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BEST OF 2018 – TOP 25 LOCAL VANCOUVER RELEASES

BEST OF 2018 – TOP 25 LOCAL VANCOUVER RELEASES

By Glenn Alderson, Lyndon Chiang, Esmée Colbourne, Heath Fenton, Keir Nicoll, Jennie Orton, Alan Ranta Mitch Ray, Daniel Robichaud, Graeme…

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Dounpour Makes the Avant-Garde Accessible

Monday 26th, November 2018 / 13:43
By Mat Wilkins

Photo by Japhy Japhy

VANCOUVER – “I’ve always wanted to make music that’s…” There’s a pause on the other end of the line. You can hear cars whizzing by on a busy street through the receiver as Zane Coppard, the mind behind Dounpour, looks for the word to aptly describe his latest project. “Fun.”

Coppard is on the road during the call, acting as the interim drummer for Belle Game’s latest North American tour. The fact that he scheduled our interview just after the band played a show is certainly evidence enough that he’s a decidedly busy musician – but things don’t end there. Just four months ago he released the Doubtless EP under his experimental electronic project, 1000 Petal Lotus, and is currently sitting on the next release.

“I was getting a little bogged down with what I was creating,” Coppard says of the latest 1000 Petal Lotus record. Not only that, but “administrative work” for Smash Boom Pow (an indie rock band Coppard plays in with his brother Ulysses) had been mounting. “I kind of started thinking: is this what music really is? This serious and administrative sort of realm?”

And so, on a particularly rainy Vancouver night, the idea for Dounpour was born. The tracks that make up Coppard’s debut album Brod are a diverse collection of vertigo-inducing, lo-fi sonic experimentations that at once charm and disarm listeners. The album, chalk full of unintelligible sounds and strange sonic textures, is oddly anchored and made accessible through a constant (though sometimes jagged) rhythm.

“It kinda just went where it went,” he says. “I don’t really listen to a lot of [experimental] music – I think it’s just my approach that does that.”

An approach that Coppard describes as one marked by urgency and improvisation, with many of the songs on the record having been written at the same time they were recorded. Even some of the musical equipment used on the record is equipment that Coppard is learning to use while he uses it. What results is music that teeters on the precipice between the accessible and the avant-garde – music that is both a product of Coppard’s creative escapism and his prolific artistic output. Dounpour’s debut collection of music is thoughtful, complex, compelling, and peculiar, but above all else… fun.

 

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