Join the Official Event here: https://www.facebook.com/events/164893386952798/

Surge presents:

Versa with Bloody Wilma & Small Town Villains
Tickets at: http://tinyurl.com/878ec7s

Versa
http://versa-music.com/

Versa was formed in 2007 by Matt Dolmage, Kevin Grady, Hollas Longton, Ben Rancourt, Anthony Theocharis, and Janelle Wrona. The band released their self-titled debut in 2007, and began to develop a following around Victoria. Janelle left Versa at the end of 2008 to pursue other interests, and since then the band moved to a core/satellite structure.

Core members Matt, Ben, and Anthony continue to write, record and perform full time as Versa. Hollas continues to contribute material to the group while he pursues a Masters in Composition at the Conservatory of Music in The Hague, Holland, while Kevin continues to contribute part-time to the band as he pursues a career as an orchestral percussionist. Other satellite members include John Russell and Liam McKeracher on drums and Nick Huston on keyboards and trombone. Versa also receives live and studio contributions from Laine Longton (cello), Ajay Bhattacharyya (drums), Scott Lougheed (drums/sound), and Colin McTaggart (guitar).

Versa’s consistent core and fluctuating supporting band mean our powerful live shows are never the same, as songs undergo (sometimes dramatic) reinterpretations to suit the instruments available.

Bloody Wilma
http://www.myspace.com/bloodywilma

a two piece..the disco hats rarely come out to play..

Small Town Villains
http://www.facebook.com/smalltownvillains

Born on the beautiful Vancouver Island, Small Town Villains brings a unique Island vibe and feel to their music with the natural organic sounds of not much more than an Acoustic Guitar, a Djembe, and their Voices.

This seemingly decent pair of small town lads - consisting of Malcom Owen-Flood (Vocals and Acoustic Guitar) and Jordan Findlay (Djembe and Vocals) - will have your mama fooled that your in good hands. But lets face it, they can't stay out of trouble for the life of them.

Red Bull & TransmitLIVE present...

AN EVENING OF VIDEO SCRATCH TURNTABLISM ON 4 DECKS!!!

with

➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜

SKRATCH BASTID [http://www.skratchbastid.com/]

GRANDTHEFT [Plant Music, T&A Records]

GRAHMZILLA [Grizzly, Thunderheist]

RHYTHMICON [sub|div, Whitebird]

➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜

Tickets $12 available at Ditch Records & Lyle's Place

Stay tuned for details...

http://www.transmitnow.com/
http://www.redbull.ca/
http://newformsfestival.com/
http://www.subdivnet.com/

TransmitLIVE & New Forms present...

➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜

JEREMY GREENSPAN of Junior Boys [ALL VINYL DJ SET]
http://juniorboys.net/

TYGER DHULA [Cobblestone Jazz]

DAN WERB [Woodhands]
vs. KIDS & EXPLOSIONS

with

DREAMBOAT
GOLD & YOUTH
PETER HAGGE [visuals]

➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜

Tickets $12 available at Ditch Records & Lyle's Place

Stay tuned for details...

http://www.transmitnow.com/
http://newformsfestival.com/
http://juniorboys.net/
http://www.subdivnet.com/

YESSSSS...

Just in time for reading week & hot off the tails of AraabMUZIK, we're amped to be back in the ring at Lucky with our first night of sub|div fam raving...

➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜
- EAMES b2b MONOLITHIUM
- TRANSIENT
- EN NOIR
➜➜➜➜➜➜➜➜➜➜➜➜➜➜➜

EXPECT: house, techno, 808s, trap, footwerk, r&b, based shit, hi-fives

Doors 10pm $5 all night

LEZ GET IT.

Join the Official event here: https://www.facebook.com/events/134385000004842/

*Tickets On Sale Friday, December 9*

Plus Little Scream

Fall.

“Let’s make a new record,” they say. “How do we do this? Let’s do it differently—let’s write a whole pile of songs and develop them big time before we go into the studio to record—let’s not do the fly-by-the-seat-of-our-pants routine for a change—too crazy, too pressed. Let’s create in a cave, off the clock, take some time. Like normal people,” they say. “I’ll book the Treatment Room for rehearsals and demoing,” says Nic Basque.

Winter.

They meet in the afternoons. The Treatment Room is the studio in Montreal where they had recorded Parc Avenue and most of La La Land. The walls are white and brown and it’s dark in there. Outside it’s dark too. The city is white and brown and frozen solid. They set up some microphones and record into a laptop. Warren Spicer brings in the ideas. He’s brimming with them. He’s been spending time in a place with a piano, and sometimes that’s the tool of choice. Other times he’s on the acoustic guitar. It had been given a bit of a break on the last record. It’s full of life.

They play. Warren is geometry, flesh and feel. Nic is the colour man. He’s the guitar equivalent of taking a handsome blue blazer and turning it inside out to its pink, paisley innards like the Fresh Prince of Bel-Air. He has a big, messy pile of pedals and a little amp called a Kalamazoo that sings like a cicada. Woodman goes thump thump on the drums like an octopus or ting ting like a daddy longlegs. Searching for something slanted, settling on something simple.

Spring.

They take a break from demoing. Nic distributes the pile of raw songs among his bandmates. Warren goes home and fills in lyrical holes. He is bold, straight-up and singular. His voice has grown throatier, chestier, more lived in. He has never sung like this before. The sun has come out and Warren bangs out a couple sunnier numbers that the band will tackle in the studio, just like they said they wouldn’t. Who doesn’t love the sun?

The Studio is La Frette, outside of Paris. They had had a taste of it before. La Frette is a great big old manor with a great big old vintage board that feels like the helm of a mighty ship. They sleep there, eat there, play there. They enjoy cheese and drink wine. The birds sing outside from sun up until sundown. They set up in the living room, la bibliothèque, the wine cellar, the piano room in the basement.

The whole two weeks is spring birds and blossoms. No it isn’t. Woodman hasn’t done his homework. Warren gets stressed. The studio can be an unforgiving servant. But they have an amazing engineer and outside ear, Lionel Darenne, who has just gotten back from recording Feist on the California coast and is palm tree breezy. Somewhere around day five, something begins to click. Somewhere around day 10, the neighbour complains that it’s Sunday and he doesn’t want “le rock ’n’ roll” while he hosts a family reunion in his backyard. They take a forced day off, extend their flights to ease things up and buy enough time to finish their tracking at a lower pressure pace. Sounds so simple. It was epic. And that was the end of that.

Summer.

Mixing. Mixing, mixing, mixing. Is it really important? Much more interesting is this: Bass. “Let’s starting playing live with a bass player,” the band say together.

Plants and Animals have been playing together for 10 years. They began as an instrumental group. They recorded a self-titled record in 2002 with 15-minute songs. They played around Montreal for years, no vocals, heavy on the improvising. Warren started singing with other people, and soon enough he just couldn’t contain himself. Silence became oooohs, oooohs became words.

In 2008, a project two years in the making became Parc Avenue and they stepped out onto the circuit for the first time. It had guitars and drums an

Join the Official Event here: https://www.facebook.com/events/151275788309059/

*Tickets On Sale Thursday, December 15*

Plus Guests

Trying to nail down the disparate genres explored by the Wooden Sky isn’t an easy task. When pressed, the band tosses out tags like “folk rock”, but the words don’t hint at the nuances in their sound. Since 2003, the Toronto collective has been pushing the limits of folk and country, adding pieces of outside influence and slowly growing their own unique sonic aesthetic. It’s all led them to If I don’t come home you’ll know I’m gone, a massive undertaking that sweeps through rock and roll subgenres with the deftness of the Allman Brothers, the songwriting focus of Wilco, and the experimental sonic cacophony of the Flaming Lips. It’s a career-defining record, grown and built organically over months spent living, writing, and recording in cramped apartments between Toronto and Montreal.

After the band’s previous full-length, When Lost at Sea, garnered them national critical praise, college radio play (they charted at #33 on earshot), tours with Canadian indie rock royalty like Julie Doiron, a live performance on MTV, a spot at Osheaga Festival, and an In Session performance on CBC Radio 3, the Wooden Sky set about the daunting task of crafting a worthy follow-up. The result is the kind of democratic rock and roll record that requires the total shedding of ego and the equal involvement of all parties; If I don’t come home you’ll know I’m gone is epic in its scope and contributions, but never bombastic or crowded. It’s a lot of people playing when they need to, not just when they want to.

The record came together somewhere between Montreal and Toronto; starting out at Montreal’s legendary Hotel2Tango studio with Howard Billerman (Arcade Fire, Godspeed You! Black Emperor, the Dears), the band spent two weeks recording all day and sharing a cramped one-bedroom apartment with five friends at night. Three days followed at Toronto’s Lincoln Country Social Club with Chris Stringer (Ohbijou, Timber Timbre, Rush), then a day with the pipe organ and piano at St. Peter’s Anglican Church in Cobourg, and, finally, put the finishing touches on at Gardiner and Wyatt’s apartment in Toronto. The list of people involved the creation of the record is expansive, including some of the band’s oldest friends and newest acquaintances: Heather Kirby (Ohbijou), Debra Jean Creelman (ex-Mother Mother), Mika Posen (Forest City Lovers), Jessica Moss (Silver Mount Zion), Howard Billerman (ex-Arcade Fire), Stew Crookes ($100), Edwin Huizinga (Mars Volta), Adam Kinner (Marathon), Elspeth Poole, and Tyler Belluz.

Since the release, the band has crossed the country three times, including a stint with Polaris Prize short-listers Elliott Brood, a recent sold-out run with The Rural Alberta Advantage, and the now infamous “Bedrooms & Backstreets Tour” over the summer, finding them playing unique and unconventional spaces across the country. The press has been quick to latch on to the story, and to wholeheartedly support the album.

Ultimately, the Wooden Sky is the sound of collective will; a group of individuals coming together to forge something bigger. It’s a sound that started in a garage in downtown Toronto and found its way into the hands one of the most respected studios and producers in North America. With a new record and new friends to help them play it, the Wooden Sky are poised to push “folk rock” into something new, exciting, and earnest

Tickets: $15.00 Available at Lyle's Place, Ditch and http://www.ticketweb.ca/

Extra Info:
http://ifidontcomehome.com/

No Minors. 2 Pieces of ID Required.