Zulu Records

Behind the Counter: Zulu Records (Vancouver, BC)

With an army-green facade out front and wood-paneled walls and retro furniture inside, Zulu Records is an established musical stronghold in the Canadian metropolis of Vancouver, British Columbia. More than a place to buy music (though it covers that angle pretty thoroughly), Zulu has become a family-friendly, cultural centerpiece of the community with a number of notable in-store performances, art openings, and a continued independent, DIY approach to business.

What was your motivation for starting a music store? / What is your background in music?

Zulu Records grew out of the ashes of an old store called Quintessence that specialized in prog and rock. It was 1981, music was changing, and there was a community of young punkers who were starved for all of the amazing imports coming out overseas. Zulu Records’ owner, Grant McDonagh, was one such fan with big ideas who saw his part-time job at Quintessence fizzle out and an opening present itself. Grant had ties to all of the great Vancouver punk bands and, in the early days, worked closely with  this community, including later starting his own record label to press bands that he felt deserved to be heard. Today, Zulu Records concentrates completely on being one of Canada’s finest indie music shops, and it still prides itself on the model of building and maintaining community ties.
 

Melanie holds Destroyer's City of Daughters
Melanie holds Destroyer's City of Daughters

What is the musical community like in Vancouver?

Vancouver’s music community is tight-knit. Vancouver has always had a bit of an annexed feel to it; we are in the corner of Canada, and the city is geographically bounded and can’t really sprawl endlessly like other major Canadian and American cities. As a result, the spots where bands play, practice, and congregate haven’t really changed over the last 25 years. There is still a very punk/DIY feel to how bands go about doing things, as really we are pretty far away from the spotlight of the business in Toronto. In fact, we have more of a West Coast / Pacific Northwest vibe going on, and certainly, Seattle feels like kindred musical spirits.

Morrow vs. Hajduch

Morrow vs. Hajduch: The Fun Years’ God Was Like, No

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

The Fun Years: God Was Like, NoThe Fun Years: God Was Like, No (Barge, 11/16/10)

The Fun Years: “Breech on the Bowstring”

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Hajduch: The Fun Years is among a noticeable cadre of artists pushing icy, shoegaze-tinged ambient music these days, but the duo lacks the name recognition of Tim Hecker or even Ben Frost. Hopefully, its 2010 release, God Was Like, No, changes that.

The group is comprised of Ben Recht on baritone guitar and Isaac Sparks on turntable, but this album suggests that there are a lot of delay and fuzz pedals in that signal chain.  Fittingly, the album opens with swirling guitar notes that gradually build into a sustained howl before suddenly exiting stage left, leaving a repeated crackle and simple guitar phrase in their wake.

Though it’s more than 40 minutes long and holds eight tracks, God Was Like, No ignores its purported divisions to form a cohesive suite, with each track blending into the next.  All maintain a similar minor-key melody while shifting timbres in and out; bit-crunched, buzzy guitar, bowed cymbal, and repeated snippets of manipulated vocals all appear and disappear.  The overall effect is of one long track; it’s very satisfying.

Tim Hecker

Tim Hecker: Reluctant Neo Eno

Montreal-based ambient electronic artist Tim Hecker recorded his most recent album, Ravedeath, 1972, in one day with a single church organ in Iceland. Then came the real work: meticulous editing, rearranging, and layering.

Tim Hecker

Guest Spots: Tim Hecker on the loudest instruments in history

Tim Hecker: Ravedeath, 1972Tim Hecker: Ravedeath, 1972 (Kranky, 2/14/11)

Tim Hecker: “Hatred of Music I”

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Experimental electronic musician Tim Hecker recorded his forthcoming album, Ravedeath, 1972, over the course of one day, using a pipe organ in a church in Reykjavik, Iceland. As with the majority of Hecker’s work, the record was shaped by computer-based post-production tweaking and editing (with engineering help from Icelandic jack-of-all-trades Ben Frost). His ambient soundscapes comprise ever-changing layers of noise and melody, building toward monolithic sonic density and hemmed in by meticulous attention to detail.

In addition to making music, Hecker also studied the cultural history of urban noise in North America at McGill University in Montreal (where he now teaches a course called “Sound Culture”), making him the perfect candidate to expound on important moments in thunderous aural innovation.