Articles by Martin Turenne.

Payback Time

Some churning tones given to our lustrous 'hipster' writers

You piss on the poor music section, and we reward you with a Payback Time T-shirt, two recently released major-label CDs, and two tickets to a Live Nation club show taking place in Vancouver within the next four weeks. Here’s this week’s winning whinge.
Music Features

RZA set to put the hip-hop in Hollywood

The artistic ambitions of the leader of the multi-platinum and uproarious rap group go far beyond just making beats and rhymes, with plans to write, produce, and direct his his first movie nearing fruition.
Concert Reviews

Erykah Badu comes back in all her glory

After a long absence, the Texan turned the Commodore into Vancouver’s premier juke joint in a Friday-night show that seemed to define 21st-century R & B as the grand, churning conflation of every musical impulse she’s ever had.
Recordings

Lil Wayne

Tha Carter III (Universal Motown/Cash Money)
Concert Reviews

Kanye West embarks on space odyssey

Although the premise for Monday's show at G.M. Place was flimsy and cornball—the Chicago rapper as a lonely outer space traveller—it was utterly compelling, with West injecting even his oldest hits with a newfound vitality.
Movies Features

Planet B-Boy goes inside dancing life

Since 2001’s Save the Last Dance, Hollywood has developed a microgenre of pictures based on street dancing. Directed by hacks and starring no-names, films like You Got Served (2004) and Stomp the Yard (2007) are virtual clones of each other, not so much stand-alone features as episodes in some imaginary teenage franchise.
Music Features

Cadence Weapon’s Babies skillfully captures an era

Edmonton rapper Cadence Weapon’s Afterparty Babies has perhaps the best album cover of the year so far. It’s an unadorned shot of the MC and 40 of his 20-something peers posing, class-photo-style, in an Edmonton bar called the Black Dog. In 50 years, anyone who still owns the record will refer to it to recall what young adults actually looked like in 2008—basically, overgrown teenagers.
Music Features

Fuck Buttons’ racket brims with push-pull tension

The best bands often make what could be called a sublime racket—music that swings between being pretty and being clamorous, and sometimes manages to be both at the same time.
Music Features

Dance-mix pioneers Sasha & Digweed return

It’s hard not to be cynical about Sasha & Digweed, the British progressive-house DJs who’ve made a career—and millions of dollars—out of little more than playing other people’s records.
Concert Reviews

Hercules and Love Affair put the sweat back into disco

There’s the type of disco everyone knows about, the kind people had in mind when they started wearing Disco Sucks T-shirts back in the late ’70s. That’s the disco of the Village People and the Bee Gees—the campy soundtrack to countless wedding receptions, and the musical equivalent of an open-necked, leopard-print polyester shirt.
Music Features

Why?’s Josiah Wolf aims for “tight sloppiness”

When it debuted with 2001’s The Split EP! (a joint release with Anticon labelmates Odd Nosdam), Oakland’s Why? was a one-man show, with frontman Yoni Wolf playing the roles of songwriter, arranger, and producer. On 2005’s Elephant Eyelash, though, Wolf made a decisive turn, expanding what had been an insular laptop-rap project into a three-member indie-rock outfit by bringing his little brother Josiah (drums) and Doug McDiarmid (keyboards) into the fold.
Music Features

Morcheeba’s Dive Deep heralds trip-hop’s return

Like it or not, trip-hop is back. Some might argue that the 1990s-born form—noted for its spacy atmospheres and mix of urban and soundtrack influences—never really went away, but with this year’s release of comeback albums by three of its flagship artists (Massive Attack, Portishead, and Morcheeba), it’s hard not to conclude that there’s a serious revival afoot. First out of the gate is Morcheeba, perhaps the most influential of those acts but also the most anonymous.
Concert Reviews

Justice deafens the masses

Justice’s Gaspard Augé and Xavier de Rosnay may have been playing the Commodore on Tuesday, but the French neo-rave artists treated the gig like it was at G.M. Place.
Music Notes

Pacific and Psidream unleash Nightfall Recordings

Vancouver drum ’n’ bass producers Matt Cox (aka Pacific) and Jeff Malcolm (aka Psidream) are joining forces to unleash Nightfall Recordings, initially planned as a vanity label for their solo and collaborative efforts. The producers—whose past releases have featured on noted international imprints like Cyanide and Breakbeat Science—will launch Nightfall with the 12-inch “Runway/Without a Trace”, a record earning playlist support from scene veterans Ed Rush and Pendulum.
Clubs

DJs to name the tracks that will have you shaking away the winter blahs

We asked five of the city’s finest DJs to name the tracks that will have you shaking away the winter blahs for good.
Clubs

DJ Lowdown: Max Ulis

One of the city’s first and leading proponents of British grime and dubstep, producer Max Ulis is pointing the local scene toward its cosmopolitan destiny. Ulis and fellow B.C. beatmakers Taal Mala, Phowa, and Self Evident form SUB OSC, the production crew responsible for a mildly demonic remix of Future Sound of London’s “Stakker Humanoid” on Britain’s Jumpin’ and Pumpin’ label.
Music Features

Atlas Sound’s Bradford Cox vows to keep his drama to himself

Cox is channeling his energies into Atlas Sound, the guise under which he explores melancholia in a wide variety of musical forms, from the reverb-drenched tones of ’50s-era girl-pop to the ghostly echoes of postmillennial ambient techno.
Music Features

Toronto's Crystal Castles' punks go dance-pop

In terms of fidelity, the music made by Toronto’s Crystal Castles has no historical precedent; it’s the kind of buzzy synthesizer pop that sounds best on cheap computer speakers and iPod headphones. When played in nightclubs, the songs are not so much listened to as heaved to, usually by hordes of sweaty scenesters who like their dance music with lots of distortion.
Music Features

Bonobo seeks new ways to fashion his beats

When he joined the Ninja Tune label in 2001, Simon Green (aka Bonobo) was the prototypical Ninja artist—an inveterate crate digger who fashioned his left-field jazz tracks from bits of other people’s songs. In support of 2003’s Dial ‘M’ for Monkey, the British producer formed a live band and turned his gigs into full-bodied elaborations of his studio material.
Music Features

DJ Andy Caldwell just does his own thing

Raised in Santa Cruz, California, Andy Caldwell rose to prominence in the late 1990s, playing and producing records that sounded almost like Chicago house tracks, but with half the aggression and twice the sunshine. This style was eventually codified by San Francisco–based labels Om and Naked Music, both of which branded their music as a kind of lifestyle accessory for the young and upwardly mobile.
Music Features

Deacon filters pop-cult noise

New York’s Long Island is the original American suburb, the model for every middle-class community where the houses all look alike and the children can’t wait to escape. Like most American kids his age, Long Island native Dan Deacon grew up watching too much television—and fit, for a while at least, the profile of a particularly American type: the funny fat kid with a keen understanding of pop culture.
Club Guide

Know your DJ: Christian Alvarez

Vancouver's Christian Alvarez specializes in house music that appeals to loungers and dancers alike. Well-regarded for his club productions, the Spanish-Canadian DJ made his first foray into the home-listening market earlier this year with VIP 01, his superb mix for Las Vegas's Swank Recordings
Club Guide

5 DJs pick the best tracks of 2007

The best tunes of 2007, as selected by Flipout, DJ Leanne, Snail Rider, Kuma, and Jay Auto
Music Features

Ewan Pearson devotes himself to eight-minute butt-shakers

His embellishments recall ’70s-era pioneers who invented the extended mix — not remixes, but faithful elaborations of tracks that were great to begin with
Recordings

Jay-Z's American Gangster

American Gangster offers a grown-up vision of hip-hop
Music Features

DJ Lee Burridge still trusts in the vinyl solution

The veteran deejay is one of Englad's most eclectic spinners, throwing in everything from bad-ass U.K. breaks to druggy German minimalism
Music Features

Sweden's José González a fingerpickin' hypnotist

The Göteborg resident recalls Nick Drake, but whereas Drake was a veritable poet-philosopher, González is best known for covering songs by pop acts like the Knife and Kylie Minogue
Music Features

Global dance music: the MC known as M.I.A. on worldbeat, trouble-making, and why she's no Rihanna

Although London, England's Maya "M.I.A." Arulpragasam is not a particularly gifted singer or rapper, she might still be the most compelling artist to emerge this decade. In a medium dominated by machine-tooled precision, what's so fascinating about the 30-year-old Sri Lanka-born MC is how unkempt and unruly her songs are, and how powerfully they evoke the lives of people we usually only meet by getting on a plane and jetting off to faraway lands. A kind of audio travelogue of her visits to India, Angola, Liberia, and Trinidad, M.I.A.'s excellent new disc, Kala, succeeds not just musically it's one of the year's best records but as a powerful symbol of activism in an era of rampant political apathy and self-absorption.
Recordings

Busy Guy by Ty Cizzler & Depth Perception by Main Offenders

Once Vancouver’s most promising young rapper, Ty Cizzler is now just one of its many good-but-not-great veterans. Main Offenders succeed where Ty-C does not, risking corniness in their deeply personal and socially engaged lyrics
Music Features

Party tracks not a priority for a refined Miguel Migs

For certain Kits- and Yaletown-dwelling young professionals, Migs is something of a legendary figure, a one-man soundtrack to witty conversations about strata councils and luxury cars. To his detractors, the Santa Cruz native is a panderer; to Migs himself, he's just a guy with a gift for hooks and good vibrations
Club Choices

DJ Pandemonium

The one-liner on Isaac Terpstra (aka DJ Pandemonium) is that he's the local scene's premier goth and industrial record-spinner. The longer story is that he's been a nightclub fixture since 1995, and that he's played just about every club in the city, from dearly departed venues like the Palladium and the original Celebrities to newer spots like the Lotus and, well, the new Celebrities. When someone gets around to writing a history of Vancouver's electronic-music scene, Pandemonium will figure prominently.
Music Features

Germany's Jazzanova defies metronomic perfection

The group enjoyed notoriety around the turn of the decade with remixes for Massive Attack and Radiohead, but it has released few of its own tracks. This came to an end this year with Belle et Fou, the sextet's blaxploitation-inspired score for a German contemporary-dance production.
Club Choices

5 DJs pick spooky tracks

Usually we ask DJs around town to name their hot track of the moment, but in honour of all things ghoulish, we persuaded five of the city's best selectors to name their all-time Halloween anthem.
Music Features

Long Island loop-slinger Prince Paul picks up the P-Funk mantle

The lifelong New Yorker recently partnered with legendary P-Funk keyboardist Bernie Worrell. Working under the name Baby Elephant, the pair has just released Turn My Teeth Up!, an engaging collection that runs the gamut from roots-reggae to silky soul to stiff-limbed funk.
Music Features

Caribou: Harmony in his head

Caribou’s approach to music-making has become increasingly conventional, but Andorra is no less wonderful for it.
Concert Reviews

Kanye West

Forgetting for a moment that he's one of its most inventive producers, and perhaps its bravest lyricist, Kanye West is hip-hop's saviour for one reason alone: he's as passionate a live performer as any pop star on the planet, no matter the genre.
Payback Time

Silky chill-out muzak

You invite Diddy to the music section's Rappers for Peace summit, and we reward you with a Payback Time T-shirt, two CDs off the Straight 's Top 50, and two tickets to a LiveNation club show taking place in Vancouver within the next four weeks. Here's this week's winning whine.
Music Features | Music

Cop-show themes sparked Kavinsky's arresting electro

In 1984, two major events occurred that shaped Parisian electro producer Vincent Belorgey's life: in America, Miami Vice made its television premiere, and in France, nine-year-old Belorgey (aka Kavinsky) quit taking piano lessons for good. Those two historical incidents intersect in the Frenchman's songs, which sound like a musical neophyte's best stab at remaking Jan Hammer's synthetic score for the fabled Florida-based cop show.
Music Features | Music

Cop-show themes sparked Kavinsky's arresting electro

In 1984, two major events occurred that shaped Parisian electro producer Vincent Belorgey's life: in America, Miami Vice made its television premiere, and in France, nine-year-old Belorgey (aka Kavinsky) quit taking piano lessons for good. Those two historical incidents intersect in the Frenchman's songs, which sound like a musical neophyte's best stab at remaking Jan Hammer's synthetic score for the fabled Florida-based cop show.
Music Features

Russian Futurist Hart's heart is in songwriting

Matthew Hart is the kind of musician whose idols are producers, not songwriters. As a teenager, the Peterborough, Ontario, native was a beatmaker, not a rapper, and when he attended Fanshawe College in London, Ontario, in the late 1990s, he majored in the recording arts program. But a funny thing happened on the way to becoming Canada's next Bob Rock.
Music Features

Matthew Dear's lyrics are nothing personal

For someone with multiple personalities, Matthew Dear seems a remarkably well-adjusted guy. Recording under the aliases Audion and False, the New Yorker makes some of the most critically admired tracks in techno, using the former moniker for his kaleidoscopic club material and the latter for his darker home-listening experiments. When he's feeling like himself, Dear writes sprightly indie pop, singing over a homemade patchwork of digital and acoustic textures.
Music Features

Duo makes Justice for all

Here's a pet theory: when Moby released Play in 1999, he basically killed electronic dance music. At the time, that album seemed like the genre's crowning achievement, a multiplatinum breakthrough that would usher rave-inspired music into every corner of society. Because all its songs were licensed for use in television commercials, that's precisely (and perversely) what Play accomplished: it cemented electronica as the perfect form to sell cars, khakis, and computers with.
Concert Reviews

Klaxons

At the Commodore Ballroom on Monday, October 1
Music Features

Domestic bliss leads to a less-claustropobic Vadim

DJ Vadim has collaborated with dozens of rappers, singers, and fellow producers, but none stranger or higher-profile than Lenny Kravitz. The corporate-rock icon drops in unexpectedly on Vadim's most recent album, The Soundcatcher not as a featured singer but in sampled form, telling an interviewer that fancy production touches are great, but that "you gotta have your song first." No matter how dubious the source, that's a statement Vadim has adopted as a motto for his own career.
Music Features | Music

Trentemøller's tracks have an anxious undercurrent

No matter how long he keeps making music, it's hard to believe Anders Trentemøller will create a better eight minutes than he did with his 2005 remix of Röyksopp's "What Else Is There?". A note-perfect union of goth-pop theatrics and nerd-techno detailing, that track established the Danish producer as one of dance music's premier remixers.
Recordings

Kanye West; 50 Cent

Curtis (Shady/Aftermath/Interscope)
Music Features | Music

Trentemøller's tracks have an anxious undercurrent

No matter how long he keeps making music, it's hard to believe Anders Trentemøller will create a better eight minutes than he did with his 2005 remix of Röyksopp's "What Else Is There?". A note-perfect union of goth-pop theatrics and nerd-techno detailing, that track established the Danish producer as one of dance music's premier remixers.