake
7 3t. Nominal Records 2007
VAPID EXCELLENT! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! OOUUCH ! Là encore, un excellent ep de Nominal records. Vapids ? C'est du VKTMS, du Lewd, du No Alternative, etc, etc, du punk rock énergique, nihiliste et assez dévastateur. Du qui tue ! 3 titres qui ont fait trembler la terre du côté de Vancouver. Des secousses telluriques sont même à prévoir près de chez vous car un album est annoncé sur Nominal rec et Deranged rec. Tout simplement incontournable: do the earthquake !
-Fab tigan (14/09/2009)
-------------------
EXCELLENT! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! EXCELLENT ! OOUUCH ! Here again, another excellent EP from Nominal Records. Vapid? It's like VKTMS, Lewd, No Alternative, etc., etc.; it's energetic, nihilist, and powerful punk rock. Killer stuff! Three tracks that caused an earthquake off Vancouver. Get ready for telluric rumblings near you as Nominal Records and Deranged Records have announced a Vapid LP [in the near future]. Simply unstoppable: Do the earthquake!

-Fab tigan (14/09/2009)

9:45 PM 
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Thursday, September 03, 2009 

RANDOM CUTS
Rat Capacity Ep / Sleep Ep / Make Damage Ep
Nominal Records 2009
RANDOM CUTS
Trio de Vancouver, 1 garçon et deux filles. Les Random Cuts viennent de sortir une série de eps 2 titres assez originaux cet été. Le visuel des pochettes, fait par leur chanteur Justin (personnage très actif à Vancouver), est assez dadaïste et très coloré. Les eps sont eux aussi colorés. La présentation est donc soignée et originale. Un bon point...La musique est aussi variée, colorée et très surprenante. Étonnement, les Random Cuts croisent des influences casse-gueule, qui posent une super mélodie, un sens de l'harmonie et en même temps pètent tout, déconstruisent tout sans excès en deux minutes. Rat capacity est un morceau qui reprend les traces nerveuses de Nirvana, avec des intonations à la Corbain. Les influences sont tracées entre Nirvana, Mudhoney, la destruction wagnérienne de Flipper (à noter la réédition de tout flipper y compris le génial gone fishin') et l'univers renfermé (presque autiste) des Wipers. Surprenant car les Random Cuts ont laissé tombé le côté surproduit pour faire trois eps qui se complètent sans violence et sans chocs bien que les paroles soient assez  sombres  (Jail stripes) et que la tension soit bien contenue. 3 eps, 6 titres qui croisent grunge, rock et post-punk...qui font faire des dégâts. À croire que les vagues sonores de San Francisco, Portland et Seattle viennent de frapper de plein fouet Vancouver en été 2009. (à l'intérieur des eps, un code est disponible pour télécharger les morceaux...bonne initiative!)
-Fab tigan (02/09/2009)
 
The Random Cuts are a trio from Vancouver who have recently released a quite original series of two-song singles this summer.  The artwork in the inserts, made by the singer, Justin (an active member of the Vancouver scene), are rather Dadaist and very colourful, as are the singles themselves.  A solid mark for careful and original presentation … The music itself is also varied, colourful, and very surprising.  Astonishingly, the Random Cuts mix their influences with abandon, producing a strong melody and harmonious quality while breaking them down, deconstructing them all without pedantry in two minute tracks.  Rat Capacity is a track that takes up the nervy traces of Nirvana, with Cobain style intonations.  [Within the singles can be found] the influence of Nirvana, Mudhoney, the Wagnerian destructiveness of Flipper (take heed of the re-release of Flipper’s entire back catalogue including the superb Gone Fishin’) and the claustrophobic, almost autistic universe of The Wipers.  Surprisingly, The Random Cuts have foregone the generic to produce three EPs that combine tension and dark lyrics (Jail Stripes) without resorting to [simplistic?] violence and shock.  3 EPs, 6 songs crossing grunge, rock, and post-rock that will do some damage; just imagine soundwaves from San Francisco, Portland, and Seattle crashing over Vancouver in the summer of 2009.  (Inside the EPs is a code for downloading the tracks … great idea!)
-Fab tigan (02/09/2009)

-----------------------------------


B.LINES
Burnt Cds Ep 6 Titres
Nominal Records 2009
B.LINES
B. Lines est une ligne de bus à Vancouver...et sûrement le meilleur groupe punk de la ville ! La pochette est nulle, simple presque simpliste. Mais attention, le ep est un petit bijou avec 6 titres vraiment carton dans la veine des Career Suicide, du premier ep des Vicious Cycles, des Statues etc. Du punk rock nihiliste qui remet le tic tac à zéro de la scène punk de Vancouver et surtout fout le feu à la sécheuse...avec beaucoup d'humour. Ce groupe ne sortira pas sur Sudden death records. C'est sûr mais on s'en fout : Brûlez vos  idoles  et sautez dans le bus ! J'attends le lp avec grande impatience...(à l'intérieur du ep, un code est disponible pour télécharger les morceaux...bonne initiative!)
-Fab tigan (02/09/2009)

The B-Line is a bus route in Vancouver, and the B-Lines are certainly the best punk band in that town.  The insert is bland/basic, simple almost simplistic/minimalist.  Looks are deceiving, though, as this EP is a little gem with 6 tracks in the vein of Career Suicide, the first EP of Vicious Cycles, of the Statues, etc.  The band returns to the nihilism of Vancouver’s early punk scene and sets fire to its remains … with a lot of humour.  This band will never appear on Sudden Death Records; true, but who gives a fuck.  Burn your idols and jump on the bus!  I await the LP with great impatience.  (Inside the EPs is a code for downloading the tracks … great idea!)
-Fab tigan (02/09/2009)

---------------------------------------------

DISCORDER September 2009

Riff Raff  

  Speaking of fast and fleeting, blink and you'll miss the B-Lines EP come at you like a horde of pesky mosquitoes lookin' for blood. Singer Ryan Dyck has been known to draw some of his own whilst the band plays its Killed By Death Records-styled punk mess--and who better to satisfy the needs of an A.D.D. generation than these fine gents. Barely two minute blasts of songs about failed relationships, corporate stiffs and death by household appliance, I heard the Urinals, Dead Milkmen and early Rip Off Records in among brother Bruce Dyck's herky-jerky drumming of "Leaving", "Busy Man" and "Crazy Glue", but somehow it sticks together with Adam Fothergill's sturdy bass anchor and Scotty Colin's punchy and punctuated guitar bursts--like on "Social Retard", a song that definitely won't make the request list at the PTA dance. Political correctness be damned, the B-Lines are poised to take on all comers with label honcho Sean Nominal sparing no expense (and no trees apparently) as this release comes equipped with digital download coupons, as if your attention span is going to be better off downloading a megabyte the size of a speck of dust. Meh, who am I to stand in the way of progress? Just go get this record already.
  And while you're at it, score yourself ex-Mutators Justin Gradin's new combo Random Cuts on the aforementioned label. Not as noisy and discordant as his prior project, Gradin's got a brand new bag of tricks that lay somewhere between the post-punk-isms of Wire and the new-school proto pop of their contemporaries Defektors (particularly on "Rat Capacity", but "Destroyed" also displays some chops that fans of some of of the current crop of In The Red Records groups like The Intelligence may agree with). Apparently two more singles are hot off the press and ready to go, so you'll probably see more ink being spilled on this group in the future.
-Bryce Dunn
8:10 AM 
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Monday, August 31, 2009 
http://theeouternet.blogspot.com/2009/08/vancouvers-punk-heart.html

Thursday, August 13, 2009

VANCOUVER'S PUNK HEART


It has been said many times before this, usually tucked in dark corners of record geek message boards or in comments to some forgotton blog, but I'm going to put it out there in plain view for some to see with hopes that you'll spread the news that Vancouver is ten steps ahead of every other part of the DIY world musically. Something about every project that emerges is legitimately awesome, and the incestuous nature of these bands makes spreading out and discovering more as easy as tracing the family tree so to speak.
I first experienced TWIN CRYSTALS in Portland, Oregon at the cavernous Branx located behind Rotture on the the Southeast side. Awkward hellos and solid conversation trickled through the night till they completely leveled the building on borrowed gear. A band so weird and fucked up, alienating and intense, yet with an equal obsession for the Wipers and early Kraftwerk. Whereas Channels 3 & 4 took the route of crafting anti-hits that got stuck in your head faster than radio singles, Twin Crystals creates legitimate classic songs that no one questions. Like AC/DC... even those set on hating them admit they write memorable, great songs, but maybe my view of how they'll be remembered is different from what will become reality, and wrongfully so! Napa and Davis, California are places that I will always go hand in hand with becoming a genuine believer in everything this band is doing. I can't visit or even think about these cities without seeing things on repeat. And their LP is the most solid punk record of modern times and I never even thought they had it in them.
RANDOM CUTS is Justin taking what he brought to the table with Mutators and deciding to raise the child alone (with the supposed help of some mannequins). It's bands and people like this that make me think Brace Paine got his entire schtick from Vancouver, because it sure didn't come from Arkansas. Songs that are so catchy yet never let you get comfortable in your enjoyment. This is not music to go about relaxing to and winding down after a long day. It's the type of gnawing post-punk hits that you listen to while trying to hold your piss in. Another complete winner from a dude with a pedigree including the violent punk of Mutators and jarring no wave of Female Health.
MODERN CREATURES, DEFEKTORS and SHEARING PINX all dominate their respective lines of work. Defektors drops punk gold... amazing songs you'd feel just at home with were this 1979 or the early 80's. One of those that wasn't there when it started, but ended up doing it close to the best sort of deals. Modern Creatures, like most every band from up there, puts great, engaging vocals on top of perfectly replicated (insert genre here) yet made all their own. That's really the formula for this city. No band sounds exactly like anything you've heared before. They all take a genre and do their absolute best with it, adding their own touches and usually deliverly an improved version of what you've come to know. SHEARING PINX is the band that will never break up. They take said formula and beat it to death with dozens of yearly releases ranging a broad spectrum of influences and styles. The underlining theme of said band seems to be "we enjoy playing together", and when put at the forefront of a band, seems to be the missing link in so much of what we hear today. The tension created in the music is for everyone else, no anyone or anything within. Whereas Random Cuts seems angry at itself, Shearing Pinx is angry at the world.
Go to myspace right and search any of these bands. An LP containing all of them would be a starting point for any future punx to begin their search for all these band's records twenty years down the line.
Brave New World, Play Dead and Deep Wound were all criminally overlooked and made their ways into my life way too late. Thus is the trend of focusing all energy on one scene and ignoring the most inspirational pieces of it. Now is Vancouver's time. With this accepted, I find no reason for these records not to stay print and be considered classics by the youth to come.
Posted by HOH SKINHEAD
8:40 PM 
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Monday, August 24, 2009 
http://still-single.tumblr.com/post/170125856/b-lines-s-t-7-ep-nominal

B-Lines – s/t 7” EP (Nominal)
B-Lines 7
Most people obsessed with music have specific memories of bands that opened the DIY door for them. In that regard, I can see Vancouver’s B-Lines making great scene fertilizer for some impressionable kids. Their debut 7” crams in six bursts of snottily-voiced hardcore punk with some insidiously infectious hooks, though it shares a common border with pop punk on the tasteful side. The recording is a bit raw but balanced, which is a refreshing break from all the four-track racket going around. The guitars are overdriven, but not heavily distorted, and the singer’s voice sounds unaffected, with real squeaks and cracks, drums are loud and have an energetic punch. Imagine Canada’s other great snot factory, Career Suicide, lightened with some of High Tension Wires’ energy, writing Creep Records style punk. Along those lines, it looks like Nominal Records is doing for Vancouver what Creep did for Pennsylvania, documenting an interesting thriving scene. 445 copies on marble white. (http://www.recordsnominal.com) 
(Killedbyjeff)
9:34 PM 
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